Sixties Survivors #6: Signe Anderson

When I knocked off this little piece back in 2008, I never imagined it would grow such long legs that it would still be striding along in 2014.  I can’t remember a week that’s gone by since without a note from someone who, like me, remembers Signe with admiration and honor. She had a short run, but an unforgettable one.

Here’s the post as it ran in 2008:

This is a rock star? You’ve got to be kidding! She looks like a normal person.  Shouldn’t a mid-sixties rocker have big hair like Dusty Springfield?  Or long bangs like Cher?  Rock stars aren’t supposed to wear pigtails, especially with little ribbons like Petunia Pig.  And her teeth aren’t even capped.  Girl rock stars are supposed to look glamorous, not like somebody’s sweet cousin from Astoria.

Signe Anderson had a couple of attributes, though, that sort of worked.   First, she was a terrific singer.  She could raise blisters on her microphone while sending chills down your spine.  Second, we hippies loved her.  She was real.  She was one of us except she could sing like Aretha.  Well, maybe not like Aretha – but she could sing really good.

After a year or so with the Jefferson Airplane, Signe got pregnant, but she was married, so it didn’t count as shocking rock star behavior.   She sang right through her pregnancy up there on stage at the Fillmore, getting a little bigger each week,  still belting it out out with her finger in her ear.  She was breaking all the rock star rules, but not in the approved shocking way.  We could hardly wait to see what would happen next.

(Side note: The finger in the ear posture was standard for San Francisco rock singers in those days, it was so they could hear themselves.  In 1966, onstage monitor speakers still had a ways to go.  And, after you got used to it, it actually looked kind of cool.)

What happened was, after Signe had her baby, she decided to move back home to Oregon.  Suddenly, she was gone, leaving behind only that one so-so album, The Jefferson Airplane Takes Off.

Then the Jefferson Airplane stole equally talented Grace Slick from The Great Society, and really took off for fame and fortune.  But I never could warm up to Grace, not that she cares.  I can’t fault her fabulous singing or her appropriate rock star looks and shocking rock star behavior – it’s just that she wasn’t Signe, and  Signe was the cat’s meow.

Signe had a rough road in her later life.  In the early seventies, she was diagnosed with uterine, cervical, and bladder cancer.  She has spent much of her adult life trying to beat them, plus other other physical problems that cropped up along the way, including an eighties bout with breast cancer.  The thing is, she’s still out there fighting…and singing.

Her old band mate Marty Balin was up to see her in August and together they played a benefit billed as the  Jefferson Airplane Family Reunion.  Fans came all the way from San Francisco for the event.  If I had known about it, I might have dropped in myself.

Happy 67th Birthday, Signe.  You’re a gas.


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1090 Page: The House Where the Haight Began

Sometime in the spring or summer of 1964, Rodney Albin’s uncle acquired a twenty-two room Victorian boarding house on the corner of Page and Broderick Streets in San Francisco’s Haight-Ashbury district. The place had seen better days. Built in the 1880s by the owner of a high-toned downtown haberdashery, it had all the modern 1888 conveniences – speaking tubes, a doorbell that rang on each floor, and gas lighting sconces on the walls for when the electricity went out. Its pearl, though, was in the basement: a full-sized ballroom with a stage in one alcove. The entire room was lined with glowing virgin redwood panels.

But in the 1940s, 1090 Page Street was downscaled from a mansion to a boarding house.  Life Magazine mentioned it in a 1961 story titled “The Irish in America.” It featured a full-page photo of thirty ‘typical Irish’ working stiffs and Mrs. Minton, their landlady, all leaning out the windows of 1090 Page waving madly.

For Rodney’s uncle, the building was strictly a business investment.  He was planning to tear it down and replace it with federally funded senior housing.   But the deal was bogged down in Washington somewhere, so Rodney approached him – he knew a way his uncle could make some money on the place while he waited to finalize the deal.  Why not rent rooms to San Francisco State students? Why, it happened that Rodney himself was a State student.  With his connections he could easily fill the place with the most respectable type of student, earnest and studious.   Rodney guaranteed him $600 a month, and was soon installed as landlord of what would become possibly the most renowned proto-hippie/scruffy student  pad in San Francisco’s short history.  By fall, the place was jumping.  Since rooms began at $15 a month, it was affordable,  to say the least.

Experimental filmmaker Loren Means lived there during those first few months.  “The psychedelic thing and rock and roll hadn’t really happened yet.  1090 was more a community of artists and students.  We supported each other and took an interest in what each other were doing. I was in the Film Department at State and also was about to teach a class on Non-Objective Literature at the students’ new Experimental College. I planned to assign Finnegan’s Wake.  I was talking to Rodney about it and he said the Wake was a failure. That brought me up short. I’ve never heard anyone else say that about Joyce.”

That was part of the fun of hanging out with Rodney: He would spout that stuff out continually.

Loren told me about another time on campus.  “There was some kind of protest going on against the new Student Union because the administration had rejected the architect the students wanted. The protesters started selling hamburgers in competition with the cafeteria.  They claimed it was overcharging. Rodney bought hamburgers from both sides and weighed them, and said that the cafeteria hamburgers were a better deal because they weighed a few grams more than the protesters’ hamburgers.”

Dammed iconoclasts, anyway.

Sixties rocker Peter Kraemer told me about the night at 1090 when a critical moment in modern cultural history took place: “Jim Oshita, who used to drive around SF State in a golf cart full of TV sets, supposedly dropped one of those from the top of the great central staircase (he lived up there somewhere); must have been at least five floors down to the ballroom level. This might have been the seminal TV drop; the next one I heard about was in ’66 when The Blues Magoos threw one out an upper window of the Albert Hotel in NY.”

I wonder where Rodney was.  He may have been playing his banjo for musical accompaniment.  More likely, he wasn’t there.  As the landlord, he was supposed to look askance at these irregular and potentially destructive activities.

It’s funny how freaks hated television in those days except, maybe, the Smothers Brothers.   Television was the insidious voice of the enemy whispering to America what to buy next.  Good riddance!

Rodney, to keep the house full, began renting to people from the local hipster community as well as students.  For instance, there was George Shea.

George was an actor.  One afternoon, he taped up a poster in the kitchen advertising “Social Realism Tonight — in The Ballroom!”  He was working up a one man production of Clifford Odet’s 1930s play Waiting For Lefty. The play, about a taxi drivers’ strike,  required actors in the audience to shout out questions and rude remarks to the actors onstage.   Since this was a one man show, George had to portray all the characters on stage, then quick hop off the alcove into the ten or fifteen people who’d come down to see the fun, scream an obscenity, then rush back onstage to answer himself.  It was a memorable performance, but George’s true fame came a little later.

One morning, George and his girl friend Marilyn woke up bored.  So they decided to rob a bank.  What the world needed now, clearly, was an Art robbery, a Dada robbery, a Happening robbery.  They planned it over a nice cup of Folger’s Instant, then strolled down Divisadero Street to the local Bank of America branch.   They had the foresight to scrawl a note that read “Put the money in a bag.” They walked into the bank, waited in line, and when they got to the window, shoved the note through.  Of course, they didn’t think they’d actually need a bag.  They had other, more interesting plans.

Unfortunately though, we’ll never know what those plans were.  The branch had endured a spate of robberies lately, and this morning the teller was a cop.  He took one look at the note and pulled his gun.

“Wait!  You don’t understand!  This isn’t really a robbery.  It’s living theater!  Help!”

After a couple days in jail, Marilyn’s family paid their bail, hired a lawyer, and eventually got the charge against them reduced to malicious mischief.  The story ends even more sadly: the Examiner ran a front page story about the robbery – and spelled George’s name wrong.  You just don’t do that to an actor.

Then there was Jones.  Jones  was a pork pie hatted cool guy who lived in one of the basement rooms off the ballroom.  He was older, in his thirties, had fought in Korea, smoked a lot of dope, and, memorably, Jones was a ping pong shark.  He never lost!  He could have been a champion if they’d had Olympic table tennis in 1965.

“Hey, let’s play some ping pong.  Maybe for a nickel…hey, I know, how about twenty-five cents?”

“I don’t really feel like playing tonight, Jones”

“Aw, c’mon, man – I need the exercise.  But we have to have to play for something here.  How ’bout fifty cents?”

Then, if the unsuspecting resident gave in,  Jones would ram ball after ball down his throat.  After a while, everybody knew Jones was invincible.  But somehow he would manage to wheedle them into one more game.

What did it feel like to be a vet in your thirties surrounded by kids from an entirely different background?  Big Brother and The Holding Company’s Peter Albin lived at 1090 Page in Jones’ time.  He told me Jones was a kind of big brother himself to the younger, less experienced kids.  He taught them how to not get mugged when they were out on the streets late.  How not to get rousted when they were holding.  How not to get rousted at all if possible.  We needed guys like Jones.  We didn’t all grow up on the mean outskirts of the Fillmore District, but now we were there.

Next door to Jones lived a big girl from Eureka.  She found a good way to make a living but she wouldn’t tell anybody what it was.  Arlene (we’ll call her) would eat dinner in the ballroom with everybody else, then put on a nice dress, say “Well, I’ll see you guys later…” and head out.  Where did she go?  It was a subject that entertained people for weeks until one night she came back to the house in tears.  She’d been busted!  For hooking!  She had to pay a fine.  Turned out crime paid, but it was against the law.  Who knew?  That was the end of her prostitution career.

1090, in spite of contemporary rumors, was never a crash pad. Street people found snoozing in the bathtub were shown the door, forcefully if necessary.   One morning Peter Albin got up and headed for the bathroom.  There he found a scuzzy-looking stranger sleeping in the bath.

” Hey!  Wake up!  You can’t sleep here.”

“Huh? Whadayamean?  Allen Ginsberg told me it was okay!”

As if that clinched the deal.  Somehow Ginsberg had gotten the idea 1090 was open housing for poets and street people who came his way and was sending them to 1090 find a snoozing corner.  It probably was quite a helpful stratagem for Allen, but it completely ignored the facts.  Bathtub sleeping accommodations were not available at 1090 for complete strangers.

Part of the issue, aside from the fact they might be creeps, was –  Rodney had to come up with $600 every month.  Besides freeloaders, from time to time he found himself in conflict with deadbeats.

Peter told me about one time his brother had to get serious. “Somebody in the house stole my Martin 000-18. It was a beautiful pre-war guitar.  We suspected a guy on the third floor had grabbed it and sold it to buy drugs.  He was a deadbeat, hadn’t paid his rent in months, was stoned all the time, and, small problem, he carried a knife.

“Finally, my brother went upstairs and literally kicked the door down. I don’t where he got it – but Rodney borrowed a rifle somewhere, pointed it at the guy and told him to get out of the house right now. He obeyed quite meekly, he was so stoned some people had to help him down the stairs.”

Rodney Waiting By The Door.  1090 Page Street. 1965.

One night in, I guess, early ’65, I walked over to 1090 to see what Rodney was up to.  I found him in the big front room with Skip Henderson, a folksinger I knew slightly from State, and three or four other folksingers I’d seen around.  They were practicing to sound just like the Limelighters, an energetic and hugely successful folk group of the day.  Rodney was tired of being a scruffy old-timey musician.  He and Skip and the rest of the hopefuls were jumping on the bandwagon to fame and fortune.

They called themselves the New Tradition Singers. Rodney was singing in his usual thin, nasally voice and playing fiddle and banjo.  Actually,  I despised the Limelighters –  they sounded like a group you might hear at a Barry Goldwater rally — but I admired the New Tradition Singers’ dead-on commercial instincts.  Why not cash in?  What could go wrong?   And tonight they were extra excited.  Somehow they had scored a demo tape of Bob Dylan doing his new song  Quinn the Eskimo.  Bobby had decided not to record it.  It was being shopped around to other groups.  Could they do something with it?

They sniffed it long.  A successful Bob Dylan cover would be a feather in their cap right at the beginning of their career. Look what it had done for The Turtles!  You couldn’t get bigger than The Turtles!  But, darn it, the song just wasn’t  “Drill Ye Terriers, Drill!” (This was a popular folk song about fierce fox terriers.  The lead fox terrier is urging the others to dig their way out of a dog show.) It wasn’t “This Land Is Your Land'” either.  Or any of the other crowd-pleasers the Limelighters were known for.  It was Quinn The Eskimo! It was about an Eskimo who would make you jump for joy when he got here.  No, this won’t play well in Peoria.  They wouldn’t know what we were singing about.  Neither do we.  Sorry.  We pass.

It was a group decision and normally Rodney would have been unhappy, because he liked the song.  But at the moment there was something even more exciting in hand.  They had suddenly obtained an agent.  Somehow the agent had heard their demo tape and decided they really were going to be the next Limelighters.

And amazingly, she was able to book these unknowns onto baritone John Raitt’s upcoming concert tour, purely on the basis of their demo tape.  This agent must be good!  They got down to serious rehearsing.  They not only practiced the songs, they practiced their banter, they practiced jokes and they practiced comments to the ‘critics’ in the audience.

Loren Means told me about one night when he was alone in the house. “Around midnight the phone started ringing.  It must have rang thirty times.  I knew it wasn’t for me but I finally forced myself to get up and answer it.  Turned out it the woman who was their supposed agent.  She had to speak to Rodney right away! I told her Rodney wasn’t there and she just flipped.  Eventually it turned out the woman was insane.  John Raitt had never heard of her — or them.”

Meanwhile, jamming in the ballroom was becoming a regular ad hoc activity.  For one thing a pretty good jug band named the San Andreas Faultfinders was practicing there and they attracted other players, including Pigpen McKernan.

Loren decided to hold a premiere screening of his new experimental film in the ballroom.  He invited a lot of people besides the 1090 regulars, and it was going to be a big night.  Jack Welpott, a well-known photographer from the SF State Art faculty said he’d come, and –  very cool – artist and fellow filmmaker Bruce Conner said he was coming.  Conner’s star was high at the moment, so Loren and Peter – who knew who he was – were pretty jazzed.  Loren spent the afternoon setting up his 8mm projector and getting the details right.  It would be interesting to see the film, if it still exists, because in a way it was the seed for Big Brother and the Holding Company.  Loren had cut together an ancient short subject (He described it to me as about ‘a chimp who saves a child from drowning’.) with footage from a nudie film he’d bought in one of those sleaze stores on Market Street.  I think you had to be there.

Peter suggested it would be cool if  the film had live musical accompaniment.  That sounded like a good idea to Loren.  Chuck Jones, a  surfing style drummer who lived  at 1090, already had his drums set up, so Peter grabbed his new electric bass, then called his friend Sam Andrew, who lived a block away.  When Sam got there, they both plugged into brother Rodney’s Gibson amplifier, the only one in the house, and fiddled around with Chuck for a while.  Then they were ready.

Funny to think.  As the three improvised to the flickering images, the spirit of Janis Joplin might have been seen by one of those psychic kind of people.  She was whispering very loudly, “Go, you guys!  I’ll see you next year.”

That night Chuck became the so far unnamed Big Brother’s first drummer. And it was the earliest rumbling of the partnership between Peter and Sam, which has endured, by my count, some forty-four years.  They still tour today.

Calligraphy by R. Albin

According to Chet Helms, a hippie named Chris Newton had the idea to formalize the jams, and make them a weekly event.  The Wednesday Night Jam Sessions.  Charge a quarter.  (Jones said, “How ’bout fifty cents?”)  Put up signs.  Invite everybody.

Chris was good at ideas but, typical hippie,  terrible at follow-through – so Chet ran with it.  Rodney drew up the 49-cent discount coupon on a ditto master.  Chet ran it off,  and handed it out down Haight Street.  Sam, Peter and Chuck became the house band.  If you were a singer or a harp player, they would back you up.  If you had your own guitar, you could plug into their amplifier.  If you were a singer, you’d better be a shouter, because no one owned a microphone, and if you brought your own, you’d have to plug it into the same amplifier the guitar and the bass were already overdriving.

In the summer of 1965 the Warlocks (soon to be Grateful Dead) were based in Palo Alto.  The Jefferson Airplane was already playing every night at their house club, The Matrix.  The Charlatans had gone to Virginia City for the summer.  But the other musicians who would create the anti-commercial, improvisatory San Francisco Sound were showing up at the 1090 Page Jam Sessions.

The music got so hot in fact that Chet risked raising admission to seventy-five cents.  And the hippies kept coming.

It was fun, but it was short.  Teenagers from the Avenues crashed the parties, they got rowdy, they tried to start fights with the longhairs, they broke beer bottles on the sidewalk.  It got to be a drag. Chet began looking around for the next big thing.

Chuck, Peter and Sam decided to form a real band.   Chet Helms was looking for the next big thing and, he decided, it just might be managing this exciting new rock band, soon to change their name to Big Brother And The Holding Company.

Chet brought a couple of interesting contacts along with him.  First, he knew a very interesting, self-taught, and slightly bizarre lead guitar player named Jim Gurley.  Local legend had it Gurley had taught himself by locking himself into his room and learning John Coltrane solos off a record.  He sounded like he had, anyway.  Second, Chet knew Bill Graham, and Graham agreed to help them buy equipment.  He cosigned the loan.

They went back to practicing in the ballroom, except now they had two really big, really cheap Danelectro amplifiers.  Peter hated those amps.  “We bought Danelectros because The Great Society had them, and we wanted to be just like the Great Society.  But they had stupid little heads that kept falling over.  What a pain they were.  My bass and one mike went through the first amp.  The guitars and the other mike went through the other.   We weren’t getting many jobs yet, but we were practicing a whole lot.”

Rehearsal with the two Danelectros was now twice as loud as before.  After a few weeks of this, Rodney had enough.  “One night we were so loud Rodney got pissed off,” Peter said. “He came down to the ballroom in his shorts and a tank top with a Superman logo on the front.  He was waving  a pistol.

‘You guys are so fucking loud!  You better stop now or I’m going to kill you all!’

‘But Rodney, we’re just playing music’

‘You call that music? I call it driving me insane!”

After he stomped back upstairs, we all just looked at each other.  We had to find a new place to rehearse.”

Had all this time Rodney (gasp) secretly disliked screechy rock music played over cheap amplifiers  by guys who were still figuring out how to do it?

Peter Kraemer of another early San Francisco Sound band, The Sopwith Camel, had this to say.  “He (Rodney) was one of our earliest players, I think he was playing bass but we had dreams of him playing hot viola. He was a wonderful guy and great player, and had either fear or loathing (or both) of rock and roll. He also said he had an ulcer and wouldn’t consider going “on the road”. We of course being younger and brash were raring to go.”  So they ended up with a young Londoner named Martin Beard on bass.  And Rodney went back to playing folk music.

Looking back on it now, it seems Rodney’s establishment of 1090 Page Street created a center of gravity for the underground that had been missing since they were priced out of North Beach years before, and re-established it in the Haight-Ashbury.  Until then,  the hippies had lived scattered across cheap neighborhoods of the city – the Fillmore, the Mission, Potrero Hill, Bernal Heights.  But once 1090 was in place, the kids who would live out that foolish, divine vision a psychedelic Aquarian Age – and the music that went with it –  began to congregate within walking distance of each other.

Take The Pondering Pig for example.  In the Fall of ’64 I was looking for a place to live.  I dropped in to see Rodney.  He told me 1090 was full at the moment, but he knew a guy named Allen Cohen who had a flat six or seven blocks further up Page Street.  He thought Allen had a room available, try over there.

Allen did, I moved in, and, I was ‘in’ in a much bigger way – as one of the first denizens of the burgeoning Haight-Ashbury, I would take part in its wondering adolescence, its creative full bloom, and its untimely demise.

There’s a lot more to 1090 Page Street’s story, but I won’t tell it here.  The house followed the arc of the neighborhood.  It climbed higher and higher, but then, its descent was brutal.  By the last days of the Summer of Love – only a few bricks in a vacant lot showed where the famous building had stood.

Graphics credits: 1090 God’s Eye: Dennis Nolan; El Teatro Campesino poster: Wolfgang’s Vault; jam session ticket: Pigfiles; Photo Rodney in the doorway Peter Albin; Photo pre-Janis Big Brother and the Holding Company © 2008 Michael Rachoff; photo 1090 Page St. SF Pub Library.

On The Foggy Green Lawns of Time, Would You Like Some Of My Tangerine?

 1966 06 Patricia Rock Creek 

Actually, I don’t know quite where Patrushka found these artifacts. They were somewhere in her box of youth, put away when she was an eighteen year old refugee from San Gabriel and the Sopwith Camel was about as cool as cool as cool as it was possible to get in the untrammeled San Francisco of 1966…

 

1966 Sopwith Camel spread

I would have said as groovy as groovy as groovy as you could possibly be but you would have thought I mocked them, which I could never do, old Hump gone to the moon…

1966 03 24 Sopwith Camel Gater 003

“Would you like some of my tangerine?”  Inevitable, when I hear that famous Sopwith Camel line, that I should see their lead singer, Peter Kraemer, strolling out the door of the SF State Commons with his main man Chris Latham beside him and he’s looking for Lori Haymann because he’s got a mad crush on her and he’s eating something small and orange as he walks.  It’s a warm October day in 1962 1963 1964 1965 at San Francisco State and the folkies are sitting on the grass on the right hand side if you’re coming out the door with their guitars and mandolins and dulcimers and five-string banjos and their House of the Rising Sun and no one has yet got the idea to start a rock band, and the bearded peaceniks are setting up a blue felt-covered table next to the Young Americans for Crewcuts where they can harangue each other in peace while the Cost Plus peasant-skirted and sandaled angel girls of my youth admire and accept Peter’s tangerine or possibly mock him and look for someone with a pomegranate,  but in the most fetching way ah ah Roseanne Forest, Eva Bessie, Lucy Lewis, Robin McGill, Shauna Pope, Bess Farr, Natasha Someone thanks for dropping by my vision I wish you were all still here today on this planet to mock us more and let Peter peel an entire tangerine for you.

1966 03 24 Sopwith Camel Gater story

Ah ah to be “one of the Bay Area’s most exciting new rock groups…setting attendance records at the Matrix that surpassed the Jefferson Airplane, the Greatful (sic) Dead and even Quicksilver Messenger Service.” And now “approaching their first recording session” with New York folkie producer Eric Jacobsen looking for a quick hit, which he found in Peter’s uniquely friendly voice and Martin Beard’s well-constructed, funny bass solo.  And, of course, the vibes from a sunny October afternoon on the San Francisco State lawn. Hello Hello charted at #26 on Billboards’ Top 40 Hits of 1966, right behind Gene Pitney’s long-forgotten Backstage. Kama Sutra records sold them as five zany but safe guys with clean hair and kazoos, hugging silly absurdist trees like the Monkees did.  They went along with the gag, who wouldn’t?  In 1966, the idea was hits, lots of hits like The Lovin’ Spoonful, like The Mama and The Papas.  There was no model yet for any other kind of rock band.  The only thing the Camel did was wrong was to stay out of the charts too long.  Before Hello Hello, Sopwith Camel was one of the top attractions on the San Francisco ballroom circuit, after Hello Hello, they basically disappeared for the moon. A shame, really, because the band got better and better.  For a free listen , check out their 1972 album, The Miraculous Hump Returns From The Moon at the Sopwith Camel website.

1966 05 27 Misc 10 Last Gas Before The Desert HB-1 

So now it’s 2010. The honey-pale moon lay low on the sleepy hill, so I fell asleep in a dell high up on San Bruno Mountain and there amongst the nodding garter snakes and elfin butterflies I dreamt a sleeping giant, the  21st Century Sopwith Camel was trundling towards San Francisco to be born yet again.

San Bruno Mountain view

P.S. Actually, I made up that last part.  Last November, I was  paying no attention whatever to the great white roaring city below but idling with dog and pipe when a note came fluttering on the back of an endangered butterfly.  It was from the unextinct Sopwith Camel itself:

Oink,
2009 03 29 Peter Kraemen cropped We had a great debut with new lineup at J. Tony Serra’s Halloween party in the Great American Music Hall, lights and sound and all. Martin Beard, original bassist & self from the ballroom days, and Mike McKevitt, and Bruce Slesinger, with whom I’ve played occasionally for years. Mike and i were in a big avant garde blues band around Y2K; Bruce was the drummer for "The Dead Kennedy’s." We are very modern, nice and loud and psychedelic and now we need a gig.
…Jes’ so’s y’know this is the best version of the band yet; I’m so happy to be avant the garde again; the prospect of playing the retro circuit was giving me the creeps. If anyone in your extended sty is or knows an agent or manager who might like to book a modern band with an aging name—Peter Kraemer

New Camel Party

The Curious Demise of Robert Hammersly: Edmund The Magician’s Final Act

You remember Edmund Robere, the Mad Magician of 857 Divisadero Street?  We sketched a brief portrait of him in Part 5 of The House On Divisadero Street.   Here, thanks to the miracle of inter-library microfilm loans, is an addendum to his story: the San Francisco Chronicle’s story as it appeared on June 11, 1964.

1964 06 11 Hammersley 1_edited-2 This is from the Chron in its racy heyday. You’d think they could have thrown in a  little more showbiz.  His full story remains to be told.

Linda Lovely’s Journal – January 1966.

Voices from the Haight #2

paisleylinda

The original Linda Lovely has given me permission to post portions from her letters and journals of the Haight-Ashbury period. The photo above was taken about a week before these entries begin…

January 1, 1966 Saturday

Last night was cold and frosted.  I kept trying to get into the bathtub – always someone wanting to use the toilet.  Cold water and cramps and Rolling Stones full volume.  Menthol cigarettes, my trip for the new year, velvets and bangs and opera hose.

Cold, icy Haight Street.  Michael, Diane, Chris and me four abreast to Psychedelic Bookstore.  Books and every record the hip society demands and the proper splashy paintings and the proper Ravi Shankar music.  And paisley.  This is a year for paisley…proper paisley.

Party on Fillmore Street.  Sunset Strip cellar.  Micheal’s face pulling and pinching together tight.  He tolerates the place, puts on a front of enjoying himself.  Diane with a baggy camel coat knife eyes everyone through her glasses with one lens gone.  Plastic turned up frames and missing one lens she darts her eyes about never missing anything chewing on wisps of metallic hair.  She appears frumpy to me all night, the coat, the shoulder strap leather bag, the low heels and glasses and her face never is consistent with the rest of her.  Her face defys you to come to any conclusions whatsoever about her.  She dares everyone to judge her at all.  She is without expression most of the time.  You never know what she might be thinking.

Then to the Matrix and watched the Charlatans, George Hunter dancing and springing about the stage looking like the devil himself.

January 10 Monday

Flu.  True humor begins when a man ceases to take himself seriously. (Pablo – Steppenwolf)

Nightime

Chris brought me a canvas.  I have been begging for oils and canvas for months.  Now – why do I panic?  It frightens me just to think of painting on that huge black empty space.

January 16, Sunday

A delightful Golden Gate Park day and inside De Young Museum I go.  Lost in the paneled rooms and stained glass windows and Saint Peter statues – everything so old – I for the first time Wow I really believed.  Comprehended the time, the years, medevil religious feeling was there and I let it take me for hours (just a visual and down in the stomach between my ribs trip.) A feeling of hushed reverence for everything I saw.  And for everything I saw – a window or tapestry – there was music in my mind to go with it.  And a castle or German sitting room or candle burning church.

This final ability for involvement is due to grass, I am sure – the involvement with sun shining through an 18th century chandelier, just digging it for the longest time is like on grass crawling inside a string quartet or Beatles music, nothing else exists and so whatever I am concentrating on I feel, see and am wholly and completely.  To do this on will or spontaneously is a great thing to me.  You know, I’ve always been too hung up with me before to even begin to go beyond to anything else.  Even a movie.  I gave so little attention to in the pre-days, the dog days.

Awareness of self first always but not to stay on that trip for 20 years.  Aware of self, dig self, work with self – then jump out of self and be free.

Voices From The Haight #1: A Walk Through San Francisco, Dec. 26, 1967

Continuing on my theme of recreating the sixties-era Haight-Ashbury as I actually knew it, as opposed to the mountains of hype that have been generated about it, I’m going to post some contemporary accounts – written by people who lived there – while they lived there.   Let’s start with Walrus Pemmican…

I knew Walrus well.  At the time of this letter, he had fallen on hard times.  Nearly twenty-six years old, he had finally split for good from his beautiful wife Linda Lovely.  He was living a cheap rooming house on Divisadero Street.  He called it The Black Hotel.  He had just lost his job at the post office when the authorities discovered he couldn’t load trucks because he had a serious heart murmur. He missed his four year old daughter desperately.  He visited her nearly every night to read her bedtime story.

I guess he was feeling more on the ‘On your own with no direction home’ side of life than the ‘All you need is love’ side.  He’d gone home for Christmas the day before, where someone had snapped the photo that graces this page.  Today he is back on Diviz…

12-26-67

Hi girl –

Back in the city, I am sitting on my fire-escape in the sultry dusk overlooking Divisadero – drinking Spur malt liquor and watching curly black heads pass between my feet – what a summer day it is!  Who would imagine this to be the day after Christmas!  Folks drinking beer on their front steps, kids rollin by, the tops down on their convertibles, the aroma of beans and pepper drifting up to me from Bishop’s Soul Food below in the pinkening twilight.  What a sweet day.

Today I ran errands – I stirred up the dust in my room and reshuffled my books and pencils and tapes, then ran down to Market St. – walking up and down in the December heat, doing errands – took my old Smith-Corona to be cleaned and repaired – $17.50 it will be, then to the bank, deposited my P.O. wages $151 dollars – it will be gone in 4 days, I’ll pay some bills, give you some bread,  and phoosh, gone – but that’s all right, ma.

The girl at the bank window knows me, she tells me about her real five-course American dinner (she’s Greek), then back up steaming Market St.  I stop to eat some pineapple cottage cheese in front of the laundromat, and wander into all those hi-fi stores, to stare at things I lust for – 500 tape recorders you can stick in your pocket and catch the lion’s roar, the smirk of the savant  – I visit Gyro Gearloose (ed. note: Rodney Albin) in his shop, making an electric violin, his ability with his hands fascinates me, I feel out of place in a place of hands, he shows me his latest lovely dulcimer, plaintive, hearts carved into the wood…

This day – I visit John Chance, but he is not home, so I walk through the magic Panhandle – every tree is golden today, every shape perfect, a park for lovers – I meet Peter Albin, he is going to play with Chuck Berry this weekend, to me it seems like a great honor but he takes it in his stride – used to playing with the great I guess – His wife, Cynthia, is dressed in an amazing violet Pucci print and looks twelve months pregnant, she stands apart, waiting for Peter to finish his jiving, then they walk on through the golden day.  I walk on, stop at Diane Warne’s; not home.

So now I sit in the deepening day.  It’s purple now, and I feel Spur in my brain.  Saxophones cry up from below – I love you woman – Tell me your day now.

WP

I wonder if Walrus ever got that tape recorder that would capture ‘the smirk of the savant’.  It must have been really sensitive.

Glamorpusses of the Haight #4: Linda Lovely

Photos of the 1966 era Linda Lovely are few and hard to come by. But, I found this rare snapshot  taken at my sister’s house, Thanksgiving Day of that year.  In my obsessive quest to display the babes of the Haight-Ashbury, how can I ignore Linda Cartwright Newton, my main sixties squeeze, mother of my first child and bane of my life? Of course, should you ask her about our stormy marriage, she might argue I was the bane of her life. You never know.  Women are so perverse!

Linda and I spent more time apart than together in those crazy years, which is why she so rarely intrudes into these calm and serene recollections.  But, in the day, it was not so.

You must admit, she is an authentic glamor puss.  Linda has dressed conservatively for this family occasion.  And why shouldn’t she?  Look at my father, to her right – he’s comfortable wearing a business suit and a dress shirt tightly buttoned at the collar.  Yet his only plan for the day is to relax at his daughter’s house, trade comic insults with his son-in-law’s father, drink martinis and eat turkey.

The Pig, of course, shows no such social inhibitions.   Just out of camera range  he is clowning for the children in velvets, lace and cherry-red wax lips.

Detectives, if you look closely at Linda’s ensemble, you will notice that telltale sign of sin and debauchery in the Haight-Ashbury: beads! Hand-strung beads! They’re always a giveaway, fellow detectives. They can hide their drugs, but they can never hide their beads. It’s in their genetic code!

(For those who complain I never display the sixties beauty of my glorious Russian princess bride Patrushka…good things come to those who wait, ok?)

You wanna hear something strange?  Today, forty years after that tempestuous age, Linda Lovely and Patrushka are the best of friends.  I have nowhere to hide!  I ask you, is this right?