San Francisco’s Summer of Love 50th Anniversary Party Denied Permit

February 16, 2017

by thump.vice – excerpt

There may be no summer lovin’ in San Francisco this year.

A permit for an event celebrating the 50th anniversary of the city’s historic Summer of Love—during which thousands of young people (commonly called “hippies” and “flower children”) gathered in the Haight-Ashbury district in 1967 for what would become known as a major counterculture movement—was denied last week by the San Francisco parks and recreation department, reports The Guardian.

In their letter to event organizer Boots Hughston, they reportedly cited safety concerns, adding, “We cannot put the public at risk.”

The party, initially set to take place June 4 at Polo Field in Golden Gate Park, was proposed as a free, day-long concert. Artists supposedly confirmed to perform included Eric Burdon and War, Country Joe McDonald, Santana Blues Band’s original rhythm section, and the remaining members of Jefferson Airplane, who performed at the original gathering in 1967.

Hughston, who successfully organized the Summer of Love’s 40th anniversary celebration at Golden Gate Park’s Speedway Meadows with McDonald, Moby Grape, Taj Mahal, and more, said he plans to appeal the denial. An online petition has also acquired more than 1,500 signatures… (more)

Please sign and pass this along if you want to see the Summer of Love FREE concert tradition upheld and the true meaning of love remembered in the city where such sentiments are fading fast, becoming a relic of the past, as the rush for gold comes roaring back into the 21st Century.


SF group gets girls into tech through music, sound engineering

September 28, 2016

By Marissa Lang : sfchronicle – excerpt

Sami Perez of the She’s performs at Dolby Laboratories as part of the concert that Women’s Audio Mission put on with local musicians…

She stood on a stage that was assembled by a team of young women, who set up speakers, rigged up microphones, ran sound checks and connected computers.

In the audience Thursday were members of all-female bands, female sound engineers and officials at Dolby Laboratories. As Terri Winston began to speak, a woman checked the audio levels on an iPad in the front row.

Winston is the executive director of Women’s Audio Mission, a San Francisco nonprofit that uses a recording studio to teach at-risk women and girls how to become audio engineers and sound techs, and provides counseling and job placement for women in the music, radio, film, television and new media industries…

This is the world she lives in. And it is rare. When most of us consume audio media — live at an event or downloaded on our smartphones — it is hardly ever the product of work done exclusively by women.

Just 5 percent of audio engineers are female. Most sound systems — including those using new technology, like virtual- and augmented-reality systems — are created based on the physiology of men…

Women’s Audio Mission wants to change that.

“We’re addressing two issues that we think are linked together: that less than 5 percent of the people shaping and creating all the sounds and messages in our lives are women, and there is a lack of women in (science, technology, engineering and math) fields,” Winston said. “Those two things go together. So when we hear something and think, ‘How does this crazy stuff get on TV, or on the radio?’ The answer is because there are no women at the table.”…

This, Winston said, is one of the most important populations to engage — and one of the hardest.

“The challenge for us is to see because of their lack of access to tech how far behind they are,” she said. “I don’t think people are looking at the amount of underserved girls just in the Bay Area. There’s a whole population of youth that’s being completely left behind.”

About 73 percent of the participants do not have access to a computer or mobile device, the group said.

“The beautiful thing is once we give them access to that technology, they take to it really quickly, and before you know it, they become badasses changing the face of sound in our studio,” Winston said. “But we’re not meeting our demand.”

Winston’s group has a waiting list 300 girls long…

Over the past 13 years, the organization has graduated 7,000 girls. They have gone on to work for many companies, including Pixar, Electronic Arts, Dolby and NPR.

At the concert on Thursday, interns clad in black stood in the full blast of speakers as local all-female bands the She’s and Mariachi Femenil Orgullo Mexicano rocked out before a crowd of about 100 people.

Outside, commuters in business casual jumped as bass and drums pulsed through the glass-walled lobby. Some tried to peer in. Others paused to listen.

They didn’t know it, but they were getting a taste of what female-created audio sounds like. Someday, Winston hopes, it will be less uncommon to hear.

Marissa Lang is a San Francisco Chronicle staff writer. Email: mlang@sfchronicle.com(more)


50-year-old gay bar The Stud faces closure as rent triples

July 11, 2016

by Marke B. : 48hills – excerpt

Building sold, rent hiked, and owner ready to retire: Will the SF nightlife classic survive?

UPDATE: Artist and nightlife fixture Mica Sigourney aka VivvyAnne ForeverMore!, hostess of Club Some Thing at the Stud, has announced he is forming a community co-op to buy the club. For anyone interested in supporting the effort, contact Sigourney at: saveourstud@gmail.com and join the Facebook group here

One of San Francisco’s oldest gay bars, The Stud, sometimes called “the Stonewall of San Francisco,” faces an uncertain future: its building has been sold, the rent will triple in September, and the club’s owner has announced he will retire and move to Hawaii.

At an emergency community meeting called by owner Michael McElhaney this evening, a cavalcade of club kids representing the ’60s through today — many of whom had attended the Stud’s 50th anniversary celebration just last week — gathered at the SoMa bar to hear the shocking news and propose ideas for the future. Ever since an enormous glass luxury condo building sprang up next to the one-story Stud building, hand-wringing has been rife about the future of the venue.

“In 1987, when I walked into the Stud, I knew I wanted to move here,” said an emotional McElhaney, originally from Hawaii, seated on a bar stool and “taking deep breaths of tequila” on the club’s small stage. “When the opportunity came up to buy it a few years later, there were these incredible obstacles,” including substantial debt. “But there I was, this young kid fresh out of art school who just wanted to do it anyway, to keep this magical thing alive.”… (more)

This is indeed a test of the new legacy business legislation. Can the community save the Stud as one of the longest living cultural icons of San Francisco art scene?


Is San Francisco’s Music Scene Dead?

April 28, 2016

By Andrew Wallace Chamings : thebolditalic – excerpt

Paradise2.jpg

Original Paradise Lounge, once a premier launching club for local bands, under destruction

In 1967, over 100,000 kids arrived in Haight-Ashbury amid the biggest counterculture movement of the century. The Haight’s cultural moment was inaugurated by a wave of communal psychedelic rock bands moving into the neighborhood, among them Jefferson Airplane, the Grateful Dead, and Janis Joplin’s Big Brother and the Holding Company. Their sound spawned from previous influential music scenes in the city, including folk coming out of North Beach coffee shops and jazz from the Fillmore…

Time may tell whether the last San Francisco music scene was was late-noughties garage rock, spearheaded by Ty Segall and the Thee Oh Sees. Although not as historically important as the Summer of Love, it may have the dubious honor of being the last real musical movement in San Francisco.

That’s because you can’t have garage rock without a garage. One recently sold in the Outer Mission for $408,000. Segall and John Dwyer from the Thee Oh Sees have since moved to LA, that city that everyone in San Francisco used to call soulless. You don’t hear that much anymore. So could another scene ever grow in a city that we’re repeatedly being told has lost its soul? Before moving south, Dwyer didn’t pull any punches in his parting press release:

Graveyard San Francisco has long been filling up with noobs, but now we face the most dangerous, the most egregious and blandest of them all … people with lots of money.(more)


Henry Paul, Outlaws, Blackhawk, and Luck

January 2, 2009

In working on the Beaux Arts book, I discovered Henry Paul, who founded one of the first southern rock bands in the 1970’s called the Outlaws. In 1974 the Outlaws were  lucky to be the first rock band signed by Clive Davis on his new Arista Records label after he left Columbia Records. His ego was riding on their success so they were going to succeed. I connected with Henry through Roger Salzillo. Henry responded with the following:

Hi Eliza, I’m responding to your interview request. I hope this note finds you in good health and doing well…

Hi Henry, I read somewhere that your first live performance was at Beaux Arts. Who turned you onto it?
I’m not sure how I found out about Beaux Arts. It was a subterranean destination for the beat fringe.

About what years were you there?
I started going to Beaux Arts in 1966 and hung around there on and off until 1970.

What was your first impression?
It was as close to cool as I could find in the bay area. Counter culture all the way!

Which players impressed you, helped you find your style?
There were so many talented singer songwriters around back then. Their names escape me but I do remember Danny Finley. I remember Barry Sims, a guy named Tom, and a guy named Doug. the guy named Doug I think went on to be a dam tender in Roulet Park.

Who did you play with there?
I played with everyone in the back room where you hung out before you went on. That’s where I spent most of my time. When I went up to play on stage I played by myself.

When/where did you meet Richard Leps?
I met Richard Lepps at the White Springs Folk Festival. He was there with Michael doing their duo deal.

Did he ever make smoked mullet for you?
I’ve never had Richard’s smoked mullet but I have gone clamming with him and Buddy Klein down in Tera Cia Bay.

Who influenced your move to rock, or was it country rock?
8. I think like Steven Stills and Richie Furray from the Buffalo Springfield or Jesse Colin Young of the Youngbloods I was motivated in that direction with the advent of the album Highway 61, or Bringing It All Back Home.

I love southern humor, lyrics like “Everybody wants to get to heaven, but nobody wants to die.” What inspired your first hit? Ok your favorite song, whether or not it was a hit?
9. I’m inspired by some of the more subtle nuances of love, separation, death, and dreams.

What changes do you see coming up?
10. I’m still involved in my musical career on an everyday basis. I have visions of the future and I’m engaged in the efforts to bring that to life. It’s like looking at the world through a tube. You see a little scene very clearly and not much else.

I’ll give you a call Where do you live?

Henry

p.s. I’ve attached a song about growing up in the sixties. It’s called “The Line Between The Numbers”

Henry Paul site, Outlaws, Blackhawk