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SFBAPCC January 2019 Postcard Newsletter
See newsletters in color at www.postcard.org Our name re�ects our location not our only area of interest. San Francisco Bay Area Post Card Club January 2019 Meeting: Saturday, January 26, 11 :00AM to 3:00 PM Vol. XXXIV, No. 1 Ebenezer Lutheran Church, Mural Hall Browsing and Trading, 11 :30AM to 1:30PM - Meeting begins at 1:30PM San Francisco • Cover Card: Entrance to Confusion Hill? Visitors and dealers always welcome. IN • Meetin g Minutes Meeting Schedule on back cover. THIS • Kathryn Ayers "Lucky Baldwin" Program ISSUE Omar Kahn "Paper Jewels" Program PROGRAM: The Saturday, January 26 San Francisco Bay Area Post Card Club meeting is from 11am to 3pm at Ebenezer Lutheran Church, Mural Hall (entrance off lower parking lot), 678 Portola Drive, San Francisco 94127. The meeting will be called to order at 1pm and the program will follow. (club meetings will be back at Fort Mason in February. Postcards and Space-Time Defy gravity at MYSTERY SPOTS across the US! Santa Cruz vortex is just one of many. Physics and the space-time continuum are turned upside down as the enigma of multidimensional reality is revealed in Daniel Saks presentation. LOCATION INFORMATION: Ebenezer Lutheran Church in Mural Hall The entrance to Mural Hall is off of the lower parking lot. 2 CLUB OFFICERS President: Editor: ED HERNY, (415) 725-4674 PHILIP K. FELDMAN, (310) edphemra(at)pacbell.net 270-3636 sfbapcc(at)gmail.com Vice President: Recording Secretary: NANCY KATHRYN AYRES, (415) 583-9916 REDDEN, (510) 351-4121 piscopunch(at)hotmail.com alonestar(at)comcast.net Treasurer/Hall Manager: Webmaster: ED CLAUSEN, (510) 339-9116 JACK DALEY: daley(at)postcard.org eaclausen(at)comcast.net MINUTES, October 20, 2018 Call to Order: The club meeting was called to order by President Ed Herny at 1:30 pm on the 20th of Oct. -
My Back Pages #1
My Back Pages #1 L’iMMaginario coLLettivo deL rock neLLe fotografie di Ed CaraEff, HEnry diltz, HErb GrEEnE, Guido Harari, art KanE, astrid KirCHHErr, Jim marsHall, norman sEEff e bob sEidEmann 04.02 | 11.03.2012 Wall of sound gallery La capsula del tempo decolla… La musica non è solo suono, ma anche immagine. Senza le visioni di questi fotografi, non avremmo occhi per guardare la musica. Si può ascoltare e “ca- pire” Jimi Hendrix senza vedere la sua Stratocaster in fiamme sul palco di Monterey, fissata per sempre da Ed Caraeff? O intuire fino in fondo la deriva amara di Janis Joplin senza il crudo bianco e nero di Jim Marshall che ce la mostra affranta con l’inseparabile bottiglia di Southern Comfort in mano? Nasce così l’immaginario collettivo del rock, legato anche a centinaia di co- pertine di dischi. In questa mostra sfilano almeno una dozzina di classici: dagli album d’esordio di Crosby Stills & Nash e di Stephen Stills in solitario a Morrison Hotel dei Doors, The Kids Are Alright degli Who, al primo disco americano dei Beatles per l’etichetta VeeJay, Hejira di Joni Mitchell, Surre- alistic Pillow dei Jefferson Airplane, Grateful Dead di Jerry Garcia e compa- gni, Genius Loves Company di Ray Charles, Stage Fright della Band di Robbie Robertson, Desperado degli Eagles e Hotter Than Hell dei Kiss. Il tempismo è tutto. Soprattutto trovarsi come per miracolo all’inizio di qualcosa, ad una magica intersezione col destino che può cambiare la vita di entrambi, fotografo e fotografato. Questo è successo ad astrid Kirchherr con i Beatles ancora giovanissimi ad Amburgo, o a Herb Greene immerso nella ribollente “scena” musicale di San Francisco. -
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Results and Description Print Page 1 of 4 Print Results Close Screen Sale 15537 - Life on the Golden Road with the Grateful Dead: The Ram Rod Shurtliff Collection, 8 May 2007 220 San Bruno Avenue, San Francisco, California Prices are inclusive of Buyer's Premium and sales tax (VAT, TVA etc) and may be subject to change. Lot Description Hammer Price 1 A Bob Seidemann mounted-to-board photographic print of The Grateful Dead, $1,680 1971 2 Two color photographs of Jerry Garcia and Bob Weir, circa 1968 $900 3 Five black and white photographs of The Grateful Dead, circa 1969 $780 4 A massive display piece of The Grateful Dead from The Winterland Ballroom, circa $9,600 1966-1978 5 A poster of Pig Pen and Janis Joplin, 1972 $720 6 A Herb Greene signed black and white photograph of The Grateful Dead, 1965, $1,320 1988 7 A Herb Greene signed black and white photograph of Jerry Garcia, 1966, 1980s $960 8 A Herb Greene signed limited edition black and white photograph of The Grateful $2,400 Dead with Bob Dylan, 1987, 1999 9 A Herb Greene signed black and white photograph of The Grateful Dead and Bob $1,440 Dylan, 1987, 1999 10 A Herb Greene signed and numbered limited edition poster of Jerry Garcia, 1966, $900 2003 11 A group of photographs of The Grateful Dead, 1960s-1990s $480 12 A William Smythe signed color photograph of Phil Lesh, 1983 $360 13 A Bob Thomas group of original paintings created for The Grateful Dead album $87,000 jacket "Live/Dead," 1969 14 An RIAA gold record given to The Grateful Dead for "Grateful Dead" (aka "Skull $11,400 and -
The Don Lee-Columbia System
THE DON LEE-COLUMBIA SYSTEM: By Mike Adams 111 Sutter Street was not the only network broadcast address during the thirties. The other was 1000 Van Ness Avenue, the Don Lee Cadillac Building, headquarters for KFRC and the Don Lee-Columbia Network. It was there that another radio legend was born. Don Lee was a prominent Los Angeles automobile dealer, who had owned all the Cadillac and LaSalle dealerships in the State of California for over 20 years. After making a substantial fortune in the auto business, he decided to try his hand at broadcasting.1 In 1926, he purchased KFRC in San Francisco from the City of Paris department store. The following year he bought KHJ in Los Angeles and connected the two stations by telephone line to establish the Don Lee Broadcasting System. From the beginning, Lee spared no expense to make these two stations among the finest in the nation, as a 1929 article from Broadcast Weekly attests: Both KHJ and KFRC have large complete staffs of artists, singers and entertainers, with each station having its own Don Lee Symphony Orchestra, dance band and organ, plus all of the musical instruments that can be used successful in broadcasting. It is no idle boast that either KHJ or KFRC could operate continuously without going outside their own staffs for talent, and yet give a variety with an appeal to every type of audience.[2] In 1929, CBS still had no affiliates west of the Rockies, and this was making it difficult for the network to compete with its larger rival, NBC. -
Bay Fill in San Francisco: a History of Change
SDMS DOCID# 1137835 BAY FILL IN SAN FRANCISCO: A HISTORY OF CHANGE A thesis submitted to the faculty of California State University, San Francisco in partial fulfillment of the requirements for the Degree Master of Arts By Gerald Robert Dow Department of Geography July 1973 Permission is granted for the material in this thesis to be reproduced in part or whole for the purpose of education and/or research. It may not be edited, altered, or otherwise modified, except with the express permission of the author. - ii - - ii - TABLE OF CONTENTS Page List of Maps . vi INTRODUCTION . .1 CHAPTER I: JURISDICTIONAL BOUNDARIES OF SAN FRANCISCO’S TIDELANDS . .4 Definition of Tidelands . .5 Evolution of Tideland Ownership . .5 Federal Land . .5 State Land . .6 City Land . .6 Sale of State Owned Tidelands . .9 Tideland Grants to Railroads . 12 Settlement of Water Lot Claims . 13 San Francisco Loses Jurisdiction over Its Waterfront . 14 San Francisco Regains Jurisdiction over Its Waterfront . 15 The San Francisco Bay Conservation and Development Commission and the Port of San Francisco . 18 CHAPTER II: YERBA BUENA COVE . 22 Introduction . 22 Yerba Buena, the Beginning of San Francisco . 22 Yerba Buena Cove in 1846 . 26 San Francisco’s First Waterfront . 26 Filling of Yerba Buena Cove Begins . 29 The Board of State Harbor Commissioners and the First Seawall . 33 The New Seawall . 37 The Northward Expansion of San Francisco’s Waterfront . 40 North Beach . 41 Fisherman’s Wharf . 43 Aquatic Park . 45 - iii - Pier 45 . 47 Fort Mason . 48 South Beach . 49 The Southward Extension of the Great Seawall . -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
VOG Holidayprogram2010.Pdf
LARRY BOMBACK – ARTISTIC DIRECTOR | PHIL WILCOX – PRESIDENT ERIC ENGLEHARDT, VP PERFORMANCE TENOR LEAD BARITONE BASS Larry Bomback Doug Brown Pat Autilio Kyle Althof Ariel Estrada John Cape Brian Lindvall Scott Colman Chris Granger Max Demers Ardon Schorr Bryce Cooney Sam Ruiz David Hason Matt Saucier Andrew Cortesi Evan Shyer Lee Markham Braden Lynk Bob Murphy Josh Elrich James Nickerson Eric Englehardt Dave Roush Steve Skolnick Dan Scott Jeremy Weissman William Hartley Phil Wilcox Welcome to “Under the Mistletoe,” Voices of Gotham’s 3rd annual Holiday Concert! It has been a banner year for the Voices. In May, we won our first ever Mid-Atlantic District Division Championship, and in July, performed as the official mic testing chorus at the International Convention of the Barbershop Harmony Society in Philadelphia. In the past month, we have had the honor of performing the Star Spangled Banner at Madison Square Garden, and enjoyed our first performance as featured guests on the Hickory Tree Chorus’ show “Happy Together.” This month, the Voices were selected by Brookfield Properties to sing holiday carols in buildings across Manhattan, including the World Financial Center and the Rockefeller Center Cafe (at which VoG provided entertainment for ING Direct Bank’s holiday party). We have had a wonderful year full of growth and music, and are glad that you, our family, friends and fans are here to celebrate the season with a cappella, barbershop, jazz, pop and traditional holiday tunes. We are especially joyful to welcome our special guests -
Media Announcement
MEDIA ANNOUNCEMENT FOR IMMEDIATE RELEASE BAY AREA RADIO HALL OF FAME ANNOUNCES FIRST CLASS OF HONOREES San Francisco (October 4, 2006) — The Bay Area Radio Museum is proud to announce the first group of inductees into the Bay Area Radio Hall of Fame. The selections were made following a year of study during which input from broadcast professionals, fans and historians was weighed to establish criteria and nominees for enshrinement. Among the first inductees are pioneers from the earliest period of local radio development nearly a century ago, as well as popular personalities from the modern era. Many of the names, such as Don Sherwood and Tom Donahue, may be instantly recognizable. Others, such as Colin B. Kennedy and Harrison Holliway, may be less so. In either case, it is hoped that the creation of the Hall of Fame will help to honor the men and women who have made Bay Area radio so popular over the years, and will make their names and accomplishments known for generations to come. For the near future, the Bay Area Radio Hall of Fame will exist primarily on the Internet at www.barhof.com, although a permanent exhibit is planned at the old KRE radio studios in Berkeley, which are being refurbished by the California Historical Radio Society (CHRS). The Bay Area Radio Hall of Fame is spearheaded by the Bay Area Radio Museum, which is an affiliate of the Broadcast & Newspaper Museum of Northern California consortium, which also includes CHRS and the Broadcast Legends. The radio museum was founded in 2005, and currently presents archival broadcast recordings, photographs, documents and historical essays on its website at www.bayarearadio.org. -
KGO*8IO KPO-Fred Waring
12 G Oakland Tribune, Monday, Nov. 4, 1946 Boy Rodeo Ridtrs Win 'Chomp' Honors Vern Castro of Richmond, veterar iccording to the Associated Pres« 'Bachelor Girl' vere: Bareback bronc riding, third. rodeo competitor, won third-place 'KSFO KF! HQV KPCW KNX KSL KVDI? KSAN lonors in the calf-roping contest Tommy Canoe, Newhall; steer wres- tling, second, Carl Mendes, Visalia, Atom Age New t IKFRCJKPO I K^O ^x-j c fyjjf KYA| San Francisco and Monterey Bay at the world-championship rodeo 'U SUN, MOON AND TIDE time 8.5 seconds; third, Wilbur Regions—Clear today, tonight and yesterday in Boston, Mass. His Likes Marriage Tuesday; slightly warmer today but Plaugher, Fresno, time 9.3 seconds; MONDAY, NOVEMBER 4 liiiiliiiiliiiiliiiiliiiiliiiiiiinlintltiuiiiiiiiiHlmiliitiiiiiiliiiiiijiiliJllikUiUKi l ind :ime was 18.3 seconds. wild cow miling,, third, Joe MendeSf 600 700 6OO 9OO IOOO HOP I2OO POO HOP BOO By BOB THOMAS cool again tonight. Gentle variable Sun rises 6:38a Sun sets 5:09p Other winners from California, wind. Moon rises .. 3:01a Moon sets l:15p Visalia, time 46 seconds. Strain on Mind The Tribune is not responsible lor last-minute chances In radio programs. The lo« HOLLYWOOD, Nov. 4.—(IP)— MOON PHASES « compiled from advance schedules issued by the various radio stations. Northern California—Clear today, By EGBERT E. GEIGER "Thank Heaven I won't have to do tonight and Tuesday; slightly Mew Moon 1st Qtr. Full Moon Last Qtr 0PA announces new tires scarce until Spring "WASHINGTON, Nov. 4. — (3s) — TODAY'S BROADCAST— any more 'bachelor girl' interviews." warmer along central coast and in The Army's top psychiatrist says This was Olivia de Havilland re- delta region today. -
The Orkustra
THE ORKUSTRA This day-by-day diary of The Orkustra's live, studio, broadcasting and private activities is the result of two decades of research and interview work by Bruno Ceriotti, but without the significant contributions by other kindred spirits this diary would not have been possible. So, I would like to thank all the people who, in one form or another, contributed to this timeline: Jaime Leopold (RIP), Bobby Beausoleil, David LaFlamme, Henry Rasof, Nathan Zakheim, Stephen Hannah, Jesse Barish, Steve LaRosa, Rod Harper (RIP), Colin Hill, Ross Hannan, Corry Arnold, William Hjortsberg, Aldo Pedron, Klemen Breznikar, Reg E. Williams, Charles Perry, Penny DeVries, Claire Hamilton, Lessley Anderson, Ralph J. Gleason (RIP), Craig Fenton, Alec Palao, Johnny Echols, 'Cousin Robert' Resner, Roman Garcia Albertos, James Marshall, Chester Kessler, Gene Anthony, Christopher Newton, Loren Means, The San Francisco Examiner, San Francisco Chronicle, San Francisco Oracle, and Berkeley Barb. September 1966 Undoubtedly the most experimental and ecletically diverse band of the so-called 'San Francisco Sound', The Orkustra were put together by the infamous Bobby Beausoleil. A larger than life character with a mixed reputation ("He was like Bugs Bunny," says Orkustra's bandmate Nathan Zakheim. "Very in your face, enthuastic."), Robert Kenneth Beausoleil, aka 'Cupid', aka 'Bummer Bob', aka 'Bobby Snofox', was born on Thursday, November 6, 1947, in Santa Barbara, California. After dropping out of high school and let his hair grow out, Bobby moved to Los Angeles in search of fame and fortune in 1965. There, over the summer, he played a six-string rhythm guitar with The Grass Roots, a folk- rock band later known as LOVE, for only three weeks, and also made a cameo appearance (as 'Cupid') in the famous underground documentary movie Mondo Hollywood. -
Introduction in Their Thirty Years Together, the Grateful Dead Forever
Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement. -
HELEN DILLER CIVIC CENTER PLAYGROUNDS LANDSCAPE ARCHITECTURE 2325 Third Street #210 San Francisco CA 94107 415.503.0060 1 PROJECT GOALS
ANDREA COCHRAN HELEN DILLER CIVIC CENTER PLAYGROUNDS LANDSCAPE ARCHITECTURE 2325 Third Street #210 San Francisco CA 94107 415.503.0060 1 PROJECT GOALS Functional Considerations Design Considerations Playground Experience • Serve the hub of the City’s cultural life by engaging with cultural institutions • Create a timeliness anchor for one of the The design is inspired by nature with such as the Main Public Library, the Asian Art Museum, the San Francisco Symphony, great civic plazas in the world the goal of creating a warm and unique the San Francisco Ballet, and many other institutions that have active programming outdoor experience. Using extensive for children • Activate and bring the civic space to life planting and natural materials, the playgrounds aim to inspire: • Provide open space in an area where it is lacking to serve residents of the • Employ a unique, inspiring and artful Tenderloin, Civic Center, Hayes Valley and South of Market neighborhoods approach to playground design, to create a • surprise and delight playground unlike any other in the country • retreat and escape • Replace the existing 20 year old playgrounds and successfully serve current and • explore and roam future generations • experiment and investigate • challenge and thrill • Provide a safe place for children and families, in a way that is engaging and not isolating, including for example fencing design that is artistic and permeable ANDREA COCHRAN HELEN DILLER CIVIC CENTER PLAYGROUNDS LANDSCAPE ARCHITECTURE 2325 Third Street #210 San Francisco CA 94107 415.503.0060 2 PROJECT TEAM Helen Diller Family Foundation The Helen Diller Family Foundation supports programs and institutions in both the Bay area and throughout the world with a focus on education, science and the arts.