Thursday, January 2, 2014

The Encyclopedia Of Jerry Garcia Music Venues

Five years ago I began collecting data for Jerry's Brokendown Palaces, and although the blog's 428 venues are no longer updated, the project has evolved into The Encyclopedia Of Jerry Garcia Music Venues.
Alphabetically by state, there are 1250 venues that include interview, rehearsal, recording, performance and canceled show venues.
It's mainly about the history of each venue including architects, builders, owners, opening night performances and other notable appearances, murals, paintings, statues, stage prosceniums, backstage areas, pipe organs, secret rooms, hidden tunnels, restorations and demolitions.

The Encyclopedia also covers Jerry's history at each venue and includes the bands he played with, opening acts and in some cases via dated photos and videos, what guitar he was playing, and other anecdotal information.

I've added eye witness reports to as many specific dates as possible. The stories are unedited and contain the wild adventures that we all know, love and remember so well. If you're reading this it's likely you have a story to be published in the Encyclopedia. Tell about your adventures at a specifically dated Garcia related performance and have them published in the Encyclopedia!
If you'd like to share your story you can email me at
I can help you figure out the correct date of your story. Tell all your friends about this project. I've already gathered about a thousand stories!

Thus far I have over 900 venue photos approved by over 780 photographers, college and private libraries, historical societies and museums. Only 115 more to go as there's no photos of the interview venues or canceled venues in the book.
There aren't any Jerry photos (well, maybe one that no one has ever seen from 1967) just photos of the venues themselves, and in some cases, Deadheads.
I'm planning to self publish a printed hard copy and e-book. Maybe 5000 1st Edition Deluxe copies, autographed of course!
I envision a large book, carved leather bound hard cover, this is a book that resembles the records kept for medieval pilgrimages to holy sites. People will want to know centuries from now where it all took there ya go.

If your interested in obtaining this publication you can send your email and I'll keep you informed on a publishing date, close to Spring 2016.

Harry G Angus

Saturday, February 9, 2013

Warfield, 982 Market Street, San Francisco, CA

Loews-Warfield 1922

Capacity 2300

It was built as a vaudeville theater in 1922 and was named for People's Vaudeville Company co-founder David Warfield (born David Wohlfeld), who was born in San Francisco on November 28, 1866, one of Marcus Loew’s best friends and one of the first investors in the corporate empire that became Loews-MGM.
He died in June 1951, 23 years after Marcus Loew passed away.
It was built as a vaudeville theater, and opened as the Loews Warfield on May 13, 1922.[1]



In the 1920s, the Victorian influence can be seen in the architecture and accoutrement, ornate ceiling designs, chandeliers, and wrought-iron balustrades. Gold-leafed opera boxes overlook the palatial stage, and the period mural that brightens up the top of the stage. Early entertainment at the theatre included silent films and vaudeville shows featuring Charlie Chaplin, Louis Armstrong, Al Jolson and Rin Tin Tin.

At one time it was the Loews Warfield and the Fox Warfield.

Loew's Warfield boasted one of the more impressive marquees of the Market St movie palaces. It was 3 sided with the street side arched. Full of lights and neon it also featured an inner marquee above the inside of the arch. The towering verticle sign was 6 stories high (like its neighbor around the corner, the Golden Gate).
Architecturally, this is one of the nicest of the remaining movie palaces in San Francisco. The beautiful fan-like ceiling made the theatre look wider than it was deep and it has a beautiful classically painted mural over the proscenium. The balcony has chandeliers hanging from blue-lit coves. The marquee and verticle sign had to be taken down in the late 60's when pile drivers came through building the side supports of the BART subway. The side walks were widened and street trees added when subway construction was finished - and the new "look" forbade putting back those big marquees and verticle signs on any theatre that faced Market St. That's why they all have flat, fixed to the building plastic marquees now. Supposedly there was a speakeasy connected with the Warfield Theater under Market Street, discovered while they were building BART.(2)
After the death of vaudeville, stage shows didn't return until the 1940's with attractions such as Louis Armstrong and Bill "Bojangles" Robinson.

1948 Abbott and Costello on the marquee

1970? Black Sabbath's Evil Eye wasn't written until 1994!
1963 film
1963 film

The Warfield was given a beautiful renovation by National General in 1969. The balcony area has chair seating.

May West was there for the premier of her film "Sextette" in the 70's. Looking a little "waxy" and seated in a big chair, she was carted across the stage to a mic by a couple of oiled up bodybuilders. They propped her up and she said in her best Westian "Thanks for commin' to my picsha" and then was carted back to the wings. The sold out crowd went wild.

In the 1970's, National General Cinemas and later Mann theaters ran it, primarily showing second-run fare.
Mike Thomas did briefly operate the Warfield in the late 1970's-early 1980's before it sold to Bill Graham. "Dawn of the Dead" was shown first-run here in May 1979. Shortly after the run of "Dawn", the Warfield became an occasional concert venue and now runs concerts full-time.

Like many historic theaters its main floor had the seats removed in the 1980s for general admission and dancing.

Bob Dylan played 14 shows at the start of his first Gospel Tour in November 1979, and again 12 shows in November 1980 during his "A Musical Retrospective Tour" at the Warfield.

Jerry Garcia made the Warfield a second home, performing a record 101 times there with his various side bands, when not touring with the Dead.

Jerry performed here on
9/25/80 Grateful Dead
9/25/80 Grateful Dead
Promoter Bill Graham Presents.
Jerry plays the guitar Tiger and a Takamine acoustic.
"The marquee on the theater said it all ...
They're Not The Best At What They Do, They're The Only Ones That Do What They Do"(4)

9/26/80 Grateful Dead
9/27/80 Grateful Dead
9/29/80 Grateful Dead
10/2/80 Grateful Dead
10/3/80 Grateful Dead
10/4/80 Grateful Dead
10/6/80 Grateful Dead
10/7/80 Grateful Dead
10/9/80 Grateful Dead
10/10/80 Grateful Dead
10/11/80 Grateful Dead
10/13/80 Grateful Dead
10/14/80 Grateful Dead
11/16/80 Bob Dylan
5/22/81 Grateful Dead
6/26/81 Jerry Garcia Band
2/16/82 Grateful Dead
2/17/82 Grateful Dead
3/29/83 Grateful Dead
3/30/83 Grateful Dead
3/31/83 Grateful Dead
11/22/86 Bob Weir, Mickey Hart
11/27/87 JGAB, Jerry Garcia Band
11/28/87 JGAB, Jerry Garcia Band
11/29/87 JGAB, Jerry Garcia Band
12/17/87 Bob Weir, John Kahn, Joan Baez (AIDS Benefit)
2/6/88 Jerry Garcia Band
3/4/88 Jerry Garcia Band
3/5/88 Jerry Garcia Band
12/1/89 Jerry Garcia Band
12/2/89 Jerry Garcia Band
2/2/90 Jerry Garcia Band
2/3/90 Jerry Garcia Band
2/4/90 Jerry Garcia Band
3/1/90 Jerry Garcia Band
3/2/90 Jerry Garcia Band
4/13/90 Jerry Garcia Band
4/14/90 Jerry Garcia Band
4/15/90 Jerry Garcia Band
6/12/90 Jerry Garcia Band
6/13/90 Jerry Garcia Band
8/7/90 Jerry Garcia Band
8/8/90 Jerry Garcia Band
8/9/90 Jerry Garcia Band
11/20/90 Jerry Garcia Band
11/21/90 Jerry Garcia Band
1/29/91 Jerry Garcia Band
1/30/91 Jerry Garcia Band
1/31/91 Jerry Garcia Band
2/2/91 David Grisman
2/3/91 David Grisman
2/28/91 Jerry Garcia Band
3/1/91 Jerry Garcia Band
3/2/91 Jerry Garcia Band
4/19/91 Jerry Garcia Band
4/20/91 Jerry Garcia Band
4/21/91 Jerry Garcia Band
5/22/91 Jerry Garcia Band
5/23/91 Jerry Garcia Band
12/7/91 David Grisman
12/8/91 David Grisman
12/9/91 David Grisman
4/29/92 Jerry Garcia Band
4/30/92 Jerry Garcia Band
5/1/92 Jerry Garcia Band
5/2/92 Jerry Garcia Band
5/3/92 Jerry Garcia Band
5/5/92 Bob Dylan
5/7/92 David Grisman
5/8/92 David Grisman
5/9/92 David Grisman
5/10/92 David Grisman
5/11/92 David Grisman
8/6/92 Jerry Garcia Band
12/19/92 Jerry Garcia Band
12/21/92 Jerry Garcia Band
1/28/93 Jerry Garcia Band
1/29/93 Jerry Garcia Band
1/30/93 Jerry Garcia Band
2/25/93 Jerry Garcia Band
2/26/93 Jerry Garcia Band
2/27/93 Jerry Garcia Band
4/23/93 Jerry Garcia Band
4/24/93 Jerry Garcia Band
4/25/93 Jerry Garcia Band
10/5/93 Jerry Garcia Band
10/6/93 Jerry Garcia Band
10/7/93 Jerry Garcia Band
1/12/94 David Grisman
1/13/94 Jerry Garcia Band
2/4/94 Jerry Garcia Band
2/5/94 Jerry Garcia Band
2/6/94 Jerry Garcia Band
3/9/94 Jerry Garcia Band
4/18/94 Jerry Garcia Band
4/19/94 Jerry Garcia Band
4/20/94 Jerry Garcia Band
4/25/94 Jerry Garcia Band
4/26/94 Jerry Garcia Band
4/27/94 Jerry Garcia Band
5/4/94 David Grisman
5/5/94 Jerry Garcia Band
8/12/94 Jerry Garcia Band
8/13/94 Jerry Garcia Band
8/14/94 Jerry Garcia Band
9/1/94 Jerry Garcia Band
9/2/94 Jerry Garcia Band
1/13/95 Jerry Garcia Band
1/14/95 Jerry Garcia Band
1/15/95 Jerry Garcia Band
2/10/95 Jerry Garcia Band
2/11/95 Jerry Garcia Band
2/12/95 Jerry Garcia Band
2/13/95 Jerry Garcia Band
3/4/95 Jerry Garcia Band
3/5/95 Jerry Garcia Band
4/14/95 Jerry Garcia Band
4/15/95 Jerry Garcia Band
4/21/95 Jerry Garcia Band
4/22/95 Jerry Garcia Band
4/23/95 Jerry Garcia Band

1.)^gorchoff-fey,ellen, A Note On Speakeasys,
2.)^Joel Selvin (2008-07-03). "Battle of the Bay Area concert promoters". San Francisco Chronicle.
4.)^stevenerwiz, comments, 2011-07-16,

Tuesday, February 5, 2013

Barbary Coast Room, International Room, Women's Gym, Commons Lawn, San Francisco State University, 1600 Holloway Ave., San Francisco, CA

Capacity 375

On May 3, 1993, S.F.S.U. Student Center's Barbary Coast Room was dedicated to Jack Adams and renamed Jack Adams Hall.(1) Jack Adams was a beloved member of the SFSU community for over 20 years and is remembered for his hard work and dedication to both the campus and AIDS community. A year after his graduation he joined SFSU as the properties manager, and later the stage manager for the school of Creative Arts.
In 1982 he was appointed assistant director of the Student Union, a position he would hold until his untimely death nearly ten years later.
Adams resigned in July 1992 because of his declining health due to AIDS-related complications. He passed away on November 21, 1992 at the age of 47.

Jerry performed here on
9/30/66 Grateful Dead
The "Whatever It Is" Trips Festival was held indoors and outdoors, over three days, according to the poster.(2)
Stewart Brand, was the promoter. The S.F.S.C. Acid Test was quite an event and was held in several different places on the campus. Ken Kesey came up from Mexico to attend, escorted by several of the Hell’s Angels, and he made numerous broadcasts from S.F.S.C.’s underground radio broadcast booth. This was the last legal Acid Test; LSD was made a controlled substance on October 6, 1966.(3)
On this night it took place in the International Room, S. F. State College, San Francisco, CA: Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Light Castle (9:00pm to 3:00am)(4)

10/1/66 Grateful Dead
On this night it was held in the Women's Gym, S. F. State College, San Francisco, CA: San Andreas Fault Finders, Dino Valenti, Universal Parking Lot, Congress Of Wonders (John Lennon Readings), Ken Kesey (with Freewheelin' Frank on harmonica and Kesey's cousin Dale on violin), Bill Ham Lightshow, Grateful Dead (9:00pm to 5:00am)(4)

10/2/66 Grateful Dead
Common's Lawn, S. F. State College, San Francisco, CA: Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Committee, Congress Of Wonders (12:00am to 3:00pm)(4)

Stereo Control Room Master (recorded 4:00am - 6:00am)
 October 2, 1966
1.)The Head Has Become Fat Rap

2.) A Mexican Story: 25 Bennies

3.) A Tarnished Galahad

4.) Get It Off The Ground Rap >

5.) It's Good To Be God Rap >

6.) Nirvana Army Rap >

7.) The Butcher Is Back

8.) Acid Test Graduation Announcement

9.) Send Me To The Moon >Closing Rap

Credits on 10/2/66:

Voices: Ken Kesey and Hugh Romney

Guitar: Ken Kesey

Violin: Dale Kesey

Organ: Jerry Garcia

Engineering: Steve Newman, Ken Kesey, Mountain Girl

Venues listed in the programme are(4):
Common's Lawn
Education 117
Gallery Lounge
International Room
Lowell High School Field
Men's Gym
Sculpture Yard
Women's Gym 125
Women's Gym

The “Whatever It is” performances are as follows(5):  
30 September 1966
Sculpture Yard, S. F. State College, San Francisco, CA
Demon Lover, Anonymous Artists of America, The Infinite Painting & The Universal Structure
4:00pm on
30 September 1966
International Room, S. F. State College, San Francisco, CA
Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Light Castle
9:00pm to 3:00am
30 September 1966
Gallery Lounge, S. F. State College, San Francisco, CA
Don Garrett (9:00pm), Chloe Schott (10:00pm and 1:00am), Poetry Reading (11:00pm), Paul Robertson Jazz Band (12:00pm), Congress of Wonders (2:00am), Ron Boise Musical Sculpture and Artwork of Dion Wright, Bob Branaman, Bruce Connor and Karen Koslow
9:00pm to 3:00am
30 September 1966
Women's Gym, S. F. State College, San Francisco, CA
Bill Ham Light Show, Wildflower, Blue House Basement, J Baldwin's Tensed Membrane Screen, Rock Workshop
9:00pm to 3:00am
30 September 1966
Men's Gym, S. F. State College, San Francisco, CA
Bernie Gunther (of the Esalen Foundation) Sensory Awakening (10:00pm and 1:00am), Robert Baker Cosmic Comic (12:00pm), The Merry Pranksters, Don Buchla
9:00pm to 3:00am
30 September 1966
Women's Gym 125, S. F. State College, San Francisco, CA
Bob Beck Light Show
9:00pm to 3:00am
30 September 1966
Education 117, S. F. State College, San Francisco, CA
Film Guild Movies
9:00pm to 3:00am
01 October 1966
Men's Pool, S. F. State College, San Francisco, CA
Water Polo (12:00am), Light Show and Open Swimming (2:00pm)
12:00am on
01 October 1966
Common's Lawn, S. F. State College, San Francisco, CA
Wildflower, Anonymous Artists of America, Blue House Basement (from 12:00am), The Committee (2:30pm), Robert Baker (4:00pm), San Francisco Mimi Troupe perform "Olive Pips" (5:00pm)
12:00am on
01 October 1966
Lowell High School Field, S. F. State College, San Francisco, CA
SF State v Santa Clara (Football - The Little Big Game)
1:30pm on
01 October 1966
Sculpture Yard, S. F. State College, San Francisco, CA
The Final Solution, Demon Lover, The Infinate Painting & The Universal Structure
4:00pm on
01 October 1966
International Room, S. F. State College, San Francisco, CA
9:00pm to 3:00am
01 October 1966
Gallery Lounge, S. F. State College, San Francisco, CA
Don Garrett, Ron Boise Musical Sculpture and Artwork of Dion Wright, Bob Branaman, Bruce Connor and Karen Koslow.
9:00pm to 3:00am
01 October 1966
Women's Gym, S. F. State College, San Francisco, CA
San Andreas Fault Finders, Dino Valenti, Universal Parking Lot, Congress Of Wonders (John Lennon Readings), Ken Kesey (with Freewheelin' Frank on harmonica and Kesey's cousin Dale on violin), Bill Ham Lightshow, Grateful Dead
9:00pm to 5:00am
01 October 1966
Men's Gym, S. F. State College, San Francisco, CA
The Merry Pranksters, Don Buchla. A planned Jefferson Airplane and Paul Butterfield Blues Band after midnight performance was never held due to Police intervention.intervention.
9:00pm to 3:00am
01 October 1966
Education 117, S. F. State College, San Francisco, CA
Film Guild Movies
Day and Night
02 October 1966
Common's Lawn, S. F. State College, San Francisco, CA
Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Committee, Congress Of Wonders
12:00am to 3:00pm
01 October 1966
Women's Gym 125, S. F. State College, San Francisco, CA
Bob Beck Light Show
9:00pm to 3:00am
02 October 1966
Education 117, S. F. State College, San Francisco, CA
Film Guild Movies

3/3/82 Jerry Garcia Band (Barbary Coast Room)
Afternoon show.

4.)^The Yellow Shark, comments, 2013-02-07,
5.)^5.)^Hannan, Ross, email to author, 2013-02-07.

Monday, February 4, 2013

Palo Alto High School, 50 Embarcadero Road, Palo Alto, CA

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.

Sunday, February 3, 2013

Waikiki Shell, 2805 Monsarrat Avenue, Honolulu, HI


Capacity 8400

The Honolulu Memorial, (1925)
Waikiki War Memorial Natatorium
Lewis P. Hobart won the design competition for the World War I memorial with a natatorium and band shell. The Waikiki War Memorial Natatorium was constructed ocean-side in Kapiolani Park in the shadow of Diamond Head. It was designed to be a "living memorial" to the 102 servicemen from Hawaii who were killed in WWI. In the center of a long wall is an elaborate 20 foot-tall memorial archway toped by four stone eagles. The huge 40 by 100 meters tide fed saltwater pool is suitable for Olympic swimmers; bleachers for 6,500 face the pool and the ocean beyond. The facility fell into disrepair but underwent a $4.4million partial restoration and was rededicated Memorial Day, 2000. The pool itself was not repaired.(5)
Under construction 1954

Band shell constructed 1952-1956.(4)
Opened September, 1956 with Ernest Chang, a high school student, performing.(6)

With world-famous Diamond Head for a backdrop and Waikiki Beach just across the street, the Waikiki Shell is a unique venue for outdoor concerts and other large gatherings.

The architecture of the Waikiki Shell reflects the Polynesian cultural roots of Oahu. Shaped like an elegant seashell, the site offers excellent outdoor acoustics blended with a laid-back atmosphere.
This magnificent shell-shaped facility - with its acoustically sophisticated stage, is an ideal location for twilight concerts, featuring balmy skies, lush greenery and -- of course - the Entertainment. You'll find no other setting like this in the world!
The large stage, convenient work areas, dressing rooms, professional lighting, sound equipment and the unique setting, makes the "Shell" a most desirable facility in which to present an event.
The storied Kodak Hula Show was long a staple of the facility, beginning in 1937, showcasing a historical look at the islands through the beauty of the hula performed by Hawaiian resident dancers to traditional Hawaiian music.(3)

In July, 1960, Bobby Darin performed here.

Frank Sinatra had a fund-raising gig here on October 2, 1960, in support of the Kennedy-Johnson ticket.(2)


Canned Heat performed here on August 8, 1967.

Jimi Hendrix performed here on May30, 31 and a free show on June 1, 1969. Support act: Fat Mattress.
7,400 people attended and ticket sales grossed US $25,020.
His message was cut short by a faulty sound system, it lasted just 40 minutes.

Personal Recollections
Steve Lysen: "Everybody [I knew] took acid right before the concert. It's packed in there. And all of a sudden this full moon (I've never seen it so big), this hideous looking, full orange, full moon, came right over Diamond Head. And we're all looking at it, 'Woah! Look at that, looks just like an evil moon!' and stuff like that. Like you feel the presence of the devil.
"And all of a sudden he came out on stage and I think his first song was "Fire." [sic] I don't remember if it was the first one, but I remember it was in the first three... It was like an acid vacuum cleaner! Blowing everybody's mind so to speak and people couldn't handle it. I think I left after about the fourth or the fifth song [laughs]; I couldn't handle it. So what I heard from other people the next day, just after I left he left the stage and his promoter came out and said that Jimi would make up with a free concert on Sunday night."
Tom Hulett (concert promoter, Concerts West): "The audience was dead. They seemed stoned and gave no reaction. Jimi spoke to the crowd and excused himself, saying that he had to have this problem fixed. He went and got into his limousine. Tom Moffat[t] got on the microphone. Eric Barrett and Gerry Stickells ran around trying to fix the problem. I was getting nervous: we were sold out and all of a sudden nothing was happening.
"Then Stickells came up to me and said that Jimi didn't want to go back on. I told Stickells to keep people playing with the wires while I went out to the car and spoke with Jimi. Stickells and I must have tried for thirty minutes, but he was not going back on.
"Jimi said to tell everybody to come back [Sunday] night. He would more than make up for it then. I tried to explain that they were all here now and we had already torn their tickets in half, but I knew him too well. He wasn't going back on. Knowing this, we got ahold of the building manager, ran down to the old Honolulu arena used for wrestling matches, and picked up rolls of tickets.
"We made an announcement that the sound system couldn't be repaired and Jimi Hendrix wouldn't want to perform with substandard equipment ­ all of which was bullshit ­ and that if they all left quietly and picked up a ticket stub, they would be admitted to the [Sunday concert]... Everybody was pissed off. These people were all fucked up on drugs and little more than 1,000 picked up their stubs. The rest were yelling 'Fuck you.'".(1)(7)
Unknown date

May 24, 1974

Different posters for the same show on May 6, 1979

Jerry performed here on
5/12/90 Jerry Garcia Band
"Saw Jerry at the Hula Bowl in Honolulu and he wore Red T Shirt and Shorts. Show was pretty epic. We bought tickets at the box office day of show, sat dead center and were served drinks all show long by kind Hula Bowl Waitstaff. Tons of dosed US Navy Personel all over the place since they don't test for LSD."(7)

1.)^Glebbeek, Caesar, JIMI PLAYS HAWAII 1969: "You'll Forever Hear Surf Music...", UniVibes issue #36, August 2000,
2.)^Howard, John, Concentration Camps on the Home Front: Japanese Americans in the House, pg 262,
3.)^Champion, Rel, Waikiki Shell,
4.)^South, Melinda, Reinforced Concrete Thin Shell Sports Facilities, 2008-10-20,
5.)^Hobart, Phelps, Lewis Parsons Hobart Commissions,
6.)^Black, Jason, Ain't Got That Swing?, 2010-11,
7.)^ Kramer, Edward E. and McDermott, John, Hendrix: Setting The Record Straight, pp. 197-198.
8.)^Painted Mandolin,

Saturday, February 2, 2013

Woolsey Hall, Yale University, 500 College Street, New Haven, CT

Capacity 2700

One wing of the Beaux-Artes Bicentennial Buildings (built with funds from the alumni) erected in 1902 to commemorate the two hundredth anniversary of the founding of the University. The firm of Carrere & Hastings designed the imposing complex of Indiana limestone.

The building underwent systems modernization in 1948, and general building exterior restoration in the mid 1980's. The College Street Wing, Woolsey Hall, is the university’s main auditorium.

It contains the Newberry Memorial Organ, honoring John Stoughton Newberry of Detroit and given by his family who also provided for subsequent rebuilding in 1916 and 1929.

Woolsey Hall's murals represent the ideal of a classical education and include images on the nine muses and the goddess Athena. They reflect the age when Yale was an all-male college.

Memorial Hall rounds the corner of Grove and College streets.(1)
The central unit of the group and main entrance, is a circular building with a domed roof. Its entrance physically balances that of Victorian Gothic Sterling Hall on the mirror corner of College and Grove, and architecturally complements the Classical Byers Hall across College Street.

The central unit of the group and main entrance, it a circular building with a domed roof. Its entrance physically balances that of Victorian Gothic Sterling Hall on the mirror corner of College and Grove, and architecturally complements the Classical Byers Hall across College Street.(2)
Tablets commemorate Yale men who died in the War of the Revolution, the Civil War, the Spanish American War, the World Wars, Korea, and Vietnam, as well as other memorial plaques, are mounted in the corridors. Woolsey Hall's murals represent the ideal of a classical education and include images on the nine muses and the goddess Athena. They reflect the age when Yale was an all-male college. The President’s Room on the second floor is used for official functions. For many years the Steinert Collection of Musical Instruments was exhibited on the third floor. It now houses electronic recording studios for the School of Music.

The hall's lack of draperies, carpeting and upholstered seats all contribute to its superior acoustics for musical performance, though the acoustics work far more in favor of the organ than for other sounds. Woolsey Hall predates any major studies within the field of acoustics, so aside from its large size, rectangular shape, hard surfaces and high vaulted ceiling, it has no peculiar architectural properties that contribute positively to its sound. Some student musicians at Yale[who?], especially choral singers, resent Woolsey's muddy resonance, which easily obscures text and delicate timbres, and can also make it difficult to hear oneself on stage.(4)
One seat on the first balcony was reputedly made extra large to accommodate Yale's ultimate "big man on campus," trustee and alum William Howard Taft.

 Jerry performed here on
10/22/75 Jerry Garcia Band

3.)^Ossman, Laurie; Ewing, Heather (2011). Carrère and Hastings, The Masterworks. Rizzoli USA.
4.)^Yale Daily News. 2010-03-25,

Friday, February 1, 2013

Winterland, Post and Steiner, San Francisco, CA

Sports, in particular boxing, were always subjects of keen interest to Edward J. Lynch, and he erected the old Dreamland Auditorium in San Francisco, and continued to operate it until the new Dreamland was constructed, and he became president of Dreamland Auditorium, Incorporated, the operating company.

1912 at the old Dreamland
After some legal difficulties in New York with Oscar Hammerstein that blocked her from performing, Tetrazzini held a press conference and declared, "I will sing in San Francisco if I have to sing there in the streets, for I know the streets of San Francisco are free." This line became famous. She won her legal case, and her agent announced she would sing in the streets of San Francisco. On a crystal clear Christmas Eve in 1910, at the corner of Market and Kearney near Lotta's Fountain, Tetrazzini climbed a stage platform in a sparkling white gown, surrounded by a throng of an estimated two to three-hundred thousand San Franciscans, and serenaded the city she loved.[2] She was 39 years old at the time.  Tetrazzini sang "The Last Rose of Summer," and her voice, reverberating off the walls of the office buildings, carried for blocks. "If you closed your eyes," wrote Samuel Dickson, who was there, "you would have thought yourself alone in the world with that beautiful voice.
"I was two blocks away," he wrote years later, "and every note was crystal clear, every word distinct."(8)
Tetrazzini possessed an extraordinary vocal technique that enabled her to surmount any vocal challenge with almost insolent ease. She had complete mastery of runs, trills, staccati and vocal ornaments of all kinds. She also had a brilliant upper register, extending to F above high C. Unlike many other coloratura sopranos, such as Amelita Galli-Curci, Tetrazzini's high notes were not thin and delicate, but full, powerful and ringing. On the debit side of the ledger, her vocal registers were not as well-integrated as those belonging to her direct soprano rival, Nellie Melba

This is from 1915 so it must be the Old Dreamland, a rundown barn.

To Mr. Lynch much credit is due for the erection of the new Dreamland Auditorium, San Francisco's great center of entertainment. His ability as an organizer, as an electrical contractor and builder were qualities which well fitted him for the task of superintending the construction. The list of officers first chosen for the new edifice indicates the men whose efforts and interest brought about this civic feature. These officers are: Edward J. Lynch, president; Isadore Zellerbach, vice president; Andrew F. Mahoney, David Zellerbach, and Philip Ehrlich, directors. Ward & Blohme, architects, designed the building; James L. McLaughlin, of the building firm of James L. McLaughlin Company, was superintendent of construction; and the general contractors were Barrett & Hi1p. The building was constructed with the idea of providing, first of all, for the comfort of the patrons. Spaciousness of aisles, stairs, ramps, rest rooms, corridors and parking concourse are distinguishing features; increased number of ticket windows, of entrances and exits, and other mechanical aides are also notable. One of the most unique improvements is the boxing ring and the main floor, each of which is manipulative by means of hydraulic machinery. The floor may be inclined or leveled by a single switch, and the ring, in the center of the main floor, is in the nature of an elevator. For boxing it is raised four feet above the floor level for the better view of the audience, and between bouts it is lowered to the basement, where the dressing rooms of the boxers are situated, and takes on the participants in the next bout, after which it is again raised into view of the spectators. The ring may also be secured at floor level for other types of entertainment, then being an integral part of the main floor space.(2)
Opening on June 29, 1928, it was originally known as the "New Dreamland Auditorium."(6)
It was built in 1928 for the then astronomical cost of $1 million.
Dreamland was at the same location where Winterland was later built.

I think if you click on the image it enlarges, page 1

Page 2
Jack Johnson was the world heavyweight boxing champion from 1908 to 1915, the first black to hold that title.
When he was champion, he did a lot of training in San Francisco, and in Alameda on the beach. They had championship fights in San Francisco in those days, in clubs. But in 1914, boxing was banned in California. In the 1920's, it was limited to four rounds. Any fight here was sort of an exhibition.
They had fights every week at the Oakland Auditorium. And in San Francisco, they held them at the corner of Post and Steiner. I watched "Young Jack" Thompson fight there. He was a black man who became the welterweight champion in 1930.(1)
From 1931 to 1936 Lew Savin, a boxer, fought 25 times at Dreamland. Joe Rondon, a light heavyweight, fought there 22 times.
Boxing at Dreamland
Dreamland-roller skating

On February 26, 1931, Paul Robeson gave a concert of Negro spirituals, accompanied by Lawrence Brown, at Dreamland Auditorium, San Francisco. Paul Robeson used his deep baritone voice to promote black spirituals, to share the cultures of other countries and to benefit the social movements of his time.  He sang for peace and justice in 25 languages throughout the United States, Europe, the Soviet Union and the Third World. He rose to prominence in a time when segregation was legal in America and black people were being lynched by white mobs, especially in the South.

On March 8, 1931, Ignacy Paderewski performed Variations and Fugue on a theme by Haendel.
San Jose Mercury News, November 8, 1932

On May 28, 1937, the Golden Gate Bridge opened and Dreamland had the Industrial and Manufacturers Exposition, showing off new California products.

Wrestling matches were held at Dreamland from January 4, 1938 to September 27, 1938.(4).
Jerry Flamm's book "Hometown San Francisco" describes Dreamland in great detail.

Sometime after 1938, the name was changed to Winterland. In its early years it served as an ice skating rink that could be converted to an entertainment venue. Early acts/shows at Winterland included Shipstad and Johnson's Ice Follies. It also was host to opera, boxing, and tennis.
1941, the balcony is closed off by the scenery.

Winterland (an ice-skating arena and home of the Ice Follies) stood out like a very large, very sore thumb in its rundown San Francisco neighborhood: a great, hulking thing of no particular architectural distinction.
Located at the corner of Post Street and Steiner Street, it was converted to exclusive use as a music venue in 1971 by legendary rock promoter Bill Graham.

Musicians also had their problems with the building. Bob Weir called it an "acoustical snakepit," and his co-conspirators in the Grateful Dead were forever trying to talk Graham into custom-building them a dream venue to the band's exacting specifications. That wish unfulfilled, the Dead exacted their own sonic revenge on Winterland, helping prematurely with the building's demolition during its later years: sometimes, when things got really loud - and especially when Phil Lesh loosed the low-frequency thunder of his mighty bass - chunks of plaster would break free from the ceiling and rain down to the floor (or the heads of patrons) below.
On November 30, 1976, The Band played their last concert, known as The Last Waltz.

After the Grateful Dead closed the building in 1978 with a wild New Year's Eve party, Winterland was put to rest.

Jerry performed here on
3/3/67 Grateful Dead
3/17/67 Grateful Dead
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10/22/67 Grateful Dead
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11/12/67 Grateful Dead
4/3/68 Grateful Dead
12/31/68 Grateful Dead
5/2/69 Grateful Dead
5/3/69 Grateful Dead
5/23/69 Grateful Dead
"Bill Graham brought out Mongo Santa Maria to open for the Dead and the Airplane- who all played way past 2 am- so Bill called it a private party and had the doors locked-(he never pulled the plug) this is before Santana- the Conga's and Horn Section Mongo had lit up the room- Betty Cantor and the SBD staff were all on the floor dancing which is why there is no real soundboard tape of this show...the Airplane took the stage for a late set at 3am- the Dead finishing their 3rd encore at 2:30."(9)

5/28/69 Grateful Dead
10/24/69 Grateful Dead
10/25/69 Grateful Dead
10/26/69 Grateful Dead
4/15/70 Grateful Dead
10/4/70 Grateful Dead
10/5/70 Grateful Dead
12/23/70 New Riders Of The Purple Sage and Grateful Dead
12/31/70 New Riders Of The Purple Sage and Grateful Dead
3/24/71 Grateful Dead
5/28/71 New Riders Of The Purple Sage
5/29/71 New Riders Of The Purple Sage and Grateful Dead
5/30/71 Grateful Dead
12/31/71 Grateful Dead
1/2/72 Grateful Dead
3/5/72 Grateful Dead
10/9/72 Grateful Dead
11/3/72 Rowan Brothers, New Riders Of The Purple Sage
12/10/72 Grateful Dead
12/11/72 Grateful Dead
12/12/72 Grateful Dead
12/31/72 Grateful Dead
10/2/73 Merl Saunders
11/9/73 Grateful Dead
11/10/73 Grateful Dead
11/11/73 Grateful Dead
1/11/74 Merl Saunders
1/12/74 Merl Saunders
2/22/74 Grateful Dead
2/23/74 Grateful Dead
2/24/74 Grateful Dead
10/16/74 Grateful Dead
10/17/74 Grateful Dead
10/18/74 Grateful Dead
10/19/74 Grateful Dead
10/20/74 Grateful Dead
6/17/75 Grateful Dead
12/19/75 Jerry Garcia Band
12/20/75 Jerry Garcia Band
3/18/77 Grateful Dead
3/19/77 Grateful Dead
3/20/77 Grateful Dead
6/7/77 Grateful Dead
6/8/77 Grateful Dead
6/9/77 Grateful Dead
12/27/77 Grateful Dead
12/29/77 Grateful Dead
12/30/77 Grateful Dead
12/31/77 Grateful Dead
10/17/78 Grateful Dead
10/18/77 Grateful Dead
10/20/78 Grateful Dead
10/21/78 Grateful Dead
10/22/78 Grateful Dead
12/31 78 Grateful Dead

1.)^Fleming, Thomas C., 1999-07-21, Black boxing champions
2.)^Flamm, Jerry, Hometown San Francisco: Sunny Jim, Phat Willie, & Dave
3.)^Byington, Lewis Frances, S.J. Clark Publishing, 1931Biography of Edward J. Lynch,
4.)^Hornbaker, Tim, 2007-11-10,
5.)^The Opening Fiesta,
7.)^Saperstein, Susan, Grauman's Theaters,
8.)^Nolte, Carl, Luisa Tetrazzini's gift ends S.F. era on high note, 2010-12-24,
9.)^Jackstraw7313, comments, 2008-07-08,