The Warlocks "Palo Alto High School" New Years 9/19/64 poster has been
floating around for years. A company makes "commemorative" posters of
past rock events, and you can usually get them for 10 or 20 bucks in
record stores (remember those?).
For the record, Bill Kreutzmann actually graduated from Paly, and Pigpen
probably attended. There is a persistent rumor that the Warlocks
played, but the date keeps changing (Sep 19, 1965 has been floated),
which leads me to suspect that its wishful thinking. But hey, Santana
played the 1969 graduation dance (June 10, 1969--you can look it up).
Pigpen Ron McKernen was not exactly an alum, since he dropped
out.
Jerry, as far as we know, never performed here.
Showing posts with label P-Venues. Show all posts
Showing posts with label P-Venues. Show all posts
Monday, February 4, 2013
Wednesday, January 2, 2013
Poppycock, 135 University Avenue, Palo Alto, CA
The Poppycock, a fish and chips/beer joint that was also Palo Alto's first regular rock venue, was open from 1967 to 1971. Roy Kelsey ran The Poppycock. They'd mix up paint in psychedelic colors used to advertise bands on the front window. It was located near the train station, on University Avenue and High Street and next door to the pizza parlor where Jerry Garcia and other folkies had honed their chops to tiny audiences in the early 1960s. The building is still intact.
The clearest date of the beginnings of the Poppycock comes from a book by writer Ed McClanahan, an associate of Ken Kesey’s. McClanahan was hired in to publish an underground newspaper, The Free You, associated with MidPeninsula Free University.
In 1967 The Poppycock was sort of like a lounge with regular entertainment but not "names" (a local jazz trio did play there regularly, featuring Woodside High School student Mike Shrieve on drums). By 1968, however, the club had switched to a more rock-oriented format, albeit with some folk and Theater mixed in. The Bay Area was the place to be for rising rock bands, and a circuit was developing for working bands, that included The Matrix in San Francisco, The New Orleans House in Berkeley and The Poppycock. Bands on the road could "tour" the Bay Area, in between more high profile gigs opening at The Fillmore and The Avalon. At the same time, local bands had a place to build their audiences.
Jim Kweskin, Dan Hicks, John Lee Hooker, Charlie Musslewhite, and so many more. New Riders of The Purple Sage supposedly played their 1st gig here, but all had modest attendance!!(2)
San Jose's Gordon Stevens, whose family operated Stevens Music on Lincoln Avenue for decades recalls in the mid-'60s, Kesey's attorney, Paul Robertson, lived in the Rosegarden neighborhood, and Kesey often parked the bus in front of Robertson's house, underneath the sycamore trees. Stevens and Robertson played in a band called Flower; they were the house band at the Poppycock in Palo Alto.
According to Stevens, Kesey gave them some of the dough he'd made from One Flew Over the Cuckoo's Nest, with which they purchased the band equipment and recording gear.
Also, as Stevens recalls, he and Robertson joined one of the Merry Pranksters, Steve Lambrecht, a.k.a. Zonker, and synthesized LSD into capsules at another house in the Rosegarden. Again, this is when LSD was still legal, and Zonker apparently had a connection in the chemistry department at San Jose State who supplied the beakers. "That was one of the first times LSD was made in capsule form," Stevens said. "Owsley hadn't really gone big time yet."
Playing with Santana was more the result of an all night jam than an audition reflects Schon. "I was playing in an r&b/blues band in the [San Francisco] Bay Area and our bass player was friends with Michael Shrieve and Gregg Rolie, so we invited them down to see the band at a club called the Poppycock in Palo Alto. They showed up one night and stuck around after we had finished our set and we ended up jamming until it got light the next day. (3)
On Friday, February 28 - Saturday, March 1, 1969, The Boogie/Rhythm Dukes and The Sons Of Champlin performed here.
Before they were The Gollywogs, the first time they ever played as Creedence Clearwater Revival was at the Poppycock in Palo Alto.
Palo Alto Times
U-turn in Palo Alto
"I remember playing in Palo Alto at the Poppycock, after the gig (3 or 4 am), I was driving the band’s old Post Office truck with everyone - band, roadies & friends, equipment too, - on board, all exhausted, some of us stoned… and I made a U-turn to save a little time - cause there were no other cars on the road… and a cop pulled us over and had us pull into the Palo Alto Police Station – as I remember it, a very high tech place for the times – where they put me in a kind of big enclosed booth and had me empty my pockets into a drive-in bank-teller-like metal drawer. I just did as they said without even thinking about it and the cop behind the glass window cracked up because I’d put a big hunk of hashish and a pipe, a couple joints and some miscellaneous pills in the bin… he called all his buddies over, saying "Hey, come look at this!". When they got control of their laughter, the lead guy said something like, “Well now, sonny, if I have to put these in an envelope and write down your name and the contents, I think we might have to keep you here for a long, long time. On the other hand, if I just get rid of this stuff for you, you can just deal with that little traffic misdemeanor… hmmm?” And, naturally, I said “Gee, I’d appreciate it if you’d get rid of it for me then, Sir”… then after spending the night (what little was left of it) in a cell, they let me go… " (5)
The Poppycock was professionally connected to The Top Of The Tangent, next door, although it may have been called The Trip Room by then.
The Poppycock had a fair amount of theater events, particularly on weeknights.(1)
In 1971 it became a jazz joint called In Your Ear.
The building burned down in 1972.
There was a branch of Stanford University Bookstore there, which has since vacated, but the building is still for lease. The building has been substantially remodeled since its Poppycock days.(1)
11/13/69 New Riders Of The Purple Sage(1)
11/20/69 New Riders Of The Purple Sage
1.)^Arnold, Corry, 2010-04-16, http://lostlivedead.blogspot.com/2010/04/grateful-deadjerry-garcia-tour.html
2.)^Singh, Gary, Sonic Sutra, 2011/08019, http://www.metroactive.com/features/columns/silicon-alleys_20110810.html
3.)^Burnett, Ralph, Beyond The Thunder, 1995, http://www.mysonicisland.com/neal-schon.html
4.)^Reid, Graham, Elsewhere, http://www.elsewhere.co.nz/
5.)^http://www.devilskitchenband.com/Stories.htm
The clearest date of the beginnings of the Poppycock comes from a book by writer Ed McClanahan, an associate of Ken Kesey’s. McClanahan was hired in to publish an underground newspaper, The Free You, associated with MidPeninsula Free University.
In the latter 1960's, on a corner of downtown Palo Alto scarcely a
brickbat’s throw from the Stanford campus, there stood an aged, derelict,
three-story brick office building, the first floor of which was occupied by a
fish ‘n’ chips ‘n’ rock-and-roll establishment called The Poppycock (2003:
University of Kentucky Press p.53).
McLanahan writes of renting office space on the second floor, just
above the bandstand, for twenty five dollars a month from the “sweaty hatband
gents” who took over an office building originally leased to lawyers and
doctors and leased it instead to a younger and less savory bunch. Those
familiar with the today’s genteel and pricey Palo Alto, a “hotbed of social
rest” (to quote local writer Rob Morse), would hardly recognize McLanahan’s
description of the corner in 1968.
Beneath my window, meanwhile, the beat went on day and night. The
sidewalks swarmed with rock and roll riffraff, adolescent acidheads and swiftly
aging speedsters, motorcycle madmen and wilted flower children, slightly
unhinged outpatients from the nearby VA hospital, spare changers and affluent
musicians and plainclothesmen and nouveau riche dealers, all the myriad
varieties of California white trash…The Poppycock corner was where It was
indisputably At in Palo Alto (pp. 53-54).
In 1967 The Poppycock was sort of like a lounge with regular entertainment but not "names" (a local jazz trio did play there regularly, featuring Woodside High School student Mike Shrieve on drums). By 1968, however, the club had switched to a more rock-oriented format, albeit with some folk and Theater mixed in. The Bay Area was the place to be for rising rock bands, and a circuit was developing for working bands, that included The Matrix in San Francisco, The New Orleans House in Berkeley and The Poppycock. Bands on the road could "tour" the Bay Area, in between more high profile gigs opening at The Fillmore and The Avalon. At the same time, local bands had a place to build their audiences.
Jim Kweskin, Dan Hicks, John Lee Hooker, Charlie Musslewhite, and so many more. New Riders of The Purple Sage supposedly played their 1st gig here, but all had modest attendance!!(2)
San Jose's Gordon Stevens, whose family operated Stevens Music on Lincoln Avenue for decades recalls in the mid-'60s, Kesey's attorney, Paul Robertson, lived in the Rosegarden neighborhood, and Kesey often parked the bus in front of Robertson's house, underneath the sycamore trees. Stevens and Robertson played in a band called Flower; they were the house band at the Poppycock in Palo Alto.
According to Stevens, Kesey gave them some of the dough he'd made from One Flew Over the Cuckoo's Nest, with which they purchased the band equipment and recording gear.
Also, as Stevens recalls, he and Robertson joined one of the Merry Pranksters, Steve Lambrecht, a.k.a. Zonker, and synthesized LSD into capsules at another house in the Rosegarden. Again, this is when LSD was still legal, and Zonker apparently had a connection in the chemistry department at San Jose State who supplied the beakers. "That was one of the first times LSD was made in capsule form," Stevens said. "Owsley hadn't really gone big time yet."
Playing with Santana was more the result of an all night jam than an audition reflects Schon. "I was playing in an r&b/blues band in the [San Francisco] Bay Area and our bass player was friends with Michael Shrieve and Gregg Rolie, so we invited them down to see the band at a club called the Poppycock in Palo Alto. They showed up one night and stuck around after we had finished our set and we ended up jamming until it got light the next day. (3)
On Friday, February 28 - Saturday, March 1, 1969, The Boogie/Rhythm Dukes and The Sons Of Champlin performed here.
Before they were The Gollywogs, the first time they ever played as Creedence Clearwater Revival was at the Poppycock in Palo Alto.
It was just a
little club.(4)
Palo Alto Times
April 17, 1968
by Terry Ryan
There were few people there to hear them, but Petrus--a rock group with something to say and a fine way to say it--opened for three nights at the Poppycock in Palo Alto Tuesday night.
Talent and music are commodities that Petrus has in abundance.
Many of it songs were written by members of the group itself, and they packed a tremendous amount of music into the evening.
Vocalist Ruthann Friedman provided the spark that ignited Petrus. She sings with a superabundance of intensity, yet manages to come through with reasonable clarity. She has a deep, throaty voice that fitted well with the sound of three guitars.
...."Morning Becomes You" one of Friedman's songs, had to be the most hauntingly beautiful piece Petrus did all evening...
...Another song that could become popular if given the right exposure was "Panther" Miss Friedman rapped it out as if she came out of the jungle with it...
by Terry Ryan
There were few people there to hear them, but Petrus--a rock group with something to say and a fine way to say it--opened for three nights at the Poppycock in Palo Alto Tuesday night.
Talent and music are commodities that Petrus has in abundance.
Many of it songs were written by members of the group itself, and they packed a tremendous amount of music into the evening.
Vocalist Ruthann Friedman provided the spark that ignited Petrus. She sings with a superabundance of intensity, yet manages to come through with reasonable clarity. She has a deep, throaty voice that fitted well with the sound of three guitars.
...."Morning Becomes You" one of Friedman's songs, had to be the most hauntingly beautiful piece Petrus did all evening...
...Another song that could become popular if given the right exposure was "Panther" Miss Friedman rapped it out as if she came out of the jungle with it...
U-turn in Palo Alto
"I remember playing in Palo Alto at the Poppycock, after the gig (3 or 4 am), I was driving the band’s old Post Office truck with everyone - band, roadies & friends, equipment too, - on board, all exhausted, some of us stoned… and I made a U-turn to save a little time - cause there were no other cars on the road… and a cop pulled us over and had us pull into the Palo Alto Police Station – as I remember it, a very high tech place for the times – where they put me in a kind of big enclosed booth and had me empty my pockets into a drive-in bank-teller-like metal drawer. I just did as they said without even thinking about it and the cop behind the glass window cracked up because I’d put a big hunk of hashish and a pipe, a couple joints and some miscellaneous pills in the bin… he called all his buddies over, saying "Hey, come look at this!". When they got control of their laughter, the lead guy said something like, “Well now, sonny, if I have to put these in an envelope and write down your name and the contents, I think we might have to keep you here for a long, long time. On the other hand, if I just get rid of this stuff for you, you can just deal with that little traffic misdemeanor… hmmm?” And, naturally, I said “Gee, I’d appreciate it if you’d get rid of it for me then, Sir”… then after spending the night (what little was left of it) in a cell, they let me go… " (5)
The Poppycock had a fair amount of theater events, particularly on weeknights.(1)
In 1971 it became a jazz joint called In Your Ear.
The building burned down in 1972.
There was a branch of Stanford University Bookstore there, which has since vacated, but the building is still for lease. The building has been substantially remodeled since its Poppycock days.(1)
11/13/69 New Riders Of The Purple Sage(1)
11/20/69 New Riders Of The Purple Sage
1.)^Arnold, Corry, 2010-04-16, http://lostlivedead.blogspot.com/2010/04/grateful-deadjerry-garcia-tour.html
2.)^Singh, Gary, Sonic Sutra, 2011/08019, http://www.metroactive.com/features/columns/silicon-alleys_20110810.html
3.)^Burnett, Ralph, Beyond The Thunder, 1995, http://www.mysonicisland.com/neal-schon.html
4.)^Reid, Graham, Elsewhere, http://www.elsewhere.co.nz/
5.)^http://www.devilskitchenband.com/Stories.htm
Palace Theater, (Ocean State Theatre, Performing Arts Center), 220 Weybosset Street, Providence, RI
Capacity 3800
Before the theater opened as Loew's State in 1928, a smaller movie house, the Gaiety Theater (later known as Conn's City), had been there and was demolished to make way for the new movie palace and business block.
The Gaiety opened on September 14, 1914. The Providence Journal reported the event:
“A most attractive little house is the Gaiety, simple in its interior design, yet having sufficient character to make it seem cosy and homelike. The walls of both balcony and orchestra floors are tinged a warm cream color and the proscenium opening is in gold and white. Tapestry hangings at either side relieve the bareness of the walls. The entire house is built of brick, steel, and cement. (…) The audience broke out in applause as the pianist took his seat and the first picture was flashed on the screen.”
Roger Brett in his book Temples of Illusion remarked:
“The Gaiety had no real stage, but unlike earlier movie houses which had been converted from existing buildings, it was a true theater. While much smaller than the other theaters erected at this time and having only 700 seats, it did boast of a balcony. Built and owned by Ottenburg and Kahan, managed by Tom Soriero, it exhibited movies pure and simple; no vaudeville acts, not even illustrated songs.”
The movies shown on opening day, September 14, 1914, were The Wrath of the Gods, “6 Reel Masterpiece Which Broke All Records at the Strand Theatre, New York,” and Weights and Measures, “Two-Reel Universal Feature.” The ad said that programs would change three times a week and would be continuous between 10:30 A.M. to 10:30 P.M. Sunday showings of movies and performances of plays were banned at the time.
The Gaiety operated from 1914 to 1927, was called Conn's City Theater when it was demolished for the construction of Loew’s State, now Providence Performing Arts Center. The Gaiety occupied the space where the entrance lobby to PPAC is now located.
The newly constructed theater opened on October 6, 1928 as Loew's State. On opening day, the feature film attraction was the "Metro Movietone sound picture" Excess Baggage with William Haines. Also on the program were Movietone and Vitaphone offerings, M.G.M. and Fox news, and Joseph Stoves at the "mighty $100,000 Morton organ."The first person to purchase a ticket was a 14-year-old Providence boy by the name of James Riley, who had waited hours for the honor. Over 14,000 people jammed the building to marvel at the eye-popping opulence. The fans were led to their seats by 50 uniformed ushers, past perches in the lobby holding talking parrots.
After it was called Loew's State and before it became Providence Performing Arts Center, it was the Palace, then the Ocean State.
So the complete name sequence was
Loew's State 1928-1950
Lowe's Theater 1950-1972
Palace Concert Theater 1972-1976
Ocean State Theatre 1978-1982
Providence Performing Arts Center or PPAC, commonly pronounced "P-Pack." 1982-present
"Arthur P. Slater was the State Theater's chief projectionist for 40 years. One of the major attractions of Loew's State was always the Mighty Wurlitzer Theater Organ. On opening night, in 1928, the organ rose dramatically out of the orchestra pit, and was played by Joseph Stover, imported all the way from Paris.
The original 1,500 pipe organ was sold in 1963 to one Patsy Fucci of Waltham, Massachusetts. It had been in the theatre for a good 30-plus years. It was a four-manual Robert-Morton organ that had cost about $125,000 when new in 1928. A Providence Evening Bulletin article of March 16 that year reported manager William Trambukis as saying that Mr. Fucci had carted the organ away over a period of weeks, using big trailers. Some of the pipes were taller than a house. The instrument had only been used occasionally after the advent of sound movies. It had also been seriously damaged in the 1954 hurricane which flooded Loew's. Mr. Fucci was a connoisseur of organs and a post office clerk and would set up the organ in his basement. It would be powered by a motor in his garage.
The 5/21 Wurlitzer organ from the Marbro Theatre in Chicago, fortunately removed in the early 60's before the movie palace was razed, was installed in the Providence Performing Arts Center in 1982 where it is still used today.
The center does keep movies alive with the Bell Atlantic Big Screen Movie Series that periodically shows classic films on the big screen. One can only expect Ethel Merman to walk out from the side stage entrance......The ornate carvings and red clothed walls with the eye catching gold trimmed woodwork are stunning.
In November of 1969 the film Fanny Hill, Rated X, was running at the at Loew's State (now Providence Performing Arts Center).
For a time in the 1970's this theater was known as the Palace and was doing double-bill repertory programs.
Added to the National Register of Historical Places in 1977.
Loew's State Theater *** (added 1977 - Building - #77000027)
220 Weybosset St., Providence
Historic Significance: Architecture/Engineering, Event
Architect, builder, or engineer: Rapp & Rapp
Architectural Style: No Style Listed
Area of Significance: Social History, Entertainment/Recreation, Architecture
Period of Significance: 1925-1949
Owner: Private
1981-Once the premier picture palace of Rhode Island, the Loew's State Theatre (later Ocean State and Palace) has been reborn as the Providence Performing Arts Center and features live stage shows and concerts.
1/28/72 Howard Wales (Palace Concert Theater)
10/23/75 Jerry Garcia Band (Palace Concert Theater)
2/26/80 Jerry Garcia Band (Ocean State Theater)
2/9/81 Jerry Garcia Band (Ocean State Theater)
11/15/81 Jerry Garcia Band (Performing Arts Center)
The Grateful Dead never performed here.
Before the theater opened as Loew's State in 1928, a smaller movie house, the Gaiety Theater (later known as Conn's City), had been there and was demolished to make way for the new movie palace and business block.
 |
| 1918 |
“A most attractive little house is the Gaiety, simple in its interior design, yet having sufficient character to make it seem cosy and homelike. The walls of both balcony and orchestra floors are tinged a warm cream color and the proscenium opening is in gold and white. Tapestry hangings at either side relieve the bareness of the walls. The entire house is built of brick, steel, and cement. (…) The audience broke out in applause as the pianist took his seat and the first picture was flashed on the screen.”
Roger Brett in his book Temples of Illusion remarked:
“The Gaiety had no real stage, but unlike earlier movie houses which had been converted from existing buildings, it was a true theater. While much smaller than the other theaters erected at this time and having only 700 seats, it did boast of a balcony. Built and owned by Ottenburg and Kahan, managed by Tom Soriero, it exhibited movies pure and simple; no vaudeville acts, not even illustrated songs.”
The movies shown on opening day, September 14, 1914, were The Wrath of the Gods, “6 Reel Masterpiece Which Broke All Records at the Strand Theatre, New York,” and Weights and Measures, “Two-Reel Universal Feature.” The ad said that programs would change three times a week and would be continuous between 10:30 A.M. to 10:30 P.M. Sunday showings of movies and performances of plays were banned at the time.
The Gaiety operated from 1914 to 1927, was called Conn's City Theater when it was demolished for the construction of Loew’s State, now Providence Performing Arts Center. The Gaiety occupied the space where the entrance lobby to PPAC is now located.
 |
| Grand Lobby and Staircase with original furnishings and artwork |
The newly constructed theater opened on October 6, 1928 as Loew's State. On opening day, the feature film attraction was the "Metro Movietone sound picture" Excess Baggage with William Haines. Also on the program were Movietone and Vitaphone offerings, M.G.M. and Fox news, and Joseph Stoves at the "mighty $100,000 Morton organ."The first person to purchase a ticket was a 14-year-old Providence boy by the name of James Riley, who had waited hours for the honor. Over 14,000 people jammed the building to marvel at the eye-popping opulence. The fans were led to their seats by 50 uniformed ushers, past perches in the lobby holding talking parrots.
 |
| 1941 Special thanks to Paul Fernandes at http://www.rirocks.net/Search/loewspalace.htm |
 |
| 1955 Special thanks to Paul Fernandes at http://www.rirocks.net/Search/loewspalace.htm |
 |
| Special thanks to Paul Fernandes at http://www.rirocks.net/Search/loewspalace.htm |
After it was called Loew's State and before it became Providence Performing Arts Center, it was the Palace, then the Ocean State.
So the complete name sequence was
Loew's State 1928-1950
Lowe's Theater 1950-1972
Palace Concert Theater 1972-1976
Ocean State Theatre 1978-1982
Providence Performing Arts Center or PPAC, commonly pronounced "P-Pack." 1982-present
"Arthur P. Slater was the State Theater's chief projectionist for 40 years. One of the major attractions of Loew's State was always the Mighty Wurlitzer Theater Organ. On opening night, in 1928, the organ rose dramatically out of the orchestra pit, and was played by Joseph Stover, imported all the way from Paris.
The original 1,500 pipe organ was sold in 1963 to one Patsy Fucci of Waltham, Massachusetts. It had been in the theatre for a good 30-plus years. It was a four-manual Robert-Morton organ that had cost about $125,000 when new in 1928. A Providence Evening Bulletin article of March 16 that year reported manager William Trambukis as saying that Mr. Fucci had carted the organ away over a period of weeks, using big trailers. Some of the pipes were taller than a house. The instrument had only been used occasionally after the advent of sound movies. It had also been seriously damaged in the 1954 hurricane which flooded Loew's. Mr. Fucci was a connoisseur of organs and a post office clerk and would set up the organ in his basement. It would be powered by a motor in his garage.
The 5/21 Wurlitzer organ from the Marbro Theatre in Chicago, fortunately removed in the early 60's before the movie palace was razed, was installed in the Providence Performing Arts Center in 1982 where it is still used today.
The center does keep movies alive with the Bell Atlantic Big Screen Movie Series that periodically shows classic films on the big screen. One can only expect Ethel Merman to walk out from the side stage entrance......The ornate carvings and red clothed walls with the eye catching gold trimmed woodwork are stunning.
In November of 1969 the film Fanny Hill, Rated X, was running at the at Loew's State (now Providence Performing Arts Center).
 |
| 1973 Palace Concert Theater Special thanks to Paul Fernandes at http://www.rirocks.net/Search/loewspalace.htm |
For a time in the 1970's this theater was known as the Palace and was doing double-bill repertory programs.
 |
| 1973 |
 |
| 1973 |
 |
| May 10, 1974 |
Added to the National Register of Historical Places in 1977.
Loew's State Theater *** (added 1977 - Building - #77000027)
220 Weybosset St., Providence
Historic Significance: Architecture/Engineering, Event
Architect, builder, or engineer: Rapp & Rapp
Architectural Style: No Style Listed
Area of Significance: Social History, Entertainment/Recreation, Architecture
Period of Significance: 1925-1949
Owner: Private
1981-Once the premier picture palace of Rhode Island, the Loew's State Theatre (later Ocean State and Palace) has been reborn as the Providence Performing Arts Center and features live stage shows and concerts.
1/28/72 Howard Wales (Palace Concert Theater)
10/23/75 Jerry Garcia Band (Palace Concert Theater)
2/26/80 Jerry Garcia Band (Ocean State Theater)
2/9/81 Jerry Garcia Band (Ocean State Theater)
11/15/81 Jerry Garcia Band (Performing Arts Center)
The Grateful Dead never performed here.
Tuesday, December 18, 2012
UIC Pavilion (University Of Illinois), 525 S. Racine, Chicago, Illinois
Capacity 10,075
Opened on May 31, 1982 at a cost of $10 million. The architect was Skidmore, Owings and Merrill. It is home to the University of Illinois at Chicago Flames basketball team and the Windy City Rollers.
It was renovated in 2001. When used as a concert venue the arena seats up to 10,075 for end stage shows, 7,924 for 3/4-house shows, and 5,878 for 1/2-house shows.
Jerry performed here on
8/18/84 JGB
4/9/87 Grateful Dead
4/10/87 Grateful Dead
4/11/87 Grateful Dead
1.)^Circle Builds A Giant, 81-06-09, Chicago Tribune
Sunday, December 9, 2012
The "other" Palladium, 53rd Street and Broadway, New York, NY
There was a second Palladium also. The Palladium Ballroom was a second-floor dancehall on 53rd Street and Broadway in New York City which became famous for its excellent Latin music from 1948 until its closing in 1966.
In 1950, the Palladium gained in stature because of the Big Three:
The popularity of Perez Prado's Mambo No. 5 (1952) was taking everyone by storm.
The Palladium became the place to be seen at. Different jazz musicians and celebrities would sit in and play with the Latin bands:
The Palladium was in close proximity to the jazz clubs on West 52nd Street: Birdland, The Onyx and CuBop City. Jazz saxophonist Wayne Shorter, who lived in the NYC area during the heyday of the Palladium Ballroom, composed a piece during the 1970s called "Palladium" while a member of the seminal jazz-fusion group Weather Report. The song appears on their Heavy Weather (album) and features a driving Latin Rhythm among other delights.
I thought it interesting that there were two Palladiums but Jerry never performed here.
In 1950, the Palladium gained in stature because of the Big Three:
- Tito Puente
- Tito RodrÃguez
- Machito.
The popularity of Perez Prado's Mambo No. 5 (1952) was taking everyone by storm.
The Palladium became the place to be seen at. Different jazz musicians and celebrities would sit in and play with the Latin bands:
The Palladium was in close proximity to the jazz clubs on West 52nd Street: Birdland, The Onyx and CuBop City. Jazz saxophonist Wayne Shorter, who lived in the NYC area during the heyday of the Palladium Ballroom, composed a piece during the 1970s called "Palladium" while a member of the seminal jazz-fusion group Weather Report. The song appears on their Heavy Weather (album) and features a driving Latin Rhythm among other delights.
I thought it interesting that there were two Palladiums but Jerry never performed here.
Thursday, December 6, 2012
Veteran's Memorial Auditorium, 1094 Petaluma Blvd. S., Petaluma, CA
Capacity 900
2/15/87 Carlos Santana and Hamza Al-Din
Friday, November 30, 2012
Paramount Northwest (Paramount Theatre), 911 Pine Street, Seattle, WA
Scottish-born Seattle resident Benjamin Marcus “Uncle Benny” Priteca, America’s most celebrated architect of movie palaces in the 1920s, designed the building’s adjacent apartments and office suites.
The Rapp brothers began with a substantial handicap: the land for the new theatre was situated on 9th Avenue, blocks from the center of Seattle’s theatre district, and the land was no more than a ravine with a creek flowing to nearby Lake Union. After filling in the land, Paramount Pictures compensated for its new theatre’s remote location by building the largest, most spectacular, most opulent movie palace Seattle had ever seen.
On March 1, 1928, the Seattle Theatre opened. The Seattle Times heralded the occasion with enthusiasm:
"Never has such a magnificent cathedral of entertainment been given over to the public. Indescribable beauty! Incomparable art! The stage productions will be of the most lavish design, brilliant in their lighting effects and gorgeous in their settings.
ALL SEATTLE WILL BE THERE! Show divine at 9th and Pine … an acre of seats in a palace of splendor. It’s yours . . . you’ll love it . . . Everybody’s welcome, everybody’s wanted . . . Every Washingtonian will be proud of its stately magnificence, its gorgeous decorations, its spacious foyers, its wide aisles, its commodious seats, its symphony of lights. See the Mammoth Show! In all the World no place like this!"
Eager customers responded on opening night, lining up eight abreast outside The Seattle. After paying the 50 cent admission fee, they entered the grand lobby. There patrons encountered a lavish interior decorated in the Beaux Arts (also called French Renaissance) style of the palace in Versailles. They were awed by the four-tiered lobby, French baroque plaster moldings, gold-leaf encrusted wall medallions, rich paint colors, beaded chandeliers, and lacy ironwork. Their feet sank into hand-loomed French carpeting as they walked past walls adorned with delicate tapestries and original paintings in gilded frames. Heavy, expensive draperies fell at the windows, and hand-carved furniture upholstered in the finest fabrics lined the first-floor lobby.
 |
| Before entering the auditorium, customers were entertained by the rare gold and ivory Knabe Ampico grand player piano in the lounge area just above the foyer. |
Patrons were escorted to their places in the nearly 4,000 seat auditorium by what the program booklet praised as an “alert, tactful, well trained” corps of ushers who provided “courteous, unostentatious service.” The program promised “no fuss, no senseless genuflections, but . . . welcome, quiet, considerate and alert attention on the part of each of these ushers — in other words, a gracious host making you feel that his home is yours, suavely, expeditiously, sincerely and without affectation.”(1)
The house lights dimmed, and the Seattle Grand Concert Orchestra began to play selections from Faust. Then customers watched Memories, a silent film the program touted as a “Technicolor novelty.” They viewed a newsreel, then enjoyed listening to Renaldo Baggot and Don Moore, “Ron and Don, The Organ Duo,” perform “brilliant organ interludes” from the giant “thousand throated,” custom-built Wurlitzer, “an instrument of enchantment” that could simulate many orchestral instruments, “now reverberating in harmonious thunder, now whispering in gentle melody.” The Wurlitzer performance was followed by “A Merry Widow Review,” a nationally acclaimed stage show from The Paramount Theatre in New York City, accompanied by Jules Buffano and The Seattle Theatre Stage Band. The show featured “catchy songs, tantalizing melody, and snappy and graceful dance steps by a bevy of girls.”
The program booklet explained that the stage show was made possible by an elaborate backstage area, which was equipped with “electric elevators, ample windows, and telephones,” and the “last word” in lighting and “advanced stage inventions and appliances” to produce “startling and beautiful stage effects, almost without limitation.” These effects could include clouds, stars, rainbows and snow.
The booklet also assured satisfied customers, who typically spent four hours at the theatre, that they could look forward each week to new entertainment in a similar format, including stage shows and movies. The first few motion pictures would feature Lon Chaney, Joan Crawford, and Clara Bow.
The Seattle Theatre offered its first “talkie,” Varsity, in early December of 1928, and Seattle customers responded to the innovation with the same enthusiasm as the rest of the country. The movie industry produced almost no silent films after that time.(1)
On March 14, 1930, The Seattle Theatre changed its name to The Seattle Paramount Theatre, reflecting its connection to The Paramount Theatre chain. Vaudeville acts seen at The Seattle Paramount Theatre originated in New York and appeared at Paramount theatres in many other cities.
Performances at The Paramount followed the format of opening night, offering several shows and movies each day. However, as the Depression deepened, fewer patrons could afford theatre. Beset with financial woes, The Paramount temporarily closed in June 1931, and reopened on October 29, 1932.
Upon reopening, The Paramount hired Gaylord B. Carter as its chief organist. Carter’s performances brought him national acclaim, aided in large part by The Paramount’s outstanding organ. It was the biggest and most impressive orchestra-unit organ built in 1928, and included an entire grand piano and drum set built into the side panels of the auditorium, together with hundreds of pipes, bells, chimes, whistles, and horns. It cost over $100,000 to install (it would cost over $1 million today) – a good investment considering that it was used daily for years.(1)
During one memorable week in April 1935, the Marx Brothers performed their stage version of “A Night at the Opera,” testing jokes on Seattle’s audiences for possible use in the movie, released later that year. Tickets for the Marx Brothers show, which The Paramount presented three times a day, cost 25 to 55 cents. “It was the most delightful thing I ever saw,” says Seattle resident Ben Emerson.
Sometime between 1935 and 1937, the Fox Evergreen Corporation purchased The Paramount and continued to present first-run, full-length films.
The Paramount presented vaudeville shows less frequently as the decade progressed. Patron Mary Bassetti reports that by 1937, customers did not know whether a live show would contribute to an “afternoon of glorious make-believe.”
She tells of a visit to The Paramount one Saturday:
The movies finished, the light came up, and my pal Leona and I started to gather our things for the long trolley ride back to West Seattle.
Suddenly, the lights dimmed, a spotlight exploded center stage, and a flamboyant master of ceremonies announced a vaudeville show! Oh, delicious surprise! We experienced a moment of unmitigated joy to realize we didn’t have to face reality quite yet. With pokes and giggles, we settled back into the plush seats to be transported by lively tap-dancing, glitzy satin, sappy songs, and high-flying Indian clubs – all dessert to our adolescent sensibilities.
Patricia Scott recalls going to The Theatre see Humphrey Bogart in To Have and Have Not on August 14, 1945. When the Japanese surrendered, the house manager stopped the movie to announce that World War II had ended. He distributed passes for everyone to see the show another time, and Ms. Scott joined downtown workers and shoppers as they rejoiced in the streets outside.
Some of the rare remaining live acts in the 1950s included familiar names. Danny Kaye performed at The Paramount in 1952. In 1953, The Theatre offered a production of “John Brown’s Body,” starring Tyrone Power, Anne Baxter and Raymond Massey. Betty Hutton appeared at The Theatre later that year. Danny Kaye returned in 1955, and Ella Fitzgerald sang there in 1958.
Unfortunately for The Paramount, the trend toward building suburban theatres accelerated during the 1950s, and The Theatre’s financial standing slipped. In an effort to make The Paramount’s entertainment more attractive, Fox Evergreen leased The Theatre to the Stanley Warner Cinerama Corporation. The Theatre began showing “Cinerama” films on September 1, 1956. Sixteen hundred seats were removed to accommodate three projection booths at the rear of the main floor, and The Paramount installed a curved, extra-wide screen to show a 1950s version of an IMAX production. By January 26, 1958, The Theatre had discarded the “Cinerama” format, perhaps because the wide screen tended to cut the movie into thirds, separated by shadows.
Mickey Rooney starred in a comedy show at The Theatre as late as 1961.
The Paramount resumed showing traditional full-length films, although by 1960 they were mostly second-run. Nevertheless, The Theatre tried to retain its dignity, continuing to hire ushers (including 20 year-old Bruce Lee, who later became a martial arts cinema star) and showing new releases whenever it could – notably Psycho in 1960 and all the James Bond adventures of the period. The Paramount closed for long periods in the 1960s, including a time in 1965 during which nine magnificent paintings, still in their original gilded frames, were stolen from the lobby. One Friday night in 1967, only 13 people came to see Gone with the Wind — a poignant demonstration of The Theatre’s decline. However, The Paramount limped along as a movie house until 1971.
In 1971, the Clise Corporation purchased The Paramount and began working with Pine Street, Inc., a production company. Pine Street believed that The Theatre’s acoustics would be perfect for rock, soul, and jazz concerts and brought live music back to The Paramount, renaming it Paramount Northwest.
A Seattle resident remembers that point in The Paramount’s history. “The first time I visited The Paramount was also the night of my first rock concert! I saw The Guess Who there in 1972. Later I bought the record album, The Guess Who Live at The Paramount, and I could see myself in the crowd shot!”
Although The Paramount Northwest retained little of The Theatre’s original luster, the National Park Service and the United States Department of the Interior recognized the building’s architectural and historical significance, placing it on the National Register of Historic Places on October 9, 1974. A plaque attesting to this honor still hangs at the northwest corner of the façade.
In 1976, West Coast Theatres, Inc. began managing The Paramount and continued to offer live music, primarily geared toward the young people of Seattle. The ongoing concert boom in Seattle benefited The Theatre’s owners, but the building remained in disrepair. As Bruce Brown wrote in Argus Magazine in November 1977, “Electric guitars thunder while The Paramount fades.”
In mid-1981, Volotin Investment Company bought The Paramount.
The Paramount was busy, but touring companies found its facilities inadequate. In spite of the 1981 updates, the sound system and lighting remained deficient, and dressing rooms were dingy. The Theatre lacked simple amenities, such as an adequate number of restrooms, a functioning air conditioning system, and access for disabled patrons. The dilapidated backstage area was too small for storage and had no elevator for transporting equipment to the stage. Maneuvering props and equipment to the stage was dangerous. Crews had to use the steep “Kamikaze” ramp; heavy loads occasionally careened out of control, forcing crews to scatter.
The Theatre slid into debt during the 1980s, making repairs impossible. The Volotin Company began selling off The Paramount’s assets. For example, at one auction The Company sold a significant amount of The Theatre’s furniture and equipment, as well as the Knabe Ampico player piano. Dick Schrum, an accomplished musician who had played the Wurlitzer organ for The Paramount in the 1960s, bought the piano.
These fundraising efforts did not solve The Theater’s financial problems. Volotin therefore initiated a search for someone to buy The Paramount. When no buyer materialized, Volotin filed for bankruptcy protection in late 1987.
In early October 1990, a number of investors stepped forward, leaving Volotin with only a small interest in The Paramount. Despite the influx of cash, The Theatre continued to lose money.
Nevertheless, performances at The Theatre continued.
Ida Cole, then a Microsoft vice-president, heard of The Paramount’s financial difficulties from her friend Chip Wilson. Deeply impressed by The Theatre’s grandeur and concerned about its future, Ms. Cole established the non-profit Seattle Landmark Association in 1992 to save, restore and operate local historical theatres. In February 1993, she bought The Paramount for $9.6 million.
Once Ms. Cole owned The Paramount, she and Mr. Wilson, a former promoter and producer, began planning a major overhaul of the facility. By July of 1993, Ms. Cole had hired the international architectural firm of NBBJ to design the project and Sellen Construction of Seattle to implement it. She applied for the necessary city permits and acquired adjoining property to accommodate the expansion of the stage and backstage areas.
Ida Cole hoped to restore The Paramount to a “kissable” building, one where “everyone was welcome and felt comfortable, the people’s theatre.” She promised that all work would “be done within the context of protecting the irreplaceable historical aspects of the building,” and she was true to her word.
The Paramount reopened on March 16, 1995, launching the new touring production of “Miss Saigon.”
Then, in 2001, as a fitting tribute to The Paramount’s restored grandeur, the family of Dick Schrum agreed to display the Knabe Ampico player piano in its original location in the lounge area just above the foyer. The family still owns the piano, but Ida Cole refurbished and agreed to maintain it so long as it remains at The Theatre.
On Friday, December 20, 2002, Ida Cole transferred ownership of The Paramount Theatre to Seattle Theatre Group (STG), the new name for the Seattle Landmark Association. Ms. Cole told The Seattle Times that she had enjoyed restoring the building but wished to divest herself of the enormous responsibility of owning The Paramount. As a parting gift, she personally reduced the mortgage on the building from $14.5 million to a more manageable $8.5 million, bringing the total amount of money she had invested in The Paramount to $30 million. In recognition of her outstanding contribution, the auditorium was officially named after her at The Theatre’s 75th anniversary celebration on March 1, 2003.(1)
7/21/72 Grateful Dead (Paramount Northwest Theater)
7/22/72 Grateful Dead (Paramount Northwest Theater)
9/29/77 Grateful Dead (Paramount Northwest)
10/28/78 Early and late shows Jerry Garcia Band (Paramount Northwest Theater)
1/13/84 Jerry Garcia Band (Paramount Theater)
1.)^Peltin, Nina, The Paramount Theatre:"Show Divine at 9th and Pine", http://stgpresents.org/paramount/
Wednesday, November 28, 2012
Veteran's Memorial Auditorium, 1 Avenue Of The Arts, Providence, RI
Capacity 1931
Veterans Memorial Auditorium (VMA) is a performing arts theater in Providence, Rhode Island.
The Rhode Island Freemasons planned an ambitious complex designed by Osgood & Osgood, one of the era’s noted architectural firms. Work began in 1927, and foundations and building frames were constructed before economic times changed drastically in 1929. Work was halted, and the project lay dormant until the 1940′s.
The State of Rhode Island took over the project in the 1940′s. Near the end of World War II, the community pushed to complete the theater component as Rhode Island’s first professional performing arts venue.
On January 27, 1950 the theater officially opened.
 |
| Photo by Gerry D. |
It is among the oldest arts venues in Rhode Island and is on the National Register of Historic Places.(1)
The ornately-designed concert hall houses the largest theater stage in Rhode Island and is considered to have some of the best acoustics in New England. The performance space features a gilded proscenium arch, allegorical and heraldic ceiling murals.
The protection of the auditorium's highly acclaimed acoustics, and sound separation of the ballroom from the auditorium above it, were a shared concern in the property development agreement between the non-profit VMA organization and Sage Hospitality Resources, the developers of the Masonic Temple site. Specifications for the acoustic isolation of the auditorium and ballroom were created by the noted acoustic firm Shen Milsom & Wilke, in conjunction with Odeh Engineers, Inc. Shen Milsom & Wilke are well regarded for the results of the sound separation between Carnegie Hall and the new Zankel Hall created beneath it.
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| Muddy Waters 1969, Vets Memorial It was completely restored in 1990. |
Veterans Memorial Auditorium is managed by Professional Facilities Management, the company that brings you the Providence Performing Arts Center (PPAC). Under the guidance of the Rhode Island Convention Center Authority and PPAC/PFM team, The Vets will undergo major renovations in the coming months/years to add more patron conveniences and improve the overall theater experience
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| Ceiling feature with display of flags of RI towns and cities, photo by Gerry D. |
Since 1950, when the theater opened, it had begun to fall into disrepair and in the early 1980s the state of Rhode Island was thinking of closing the auditorium and the adjoining Masonic Temple and reducing the complex to a parking lot. In 1983, the Veterans Memorial Auditorium Preservation Association (VMAPA) was formed to try to save the auditorium. They rallied for five years and in 1988 Governor DiPrete awarded the VMAPA with $5 million for the VMA's renovation. Since that time it has been a center for the arts. The Renaissance Providence Hotel, formerly the Masonic Temple, is located directly adjacent to the VMA.(1)
11/29/83 Jerry Garcia Band
1.)^Fernandes, Paul, http://www.rirocks.net/Search/VeteransMemorialAuditorium.htm
2.)^Barbarisi, Daniel (May 20, 2007). "Temple Digs", Providence Journal.
Wednesday, November 21, 2012
Ken Kesey's, 9 Perry Lane, Palo Alto, CA
There is an area on the west side of Alameda and Foothill Expressway on Alpine Road. It borders the Stanford Golf Course. There used to be a bunch of small cottages there. It is near what is now called Stowe Lane. We were aware of the scene, and cruised back there on a few occasions, because we had heard that Kesey and others lived there. That is where there was a Perry Lane. They were not streets, they were just dirt drives with small signs on wooden posts.(1)
Some of the most memorable gigs took place on Perry Lane, a little street located between Vine and Leland. This was Menlo Park's "little Bohemia." Author Thorstein Veblen lived there, and so did Ken Kesey, while he was writing "One Flew Over the Cuckoo's Nest."
Kesey and his cohorts, known as the Merry Pranksters, would often close down the street for the festivities. Garcia and Lesh would come there to party and jam.
"They were big block parties, starting around noon and going into the night. Musicians would often show up," remembers Vic Lovell, 58, a Menlo Park psychologist who was at several of them. "We used to have Afro-Cuban jazz jam sessions."
The parties would often have a theme, like a Hawaiian Luau or the "Perry Lane Olympics" on the Fourth of July. "I remember Phil Lesh (the Dead's bassist) showing up to play the jazz trumpet. That's where I got the idea he wanted to be a serious musician," Lovell says. "He was tall and lean, playing modern jazz."
Palo Alto resident Bob Cullenbine was also there for the Perry Lane Olympics. "We had treasure hunts, games, partying, smoking and drinking," he says.(2)
1965
1.)^Gunderson, Robert, 2010-05-21, comments, http://inmenlo.com/2010/02/07/menlo-parks-musical-lore-jerry-the-dead-vince-and-more/
2.)^Palo Alto Weekly, 1993-05-12, "Dawn of the Dead- A Tour of the Grateful Dead's Midpeninsula roots"
Some of the most memorable gigs took place on Perry Lane, a little street located between Vine and Leland. This was Menlo Park's "little Bohemia." Author Thorstein Veblen lived there, and so did Ken Kesey, while he was writing "One Flew Over the Cuckoo's Nest."
Kesey and his cohorts, known as the Merry Pranksters, would often close down the street for the festivities. Garcia and Lesh would come there to party and jam.
"They were big block parties, starting around noon and going into the night. Musicians would often show up," remembers Vic Lovell, 58, a Menlo Park psychologist who was at several of them. "We used to have Afro-Cuban jazz jam sessions."
The parties would often have a theme, like a Hawaiian Luau or the "Perry Lane Olympics" on the Fourth of July. "I remember Phil Lesh (the Dead's bassist) showing up to play the jazz trumpet. That's where I got the idea he wanted to be a serious musician," Lovell says. "He was tall and lean, playing modern jazz."
Palo Alto resident Bob Cullenbine was also there for the Perry Lane Olympics. "We had treasure hunts, games, partying, smoking and drinking," he says.(2)
1965
1.)^Gunderson, Robert, 2010-05-21, comments, http://inmenlo.com/2010/02/07/menlo-parks-musical-lore-jerry-the-dead-vince-and-more/
2.)^Palo Alto Weekly, 1993-05-12, "Dawn of the Dead- A Tour of the Grateful Dead's Midpeninsula roots"
Wednesday, October 24, 2012
Portland Meadows, 1001 N. Schmeer Road, Portland, OR
Capacity 4450
Built by William P. Kyne, who also built Bay Meadows Racetrack in San Mateo, California, the facility opened on September 14, 1946.
Opening with over 10,000 people in attendance, Portland Meadows made history as the first thoroughbred track in the nation to offer night time racing. This was made possible by use of a lighting system designed by General Electric which has been said has enough power "to light a four-lane superhighway from Portland to Salem, a distance of 40 miles."[2]
Located in Portland, Oregon conveniently off of Interstate 5, Portland Meadows offers the heart pounding and pulsating action of live Thoroughbred Horse Racing.
The grounds are in Hayden Meadows near the Columbia River and are 16 feet (4.9 m) above sea-level.[1]
In 1948, the track was closed due to the Vanport Flood. This flood destroyed the town of Vanport City, Oregon, and resulted in roughly $250,000 worth of damage to the track.
On April 25, 1970 a fire burnt the grandstand to the ground. Fortunately the blaze took no lives, human or equine, but it did end the meet.
In 1971, the facilities was rebuilt and track reopened to a record crowd of 12,635. [3]
Thirty one years later, in 2001, Magna Entertainment acquired the racing license for Portland Meadows. Prior to the 2001-2002 meet, the racing surface was completely renovated. The Clubhouse level and Turf Club Restaurant were also refurbished and a new simulcast center was opened on the mainline level.
In 2003, Portland Meadows undergoes a series of improvements including the construction of a children's play area, upgrades in the paddock, gallons upon gallons of new paint throughout the building, new fencing and the inclusion of a grass apron. Among additional changes of significance are the live race days and an increase in handle. Since dropping Sunday racing and adding Monday matinees, there's been an increase of over 100 new simulcast outlets taking the Portland Meadows signal. [4]
Owned by The Stronach Group since July 3, 2011 and previously owned by MI Developments Inc. (MID) 2001.
Jerry performed here on
8/8/93 Jerry Garcia Band
5/28/95 Grateful Dead
5/29/95 Grateful Dead
1.)^"Portland Meadows". Geographic Names Information System, U.S. Geological Survey. 1980-11-28
2.)^Portland Meadows Web Site, Track History
3.)^Portland Meadows Web Site, Track History
4.)^Portland Meadows Web Site, Magna Ownership
Friday, October 12, 2012
Pritchard Gym, S.U.N.Y. 1 Center Drive, Stony Brook, NY
Capacity 2000
The Pritchard Gym is one of the original buildings built on campus in 1969 when the campus moved to Stony Brook from its Oyster Bay location. William E. Pritchard died in 1982.
The gymnasium is 20,000 square feet and has 3 regulation basketball courts that can be divided by a moveable wall into 2 separate rooms. The smaller part of the gym is equipped with drop down batting tunnels used by the baseball and softball teams during the winter months and inclement weather. The gym is primarily used now for physical education classes, recreation and team practices.(1)
In the summer of 2008, the gym underwent a $1.5 million renovation to upgrade the seating, add a new scoreboard and refinish the hardwood floor.
• Stony Brook Sports Complex: The main Complex in which most of the sports activities take place.
• Stony Brook University Arena: Currently under extensive renovation, the 4,000 seat arena will again serve as the home of the Men’s and Women’s basketball for the 2012-2013 season. It is located in the west end of the Stony Brook Sport Complex.[3]
• Pritchard Gymnasium: Built in the early 1960’s, the 1,700 gymnasium is located within the larger Stony Brook Sports Complex and is the temporary home of the Seawolves Men’s and Women’s Basketball and the volleyball team.[4]
• Dubin Family Athletic Performance Center: The performance center began construction in mid 2011. An 8,000-square-foot (740 m2) facility completed in late May 2012. The facility will be named after the Dubin Family who donated over $4.3 million for the construction of the project, the largest athletic donation in the SUNY system.[10]
• Stony Brook Swimming Pool: Home to the Stony Brook Seawolves Men's and Women's swimming team. Located within the larger Stony Brook Sports Complex. Bleacher seating for 250 spectators. 25 yard length pool. Renovations scheduled for the 2012-13 athletic season. Swimming programs on hiatus until completion
Jerry performed here on
5/4/68 Grateful Dead
10/30/70 early and late shows New Riders Of The Purple Sage and Grateful Dead
10/31/70 early and late shows New Riders Of The Purple Sage and Grateful Dead
12/9/77 Jerry Garcia Band
2/24/80 Jerry Garcia Band
12/4/83 Jerry Garcia Band
1.)^http://www.goseawolves.org/facilities/ston-10-pritchard.html
2.)^Stony Brook University Plans Historic Reunion, 2012-03-07, http://commcgi.cc.stonybrook.edu/am2/publish/General_University_News_2/Stony_Brook_University_Plans_Historic_Reunion_for_1961-1981_Alumni.shtml
3.)^Stony Brook University Arena on GoSeawolves.org
4.)^Pritchard Gym on GoSeawolves.org
5.)^Dubin Family Athletic Performance Center on GoSeawolves.org
6.)^http://umaryland.worldcat.org/identities/np-pritchard,%20william%20e
7.)^Hoover, Mildred Brooke, Kyle, Douglas E., Historic Spots In California, pg. 602, books.google.com/books?id=AYMPR6xAj50C&pg=PA602&lpg=PA602&dq=william+e.+pritchard,+1982&source=bl&ots=8RQcN1rdx9&sig=_dsglUKx2gGheBmENv8NQpacWpE&hl=en&sa=X&ei=DGULUICdM86J2AXArf39Dw&ved=0CEoQ6AEwADgK
Saturday, October 6, 2012
(Seashore) Performing Arts Center, Turn Road, Old Orchard Beach, ME
Capacity 15000
Built in 1985 and formerly known as the Ballpark, SEAPAC was booked by Providence's Frank Russo from 1989 to 1991.
The 48.7 acres of land The Ballpark sits on today, and approximately 100 acres that surround The Ballpark lot, was purchased by the town in the 1970’s. The town used some of the land to build the police and fire stations and the schools. After construction of the facilities was completed, lots of open space remained. In 1983, the town decided to sell about 50 acres to Jordan Kobritz so he could build a park for his professional baseball team. In order to secure financing for the project, the town agreed to co-sign the loan with Mr. Kobritz. After three seasons of baseball, Mr. Kobritz sold the team and left town. Old Orchard Beach was required to pay back the 2.2 million dollar loan. The town would reacquire the land after paying off the debt.
In 1989, the town decided to help pay back the money it owed by leasing the ballpark to the Seashore Performing Arts Center (SeaPAC). SeaPAC was run by Dale Blow and Frank Russo. For three years, from 1989 to 1991, Mr. Blow and Mr. Russo mostly used the venue for music shows. An up and down relationship with the town and complaints from citizens about traffic and noise caused the relationship between the town and SeaPAC to end.
In 1993 a new business, Ballpark Productions, owned by Old Orchard Beach native Archie St. Hilaire, entered into an agreement with the town to produce concerts and family-oriented events at The Ballpark. The town leased the venue to Ballpark Productions from April to October in the years 1994, 1995, 1996, and 1997. Mr. St. Hilaire chose not to renew the lease after 1997. Shortly after Ballpark Productions stopped producing events, Ed Anderson leased The Ballpark for three years because he wanted to bring a professional soccer team to town. He never did and the facility has not been used since.(1)
“The Ballpark” which used to be the home of the class AAA Maine Guides (Philadelphia Phillies, Cleveland Indians). In recent years, the Ballpark underwent major renovations after sitting idle for nearly a decade. The entirety of the renovations were possible only through the volunteer work, donations, and determination of the local community.(2)
Jerry performed here on
9/13/89 Jerry Garcia Band
1.)^The Old Orchard Beach Ballpark, http://www.oldorchardbeachballpark.com/HistoryUpTo2003.html
2.)^Futures League Adds Old Orchard Beach, ME, http://www.oldorchardbeachballpark.com/index.html
Sunday, September 23, 2012
Norm "Pogo" Fontaine's house, Palo Alto, CA
Norm "Pogo" Fontaine was an East Palo Alto cat with deep
roots in the jazz world, as well as an accomplished painter. Though he was in
his mid-40's at the time, he hung comfortably in this mainly youthful party
scene. In fact, his house, known as Pogo's Place, was another notorious party
spot during this era.(1)
David McQueen, "He (Jerry) was listening to a lot of Reverend Gary Davis at the time. But blues, gospel, jazz -- he'd play it all. He used to jam with the drummers who came to play at Pogo's (Norm Fontaine's house)..."(1)
Jerry performed here in
1961
Spring 1962
"One Saturday night in the Spring of 1962, Lesh and Garcia connected. They'd seen each other around, but at a party at Pogo's, Lesh remarked "Jerry, you sing and play good, I work for KPFA, how'd you like to be on the radio?"'(2)
Norm "Pogo" Fontaine's house, Palo Alto, CA
1.)^Jackson, Blair, Garcia: An American Life, pg. 31, 42.
2.)^McNally, Dennis, Long Strange Trip, pg. 39.
David McQueen, "He (Jerry) was listening to a lot of Reverend Gary Davis at the time. But blues, gospel, jazz -- he'd play it all. He used to jam with the drummers who came to play at Pogo's (Norm Fontaine's house)..."(1)
Jerry performed here in
1961
Spring 1962
"One Saturday night in the Spring of 1962, Lesh and Garcia connected. They'd seen each other around, but at a party at Pogo's, Lesh remarked "Jerry, you sing and play good, I work for KPFA, how'd you like to be on the radio?"'(2)
Norm "Pogo" Fontaine's house, Palo Alto, CA
1.)^Jackson, Blair, Garcia: An American Life, pg. 31, 42.
2.)^McNally, Dennis, Long Strange Trip, pg. 39.
Saturday, September 15, 2012
Peninsula Y.M.C.A., 240 El Camino Real, San Mateo, CA
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| San Mateo Times, January 16, 1965 |
The Jug Band definitely played a few other places, such as The Off Stage in San Jose, but one of their last gigs was at a "Hootenanny" at the Peninsula YMCA in Redwood City, on January 16, 1965 (there is a chance they played one final gig a few weeks later at College Of San Mateo). Redwood City was a few miles up the road on El Camino Real, the main "Strip" of the South Bay Peninsula.(1)
Today it's a parking lot for Santa Inez Apartments and Villas, an affordable apartment complex.(2)
Jerry performed here on
1/16/65 Mother McCree's Uptown Jug Champions
1.)^Arnold, Corry, 2009-09-06, North To San Francisco, http://lostlivedead.blogspot.com/2009/09/north-to-san-francisco-warlocks-in.html
2.)^http://www.apartmentsmart.com/apartments_affordable_housing_Half+Moon+Bay_CA
Monday, September 3, 2012
Pier 10, near Washington and Embarcadero, San Francisco, CA
Traffic, who was playing
Winterland for two weekends, played on Monday morning between 9am and
noon, and Jerry Garcia played with them at least for one song. The location of the temporary stage was Pier 10 in San Francisco, roughly at Washington and Embarcadero.
The
Grateful Dead came over to KMPX after their Carousel show (on March 17),
probably intending to play. Creedence kicked off the show, but the cops
shut it down. A plan to move the event to Pier 10 was stalled, and not
surprisingly it did not re-start until daylight.
The actual events are a great rock and roll story: the staff of the
first FM rock station goes on strike, and the first local band to play
in support of them at 3am turns out to be one of the biggest selling
bands of the era. The Grateful Dead were probably ready to go on next,
but the cops intervened--even so, Jerry Garcia hung around to jam with
Stevie Winwood and Traffic, in itself an amazing event.(1)
Ace Parking Lot is at the site as of 2012.
Jerry performed here on
3/18/68 Traffic (KMPX Strike Rally)
1.)^Arnold, Corry, Lost Live Dead, 2010-09-03, March 18, 1968: Pier 10, San Francisco-KMPX Strike Rally, http://lostlivedead.blogspot.com/2010/09/march-18-1968-pier-10-san-francisco.html
Thursday, August 30, 2012
Page Auditorium (Duke University), 402 Chapel Drive, Durham, NC
Capacity 1232 (see note below)
The atmosphere at the auditorium is majestic because of the architecture within the auditorium and outside surroundings. Built in the 1930's, Page Auditorium is a landmark theater at Duke. Located adjacent to the Duke Chapel.(2)
The auditorium hosts numerous musical and stage performances, including many Duke Performances shows. Located next to the Duke Chapel, Page Auditorium is connected to Flowers Building and shares its entrance way.(3)
The Auditorium has a 37 foot traditional proscenium stage opening (stage dimensions are 60'x35' deep) including approximately 11 feet of wing space on each side.
The facility has an orchestra pit with a Yamaha upright piano, a rock maple stage floor suitable for dancing, a sound system which can be augmented for high volume productions, stage lighting system, counterweight rigging system, and loading dock adjacent to the stage floor.(1)
Jerry performed here on
4/4/76 Early and late shows Jerry Garcia Band
1508 tickets were printed for each show (early and late).[4]
1.)^http://dukeperformances.duke.edu/directions/page-auditorium
2.)^http://www.ticketmaster.com/Page-Auditorium-tickets-Durham/venue/114716
3.)^http://dukeperformances.duke.edu/venues/page-auditorium
4.)^JGMF, comments, 2015-12-29.
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