Berkeley City Council
May 20, 2025

Herold, Frank, Dry Goods, 2502 San Pablo
Berkeley Daily Gazette, Newspaper Archives February 28, 1919 Page 12 Advertisement for the Dwight Way Free Market, 2500 San Pablo Avenue, Corner Dwight Way 1920 Census
Alva B. Clute is listed at 2516 San Pablo Ave, occupation is President of an Investment Company

EDS-08: 2510 San Pablo Avenue (APN 54-1780-4-2); 1907 storefront commercial building
There are nine storefronts within the 1907 storefront commercial building, including six storefronts along San Pablo Avenue (2500, 2504, 2506, 2508, 2510, and 2512) and three storefronts along Dwight Way (1094, 1096, and 1098). Although the storefront addresses do not appear to have changed since the building was constructed, the ownership and occupancy history changed frequently. As such, not all the owners and occupants of the storefronts are listed within the following table.

Year Owner/Occupant Details
1907-1
922 Owners: unknown
● The 1907 storefront commercial building consists
of nine storefronts (Figure 22).
● The first owner of the 1907 storefront commercial
building is not known.
ca.
1922-
1963
Owner/Occupants: “Swedish
Bakery”; owned and operated by
Jonas L Norlund and Gus Rydstrom.
• The first known occupants of the two fronts at 2510 – 2512 San Pablo Avenue was the “Swedish Bakery” that
occupied these two storefronts from ca. 1922 to 1963
(Figure 23 and Figure 24).
59 55 Ancestry.com. U.S., City Directories, 1822-1995.
56 Ancestry.com. California, U.S., Voter Registrations, 1900-1968. 57 Ancestry.com. U.S., City Directories, 1822-1995.
58 Newspapers.com, “Patrolman Added To Berkeley Police” Oakland Tribune, February 1, 1935. 59 Ancestry.com. U.S. City Directories, 1822-1995 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2011.

Historic Resources Evaluation for the Proposed Blake Apartments Project, 2527 San Pablo Avenue, Berkeley, Alameda County, California. 32

Year Owner/Occupant Details
● The bakery was owned and operated by Jonas L. Norlund and Gus Rydstrom, under the business name of “Norlund & Rydstrom.”60 61 62 ● The 1923 U.S. City Directory for Berkeley notes that Jonas and Gus both worked at the bakery during this time.
63 ● Gus and Jonas were both born in Sweden. Jonas lived with his wife Anna at 2007 Dwight Way. It is unknown where Gus lived. ● The Norlund family continued to own and operate the bakery with Gus Rydstrom until 1963.
ca. 1921
to ca.
1980
Occupants:

Various
• There have been many occupants within the storefronts of the 1907 building, including the San Pablo Ave Folk Music Clubs - Cabale, Cabale Creamery, Good Buddy, Caverns West, Questing Beast, Tito's, Babylon, and Long branch Saloon, and Earthsign Books,
64 65 and many others.
60 Advertisement, Oakland Tribune, November 2, 1950.
61 Ancestry.com. U.S. City Directories, 1822-1995 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2011.
62 Ancestry.com. U.S. City Directories, 1822-1995 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2011.
63 Ancestry.com. U.S. City Directories, 1822-1995 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2011.
64 Newspapers.com, “Getting Out”, North East Bay Independent and Gazette, January 23, 1981.65 Newspapers.com, “Readings” The San Francisco Examiner November 9, 1980.

Historic Resources Evaluation for the Proposed Blake Apartments Project, 2527 San Pablo Avenue, Berkeley, Alameda County, California. 33

Figure 22. A portion of a 1931 aerial photograph showing the 1907 building (red outline) (courtesy of U.C. Santa Barbara).

Figure 23. A 1923 advertisement for the Swedish Bakery in the “Vestkusten,” a Bay Area Swedish “newspapers”(courtesy of the California Digital Newspaper Collection).

Historic Resources Evaluation for the Proposed Blake Apartments Project, 2527 San Pablo Avenue, Berkeley, Alameda County, California. 34

Figure 24. 1953 (California Digital Newspaper Collection). EDS-09: 2514 San Pablo Avenue (APN 54-1780-5); 1910 storefront commercial building
Year Owner/Occupant Details
1910-1
922 Owners: unknown
● The 1910 storefront commercial building consists of five storefronts within retail addresses, including 2514, 2513, 2520, 2522, and 2524 (Figure 25).
● The first owner of the 1910 storefront commercial building is not known.
1922-1
930
Owners: Conrad F.

Gubanski and Mary
Gubanski
● The first known owner of the 1910 commercial building is Conrad. Conrad was born in 1896 in German, and in 1912 he immigrated to the U.S. at the age of 16.66
● Conrad contract married Mary in 1920. They had three
children, Conrad Jr., Louis, and Walter.
67 68
66 Ancestry.com, Staatsarchiv Hamburg.Hamburg Passenger Lists, 1850-1953. 67 Ancestry.com. 1930 United States Federal Census.
68 Ancestry.com., California, Marriage Records from Select Counties, 1850-1941.

Historic Resources Evaluation for the Proposed Blake Apartments Project, 2527 San Pablo Avenue, Berkeley, Alameda County, California. 35

https://berkeleyplaques.org/e-plaque/san-pablo-avenue-folk-music-clubs/ San Pablo Avenue Folk Music Clubs
MUSIC
2504 San Pablo Ave, site of many folk clubs, photo (2015) R. Kehlmann

http://rockarchaeology101.blogspot.com/2021/03/2504-san-pablo-avenue-berkeley-ca-lon g.html

ROCK ARCHAEOLOGY 101
PHOTOS AND ARTIF ACTS FROM MOSTL Y FORGOTTEN AND MOSTL Y BA Y AREA ROCK VENUES OF THE 1960S AND EARL Y 70S THURSDAY , MARCH 11, 2021
2504 San Pablo Avenue, Berkeley, CA: The Long Branch
Saloon 1971 Performance List (and Building History--Long Branch I)

2504 San Pablo Avenue, Berkeley, as it appeared in August 2011. The building was the former site of the Cabale Creamery, The Good Buddy, Caverns West, the Questing Beast, Tito's, Babylon and The Long Branch Saloon. All were music venues in the 1960s or 70s.
2504 San Pablo Avenue, Berkeley, CA: Building History
2504 San Pablo Avenue (at Dwight Way) is almost two miles West and South of the UC Berkley campus. Back during World War 2, with the Oakland and Richmond shipyards full of workers on three shifts, San Pablo Avenue had been called "Music Row." There had been nightclubs and saloons all along the East Bay, as tired workers with their pockets full relaxed with some live music. Many musicians had relocated from the South or Southwest to the West Coast, since that was where all the work was. Many other musicians had migrated for factory work, only to find playing music more lucrative (and probably more fun). Even into the 1970s, there were still several nightclubs along the San Pablo Avenue corridor, a final hint of the booming war years. 2504 San Pablo Avenue itself was a seminal address in Berkeley '60s music history. It is a fact of zoning that use permits tend to persist, so a venue with a license to allow music will generally continue to offer music. It is far easier for a new proprietor to lease a building with an existing permit than lobby for a new one, so clubs often change names, owners and musical styles, but not addresses. In the early 1960s, 2504 San Pablo had been the site of The Cabale, later The Cabale Creamery, an essential stop on the early 60s folk circuit. In 1965 it briefly became The Good Buddy and then Caverns West, and in November of that year it became the pre-psychedelic Questing Beast. It was at the Questing Beast where local folksingers Joe McDonald and Barry Melton got some friends and "plugged in" to become Country Joe And The Fish.

The Questing Beast had closed in May 1966, and 2504 became Tito's, which featured live music but was mostly a dance club. In late 1969, the club was re-named Babylon, and featured local bands playing original music. In 1971, new owner Malcolm Williams doubled the capacity of the room from about 175 to around 350, and renamed the club The Long Branch Saloon. The Long

Branch featured original music, too, but it paid a little better, with a correspondingly higher quality of performers.

Location and Memory
Sometime in the late 1980s or early 90s, Jerry Garcia was asked about his opinions of different venues around the country. By that time, the Grateful Dead had played every venue, some of them many times. Garcia admitted, however, that when he didn't remember names of venues--for one thing, they often changed--and in any case he was just driven there in a van. When he got on stage at the soundcheck, though, he admitted he would look around, and often recognize that he had played there before, thinking "oh yeah, this place, I've been here!" Although few musicians have had the vast experience of Garcia, any rock fans who have lived in an area for a long time can recall that happening on occasion. You get tickets for a new club, and you get there, and park, and get inside, and look at the stage, and think--"hey wait a minute, this is where I saw the So-And-Sos." Musicians must play a lot of live shows must have this experience regularly, getting on stage and recognizing the view, realizing they had played the club with a different band when it had another name, or had seen their friends play there.

For musicians who played around the East Bay in the 60s and 70s one of those addresses would have been 2504 San Pablo Avenue. To illustrate this, I am going to point out the experiences of Jerry Garcia and Barry Melton, whose notoriety extends far enough that we know their history.

The important point here, however, is that numerous patrons and musicians would have had multiple experiences at 2504 San Pablo, recognizing it every time, even if belatedly.

A calendar for Berkeley's Cabale, for December, 1963.

Cabale (Creamery) January 1963-April 1965
Sandy Rothman, a Berkeley bluegrass musician from way back, recalled Berkeley's Cabale (in a reflection no longer accessible on the internet)
It was on San Pablo Avenue, a main north-south thoroughfare parallel to Telegraph on the opposite (west) side of town, at the southwest corner of Dwight Way and San Pablo. I don't recall how "Creamery" got attached to it -- maybe from the steamed milk that was in the cappuccinos and lattes? The name "Cabale" was taken from "Cabala," a medieval system of Jewish mysticism. (Other dictionary definitions are: "a traditional, esoteric, occult, or secret matter" and "an esoteric doctrine or mysterious art." Do any of those terms resonate with bluegrass, nearly a cult in itself?! Hahaha.)

In the early 1960s, there was a ‘folk circuit’ that emphasized serious folk music like Doc Watson and Mississippi John Hurt (as opposed to the more popular Kingston Trio-style of folk music).

The Cabale was one of the anchors of the circuit, along with Club 47 in Cambridge, many clubs in Greenwich Village (such as the Gaslight and Folk City), the Ark in Ann Arbor and the Ash Grove in Los Angeles. The story of this circuit is well told in Jim Rooney and Eric Von Schmidt’s fine book Baby Let Me Follow You Down (U-Mass Press, 1979).

The Cabale, at 2504 San Pablo Avenue (at Dwight), was a folk club founded in late 1962 by Rolf Cahn and Debbie Green (two Cambridge, MA folkies), along with Howard Ziehm and Red Dog alum Chandler A. Laughlin III (later known as Travus T. Hipp). Cahn, a Jewish refugee from Nazi Germany, had served in the US Army during the war and also played and taught classical, flamenco, and folk guitar. Cahn had also founded the Blind Lemon in 1958 (at 2362 San Pablo), the first Berkeley coffee house to feature folk music.

The Cabale had opened on January 4, 1963 and ran until mid-1965, when the folk action moved to the Jabberwock. Somewhere along the way Carroll Peery, manager of the Chambers Brothers and Big Mama Thornton, happened to acquire a majority interest in the Cabale. The name of the venue was changed to the Cabale Creamery in August of 1964. (As a side issue, the one-time notoriety of the Cabale/Cabale Creamery coffee house led the local vice squad and FBI to ban the licensing of any business under the name "Cabale" in the future. However, the late Chan Laughlin retained Cabale News Service as his business cover). Physically, per Sandy Rothman and others, the Cabale was a fairly small, long and narrow, dark room with the ambience of a '50s Beat coffeehouse. Coffee drinks were made at the far end of the room. Initially, the stage was against the long wall on the north side of the room (the right side as you walked in); later, it was on the short wall just inside and to the right of the entrance.

The usual entertainment at the Cabale included local musicians and quite a few traveling "folk individuals" from the more developed Cambridge folk scene. Bluegrass was scheduled only occasionally at the Cabale, but on the other hand, it was the only club in Berkeley where it was presented at all during that period (1963-4). Thus, for musicians like Sandy Rothman or Jerry Garcia, the Cabale was a destination when someone like the Kentucky Colonels were playing.

Jim Kweskin and The Jug Band (Unblushing Brassiness), Vanguard Records, December 1963 (Bruno Wolfe, Bob Siggins, Fritz Richmond, Jim Kweskin, Geoff Muldaur)
On March 11, 1964, the Jim Kweskin Jug Band played the Cabale. Jerry Garcia and his wife, plus some friends, made a pilgrimage to Berkeley to see them. The Kweskin Jug Band were an important band from the Cambridge folk scene, and had released their debut album on Vanguard in December of 1963. For young players like Jerry Garcia (in Palo Alto) or David Grisman (in Hackensack, NJ), it's hard to overstate the importance of this album. For one thing, Jug Band music was unknown prior to this album. Abruptly, every young hipster in America realized that they could form a band with their friends, and use any combination of instruments, whether played well or poorly.

Garcia, then newly married, was teaching music in Palo Alto and trying to start a music career.

Famously, the self-absorbed Garcia was practicing banjo in the store on New Year's Eve '63, not reflecting why none of his students had shown up. A teenager heard the music and knocked on the door. When Garcia told the 15-year old from nearby Atherton that he wanted to form a jug band, young Bob Weir said "I'm in." And so it began. When the Kweskin band played a one-nighter, Garcia had to go (Weir was probably in exile at Boarding School).

For Garcia, the striking thing about the Kweskin Jug Band was not the music, which was great.

Unlike literally ever other group at the time, the Kweskin Band were not "entertainers." Even the Beatles, creative as they were, wore matching suits, had a structured show and had bits of showbiz patter between songs. The Kweskin crew wore what they liked, casually bantered with the audience and each other, played requests--if they felt like it--and enjoyed themselves. That was what folk music was like when you played it in your living room. The Kweskin Band was just inviting everybody in to join them. That, right there, was the model for the Grateful Dead: play what you want, enjoy yourself, and invite along anyone who thinks that it would be fun.

Garcia was also friendly with the Kentucky Colonels and their great guitarist Clarence White. The Colonels played the Cabale a number of times, and Garcia surely went to see them any time he could. The Cabale didn't book bluegrass that often, but no other club booked bluegrass at all. So even though he lived in Palo Alto, Garcia made the trips to Berkeley when it was important. For such a tiny, unassuming place, the Cabale is remembered fondly by many Berkeley musicians.

Just as a sample, in January, 1964, the Cabale booked, among others Bob Neuwirth-Cambridge folksinger who was famous as Bob Dylan's running mate Pat Kilroy-Berkeley folk singer who founded the band New Age Perry Lederman-obscure but influential Berkeley guitarist (later he did something-or-other for some Owsley character)
Danny Kalb-a few years later, lead guitarist for The Blues Project Reverend Gary Davis-"If I Had My Way," "Death Don't Have No Mercy," and many more Jesse Fuller-one-man band from Oakland ("San Francisco Bay Blues," "Beat It On Down The Line")
The name was amended from simply "the Cabale" to the Cabale Creamery in August 1964. The club folded around May, 1965.

A calendar for the Questing Beast in May, 1966. In fact, most of these gigs were never played, since the City of Berkeley pulled the club's cabaret license. The final musical performers were Country Joe and The Fish on May 7, 1966 The Questing Beast November 19, 1965-May 9, 1966
When the Cabale finally folded, probably sometime in the Spring of 1965, the 2504 San Pablo premises briefly became The Good Buddy (a poster survives from May 1965), and then Caverns West. Ultimately it was taken over by Terry Sullivan and Tony Sage, and re-opened as the Questing Beast on November 19, 1965. For another endeavour, we looked at the history of The Questing Beast in some detail (for a more complete saga, including a list of known performances, see our page on the Questing Beast).

The Questing Beast was primarily a folk coffeehouse and hosted similar acts to the Jabberwock on Telegraph Avenue. It booked mostly Folk, but with a fair amount of flamenco, bluegrass and classical guitar playing thrown in. By all accounts it never managed to turn a profit. Still, there was a hint of electricity in the there, making the Beast a somewhat different animal than prior folk clubs. For one thing, some rock bands were booked. Not from out-of-town, maybe not even good, but they were plugged in. Also, the walls of the club were covered with an elaborate psychedelic mural, although no pictures of it have endured.

The famous Mr. Owsley lived not far away, on Berkeley Way (roughly near Hearst and McGee, for those who know Berkeley geography), and he was reputed to hang out at the Questing Beast. A long-ago Grateful Dead tape from early 1966 was labeled "rehearsal-Questing Beast Feb 12 '66." The location was spurious, as the Dead never rehearsed there--the tape was probably made at Owsley's house--but there was still a psychedelic association with the Questing Beast, befitting its name.

Among the tiny number of folk musicians in Berkeley at the time were Navy veteran Joe McDonald and Brooklyn transplant Barry Melton. In Fall 1965, The duo had made an anti-war 45 rpm single called "Feel-Like-I'm-Fixin'-To-Die Rag" in a friend's living room, only for sale at one used bookstore near the campus (Moe's Books). For the single, the duo was named Country Joe and The Fish, which reflected jokes about Marxist ideology. Around October 1965, the pair had taken the bus and then hitchhiked around Oregon and Seattle, playing at anti-war gatherings. In February of 1966, however, they saw the Butterfield Blues Band at the Fillmore, and they began to see things differently--although the mysterious Mr. Owsley may have indirectly assisted.

One night around March, Joe and Barry were booked to play folk music at the Questing Beast.

This time, however, they brought along a few friends. Barry brought an electric guitar, and some other friends (probably Bruce Barthol and Paul Armstrong) played amplified guitar and bass, and another friend, John Francis Gunning, played some drums, while Joe sang and blew some

harmonica. They did some blues, and some instrumentals, and an original song about smoking pot, which would end up being known as "Bass Strings" (with a then-racy introduction where Joe sang "Hey partner/Won't you pass that reefer around").

From then on, when Country Joe and The Fish played Questing Beast, they had some friends and some amplifiers. The band--now it was a band--would release their own EP in late 1966, passing that reefer around the world, well beyond the confines of Berkeley. Vanguard Records signed them, but only on the condition that they wouldn't sell their own record any more.

Unfortunately, by May 1966, The Beast had been slain, with its downfall well documented in the May 6 (Vol 2, Number 18) and May 13 (Vol 2, Number 19) issues of the Barb. A hastily arranged three day benefit was arranged with Solomon (Feldthouse – later of eclectic LA band Kaleidoscope) with the Holiday Dancers, Country Joe and The Fish, John Paul, Dave Cohen, Dan Paik and The Gospel Tonics (who had originally been scheduled) appearing.

The very last musical performances at the Questing Beast were Country Joe and The Fish on May 6 and 7 (see the calendar above), getting ready to spread Berkeley to the outside world. Sunday and Monday (May 8 and 9) saw The Questing Beast host Jerry Abrams’ Berkeley Cinematheque (something they had done each Sunday since March 20) and the doors closed for the final time on May 9, 1966. The city of Berkeley had grounds (albeit thin ones) to deny the Beast its Cabaret license, and so they wouldn't have been able to pay performers.

Tito's 1967-June 1969
Somewhere around early 1967, 2504 San Pablo Avenue re-opened as a place called Tito's. It sold beer and pizza, and it had music for dancing on weekends. Tito's didn't buy ads, nor list their bands in the local papers, so it seems to have just had bands playing dance music. Still, once in a while, a local band would print up their own flyer, so we have some traces of the club's existence (The Drongos, above, were a local Berkeley band).

A flyer for Babylon, from March 13, 1970
Babylon July 1969-April 1971
In the Summer of 1969, Tito's became Babylon. Babylon featured original electric rock bands. A colleague looked into the bookings from July 1969 through November 1970, and they were all local Berkeley bands. The only name that stands out today is Purple Earthquake, a band of former Berkeley High students who would evolve into the band Earth Quake. Earth Quake released several albums in the 1970s, and they would also rule the Long Branch for five years.

A few flyers and artefacts from Babylon survive. The flyer above was from March 13, 1970. The notations "18 and Over Welcome" and "Food" meant that it was a restaurant, technically, with a cabaret license. Minors were allowed in if they were over 18, but they couldn't buy beer (although I bet they drank some). I think the nightly audiences for the Babylon weren't much older than 21, and probably lived relatively near to San Pablo Avenue.

By the Spring of 1971, the Babylon was owned by one Malcolm Williams. I don't know how long Williams had run or owned Babylon, but he decided to expand the club and rename it.

A flyer for Sopwith Camel at Berkeley's Long Branch, playing July 29, 1971 The Long Branch May 28, 1971-November 1976
By 1971, the live rock music market was evolving, and lots of entrepreneurs were noticing. Rock music had always been the province of teenagers, of course. But 60s rock music, with the likes of the Beatles, Bob Dylan and Cream, had raised the ante. Rock music fans didn't just "move on" when they turned 18. Those kids who were 15 when the Beatles had played Ed Sullivan in 1964 were past drinking age. They were still listening to rock music, and they took it seriously. And while every rock fan wanted to see the most popular bands when they came to town, their options were expanding.

A rock fan in his 20s probably had a job, and a few more dollars than when they were teenagers.

They also didn't have parents constraining them, and they could drink. They weren't going to go to the Fairmont in San Francisco, but taking a date to a club where you could drink beer and dance was starting to seem like a viable idea.

At the same time, UC Berkeley was expanding. It had never been a small school, but in the early 70s they added more and more students. California parents realized their kids could get a prestigious Ivy League-quality degree for the bargain price of around $212.50 a quarter. When those students graduated, many of them stuck around Berkeley. Rock music had been oriented towards the Fillmore West and other big dance halls, but now nightclubs were starting to book original bands, too. Berkeley had lots of young people, a town that didn't object to long-haired hippies, and a generally central location.

There had been music clubs in Berkeley since World War 2, of course. But as the 70s dawned, the various music clubs in Berkeley started to evolve. The New Monk, near campus at University and Shattuck, shifted from being a fraternity hangout to a rock nightclub, and by the next year it would become the Keystone Berkeley. Malcolm Williams ran Babylon, but he had big plans, too.

A May 23, 1971 article in the San Francisco Chronicle about Bay Area rock nightclubs had an interview with Malcolm Williams. Williams had hired some of the staff from the old Avalon

Ballroom, and he was planning to upgrade Babylon by doubling its capacity, from about 175 to around 350. A bigger club meant better acts, not just local bands who probably lived nearby.

Certainly, the Bay Area did not want for good local bands, but they were all trying to make a living.

As for the name change, at the time it was a fairly obvious choice. The Long Branch Saloon was the name of a famous watering hole in the Wild West town of Dodge City, KS, back in the 1870s.

More importantly, Gunsmoke had been a top-rated TV show since 1955, with James Arness as Marshall Matt Dillon. Bars all over the country were named "The Long Branch." Everyone immediately recognized the symbolism, the joint where everyone went, where everything exciting happened.

Ad in the October 1, 1971 Berkeley Barb promotes the New Riders of the ole' Purple Sage and High Country at Long Branch Saloon (2500 [sic] San Pablo) $2.00
Long Branch, Berkeley, CA Performance List May -December 1971 The May 23, 1971 San Francisco Examiner/Chronicle (Sunday edition) interviews Malcolm Williams, who says that the Long Branch is "in the process of expanding." At the time, most Bay Area rock clubs were smallish--The Keystone Korner in the City held 250-300, The Lion's Share in San Anselmo was 250-300, the New Orleans House in Berkeley held about 250. Nearby Mandrake's, at 10th and University, probably only held 200. When the Long Branch completed its expansion to around 350, it would be one of the bigger rock clubs in the Bay Area.

Ironically, the biggest club in the Bay Area would be the Keystone Berkeley, just 2 miles from the Long Branch. The New Monk, at 2119 University, mainly a frat beer joint, would be taken over in 1972 by Freddie Herrera and become the Keystone Berkeley. The Keystone Berkeley officially held 476, but it was widely felt that more people were regularly crammed in. Thanks to regular performances throughout the 70s by Jerry Garcia, Tower Of Power, Elvin Bishop and others, the Keystone Berkeley became the premier nightclub gig in the Bay Area until about 1977.

The Long Branch, at 2504 San Pablo Avenue in Berkeley, sometime in the 1970s Bands would build a following at the Long Branch, and the bands that headlined weekends at the Branch would play weeknights at the Keystone Berkeley, with a built-in audience. Although it's hard to be sure, I think the Long Branch crowd lived relatively near the club, and was in the just-over-21 bracket. The Long Branch was definitely a hard-rocking club, with loud bands and patrons who liked to dance, with less of the University overlay that was included in the Keystone Berkeley audience. The Keystone was right near campus, so it's audience was broader but to some extent more snobby. The Long Branch was in West Berkeley, and less pretentious.

As a result, the Long Branch ended up being a sort of farm team for the Keystone Berkeley. That wasn't a bad thing, necessarily, for the bands themselves. Keystone Berkeley and Long Branch didn't have identical crowds. The Keystone was nearer to campus, and at least on weekends drew people from Alameda, Contra Costa and Marin counties. The Long Branch had a little bit younger crowd who just liked to go out, and probably mostly lived around Berkeley.

At the Long Branch, mostly the same bands played the club over and over. If a band could build an audience at Long Branch, the expectation was that their own regulars would see the band over and over. Earth Quake, for example, the archetype for a Long Branch band, could play a wide variety of exotic British Invasion cover songs, so that their regular fans didn't hear the exact same set every time.

The May 28, 1971 Berkeley Barb lists the Grand Opening of the Longbranch [sic], formerly the Babylon with Country Weather, Wayne The Harp, the Earthquake [sic]. 8pm-2am, $2, refund at door for bridge receipts May 28, 1971 The Long Branch, Berkeley Country Weather/Wayne The Harp/Earth Quake Grand Opening (Friday)
The Long Branch promoted its "Grand Opening" on Friday, May 28, 1971. There had been no bookings listed at Babylon for over a month, so I think the Long Branch was closed for renovations. The Chroniclearticle had said that the Long Branch was "in the process" of doubling its capacity. Based on peripheral evidence, I think those renovations took place over two periods. 2504 San Pablo was closed for about a month before it opened, and then apparently closed again for the month of November. I don't know if the club had fully expanded its capacity by May, or did the expansion in pieces. In any case, based on the quality of bookings, the Long Branch was already a bigger club than Babylon when it opened in May.

The Long Branch didn't really advertise. The club seemed to have made sure that their best weekend bookings were listed in the Berkeley Barband the San Francisco papers, but there were rarely listings for the weekdays. There were probably flyers around town (common in Berkeley), but none have survived from 1971. Also, FM rock radio stations usually announced an "entertainment calendar" in the afternoons and evenings, where they would run down all the club bookings ("tonight, at the Lion's Share, The Sons, and at Keytstone Korner, Elvin Bishop Group," and so on). No doubt the Long Branch made sure that KSAN and the other stations had their weekend bookings, at least.

The Long Branch had three bands on their opening night, all three of which could have been the headliner on their own. The listings in the Barb and Examiner also said "$2 refund if Bridge receipt." This was to encourage fans from San Francisco (using the Bay Bridge) or Marin (using the Richmond Bridge) or even the Peninsula (using the San Mateo or Dumbarton Bridges). I don't know how many patrons actually took them up, but it was a marker of a club trying to expand its weekend audience beyond its own neighborhood.

Country Weather were a Walnut Creek (Contra Costa County) group, from just over the Berkeley Hills. They had originally been called The Virtues, but soon after lead guitarist Greg Douglass joined, they changed their name to Country Weather. Country Weather never released a record when they were together from 1967-73. Since the group was familiar from many posters from 1968 onward, Country Weather became one of the great lost San Francisco groups of the 1960s. Ultimately, the group reformed in the 21st century and still performs occasionally. RD Records released some of their 60s demos and live performances, along with some 21st century recordings.

Greg Douglass became a successful guitarist in the Bay Area, best known for co-writing “Jungle Love” for Steve Miller, with whom he played for many years. Douglass was also a member of Hot Tuna for one brief, sensational tour in Spring 1975.

Wayne The Harp was guitarist Wayne Ceballos. Ceballos had led the Bay Area trio AUM (pronounced "Ohm") in the sixties. AUM had released two albums, and opened at both Fillmores as well. Ceballos still played the same kind of hard-driving blues guitar in his new group.

Earth Quake's debut album was released on A&M Records in 1971 Earth Quake, from Berkeley, were the ultimate Long Branch band, and it's fitting that they played opening night. Originally, they had been a Berkeley High power trio called Purple Earthquake. By 1971, they were a quartet, with Robbie Dunbar on lead guitar, lead vocalist John Doukas, bassist Stan Miller and drummer Steve Nelson. Earth Quake would release their debut album on A&M Records sometime this year.

Earth Quake would play the Long Branch at least every month for five years, and in many cases every Friday night. Earth Quake, with their vast trove of cover versions, always had a loyal audience at the club.

I can't find any reference about who played Saturday night, although I suspect it was one of these three bands. For the balance of this post, I am only noting bands where I have been able to find a listing. In general, the same bands played the Long Branch over and over, so missing nights might not likely reveal other bands. The Long Branch was generally open from Tuesday through Sunday. Wednesday was "audition" nights, with unknown bands. Most other clubs had "audition night" on Monday, so the Long Branch was smart to choose another night.

June 4, 1971 Long Branch, Berkeley, CA: Grootna (Friday) Grootna was a Berkeley band that had arisen out of a 60s Berkeley band called Sky Blue.

Guitarist Vic Smith and singer (and sometime drummer) Anna Rizzo had teamed up with guitarist/writer Allan "Slim Chance" Silverman. Drummer Greg Dewey (from Mad River) was also in the band, along with a few others. The band played a batch of songs written by Silverman and his songwriting partner Austin DeLone. DeLone, however, was playing pubs in London with the band Eggs Over Easy. Everybody in Grootna had many links to numerous Berkeley ensembles.

June 18-19, 1971 Long Branch, Berkeley, CA: Wayne The Harp/Flying Circus (Friday-Saturday)
Flying Circus were a Marin band. Some form of the band had existed since about 1966. Flying Circus shared equipment and a rehearsal space with the band Clover. Flying Circus lead guitarist Bob McFee was the brother of Clover lead guitarist John McFee. Bassist John Hapaala was the only member who was in both the 60s and 70s versions of Flying Circus. The band had self-released a single in 1970, as a promotional tool, but I have never heard it. To my knowledge, Flying Circus fell broadly into the Marin country-rock category, something like Clover.

June 20, 1971 Long Branch, Berkeley, CA: Charlie Musselwhite/Cookin' Mama (Sunday)
Charlie Musselwhite had been born in Mississippi and moved to Memphis, and then ultimately to Chicago. He was one of a small number of white musicians in Chicago (including Nick Gravenites, Paul Butterfield, Mike Bloomfield, Elvin Bishop and a few others) who had stumbled onto the blues scene by themselves.

A Chicago club regular, Musselwhite eventually recorded an album for Vanguard in 1967 called Stand Back, which had started to receive airplay on San Francisco’s new underground FM station, KMPX-fm. Friendly with the Chicago crowd who had moved to San Francisco, his band was offered a month of work in San Francisco in mid-1967, so Musselwhite took a month’s leave from his day job and stayed for a couple of decades.

By 1971, blues weren't as interesting to major labels. Musselwhite's 1971 album was Takin' My Time, on Arhoolie Records. Musselwhite's backing group on the album included Robben Ford, a great young guitarist from Ukiah. By mid-71, I think Ford (and his brother, drummer Patrick Ford) had left Musselwhite to form their own band, but it's not impossible that Robben played the Long Branch with him.

Cookin' Mama was a local band fronted by Sherry Fox, who had been in RJ Fox. They were a big, eight-piece band with horns. Pat Thrall was the lead guitarist. Cookin' Mama would release a 1972 album called New Day.

July 2-3, 1971 Long Branch, Berkeley, CA: Elvin Bishop Group/Linx (Friday-Saturday) Elvin Bishop had moved to the Bay Area from Chicago in Spring 1968. By 1969 he had a band and was regularly playing The Keystone Korner. Bishop was signed to Bill Graham's San Francisco label, distributed by Columbia, and he had released two albums. After a 1969 debut, the Elvin Bishop Group had released Feel It! in mid-1970. Elvin's band featured Stephen Miller on organ (from the band Linn County) and singer Jo Baker. Baker, Bishop and Miller all shared vocals.

Linx played the Long Branch regularly, as well as other Berkeley clubs, but I don't know anything else about them [update 20230528: thanks to a Commenter, I know that Linx (sometimes spelled Lynx) featured young Berkeley saxophonist Lenny Pickett, later in Tower Of Power and long-time leader of the Saturday Night Live Band. Also in the group was (future) renowned Manhattan chef Jonathan Waxman]

Alice Stuart's 1970 album Full Time Woman, on Berkeley's Arhoolie Records July 4, 1971 Long Branch, Berkeley, CA: Alice Stuart/Clover(Sunday) On July 4, Bill Graham closed the Fillmore West. The concert industry was getting too large for the 2500-capacity ballroom. Graham moved the action to the much larger Winterland (5400) or Berkeley Community Theater (3500). Fillmore West wasn't a club, but it was a place that many local rock fans went to on a Friday or Saturday night just because it was "the Fillmore." It's closing left room on weekend nights for rock nightclubs all around the Bay Area.

Alice Stuart was a fine blues guitarist and singer. Although she was from Seattle, she had been playing in the Bay Area since about 1964. Stuart had performed and recorded in a variety of settings. At one point in late 1969, she had even been the temporary bass player for the Lost Planet Airmen. Stuart had released the album Full Time Woman in 1970, on the small label American Records. It was a fairly introspective album. By 1971, Stuart was leading an electric trio called Snake, with Karl Sevareid on bass Bob Jones on drums (and vocals), and they would record for Fantasy in 1972.

Clover's members were also Marin County natives. Clover had formed in late 1967, out of a band called The Tiny Hearing Aid Company. Fantasy Records, flush with Creedence money, had signed Clover. The band released two poorly-produced but pretty good albums, their self-titled debut in 1970, followed by Fourty-Niner in 1971. Clover was a four-piece band, with lead and pedal steel guitarist John McFee, lead singer and guitarist Alex Call, bassist John Ciambotti and drummer Mitch Howie (McFee, Call and Howie had been in Tiny Hearing Aid). Clover worked out of Mill Valley.

By the end of '71, Fantasy seemed to have dropped Clover. Clover kept plugging along, playing Monday nights in Berkeley, even after two albums. The proximity of Mill Valley to downtown Berkeley made this a sensible gig for Clover.

July ?, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen
I could find almost no listings for July, but I don't read much into that. Newspapers published

listings on a space-available basis, and sometimes lesser clubs like the Long Branch weren't mentioned in the paper due to lack of space. In other cases, no one from the club may have remembered to call the paper with the week's bookings.

Berkeley's very own Commander Cody and His Lost Planet Airmen had moved out to California from Ann Arbor, MI in the Summer of '69. They had set up shop in a rambling house in nearby Emeryville. The band played "hippie honky-tonk," a strange brew of Western Swing, traditional country, old-time rock and roll and Berkeley sensibilities. The band had been signed to Paramount Records, and at this time they were recording their debut (Lost In The Ozone would come out in November). We can infer this Commander Cody date, however, since we know that the band was recording live at the Long Branch and the New Monk in July (as it says so on the back of the album). On the album, the songs "What's The Matter, Now" and "20 Flight Rock" were recorded live, but whether either (or both) were recorded at the Long Branch isn't clear.

July 29, 1971 Long Branch, Berkeley, CA: Sopwith Camel/Jabo Stokes (Thursday) The Sopwith Camel was an original San Francisco psychedelic band, with roots going back to the Red Dog Saloon in Virginia City, NV and 1090 Page Street. The Sopwith Camel had been one of the first Fillmore bands to sign a recording contract, and they had one of the first hit singles of the scene, as well, with "Hello Hello" in February 1967. That record was in the Lovin' Spoonful jugband style, which has hot at the time (and the Camel were produced by Spoonful producer Erik Jacobsen). The Camel had to face the grumblings of locals who felt that they had "sold out." The band had ground to a halt in late 1967.

However, Sopwith Camel had reformed in 1971. Their first gig seems to have been at the Matrix on March 5. The re-formed group had 4 of the 5 original members. The original songwriting partnership of guitarists Peter Kraemer and Terry MacNeil was intact, along with bassist Martin Beard and drummer Norman Mayell. In the meantime, Beard and Mayell had played on the hit single "Spirit In The Sky" with Petaluma's Norman Greenbaum.

Jabo Stokes is unknown to me.

August 6-7, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/The Crabs (Friday-Saturday)
The Crabs were a popular Berkeley club band, although they didn't ever break out of the club circuit. They played in a style that would now be called "Roots-Rock" or "Americana" today, but those terms didn't yet exist. The author Charles Reich, who published a huge bestseller in 1970 called The Greening Of America, was a huge fan of The Crabs, and mentioned them a number of times in his book (Reich also interviewed Jerry Garcia for Rolling Stone, and it was published as a book called A Signpost To New Space).

August 17, 1971 Long Branch, Berkeley, CA: Driver (Tuesday) Driver are unknown to me. If a Bay Area band from this period is unknown to me, they are officially obscure. Driver very well may have been a fine band, in fact, but bands booked at the Long Branch on a Tuesday night didn't have any local following.

The August 27, 1971 Berkeley Barb lists Rew Riders [sic]/High Country, Long Branch Saloon (2505 [sic] San Pablo, Brk) $2.50 August 27-28, 1971 Long Branch, Berkeley, CA: New Riders of The Purple Sage/High Country (Friday-Saturday)
The New Riders Of The Purple Sage headlined the weekend at the Long Branch, so Jerry Garcia returned to where he had been originally inspired by the Jim Kweskin Jug Band. While of course Garcia was quite famous, as I have said I think his experience was quite common for musicians on this list. 2504 San Pablo Avenue had been a venue for several years, and by it's nature, Berkeley is

a place where interesting things happen, for good or ill. Many musicians must have had a burst of recognition when they drove up to their gig at the Long Branch for the first time.

The New Riders Of The Purple Sage were Jerry Garcia's vehicle for letting him play pedal steel guitar in a live band. Since John Dawson wrote and sang the songs, and Garcia's old pal David Nelson played guitar, Garcia could just concentrate on the steep learning curve of the pedal steel, with no vocal or front-man duties. By this time, the Riders had completed the recording of their debut album NRPS, which would come out in September. Garcia himself had found the pedal steel too daunting, and had already made plans to cede the chair to the great Canadian steel guitarist Buddy Cage (who had been playing with Ian and Sylvia Tyson's Great Speckled Bird).

Not only was Cage a far better steel player than Garcia, if the band did not have a full-time player in the steel slot, the band could never play enough to make a living. The Grateful Dead had managed to climb out of some severe debt incurred in 1970 (their manager had absconded with $150K), but the Riders were still just trying to break even. A good paying gig on the weekend would help the band cover its expenses until the album made them nationally popular.

High Country were a Berkeley bluegrass band led by mandolinist Butch Waller. High Country were regulars at Berkeley's already-legendary folk club, the Freight And Salvage (a half-mile North, at 1827 San Pablo). Waller had been pals with Garcia and David Nelson, both former bluegrassers, since 1963. Waller and David Nelson had been in a bluegrass band together in 1964 (the Pine Valley Boys), and in '69, Nelson had even played a little with High Country. One time, High Country's banjo player wasn't available, and Jerry Garcia filled in (June 19, 1969--of course, there's a tape).

Butch Waller had surely been to the Cabale many times, as had Nelson, so they too probably had that burst of recognition when they got there.

August 29, 1971 Long Branch, Berkeley, CA: Charles Ford Blues Band (Sunday) The Charles Ford Blues Band was a fine blues band that featured three brothers from Ukiah, CA up in Mendocino County. Guitarist Robben Ford, drummer Pat Ford and harmonica man Mark Ford played modern, uptempo blues. It was rooted in tradition, but jazzy and flowing as well. Namesake Charles Ford was their father. They would release a fine album on Arhoolie in 1972 (Charles Ford Band). Robben Ford would go on to well-deserved fame, playing with the LA Express, George Harrison, Joni Mitchell, Miles Davis and many others.

August 30-31, 1971 Long Branch, Berkeley, CA: Tower Of Power (Monday-Tuesday) Tower Of Power, though originally from Fremont, were the pride of Oakland. They had been discovered by Bill Graham at the Tuesday night Fillmore West auditions, and their first album East Bay Greasehad been released on Graham's San Francisco label (distributed by Atlantic). Ultimately, Atlantic's sister label Warner Brothers would pick up Tower. Tower's immortal second album, Bump City, would be released in early 1972, presaging an era where the A's, Raiders and Golden State Warriors were making all things Oakland ascendant.

The core of Tower Of Power had been together since 1968. Their unique horn section sound had been honed in Oakland clubs since 1969. Tower Of Power played both rock clubs and R&B dance clubs, dominating both of them with aplomb. At this time, they were just a hard working band, filling in empty nights on their calendar. I think the Long Branch was open on a Monday (and publicizing the booking) just because Tower was available.

September 1, 1971 Long Branch, Berkeley, CA: Ongood/Wormwood Star (Wednesday)
Ongood and Wormwood Star are both unknown to me. Wednesday was audition night.

September 2, 1971 Long Branch, Berkeley, CA: Pendergrass (Thursday) Pendergrass is unknown to me.

September 3-4, 1971 Long Branch, Berkeley, CA: Loading Zone/Staton Brothers (Friday-Saturday)
The Loading Zone, from Oakland, had played the original Trips Festival back in 1966. By 1971,

they had been through many different iterations. By this time, although they still broadly featured the mix of rock and soul as when they had started, they had no original members. They were good, though: Linda Tillery and Wendy Hass on vocals Tom Coster on organ, Doug Rauch on bass, Tony Smith on drums and Bruce Conte on guitar. The Zone shared management and a rehearsal space with Tower Of Power, and they, too, played both R&B and rock clubs.

The Staton Brothers were an East Bay band from Hayward who had been signed by the Monkees' management around 1967. Jeff and Mike Staton were both singing guitarists, broadly in the style of Buffalo Springfield. The band had toured with the Springfield and others in the 1960s. In late 1972, the Staton Brothers would release an album on Epic, but there was a problem with distributors, so the album did not sell. Ultimately both Staton brothers worked with Stephen Bishop and many others as guitarists and songwriters, mostly based in Nashville. Since "Staton" was often misunderstood, and just an adopted name anyway, they used different names.

September 8, 1971 Long Branch, Berkeley, CA: Loading Zone/Mike Finnegan (Wednesday)
Organist and singer Mike Finnegan was from Wichita, KS. Unlike most musicians, the 6'6" Finnegan had gotten a basketball scholarship to the University of Kansas. He had moved to the Bay Area around 1969, and he had been a member of The Jerry Hahn Brotherhood, who had put out a highly regarded 1970 album on Columbia. Unfortunately, the album went nowhere, and Finnegan had left the band. At this time, Finnegan had another band with singer Jerry Wood, and he worked with the re-activated Big Brother and The Holding Company as well.

For club gigs, Finnegan pretty much played blues. He was a powerful vocalist as well as a great organ player, so he could play with any combination of musicians. Some of his "friends" might have been had notable musical pedigrees and would definitely have been good players.

Cold Blood's second album, Sisyphus, released on Bill Graham's San Francisco record label (distributed by Atlantic), released in 1970
September 10, 1971 Long Branch, Berkeley, CA: Cold Blood (Friday) Cold Blood are generally associated with the East Bay funk sound of bands like Tower Of Power.

The East Bay association was appropriate musically, but in fact Cold Blood had its roots in the South Bay. Lead singer Lydia Pense, from San Mateo, and bassist Rod Ellicott had been in a Peninsula Band in 1966 called The Generation. The Generation were known as the first Bay Area band to merge a horn section with a rock band. The Generation had evolved into Cold Blood, and they were signed to Bill Graham's San Francisco label (distributed by Atlantic). Cold Blood released two albums on San Francisco, their self-titled debut (1969) and Sisyphus (1970), which spawned a modest local hit with a remake of "You Got Me Hummin'." [note: a Commenter suggests Stoneground did not play, and was replaced by Bittersweet] September 11, 1971 Long Branch, Berkeley, CA: Stoneground (Saturday) Stoneground had been put together by KSAN impresario Tom Donahue in 1970 for an intended movie about a "traveling Woodstock" called Medicine Ball Caravan. The Grateful Dead were booked for the movie, but backed out at the last minute. However, Alembic sound had to honor their part of the contract, so the Dead had stayed home and recorded American Beauty with Stephen Barncard, because Bob Matthews and Betty Cantor had gone on the road with Stoneground.

Stoneground had just released their self-titled debut album on Warner Brothers. Among the key members of Stoneground were singers Sal Valentino, Lynne Hughes, Annie Sampson and Deirdre LaPorte. Guitarist Tim Barnes also sang. Pete Sears had been the pianist for the album, although he had probably been replaced by Cory Lerios by September.

September 13-14 , 1971 Long Branch, Berkeley, CA: Tower Of Power (Monday-Tuesday)
Clearly the two night booking for Tower Of Power on a Monday and Tuesday was a success, since they returned a few weeks later.

September 15, 1971 Long Branch, Berkeley, CA: Entity/Driver (Wednesday) Entity is unknown to me.

September 16, 1971 Long Branch, Berkeley, CA: Bittersweet (Thursday) Bittersweet was a rock band from Chico, CA, who moved to the East Bay. Rock historian Bruno Cerriotti has a detailed history of their adventures.

Barry Melton's 1970 album on Vanguard, Bright Sun Is Shining September 17, 1971 Long Branch, Berkeley, CA: Barry Melton and Fish (Friday) According to Joe McDonald and Barry Melton, "Country Joe and The Fish" was a duo featuring the two of them, with or without additional band members. That's not how the music world saw it, however. Country Joe and The Fish had called it a day in early Summer 1970, and both leaders had gone solo. Still, when Barry Melton played live with a band, it was usually called Barry Melton and The Fish, to give listeners a hint that it was electric Melton backed by a group.

I don't know how reflective Barry Melton might have been about his own history. But the entire Country Joe and The Fish saga, including playing Anti-War protests, hit albums, Woodstock, European tours and all the rest had pretty much got its start when Joe and Barry had plugged in at the Questing Beast in March, 1966. Now, here was Barry Melton, back at 2504 San Pablo Avenue.

Melton, who had moved from Berkeley to Marin by this time, had released a solo album on Vanguard in 1970 called Bright Sun Is Shining. It had been recorded in Chicago and New York with veteran session pros like Phil Upchurch, rather than with Fillmore West guys. The album had mostly been covers of blues and old R&B songs. This was actually quite consistent with Melton's musical history, but it may not have been entirely expected by 60s fans who were used to songs about politics and drugs. I don't know who was in Melton's live band at this time.

September 19, 1971 Long Branch, Berkeley, CA: Crabs(Sunday) September 20-21, 1971 Long Branch, Berkeley, CA: Tower Of Power (Monday-Tuesday)
September 23-25, 1971 Long Branch, Berkeley, CA: Grootna/Mike Finnegan (Wednesday-Friday)
September 26, 1971 Long Branch, Berkeley, CA: Bittersweet (Sunday)

September 29, 1971 Long Branch, Berkeley, CA: Road House/Wormwood Star (Wednesday)
Road House is unknown to me.

NRPS, the debut album of the New Riders Of The Purple Sage, was released by Columbia in September, 1971. Jerry Garcia played pedal steel guitar on the album, and toured with the New Riders through October, in order to promote the band.

October 1-3, 1971 Long Branch, Berkeley, CA: New Riders of The Purple Sage/High Country (Friday-Sunday)
The New Riders' August weekend must have been a good payday, since they returned for a three-night stand in October. The NRPS album had been released by Columbia in mid-September. Although it was already agreed that Buddy Cage would permanently replace Jerry Garcia, Garcia was going to play on the first leg of the Grateful Dead/NRPS tour in order to promote the band. A number of the shows were broadcast on FM radio, so entire Metro areas would get to hear Garcia play with the Riders. The Fall tour would commence on October 19, 1971, in Minneapolis. Garcia's last show with the Riders as their steel guitarist was October 31 in Cincinnati (Cage took over in Atlanta on November 11).

By this time, High Country had probably released their self-titled album on Raccoon Records.

The Youngbloods had become so successful behind "Get Together" that Warners had given them their own label. Banana (Lowell Levenger) was a bluegrass banjo player from way back, so he recorded High Country at his home studio, and got the album released on the Youngbloods' imprint.

October 5, 1971 Long Branch, Berkeley, CA: Charlie Musselwhite/Charles Ford Blues Band (Tuesday)
Charlie Musselwhite was billed with the band featuring Robben and Pat Ford, two former band members. It's not impossible that Musselwhite just sat in with the Charles Ford Band, instead of bringing his own group.

October 7, 1971 Long Branch, Berkeley, CA: Charlie Musselwhite/Frank Biner Band (Thursday)
Frank Biner was a popular local soul singer. Over the course of the 70s, Tower Of Power recorded a few of his songs, and he put out a few albums as a bandleader, but back in '71 Biner was just another guy working the clubs. Biner was originally from Chicago, where he had recorded a few singles, but he had moved to the East Bay in the late 60s.

October 8-9, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/Asleep At The Wheel (Friday-Saturday)
Asleep At The Wheel were based in Paw-Paw, WV, and played Western Swing music with a rock beat. They generally gigged around the greater Washington, DC area. In 1971, they had opened for Commander Cody and His Lost Planet Airmen, and the Cody crew encouraged them to move to the East Bay. Asleep At The Wheel relocated to Oakland, and started playing regularly at local nightclubs. This booking was probably one of the first (if not the first) performances by the Wheel in the Bay Area. The Airmen were on the verge of releasing their debut album, and they could pack the Long Branch, so plenty of fans were going to hear Asleep At The Wheel.

October 10, 1971 Long Branch, Berkeley, CA: Earth Quake/Bittersweet (Sunday) October 12, 1971 Long Branch, Berkeley, CA: Hades (Tuesday) Hades, sometimes billed as the Hades Blues Band, or Hades Blues Works, was a local band. They had played the club back when it was called Babylon.

In the late 60s, guitarist Jimmy Thorsen, bassist Steve Wright and drummer John Cuniberti had been in a band called Traumatic Experience. With the addition of guitarist Craig Ferreira, they became Hades. Steve Wright would go on to play in the Greg Kihn Band, and John Cuniberti became an important engineer and producer, particularly for Bay Area punk rock acts.

October 14, 1971 Long Branch, Berkeley, CA: Vertek (Thursday) Vertek was probably a power trio from Red Bluff, CA, called Vertrek. They had played the Fillmore West audition night in May of 1969.

October 22-23, 1971 Long Branch, Berkeley, CA: Frank
Biner/Clover (Friday-Saturday)
Although Clover had been dropped by Fantasy Records, they had soldiered on. The quartet had added two new members, keyboard player Sean Hopper and singer/harmonica player Hugh Cregg. The new six-piece band leaned a little more toward funk than country, in a Marin County kind of way. Cregg's band nickname was "Huey Louie," generally spelled "Huey Louis." About 8 years later, Cregg and Hopper would form a new band, Huey Lewis and The News.

October 24, 1971 Long Branch, Berkeley, CA: Frank Biner/Bittersweet (Sunday) The lone album by Shanti, released by Atlantic Records in 1971 November 6, 1971 Long Branch, Berkeley, CA: Shanti/Osceola (Saturday)

Shanti was a conscious attempt to fuse rock music with Indian music. Zakir Hussain, the son of tabla master Ustad Allah Rakha, and himself a brilliant tabla player, was a Marin resident. Along with Sarod player Aashish Khan and tabla player Pranesh Khan, they combined with some conventional rock musicians to form an "electric" Indian/Rock fusion ensemble. Guitarist Neal Seidel was joined by singer/guitarist Steve Haehl, bassist Steve Leach and drummer Francisco Lupica. In the 60s, Lupica had played with Lee Michaels and had been in bands like The Travel Agency and the Loading Zone (where he used the name Frank Davis).

Shanti put out an album on Atlantic in 1971, recorded at Pacific High Recorders in San Francisco (PHR was probably actually Alembic Studios by this time, but they seemed to prefer to use the outdated name in some instances). I don't know when the Shanti album was released, but I believe it was actually in the Summer of 1971 (there was an event that seemed to be related to the album release at Mickey Hart's ranch in August). I have not heard the album, but descriptions of it suggest an intriguing experiment that didn't entirely succeed, a mixture of psychedelic rock songs with Indian embellishment, along with genuine efforts to merge electric rock and Indian music in an amplified setting.

Shanti played around the Bay Area until they broke up some time in 1972. Some of the Shanti members went on to have interesting careers, and many of them were Grateful Dead-adjacent.

Zakir Hussain was a key figure in the Ali Akbar Khan School Of Music, which had moved to Marin in 1971. An offshoot of the school was the Diga Rhythm Band, a percussion group that included Mickey Hart, who produced their album for Round Records in 1975. Diga Rhythm Band played a few public shows, and Jerry Garcia came and played at one in Golden Gate Park (on May 30, 1975). Francisco Lupica was the inventor of The Beam, and Mickey Hart and Dan Healy adopted the concept as part of the Grateful Dead's concert setup. Guitarist Neil Seidel seems to have had a substantial music career, although I think it was mostly in soundtrack work. Bassist Steve Leach became somewhat known as a producer, as Steven Wold, and in the 21st century, as a performer, as Seasick Steve.

Osceola was a band from Florida, who had moved to San Francisco around 1969. They had played around at places like The Family Dog on the Great Highway, and other clubs, but they never got to a higher tier.

November 7, 1971 Long Branch, Berkeley, CA: Osceola/Bittersweet (Sunday) Osceola returned to headline Sunday night. This appears to be the last show at the Long Branch until the first weekend in December. By triangulation, I am assuming that the full expansion to 350 patron capacity was completed in November.

December 3-4, 1971 Long Branch, Berkeley, CA: Country Weather/The Dogs (Friday-Saturday)
The Long Branch returned to business on the first weekend of December. Country Weather were the headliners, as they had been in May. The Dogs are unknown to me.

December 5, 1971 Long Branch, Berkeley, CA: Hades/Grayson Street (Sunday) The actual Grayson Street was a short street a few blocks from the Long Branch. The band Grayson Street were a sort of roots-rock band from the East Bay. This gig was probably one of their first shows.The band was co-led by harmonica player Rick Kellogg and tenor saxophonist Terry Hanck, both of whom sang. Grayson Street never recorded, but many of its members ended up working with Elvin Bishop, Coke Escovedo, Tower Of Power and others.

Grayson Street played the Long Branch as much or more than any band, including Earth Quake.

December 6, 1971 Long Branch, Berkeley, CA: Hades/Fluid Drive (Monday) Fluid Drive are unknown to me.

December 8, 1971 Long Branch, Berkeley, CA: Knee Deep/Grayson Street (Wednesday)
Knee Deep are unknown to me.

December 9, 1971 Long Branch, Berkeley, CA: Beefy Red/Linx (Thursday) Beefy Red was a Marin band, a 10-piece ensemble somewhat in the mold of the Sons Of

Champlin, with a horn section and jazzy solos. Band members included trumpeter Mark Isham, guitarist Barry Finnerty and drummer Jim Preston.

December 10, 1971 Long Branch, Berkeley, CA: Asleep At The Wheel/Linx (Friday) We don't need a review of Asleep At The Wheel's appearances with Commander Cody in October to know how they went down. Here they were two months later, headlining Friday night. The Wheel surely had the whole club up and dancing, and a lot of beer got sold.

Grootna's album was released by Columbia in December, 1971 December 11, 1971 Long Branch, Berkeley, CA: Grootna/Sopwith Camel (Saturday) By the time of this show, Grootna's album had been released by Columbia. Now, it's probably true that not that many people had heard it, but in those days that had an album was a "real" band, implicitly above other groups playing the clubs. Many of the songs on the album were written by the team of Alan Silverman (Slim Chance) and Audie DeLong (Austin DeLone). However, since Silverman was only listed as "Slim Chance" with no reference to his real name, and DeLong wasn't in the band, the "Siverman/DeLone" credits were confusing at the time.

Lost In The Ozone, the epic debut album by Commander Cody and His Lost Planet Airmen, released on Paramount Records in November 1971
December 17, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/Clover (Friday)
December 18, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/Around and Around (Saturday)
Commander Cody and His Lost Planet Airmen returned to headline a weekend at the newly-expanded Long Branch Saloon. In November, Paramount Records had released the Airmen's epic debut album, Lost In The Ozone. The album was instantly popular in the Bay Area.

Even more remarkably, the song "Hot Rod Lincoln" got airplay not only on FM radio, but Top 40 AM radio as well. Thanks to that Hot Rod Lincoln, the Airmen went from being just a popular Berkeley band to a draw all over the Bay Area.

Around and Around are unknown to me.

December 25 , 1971 Long Branch, Berkeley, CA: Linx/Frank Biner (Saturday) It's surprising that the Long Branch had a Christmas night show booked, but the Long Branch was a neighborhood joint. A lot of people in Berkeley were from somewhere else, and it's not like they could all FaceTime with their family.

December 29 , 1971 Long Branch, Berkeley, CA: Hades/Mojo Hand (Wednesday) December 30, 1971 Long Branch Around and Around/Mojo Hand (Thursday) I'm sure that the Long Branch had a Friday night New Year's Eve show, but I don't know who was booked. I assume it was some of the many bands that played the club regularly.

If anyone has additional information, corrections or insights about bands that played the Long Branch during this period, please put them in the Comments.

The Long Branch Saloon: May 1971-November 1976
The Long Branch lasted a little over five years, and closed around November 1976. It was mostly a thriving club during that period. Berkeley's population grew enormously, and the students lived farther and farther from campus, driving up rents all over Berkeley, Albany and North Oakland. The Keystone Berkeley opened in March, 1972, and the much larger club got the premier bookings. In particular, acts like Jerry Garcia, Elvin Bishop, Tower Of Power and Commander Cody found time to regularly play the Keystone, and rarely if ever played the Long Branch. So Keystone periodically got big draws, even on weeknights, while Long Branch had to depend on its regulars. Earth Quake and Grayson Street were regular performers at the Long Branch throughout most of the 5-year period it was open. Earth Quake in particular held down almost every Friday night for long periods.

Another regular band, The Rockets, started playing the Long Branch in 1972. Lead singer Eddie Mahoney (1949-2019), a former New York City police trainee, started calling himself "Eddie Money" in 1974. By July, 1974, they were Eddie Money and The Rockets, and then just Eddie Money. Eddie Money was picked up by the Bill Graham organization, and he went on huge success as a singer, selling millions of records. Songs like "Two Tickets To Paradise" and "Baby Hold On To Me" are very familiar to listeners of a certain age.

The Long Branch didn't look like this in 1971.

Afterwards
The Long Branch briefly re-opened as a music venue around November 1978. The club was run by the former proprietor of the Berkeley club Jerry's Stop Sign (yet another story) and used the name The Branch. It wasn't open for long.

For many years, 2504 San Pablo Avenue was a store called Good Vibrations. It wasn't a music store, but it was scandalous enough to live up to the Cabale history (don't google it at work).

Eventually, as Berkeley got more and more wealthy, gentrification finally got all the way down to Dwight Way and San Pablo Avenue. The building was completely remodeled, and re-opened as a restaurant. The new address is 2512 San Pablo Avenue, but it's the same location. The first restaurant I am aware of was called Sea Salt, which opened about 2009 or so. Sea Salt closed, though, and a new restaurant opened on November 11, 2014.

The Long Branch Saloon, at 2512 San Pablo Avenue, Berkeley, ca. 2019 The name of the new restaurant? The Long Branch Saloon. It says "Upscale comfort food is served in a stylish setting with open rafters & butcher-block tables." Given the turnover in Berkeley's population, it's likely that the locals think the Long Branch is just a reference to Dodge City--which it is--and don't see the nod to a hard-rockin' past. But maybe when a Barry Melton or a Huey Lewis drops by for some upscale comfort food, they pull up and think, "hey I know this joint..."
update 20230604: Historic Flyer
Reader Lydia B sent some historic flyers. Here's a sample from November 1973, front and back Long Branch November 1973 flyer, front (thanks Lydia B)

Long Branch November 1973 flyer, back (Beer 10 cents until 9 pm!) Appendix: Other Posts in the 1970s Rock Nightclubs Series Keystone Berkeley, 2119 University Avenue, Berkeley, CA: 1972 Performers List 3138 Fillmore Street, San Francisco, CA: The Matrix January-June 1970 Performers List (Matrix I)
Bay Area Rock Nightclub Survey: Berkeley, January-April 1974 (Bay Area '74 I) Loading Zone Performance List 1970
For subsequent posts in the 70s Rock Nightclubs series, see here.

POSTED BY¬CORRY342¬AT¬7:15 AM¬
LABELS:¬1971,¬70S ROCK NIGHTCLUBS,¬BERKELEY,¬LONG BRANCH

FRIDAY , AUGUST 11, 2023
2504 San Pablo Avenue, Berkeley, CA: The Long Branch
Saloon, January-June 1972 Performers List (Long Branch
II)
The former site of The Long Branch Saloon in Berkeley, as it appeared in 2009 2504 San Pablo Avenue, Berkeley, CA: The Long Branch Saloon, January-June 1972 Performers List
By 1971, the live rock music market was evolving, and lots of entrepreneurs were noticing. Rock music had always been the province of teenagers, of course. But 60s rock music, with the likes of the Beatles, Bob Dylan and Cream, had raised the ante. Rock music fans didn't just "move on" when they turned 18. Those kids who were 15 when the Beatles had played Ed Sullivan in 1964 were past drinking age by 1971. They were still listening to rock music, and they took it seriously.

And while every rock fan wanted to see the most popular bands when they came to town, their options were expanding.

Rock fans in their 20s probably had a job, and a few more dollars than when they were teenagers.

They also didn't have parents constraining them, and they could drink. They weren't going to go to the Fairmont Hotel in San Francisco, but going on a date to a club where you could drink beer and dance was starting to seem like a viable idea.

In 1971, the University of California at Berkeley was expanding. It had never been a small school, but in the early 70s they added more and more students. California parents realized their kids could get a prestigious Ivy League-quality degree for the bargain price of around $212.50 a quarter. When those students graduated, many of them stuck around Berkeley. Rock music in the 60s had been oriented towards the Fillmore West and other big dance halls, but by the early 70s nightclubs were starting to book original bands, too. The city of Berkeley had lots of young people, a town that didn't object to long-haired hippies, and a generally central location.

There had been music clubs in Berkeley since World War 2, of course. But as the 70s dawned, the various music clubs in Berkeley started to evolve. The New Monk, near campus at University and Shattuck, shifted from being a fraternity hangout to a rock nightclub, and by the next year it would become the Keystone Berkeley. 2 miles South and West of the New Monk, Malcolm Williams ran Babylon, but he had big plans, too. In May, 1971, Williams doubled the size of Babylon, and re-opened it as The Long Branch.

The Long Branch had a capacity of about 350. Ironically, the biggest club in the Bay Area would be the Keystone Berkeley, just 2 miles from the Long Branch. The New Monk, at 2119 University, mainly a frat beer joint, would be taken over in 1972 by Freddie Herrera and become the Keystone Berkeley. The Keystone Berkeley officially held 476, but it was widely felt that more people were regularly crammed in. Thanks to regular performances throughout the 70s by Jerry Garcia, Tower Of Power, Elvin Bishop and others, the Keystone Berkeley became the premier nightclub gig in the Bay Area until about 1977.

The back of a Long Branch flyer, October '73 (thanks to Lydia Frazier Bosley), encouraging patrons to hang out at the club Bands would build a following at the Long Branch, and the bands that headlined weekends at the Branch would play weeknights at the Keystone Berkeley, with a built-in audience. Although it's hard to be sure, I think the Long Branch crowd lived relatively near the club, and was in the just-over-21 bracket. The Long Branch was definitely a hard-rocking club, with loud bands and patrons who liked to dance, with less of the University overlay that was included in the Keystone Berkeley audience. The Keystone was right near campus, so it's audience was broader but to some extent more snobby. The Long Branch was in West Berkeley, and less pretentious.

As a result, the Long Branch ended up being a sort of farm team for the Keystone Berkeley. That wasn't a bad thing, necessarily, for the bands themselves. Keystone Berkeley and Long Branch didn't have identical crowds. The Keystone was nearer to campus, and at least on weekends drew people from Alameda, Contra Costa and Marin counties. The Long Branch had a little bit younger crowd who just liked to go out, and probably mostly lived around Berkeley.

At the Long Branch, mostly the same bands played the club over and over. If a band could build an audience at Long Branch, the expectation was that their own regulars would see the band over and over. Earth Quake, for example, the archetype for a Long Branch band, could play a wide variety of exotic British Invasion cover songs, so that their regular fans didn't hear the exact same set every time.

In a previous post, I looked at all the known bookings for the Long Branch in it's opening year of 1971. This post will look at bookings at the Long Branch for the first half of 1972. If anyone has any updates, corrections, insights or interesting speculation, please included them in the Comments.

The Scenedrome listing in each week's Berkeley Barb was my main source for Long Branch bookings January 1, 1972 Long Branch, Berkeley, CA: Linx/Frank Biner Band (Saturday) The Long Branch was generally open from Wednesday through Sunday, with bands every night.

Wednesday was usually "audition night," with local bands that were hoping to build a following.

The Long Branch did not advertise in the local papers. There may have been some flyers around town (common in Berkeley at the time), but none from this period have surfaced. The entertainment listings for the Berkeley Barb or the San Francisco papers would usually include the weekend bookings for the Long Branch.

I have only noted dates where I could find a listing. Bands played the Long Branch over and over, so while some dates are missing, I have likely captured the weekend bands. The weeknights would have just featured local bands, for the most part, although a few of them would go on to success.

Linx played the Long Branch regularly, as well as other Berkeley clubs. They featured the teenage saxophonist Lenny Pickett, later to become well-known in Tower Of Power and then leading the Saturday Night Live band. Also in the group was Jonathan Waxman, who became a well-known chef in Manhattan.

Frank Biner was a popular local soul singer. Over the course of the 70s, Tower Of Power recorded a few of his songs, and he put out a few albums as a bandleader, but back in '71 Biner was just another guy working the clubs. Biner was originally from Chicago, where he had recorded a few singles, but he had moved to the East Bay in the late 60s.

January 7-8, 1972 Long Branch, Berkeley, CA: Yogi Phlegm/Frank Biner (Friday-Saturday)
Yogi Phlegm was the new name for the Sons Of Champlin. At the time, the Sons were not sure they had the rights to their name, and they also wanted to distinguish their newer music from their past sounds. Yogi Phlegm emphasized jamming, sometimes in pretty far-out formulations.

Now, they were still funky, and you could still dance to them, but there was more jazz and less R&B than the 60s lineup of the Sons.

The name "Yogi Phlegm" was a joke about Indian gurus. No one got it. Everyone hated it, particularly Bill Graham. Most club owners would advertise "Yogi Phlegm--formerly The Sons" anyway. The band reverted to being the Sons Of Champlin by the next year.

The Yogi Phlegm lineup had the old front line of Bill Champlin on vocals, organ and guitar, Geoff Palmer on keyboards and vibes and Terry Haggerty on lead guitar. The bassist was old Marin pal Dave Schallock, and the drummer was Bill Vitt. The band had dispensed with any horn players, leaving them more freedom to jam.

January 9, 1972 Long Branch, Berkeley, CA: Dennis Geyer Band/Hunun Dean (Sunday)
Dennis Geyer had been the guitarist and singer in a Wisconsin band called The New Blues. In 1968, they had relocated to San Francisco and added organ player Howard Wales. They changed their name to AB Skhy Blues Band, and had released an album on MGM. Wales and then Geyer had left AB Skhy, to be replaced by other players. Geyer continued to play around the Bay Area.

Hunun Dean is unknown to me.

January 13-14, 1972 Long Branch, Berkeley, CA: Wayne The Harp (Thursday-Friday) Wayne The Harp was guitarist Wayne Ceballos. Ceballos had led the Bay Area trio AUM (pronounced "Ohm") in the sixties. AUM had released two albums, and opened at both Fillmores as well. Ceballos still played the same kind of hard-driving blues guitar in his new group.

January 15, 1972 Long Branch, Berkeley, CA: Stoneground (Saturday) Stoneground had been put together by KSAN impresario Tom Donahue in 1970 for an intended movie about a "traveling Woodstock" called Medicine Ball Caravan. The Grateful Dead were booked for the movie, but backed out at the last minute. Stoneground had released their self-titled debut album on Warner Brothers in 1971, and then its followup, Family Album, later in that year. Among the key members of Stoneground were singers Sal Valentino, Lynne Hughes, Annie Sampson and Deirdre LaPorte. Guitarist Tim Barnes also sang. Pete Sears had been the pianist for the album, although he had been replaced by Cory Lerios by this time.

January 21-22, 1972 Long Branch, Berkeley, CA: Grootna/Knee Deep (Friday-Saturday)
Grootna was a Berkeley band that had arisen out of a 60s Berkeley band called Sky Blue.

Guitarist Vic Smith and singer (and sometime drummer) Anna Rizzo had teamed up with guitarist/writer Allan "Slim Chance" Silverman. Drummer Greg Dewey (from Mad River) was also in the band, along with a few others. The band played a batch of songs written by Silverman and his songwriting partner Austin DeLone. DeLone, however, was playing pubs in London with the band Eggs Over Easy. Everybody in Grootna had many links to numerous Berkeley ensembles.

Grootna's album had been released by Columbia in December 1971. Now, it's probably true that not that many people had heard it, but in those days that had an album was a "real" band, implicitly above other groups playing the clubs. Many of the songs on the album were written by the team of Alan Silverman (Slim Chance) and Audie DeLong (Austin DeLone). However, since Silverman was only listed as "Slim Chance" with no reference to his real name, and DeLong wasn't in the band, the "Siverman/DeLone" credits were confusing at the time.

Knee Deep is largely unknown to me. In 1973, they would change their name to The Titans.

Eddie Money, former lead singer of The Rockets, released his debut solo album on Columbia in 1977 January 23, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel/Rockets (Sunday) Asleep At The Wheel were from Paw-Paw, WV, and played Western Swing music with a rock beat. They generally gigged around the greater Washington, DC area. In 1971, they had opened for Commander Cody and His Lost Planet Airmen, and the Cody crew encouraged them to move to the East Bay. Asleep At The Wheel relocated to Oakland, and started playing regularly at local nightclubs. In October of 1971, Asleep At The Wheel had opened a weekend at the Long Branch for the Airmen. Within six weeks, The Wheel were headlining the Long Branch themselves.

This booking appears to be the first time The Rockets were booked on a weekend at the Long Branch, although that implicitly suggests they had played a weeknight earlier. Probably the Rockets had played a Wednesday audition, had sounded good, and had played some other weeknights, and done well enough to be second-billed on a Sunday night. That was the usual pattern for local bands playing the Long Branch, without a record company or agency support.

With respect to the history of the Long Branch, however, the Rockets weren't just another band.

The lead singer of the Rockets was a transplanted New Yorker, a former NYPD trainee cop named Eddie Mahoney. Also in the band was guitarist Dan Alexander, bassist Chris Sohlberg and drummer John Cuniberti. The Rockets would rise to be regular weekend headliners at the Long Branch, along with Grayson Street, Earth Quake and others. In mid-1974, Mahoney would change his stage name to Eddie Money, and the band evolved into Eddie Money and The Rockets, and later just the Eddie Money Band. In 1975, the Bill Graham organization started managing Money, and by 1977 he had released his debut album on Columbia. "Two Tickets To Paradise" and "Baby Hold On To Me" were huge hits. Mahoney (1949-2019) suffered a variety of health issues and has passed on, but thanks to television commercials and oldies, Eddie Money is far and away the biggest act ever to come out of the Long Branch.

January 25, 1972 Long Branch, Berkeley, CA: Hades (Tuesday) Hades, sometimes billed as the Hades Blues Band, or Hades Blues Works, was a local band. They had played the club back when it was called Babylon.

In the late 60s, guitarist Jimmy Thorsen, bassist Steve Wright and drummer John Cuniberti had been in a band called Traumatic Experience. With the addition of guitarist Craig Ferreira, they became Hades. Steve Wright would go on to play in the Greg Kihn Band, and John Cuniberti became an important engineer and producer, particularly for Bay Area punk rock acts.A ts o m e point, Cuniberti joined The Rockets (see above), so I think Hades was near the end of the line here.

I think the Long Branch wasn't regularly open on Tuesdays, but without listings it's hard to be sure.

January 27, 1972 Long Branch, Berkeley, CA: Copperhead/Jesse, Wolff and Whings (Thursday)
Copperhead was the relatively new band formed by former Quicksilver Messenger Service lead guitarist John Cippolina. Membership was always somewhat fluid. At this time, the band probably had Cippolina and Jimmy Murray (himself ex-QMS ca. 1967) on guitars, Jim McPherson on bass, Pete Sears on keyboards and probably David Weber on drums. Copperhead would go on to release a 1973 album on Columbia. They were promising, but never seemed organized.

Jesse, Wolff and Whings released one album on Leon Russell's Shelter label, distributed by Capitol. The group featured lead singer Jesse Barish, lead guitarist Bill Wolff, bassist Kevin Kaufmann and drummer Kevin Kelley, among other members. The group was supposed to be called Wings, but Capitol had Paul McCartney's Wings, so they had to change the spelling.

Jesse Barish, per his bio, apparently played a little bit with the all-instrumental Orkustra (I think he played flute), back in the 60s. Bill Wolff was in a later version of the Peanut Butter Conspiracy.

Kevin Kelly had been in The Rising Sons and The Byrds, among other bands, and both Kelly and Kevin Kaufmann had backed Phil Ochs.

When Jesse, Wolff and Whings fell apart, Jesse Barish went on to work with Marty Balin and Grunt Records. Barish ended up co-writing many songs with Balin, and as a result he has many songwriting credits on Jefferson Starship albums, such as "Count On Me." As a point of comparison, Copperhead had headlined the Keystone Berkeley on Friday, January 7, and Whings had opened the following weekend (January 14-15, for the HooDoo Rhythm Devils). (note: I am missing any listings for the weekend of January 28-29) February 1-2, 1972 Long Branch, Berkeley, CA: Joe Crane and The HooDoo Rhythm Devils (Tuesday-Wednesday)
The HooDoo Rhythm Devils, led by singer Joe Crane, had arisen out of a local blues-rock band called P, G &E. The HooDoos had released an album on Capitol in 1971, Rack Jobbers Rule.B y 1972, they would switch to Blue Thumb, where their next album Barbeque of Deville, came out later in the year.

February 3-4, 1972 Long Branch, Berkeley, CA: Flamin
Groovies/Hades (Thursday-Friday)
The Flamin' Groovies were an original San Francisco band, having formed as The Chosen Few in 1965. The Groovies, however, stuck to the Rolling Stones' sound when the rest of the city's bands went psychedelic, and they did not particularly thrive during the Fillmore era. Along with their manager, the Flamin' Groovies had rented the old Fillmore and put on shows with various bands in 1969 and '70. Thus they stayed in the public eye, even if not many fans had heard them yet.

Still, by 1969 the Flamin Groovies had released their debut album on Epic, Supersnazz.

Subsequently they released Flamingo (1970) and Teenage Head (1971) on Kama Sutra. Neither record sold well, and the band had were dropped by Kama Sutra. Lead singer Roy Loney left the band, leaving singer/guitarist Cyril Jordan as the principal driving force. Later in 1972, the Groovies would move to England, where their "Power Pop" sound would be less of an anomaly. At this time, however, the Groovies were without a label, and without much of a following in their home territory.

Earth Quake's 1971 debut album on A&M Records
February 5, 1972 Long Branch, Berkeley, CA: Earth Quake/Fluid Drive (Saturday) Earth Quake, from Berkeley, were the ultimate Long Branch band, and it's fitting that they played opening night. Originally, they had been a Berkeley High band called Purple Earthquake.

By early 1972, they were a quintet, with Robbie Dunbar on lead guitar, Gary Phillips on rhythm guitar, lead vocalist John Doukas, bassist Stan Miller and drummer Steve Nelson. Earth Quake had released their debut album on A&M Records sometime in 1971 Earth Quake would play the Long Branch at least every month for five years, and in many months every Friday night. Earth Quake, with their vast trove of cover versions, always had a loyal audience at the club
Fluid Drive is unknown to me.

February 6, 1972 Long Branch, Berkeley, CA: Jabo Stokes (Sunday) Jabo Stokes is unknown to me.

February 9, 1972 Long Branch, Berkeley, CA: Bittersweet (Wednesday) Bittersweet was a rock band from Chico, CA, who moved to the East Bay. Rock historian Bruno Cerriotti has a detailed history of their adventures.

February 10, 1972 Long Branch, Berkeley, CA: Bittersweet/Full Moon (Thursday) Full Moon is unknown to me
, although it's possible they were formerly known as Womb.

February 11 1972 Long Branch, Berkeley, CA:bStoneground/Country Weatherb(Friday)
Country Weatherbwere a Walnut Creek (Contra Costa County) group, from just over the Berkeley Hills. They had originally been called The Virtues, but soon after lead guitarist Greg Douglass joined, they changed their name to Country Weather. Country Weather never released a record when they were together from 1967-73.bSince the group was familiar from many posters from 1968 onward, Country Weather became one of the great

lost San Francisco groups of the 1960s.bUltimately, the group reformed in the 21st century and still performs occasionally. RD Records released some of their 60s demos and live performances, alonmg with some 21st century recordings.b Greg Douglass became a successful guitarist in the Bay Area, best known for co-writing “Jungle Love” for Steve Miller, with whom he played for many years. Douglass was also a member of Hot Tuna for one brief, sensational tour in Spring 1975.b The Doobie Brothers, ca 1971
February 12, 1972 Long Branch, Berkeley, CA: Doobie Brothers/Nipple (Saturday) In early 1972, the Doobie Brothers were another unknown band climbing the ladder. The Doobies were from the San Jose area, and they had built a following in the South Bay. They were largely unknown in the East Bay, however. Throughout January, they had played every Thursday night at The New Monk, just 2 miles up the road at University and Shattuck (and later the Keystone Berkeley).

The Doobie Brothers had released their first, self-titled album on Warner Brothers, back in April, 1971. It hadn't done well. Although the Doobies had gone on a National tour (with Mother Earth), they were mostly just slugging it out in the local clubs. Still, Warner Brothers was behind them. In January, the Doobie Brothers had played live on KSAN-fm (at Pacific High Recorders on January 16), which meant that Warners had coughed up the ad dollars to subsidize the broadcast. At this time, the Doobies had just replaced original bassist Dave Shogren with Tiran Porter, and they had added Michael Hossack as a second drummer (along with John Hartmann). Guitarists Tom Johnston and Pat Simmons were the lead singers.

Nipple is unknown to me.

February 13, 1972 Long Branch, Berkeley, CA: Country Weather (Sunday) February 16-17, 1972 Long Branch, Berkeley, CA: Dr Hook And The Medicine Show (Wednesday-Thursday)
Dr Hook and The Medicine Show were a somewhat comic country-rock act, produced by Shel Silverstein. Their debut album would have just been released on Columbia. They would soon hit it big with "Silvia's Mother" and "Cover Of The Rolling Stone." February 18, 1972 Long Branch, Berkeley, CA: Linx/Frank Biner Band (Friday) February 19, 1972 Long Branch, Berkeley, CA: Linx/Runnin Easy (Saturday) Runnin' Easy is unknown to me, although I recognize their name from various bookings.

February 20, 1972 Long Branch, Berkeley, CA: Dennis Geyer Band (Sunday) I am missing any listings for the weekend of February 25-28.

February 29, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel (Tuesday) March 1, 1972 Long Branch, Berkeley, CA: Orisha/Free And Easy (Tuesday) Both Orisha and Free And Easy are unknown to me. The New Monk opened as the Keystone Berkeley this night.

March 3-4, 1972 Long Branch, Berkeley, CA: Wayne The Harp (Friday-Saturday) March 5, 1972 Long Branch, Berkeley, CA: Loading Zone/Dennis Geyer Band (Sunday)
The Loading Zone, from Oakland, had played the original Trips Festival back in 1966. By 1972, they had been through many different iterations. By this time, although they still broadly featured the mix of rock and soul as when they had started, they had no original members. They were good, though: Linda Tillery and Wendy Haas on vocals, Tom Coster on organ, Doug Rauch on bass, Tony Smith on drums and Bruce Conte on guitar.

March 10, 1972 Long Branch, Berkeley, CA: Cold Blood/Linx(Friday) Cold Blood are generally associated with the East Bay funk sound of bands like Tower Of Power.

The East Bay association was appropriate musically, but in fact Cold Blood had its roots in the South Bay. Lead singer Lydia Pense, from San Mateo, and bassist Rod Ellicott had been in a Peninsula Band in 1966 called the New Invaders, who had evolved into The Generation. The Generation were known as the first Bay Area band to merge a horn section with a rock band. The Generation evolved into Cold Blood, and they were signed to Bill Graham's San Francisco label (distributed by Atlantic).

Cold Blood released two albums on San Francisco, their self-titled debut (1969) and Sisyphus (1970), which spawned a modest local hit with a remake of "You Got Me

Hummin'."After Graham's labels folded, Cold Blood ended up on Reprise. In 1972, they would release First Taste Of Sin. Lydia Pense was a powerful singer, and Cold Blood was a tight band, so the group was very popular in night clubs and at local dances. In retrospect, however, they sound as if they were trying a bit too hard, instead of just playing the music they liked.

March 11, 1972 Long Branch, Berkeley, CA: Stoneground/Linx (Saturday) March 15, 1972 Long Branch, Berkeley, CA: Cesar's Combo (Wednesday) The Examiner lists this as "Latin Jazz." I assume Cesar's Combo was a version of the house band at Cesar Ascarrunuz's 830 Club, led by Luis Gasca. To my knowledge, they played in a Latin jazz-rock vein, sort of like Malo.

March 18, 1972 Long Branch, Berkeley, CA: Copperhead/The Ducks (Saturday) I believe The Ducks were a Marin band featuring guitarist and songwriter Kent Housman.

March 19, 1972 Long Branch, Berkeley, CA: Grootna/Jabo Stokes (Sunday) March 24, 1972 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/Asleep At The Wheel(Friday)
The headliners were Berkeley's very own Commander Cody and His Lost Planet Airmen. Cody and the Airmen had moved out to California in Summer '69, setting up shop in a rambling house in nearby Emeryville. The band played "hippie honky-tonk," a strange brew of Western Swing, traditional country, old-time rock and roll and Berkeley sensibilities. Their November 1971 debut album, Lost In The Ozone, had spawned the local hit single "Hot Rod Lincoln."
The Airmen had been regular headliners at the Long Branch since it had opened in May, 1971.

One or two tracks on the debut album had even been recorded live at the Long Branch back in July. The Airmen were regionally popular now, thanks to "Hot Rod Lincoln," and touring around.

But I'm sure they could still pack a Friday night house on San Pablo Avenue.

March 25-26, 1972 Long Branch, Berkeley, CA: Earth Quake/The Rockets (Saturday-Sunday)
April 4, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel/Alice Stuart (Tuesday) Alice Stuart was a fine blues guitarist and singer. Although she was from Seattle, she had been playing in the Bay Area since about 1964. Stuart had performed and recorded in a variety of settings. At one point in late 1969, she had even been the temporary bass player for the Lost Planet Airmen. In 1972 she led a trio named Snake, and they recorded for Fantasy Records.

April 5, 1972 Long Branch, Berkeley, CA: Cesar's Combo (Wednesday) April 7, 1972 Long Branch, Berkeley, CA: Copperhead/Big Brother and The Holding Company (Friday)
Big Brother and The Holding Company had reformed in late 1969, although of course without Janis Joplin. They had put out two fairly good but poorly-received albums on Columbia (1970's Be A Brother and '71's How Hard It Is). Initially, all the original members had been part of the reformation, but by 1972 the band was being held together by guitarist Sam Andrews. Kathi McDonald, a veteran singer from Seattle (and a former Ikette, despite being blonde), had the somewhat thankless task of being the lead singer. McDonald was an excellent singer, in fact, but Janis was an icon, not just a singer.

Five years earlier, Quicksilver Messenger Service and Big Brother had been in two of the Fillmore's biggest, most exciting bands. Now Cippolina and Andrews were sharing a bill at a 350-capacity club on San Pablo Avenue. Phil Elwood reviewed the show and had high praise for Copperhead. He identified Gary Phillipet (guitar) and Jim McPherson (bass) as the singers, and mentioned Pete Sears' fine piano, along with Cippolina. Elwood also said that Big Brother sounded good, but he added no details.

April 8, 1972 Long Branch, Berkeley, CA: Linx/Little John (Saturday) Little John was a local blues band, but I don't know anything else about them.

April 9, 1972 Long Branch, Berkeley, CA: Rockets/Jack Frost (Sunday) Jack Frost is unknown to me.

April 12, 1972 Long Branch, Berkeley, CA: Clover (Wednesday) April 13, 1972 Long Branch, Berkeley, CA: Saving Grace/Ducks (Thursday) Saving Grace and Ducks are unknown to me.

April 15, 1972 Long Branch, Berkeley, CA: Mike Finnegan and Jerry Wood/Clover (Friday)
Organist and singer Mike Finnegan was from Wichita, KS. Unlike typical musicians, the 6'6" Finnegan had gotten a basketball scholarship to the University of Kansas. He had moved to the Bay Area around 1969, and he had been a member of The Jerry Hahn Brotherhood, who had put out a highly regarded 1970 album on Columbia. Unfortunately, the album went nowhere, and Finnegan had left the band. At this time, Finnegan had another band with guitarist Jerry Wood, and he worked with the re-activated Big Brother and The Holding Company as well. Finnegan and Wood released the album Crazed Hipsters on Blue Thumb in 1972.

April 21, 1972 Long Branch, Berkeley, CA: Earth Quake/Modern Lovers (Friday) It's easy to make fun of Berkeley--I for one never tire of it--but you have to give the town its due.

Yes, Berkeley is pretentious and sniffs at the provinciality of every other town, ever. But it also means that Berkeley is often ahead of other places, often way ahead. Johnathan Richman and the Modern Lovers were an underground cult sensation in Berkeley around 1975, long before anywhere else had heard of him. And yet, three years earlier--three years!--The Modern Lovers had played at the Long Branch. At the time, the Modern Lovers were fairly self-consciously modeled on the Velvet Underground. At the time, the VU were all but forgotten, and frontman Lou Reed was just an obscure solo artist in New York. Nobody cared about Reed or the Velvets, much less an unrecorded Boston band carrying on their obscure tradition. Warner Brothers had signed the Modern Lovers, and flown them out to Los Angeles to record demos with John Cale. The band also played a few live gigs, including this booking at the Long Branch.

When Beserkeley Records released Richman's sunny takes in 1975, "Road Runner" and "New Teller" were a ray of sunshine on FM radio, when they got played. Yet shortly after, the earlier, darker demos recorded back in '72 with John Cale behind the board revealed a much grimmer version of the Modern Lovers. In 1976, Beserkeley released the demos (the release was known as "The Black Album"). It featured a darker, organ-driven version of "Roadrunner," and the bleak, hilarious "Pablo Picasso" ("Some people walk down the street/Get called an asshole/That never happened to/Pablo Picasso"). The dark, '72 Modern Lovers had opened at the Long Branch for their future label-mates Earth Quake, and someone had the foresight to record it. You have to love Berkeley for that.

The Modern Lovers probably did not go over that well. Besides Richman on electric guitar and vocals, the band had future Talking Head Jerry Harrison on organ and future Car drummer David Robinson, plus bassist Ernie Brooks. In 1998, the Long Branch show was released as part of a vinyl double-LP, Modern Lovers Live At The Longbranch And More.

April 22, 1972 Long Branch, Berkeley, CA: Grootna/Fletcher Brothers (Saturday) Note that bands like Grootna or Copperhead, with recordings to their name (in Copperhead's case, via Cippolina) were playing the Long Branch about once a month.

The Fletcher Brothers played local Bay Area clubs during this period, but I don't know anything else about them.

April 23, 1972 Long Branch, Berkeley, CA: Bobby Hutcherson (Sunday) Bobby Hutcherson was an exceptional vibes player from Los Angeles. He had moved to New York, and had recorded for Blue Note as early as 1963. Hutcherson returned to California in 1967, and mostly played on the West Coast thereafter. While Hutcherson was a forward-thinking music, his music was quieter and more acoustic than some of his peers at the time. Since there were no jazz clubs in the East Bay, Hutcherson often played rock clubs on weeknights. Although jazz was a rarity at the Long Branch, Berkeley has always been amenable to eclectic bookings.

April 25, 1972 Long Branch, Berkeley, CA: Boogie Brothers/Sober and Sorry (Tuesday)
Boogie Brothers and Sober and Sorry are both unknown to me.

April 27, 1972 Long Branch, Berkeley, CA: Linx/The Rockets (Thursday) April 28, 1972 Long Branch, Berkeley, CA: Linx/Bitterweet (Friday) April 29, 1972 Long Branch, Berkeley, CA: Earth Quake/Knee Deep (Saturday)

April 30, 1972 Long Branch, Berkeley, CA: Osceola (Sunday) Osceola was a band from Florida that had relocated to San Francisco around 1969, and played around the Bay Area for a few years.

May 5, 1972 Long Branch, Berkeley, CA: Linx/Knee Deep (Friday) May 6, 1972 Long Branch, Berkeley, CA: Dennis Geyer Band/Bittersweet (Saturday) May 10, 1972 Long Branch, Berkeley, CA: Street Band(Tuesday) The Street Band is unknown to me.

I am missing listings for the weekend of May 12-14.

May 16, 1972 Long Branch, Berkeley, CA: Mike Finnegan and Jerry Wood (Tuesday) May 19, 1972 Long Branch, Berkeley, CA: Grootna/Rockets (Friday) May 20, 1972 Long Branch, Berkeley, CA: Linx/Frank Biner (Saturday) May 21, 1972 Long Branch, Berkeley, CA: Fluid Drive/Jango (Sunday) Jango is unknown to me.

May 23, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel/High Country (Tuesday)
Asleep At The Wheel tried to work as many nights as possible. From this point on, it appears they played most Tuesday nights at the Long Branch.

High Country were a Berkeley bluegrass band led by mandolinist Butch Waller. High Country were regulars at Berkeley's already-legendary folk club, the Freight And Salvage (a half-mile North, at 1827 San Pablo). Waller had been pals with Garcia and David Nelson, both former bluegrassers, since 1963. Waller and David Nelson had been in a bluegrass band together in 1964 (the Pine Valley Boys), and in '69, Nelson had even played a little with High Country. One time, High Country's banjo player wasn't available, and Jerry Garcia filled in (June 19, 1969--of course, there's a tape). High Country had released an album on Raccoon, the Youngbloods' label.

May 24, 1972 Long Branch, Berkeley, CA: Is/The Street Band (Wednesday) Is is unknown to me.

May 25, 1972 Long Branch, Berkeley, CA: Loading Zone/Linx (Thursday) The Loading Zone were still grinding it out. One of their vocalists, Wendy Haas, had left to join Azteca, but they still had Linda Tillery.

May 26 1972 Long Branch, Berkeley, CA: Earth Quake (Friday) May 27, 1972 Long Branch, Berkeley, CA: Loading Zone/Linx (Saturday)

Sophomoric, the second album by the Congress Of Wonders comedy duo, was released on Fantasy Records in 1972 May 28, 1972 Long Branch, Berkeley, CA: Congress Of Wonders/Blue Mountain/Fluid Drive Benefit for George McGovern (Sunday) George McGovern was the Anti-War candidate for the Democratic Party Presidential nomination, so there were many benefits for him in college towns like Berkeley.

Congress Of Wonders was a hip comedy duo. Congress of Wonderswere a comedy duo from Berkeley, initially from the UC Berkeley drama department and later part ofbBerkeley’s Open Theater on College Avenue, a prime spot for what were called “Happenings”b(now ‘Performance Art’).bThe group performed at the Avalon and other rock venues.

Karl Truckload (Howard Kerr) and Winslow Thrill (Richard Rollins) created two Congress of Wonders albums on Fantasy Records (RevoltingbandbSophomoric). Their pieces “Pigeon Park”band “Star Trip”, although charmingly dated now, were staples of San Francisco underground radio at the time.b
b
Blue Mountainbwas a band from Palo Alto.b
May 30, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel/Knee Deep (Tuesday) May 31, 1972 Long Branch, Berkeley, CA: The Street Band (Wednesday)

June 2, 1972 Long Branch, Berkeley, CA: Tower Of Power (Friday) Tower Of Power, though originally from Fremont, were the pride of Oakland. They had been discovered by Bill Graham at the Tuesday night Fillmore West auditions, and their first album East Bay Greasehad been released on Graham's San Francisco label (distributed by Atlantic). By 1972, the label was gone, but Atlantic's sister label Warner Brothers had picked up Tower. Tower's immortal second album, Bump City, had been released in the Spring, just as the Oakland A's, Raiders and Golden State Warriors were making all things Oakland ascendant.

Tower Of Power had graduated beyond the Long Branch by this time, but they were the sort of band who preferred to fill up the gig sheet on any empty night.

June 3, 1972 Long Branch, Berkeley, CA: Frank Biner/Full Moon (Saturday) June 4, 1972 Long Branch, Berkeley, CA: Fluid Drive/The Tubes (Sunday) McGovern Benefit
The Tubes had only formed around March, 1972. Most of the band members were from Phoenix, AZ. Initially, guitarist Bill Spooner, keyboard player Vince Welnick and bassist Rick Andersen had been in a popular Phoenix band called The Beans. The Beans had moved to San Francisco in Fall 1970. They had played numerous local gigs, but hadn't really made much headway. After some band members left the Beans, it had turned out that another popular Phoenix band had lost some members, so guitarist Roger Steen and drummer Prairie Prince had relocated to San Francisco to join The Beans. Their roadie John "Fiji" Waldo was added as lead singer, and The Tubes were born.

The Tubes played a sort of progressive rock rather than modified blues. They also had a fairly elaborate stage show, which was pretty much unheard of at the time. Initially, of course, their props were just cardboard and confetti, but they were a performing band from the beginning.

June 6, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel/Boogie Brothers (Tuesday)

Juice Newton's 1981 debut lp, several years after she was in the folk-rock band Dixie Peach June 7, 1972 Long Branch, Berkeley, CA: Linx/Dixie Peach (Wednesday) Dixie Peach was a folk rock band that featured singer Judy Newton and guitarist and songwriter Robert Otha Young. The two had started performing together when Newton was a student at Foothill College in Los Altos. Bassist Cecil Bollinger, formerly of the great South Bay group Weird Herald, was also a member.

Although Dixie Peach was just another local band on the Bay Area scene, Judy Newton would go on to become far better known in the 80s as country singer Juice Newton. Otha Young (1943- 2009) was her principal songwriter as well, so the two had a fruitful musical partnership well into the 21st century.

June 8, 1972 Long Branch, Berkeley, CA: Linx/Loading Zone (Thursday) June 9, 1972 Long Branch, Berkeley, CA: Elvin Bishop Group/Django (Friday) June 10, 1972 Long Branch, Berkeley, CA: Elvin Bishop Group/Fluid Drive (Saturday) Elvin Bishop had been a regular performer in Bay Area rock nightclubs since he had arrived in San Francisco in 1968, having just left the Paul Butterfield Blues Band. From 1969 onwards, his main gig had been at Freddie Herrera's Keystone Korner in San Francisco, but he played all over.

The Elvin Bishop Group had been signed to Bill Graham's Fillmore Records (distributed by Columbia), and had released two albums (the 1969 debut and 1970's Feel It!). By 1972, Fillmore Records had folded, but Bishop had been picked up by Epic, a Columbia subsidiary (he would release Rock My Soul later in '72).

The Elvin Bishop Group had played regularly at the Long Branch in 1971. In March of '72, however, Freddie Herrera had taken over the New Monk and changed it to the Keystone Berkeley, so Bishop's principal allegiance was just up the road. Still, while Keystone Berkeley and Long Branch were competitors, they weren't enemies, so here was the Elvin Bishop headlining a weekend. At this time, the Elvin Bishop Group featured Stephen Miller on organ (ex-Linn County), and vocals by Miller, Bishop and singer Jo Baker.

June 14, 1972 Long Branch, Berkeley, CA: Tower Of Power (Wednesday) June 16, 1972 Long Branch, Berkeley, CA: Fluid Drive/Osceola (Friday) June 17, 1972 Long Branch, Berkeley, CA: Blue Mountain/Linx (Saturday)

June 20, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel/Clover (Tuesday) June 21, 1972 Long Branch, Berkeley, CA: The Street Band/Blue Moon (Wednesday) June 24, 1972 Long Branch, Berkeley, CA: Earth Quake/Grayson Street (Saturday) June 27, 1972 Long Branch, Berkeley, CA: Asleep At The Wheel/El Rancho Cowboys (Tuesday)
The El Rancho Cowboys were a country band from the San Jose suburb of Cupertino, CA.

Guitarist Cornell Hurd would end up leading the Texas "Dance Hall" band--albeit from Cupertino--known as Cornell Hurd and His Mondo Hot Pants Orchestra. Hurd had met Asleep At The Wheel (whether at this show or before isn't clear) and they were hugely influential in his future musical career.

June 28, 1972 Long Branch, Berkeley, CA: Street Band(Wednesday) June 29, 1972 Long Branch, Berkeley, CA: Loading Zone/Frank Biner (Thursday) By this time, Loading Zone organist Tom Coster and bassist Doug Rauch had been recording with Santana, for the album that would become Caravanserai. By September, Coster and Rauch would go out on tour with Santana, and Loading Zone finally broke up. Drummer Tony Smith had gone on to play for Malo, and guitarist Bruce Conte would join Tower Of Power (Tower and the Zone shared a manager and a rehearsal space). Linda Tillery would go on to a substantial career as a solo artist. This booking likely featured the final lineup of Loading Zone, with Tillery (vocals) and Conte (guitar) supported by Steve Funk (keyboards), Paul Jackson (bass), Mike Clark (drums) and Pat O'Hara (trombone).

June 30-July 1, 1972 Long Branch, Berkeley, CA: Blue
Mountain/Rockets (Friday-Saturday)
The Rockets, slowly climbing the ladder, were now co-headlining on the weekend.

The Long Branch, 2504 San Pablo, Berkeley, some time in the 1970s The Long Branch Saloon: May 1971-November 1976
The Long Branch lasted a little over five years, and closed around November 1976. It was mostly a thriving club during that period. Berkeley's population grew enormously, and the students lived farther and farther from campus, driving up rents all over Berkeley, Albany and North Oakland. The Keystone Berkeley opened in March, 1972, and the much larger club got the premier

bookings. In particular, acts like Jerry Garcia, Elvin Bishop, Tower Of Power and Commander Cody found time to regularly play the Keystone, and rarely if ever played the Long Branch. So Keystone periodically got big draws, even on weeknights, while Long Branch had to depend on its regulars. Earth Quake and Grayson Street were regular performers at the Long Branch throughout most of the 5-year period it was open. Earth Quake in particular held down almost every Friday night for long periods.

The Long Branch didn't look like this in 1971.

Afterwards
The Long Branch briefly re-opened as a music venue around November 1978. The club was run by the former proprietor of the Berkeley club Jerry's Stop Sign (yet another story) and used the name The Branch. It wasn't open for long.

For many years, 2504 San Pablo Avenue was a store called Good Vibrations. It wasn't a music store, but it was scandalous enough to live up to the Cabale history (don't google it at work).

Eventually, as Berkeley got more and more wealthy, gentrification finally got all the way down to Dwight Way and San Pablo Avenue. The building was completely remodeled, and re-opened as a restaurant. The new address is 2512 San Pablo Avenue, but it's the same location. The first restaurant I am aware of was called Sea Salt, which opened about 2009 or so. Sea Salt closed, though, and a new restaurant opened on November 11, 2014.

The Long Branch Saloon, at 2512 San Pablo Avenue, Berkeley, ca. 2019

The name of the new restaurant? The Long Branch Saloon. It says "Upscale comfort food is served in a stylish setting with open rafters & butcher-block tables." Given the turnover in Berkeley's population, it's likely that the locals think the Long Branch is just a reference to Dodge City--which it is--and don't see the nod to a hard-rockin' past.

For the previous post in the Long Branch series (May-December 1971), see here For the next post in the Long Branch series (October-December 1973), see here

FRIDA Y , JUL Y 19, 2024
2504 San Pablo Avenue, Berkeley, CA: The Long
Branch Performance History October-December 1973
(Long Branch III)
The Long Branch, 2504 San Pablo in Berkeley, some time in the 1970s By the end of 1973, live rock music was booming, and as rock audiences aged, rock nightclubs became more viable. Once rock fans were of drinking age, spending too much time in a large, dark cavern with thousands or tens of thousands people didn't seem as rockin' as relaxing with a cold drink in a place where you could actually see the stage. If you were on a date, or hoping to meet someone, the attraction of a rock club was even more pronounced. If two people liked the same band, or the same kind of music, you were both halfway there to getting together. Rock nightclubs started to thrive in almost every big city and near every college campus. Berkeley was no exception.

The Long Branch, at 2504 San Pablo Avenue (at Dwight), had opened in May 1971 . The venue had been a music club going back to 1962. As the Cabale Creamery, it had been Berkeley's essential stop for traveling folk musicians. It was at the Cabale where Jerry Garcia saw the Jim Kweskin Jug Band, and the Cabale was a regular date for Clarence White and the Kentucky Colonels, too.

Later, in early 1966, as the Questing Beast, 2504 San Pablo was the place where Country Joe McDonald and Barry Melton first plugged in to amplifiers as Country Joe & The Fish . Later still, it became Tito's (1967-68) and then Babylon (1969-70). In 1971, former Avalon Ballroom staffer Malcolm Williams took over the venue, doubled the capacity to 350 and re-opened it as the Long Branch Saloon. I wrote a post about the club's first seven months in 1971 , and then another post about acts playing the first half of 1972 . By the end of 1973, the Long Branch was well-established on the Berkeley rock scene, booking bands six or seven nights a week.

Now, in the East Bay, the top rock night club was the Keystone Berkeley, right next to the University of California campus. The Keystone was right in downtown Berkeley at 2119 University Avenue (at Shattuck Avenue). On weekends, the Keystone booked popular local acts like Jerry Garcia, Elvin Bishop and Tower Of Power, and touring acts as well, plu some smaller acts on weeknights. Keystone drew crowds from all over Berkeley and Oakland, and even Marin and San Francisco. Parking wasn't difficult in downtown Berkeley--amazing as that may seem today--so the club attracted a wide audience.

The Long Branch, meanwhile, was 2 miles West and South of campus. The Branch drew mostly from the neighborhoods near the club, and it was as much a hangout as a destination. We have a good picture of what was happening at the club then because former Long Branch publicist Lydia Frazier Bosley was kind enough to send scans of long lost flyers. Frazier herself made the flyers for the Long Branch, and helped distribute them around the East Bay. With these, we can get a great look at who played the club in 1973 and '74, and how that defined the economics of the scene at the time
Since the same bands played the Long Branch over and over--that was the whole point--I am just focusing on the last three months of 1973, to avoid needless repetition. Anyone with additional information, insights, corrections and real or imagined memories, please include them in the Comments. Flashbacks encouraged.

Scan of the back of a Long Branch flyer, October 1973
The Long Branch was a hangout, but a hangout that booked rock bands and wanted its patrons to dance. But it mainly wanted them to hang out. Admission was cheap, and often free, and beer was often cheap, too. The goal was to get the locals to come early and stay late. They would likely meet people who lived nearby, and make friends, and maybe dance and perhaps even get married. The back of one of the flyers (above) explains the attractions of the Long Branch:

Howdy...we'd like to turn you on to the LONG BRANCH Saloon, Berkeley's Hot Nite Spot famed for it's FINE ROCK & ROLL and Good Vibes
The Club opens at 8pm Tues-Sun, and if you come before 9 pm, the admission is half-price. Also on Tues-Wed-Thurs-Sun, BEER will cost 10c a glass between 8 and 9pm.

Since our fuss ball games are so popular we have plans to expand and add some new games like POOL, PONG & AIR HOCKEY.

Meanwhile, as always we'll entice you onto the DANCE floor with some to the hottest young bands around. Really the MUSIC is outstanding, terrific and wonderful.

The LONG BRANCH is a great place to hang out, meet friends, get high and treat yourself to PRIMO ROCK & ROLL. Come on down and check it out.

THE LONG BRANCH call us to find out what's happening 2504 SAN PABLO at DWIGHT 848-9696
The doors usually opened at 8:00pm at the Long Branch, but the Examiner and other papers reported the bands as starting at 9:30. That meant a lot of people were there only to hang out.

Since many nights were free admission, or close to it, the band wasn't necessarily the main attraction for every patron.

The Long Branch had a very different approach to booking than other contemporary Bay Area rock clubs. Clubs like the Keystone Berkeley typically had the most popular local acts once a month, a lot of touring bands coming through, and filled in the other dates with more local bands.

The Long Branch, however, pretty much had the same bands every week. There were three "house bands" that played almost every week (Earth Quake, The Rockets and Grayson Street), and new bands added to the mix would play the same night for an entire month. As far as I know, the regular Long Branch bands all had large repertoires, typically including a lot of cover versions, so their fans didn't hear the same set every week.

October, 1973 flyer for The Long Branch, 2504 San Pablo Avenue (designed by and courtesy of Lydia Frazier Bosley). Note that there is no Area Code for the phone number, because Berkeley, San Francisco and the entire Bay Area North of San Jose used the 415 Area Code.

October 1, 1973 Long Branch, Berkeley, CA: The Rockets
(Sunday)
The Rockets had been playing the Long Branch since January 1972, and mostly just played the club. Lead singer Eddie Mahoney was a transplanted NYPD cop trainee. Guitarist Dan Alexander, bassist Chris Sohlberg and drummer John Cuniberti were all from Berkeley. All of the Rockets went on to some success in the music industry. Cuniberti and Alexander were successful on the production side, Sohlberg played with many artists, and Mahoney went on to huge success as Eddie Money ("Two Tickets To Paradise," "Baby, Hold On To Me").

October 3, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday) The calendar says "surprise night," but Wednesdays was the night to give new bands a chance to play. The Long Branch wasn't high on the Bay Area rock food chain, and many bands got their first break at the Branch. Keep in mind that it was all but impossible for penniless new bands to make a listenable tape, even of a live performance, and they generally had to lug their gear to a club and actually play a set in order to get heard by a club owner.

October 4, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Alice Stuart & Snake (Thursday)
October 5, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Clover (Friday) Asleep At The Wheel was a hippie Western Swing band from the DC area, based in Paw Paw, WV. In Fall 1971, they had opened in West Virginia for Commander Cody and His Lost Planet Airmen, perhaps the only band remotely like them, and the Cody crew encouraged them to move to Berkeley. On October 8 & 9, 1971, Asleep At The Wheel had opened for Cody and the Airmen at the Long Branch. By December 10, 1971, they were headlining the Branch. Asleep At The Wheel had played relentlessly throughout the Bay Area ever since, building a crowd in all the clubs around.

By 1973, Asleep At The Wheel had released their first album, Comin' Right At Ya (on United Artists). The Wheel was managed by Joe Kerr, who also managed Cody and the New Riders of The Purple Sage, giving him a big chunk of the San Francisco country-rock sound.

Alice Stuart and Snake's Believing album (Fantasy Records 1972) Alice Stuart was a blues guitarist and singer, originally from Seattle, who had moved to the Bay Area in 1964. Initially a solo, she had "gone electric" around 1970, and formed her trio Alice Stuart & Snake. Drummer Bob Jones (ex-We Five, ex-Mike Bloomfield, ex-Southern Comfort) shared vocals with Stuart, and bassist Karl Sevareid completed the band. In 1972, Fantasy had released the Believing album. Fantasy released a single in 1973 (with tracks from the album), and Snake stayed together until at least 1974, but the band was never able to get much traction.

Nonetheless, Stuart continued a successful solo career well into the 21st century.

Joe Kerr's business card when he managed Clover, ca 1973 Clover had been founded in Mill Valley in 1969, an outgrowth of the band Tiny Hearing Aid Company. As a quartet, Clover had released two albums on Fantasy in 1970 and '71. Fantasy had dropped them, but the band had since added two additional members. By this time, Clover had Alex Call as the main lead singer, Huey (Cregg) Louis on vocals and harmonica, John McFee on lead and pedal steel guitar, Sean Hopper on keyboards, John Ciambotti on bass and Mickey Shine on drums. Joe Kerr also managed Clover.

Why Don't You Try Me, Earth Quake's second album on A&M Records, released in 1972 October 6, 1973 Long Branch, Berkeley, CA: Earth Quake
(Saturday)

Earth Quake, from Berkeley, were the ultimate Long Branch band. The band had played the opening night of the Long Branch on May 28, 1971. Originally, they had been a Berkeley High band called Purple Earthquake. The members of Earth Quake had met Long Branch proprietor Malcolm Williams back in the 1960s, when he had been promoting shows at Maple Hall in nearby San Pablo. By 1971, they had been a quartet, with Robbie Dunbar on lead guitar, lead vocalist John Doukas, bassist Stan Miller and drummer Steve Nelson. Earth Quake would release their debut album on A&M Records sometime that year. Earth Quake would play the Long Branch at least every month for five years, and in many cases every Friday night.

In contrast to most Bay Area bands, who typically played longer songs in an improvised blues style, Earth Quake had been inspired by British Invasion bands like The Who and Small Faces. In 1972, A&M Records had released the second Earth Quake album, Why Don't You Try Me. The album didn't go anywhere, and A&M dropped the band. Besides their original material, however, Earth Quake had a huge trove of relatively obscure covers (like The Easybeats "Friday On My Mind"), so they were still endlessly engaging to their local fans in Berkeley. At least some of the members of Earth Quake, possibly all of them, lived in Berkeley. Earth Quake were the "house band" at the Long Branch if anyone was.

Once the band had been dropped by A&M, Earth Quake's imaginative manager Mathew "King" Kaufman had the idea that they should release their own records. Although against any kind of record business orthodoxy at the time, Kaufman created Beserkley Records, and started releasing 45 rpm singles on a shoestring . The quixotic label's first production was a single of "Mr Security," by Earth Quake, released on October 11, 1973. Unlikely as it may have seemed, and although it took a few years, Beserkley Records turned out to be hugely successful. Kaufman anticipated the punk rock/Indy label surge years before it happened elsewhere.

Grayson Street band, ca Fall 1973 (promo photo from December 23 '73 Examiner) October 7, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)
Grayson Street was named after a short street in Berkeley that ran from Aquatic Park to San Pablo Avenue, terminating four blocks south of Dwight Way and San Pablo, the site of the Long Branch. Grayson Street played the Branch just about every week from 1972 through 1975, sometimes more than once a week. They, too, were a house band.

Grayson Street was fronted by saxophonist Terry Hanck and harmonica player Rick Kellogg, both of whom sang, and played in a funky blues style that was good for dancing. They had been formed before 1972, but their first advertised show at the Long Branch was June 24, 1972. In late '72, Grayson Street had included Berkeley High's Lenny Pickett, previously in the band Linx. By 1973, however, Pickett had joined Tower of Power. Grayson Street was full of experienced musicians.

Guitarist Tim Kaihatsu and organist Clay Cotton had both played extensively with Charlie Musselwhite and other blues musicians. Kellogg had played harmonica for Elvin Bishop for a while, and Kellogg and bassist John Knight had been in Linx (with Pickett). Drummer John Otis rounded out the band.

Also in the band in Fall '73 was singer Jo Baker, who had been in The Elvin Bishop Group from 1970-73. Bishop and Baker had been a couple, having met a jam session in Boston in 1967 (Baker had been in the group Clouds, and Bishop had been with the Butterfield Blues Band). In mid-1973, Baker and Bishop had split up personally and musically.

Grayson Street pretty much confined its performances to the East Bay, but most of the members went on to thriving musical careers. Terry Hanck would tour with Elvin Bishop for many years, Kaihatsu (1945- 2014) would tour and record with Robert Cray, Clay Cotton was a popular club attraction in the Bay Area for decades and Jo Baker would join the revived Stoneground in early 1974.

October 10, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday) October 11, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Thursday) Rubin & The Rubinoos were led by singer (and rhythm guitarist) Jon Rubin, and guitarist Tommy Dunbar. Tommy was the younger brother of Earthquake's Robbie Dunbar, so it was no surprise they were getting a chance at the Branch. The Rubinoos played short, poppy rock songs with hooks and harmonies, completely at odds with any other Berkeley bands at that time.

The Modern Lovers album Live At The Long Branch, released in 1998, and recorded at the Branch on April 21, 1972. The Modern Lovers were in California attempting to record an album for Warners.

October 12, 1973 Long Branch, Berkeley, CA: Earth Quake/The Modern Lovers (Friday)
The Modern Lovers were from Boston, and their sound was modeled on the Velvet Underground. They had been signed by Warner Brothers, and in early '72 the label had flown them out to Los Angeles to record demos with John Cale. Thus the Modern Lovers had played a

show at the Long Branch on April 21, 1972, opening for Earth Quake, one of their few shows outside of the Boston area (a recording of the show was released in 1998). The Modern Lovers at this time were a quartet, with songwriter Jonathan Richman on guitar and vocals, future Talking Head Jerry Harrison on organ, Ernie Brooks on bass and drummer Dave Robinson (later in The Cars).

Richman became well-known for his lively, innocent acoustic sound, but this version of the Modern Lovers was dark and loud. Warner Brothers had flown the band back out to LA in 1973 to record more demos (which were later released), but the Modern Lovers never managed to complete an album for the label. Ultimately Richman would achieve international success after he moved to Berkeley and recorded for Beserkely Records, the label started by Earth Quake's manager.

October 13, 1973 Long Branch, Berkeley, CA: The Rockets/The Modern Lovers (Saturday)
On Saturday night, the Modern Lovers opened for The Rockets. Jonathan Richman opening for Eddie Money--that didn't happen again. Must have been a memorably bizarre evening.

October 14, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)
October 16, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday) October 17, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday) October 18, 1973 Long Branch, Berkeley, CA: Off The Wall (Thursday)
Off The Wall are unknown to me.

Good N Cheap, Eggs Over Easy (A&M, 1972)
October 19, 1973 Long Branch, Berkeley, CA: Alice Stuart & Snake/Eggs Over Easy (Friday)
Opening act Eggs Over Easy featured three New Yorkers, two of whom (guitarist Jack O'Hara and pianist Austin De Lone) had met in Berkeley in 1970 . They had released one album for A&M in 1972, Good N' Cheap. Most people had not (nor have not) heard the album. Nonetheless, Eggs Over Easy played a significant role in the history of English rock, and not by coincidence, and their Wikipedia entry is well- deserved .

DeLone and O'Hara had returned to New York in 1970, where they met Brien Hopkins and formed Eggs Over Easy as a no-drummer trio (all three played various instruments). Their manager had English connections, so when the band was signed they went to record at Olympic Studios in Barnes, London. Recording was completed by January 1971. There were management issues, however, and they were advised to stay in London while it got sorted. Eggs Over Easy played a few college gigs (with ex-Animal John Steel on drums). The trio took a house in Kentish Town, in North London, near a large pub called The Tally Ho.

The Tally-Ho had a "jazz-only" policy for performers, a common restriction of London Pubs at the time. Eggs Over Easy, used to playing in bars in the States, persuaded the Tally Ho to let them perform. They debuted at the Tally Ho in May 1971 (with Steel on drums), and started to draw large crowds. Ultimately they were playing three nights and Sunday afternoon at the Tally Ho, and drawing huge crowds. Nick Lowe and other members of his band (Brinsley Schwarz) regularly joined them on stage. Eggs Over Easy single-handedly invented "Pub Rock," and a wave of groups like Brinsley Schwarz followed them throughout England. Eggs Over Easy became a sort of underground sensation, but the band played their last show in England on November 7, 1971 Ultimately Eggs Over Easy's album recorded in London was never released, and the band returned to the States. Their debut A&M album included new recordings of what they had done in England. In 1973, they returned to the Bay Area, and Eggs Over Easy toured the US with major bands (like The Yes and The Eagles), but never got traction. The band struggled on until 1981, but despite their legendary status they never got any honor in their own country.

October 20, 1973 Long Branch, Berkeley, CA: Earth Quake/Rubinoos (Saturday) Rubin & The Rubinoos would shorten their name to just The Rubinoos by the end of the year.

October 21, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)
October 23, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday) October 24, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday) October 25, 1973 Long Branch, Berkeley, CA: Swan (Thursday) Swan are unknown to me.

October 26, 1973 Long Branch, Berkeley, CA: Perry And The Pumpers (Friday) Perry And The Pumpers was a blues band led by harmonica player Perry Welsh. They often backed up touring blues musicians. Welsh was from Cedar Rapids, IA, and had moved to San Francisco in 1967. He was friendly with another Iowa transplant, organist Stephen Miller. Miller

had been in the band Linn County in the 60s, and his organ anchored the Elvin Bishop Group from 1970-73. Welsh recorded with Bishop and Miller on two Bishop Group albums (1970's Feel It and 1972's Rock My Soul).

Bishop sat in with Perry And The Pumpers on occasion. As far as I know, some members of Perry And The Pumpers ended up in the 1974 edition of the Elvin Bishop Group, including guitarist Johnny Vernazza, pianist Phil Aaberg and bassist Fly Brooks, while Welsh and Stephen Miller returned to Iowa.

October 27, 1973 Long Branch, Berkeley, CA: Dave Brown Resurrection/Big Art and The Trashmasters (Saturday)
Both Dave Brown Resurrection and Big Art and The Trashmasters are unknown to me.

There was a local musician (a bass player and producer) named Dave Brown, but I don't know if this was his band. From peripheral evidence I think The Trashmasters were a sort of Long Branch All-Stars group from other "house" bands. "Big Art's" was also the name of a Berkeley club in the basement of LaVal's Pizza (near Hearst & Euclid, on Northside).

October 28, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)
October 30, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday) October 31, 1973 Long Branch, Berkeley, CA: Earth Quake/Rockets (Wednesday) 3rd Annual Hootchie Kootchie Ball Halloween was always a Big Deal in Berkeley, so it's no surprise that two of the house bands played it.

November 1973 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)
November 1, 1973 Long Branch, Berkeley, CA: Chains
(Thursday) free
Chains are unknown to me.

November 2, 1973 Long Branch, Berkeley, CA: Grayson Street (Friday)
November 3, 1973 Long Branch, Berkeley, CA: Copperhead/Earth Quake (Saturday) Copperhead had been formed in late 1971 by ex-Quicksilver Messenger Service guitarist John Cipollina. They had gone through a number of personnel changes, but by mid-1972 the lineup had stabilized. Cippolina was joined by pianist and singer Jim McPherson (ex-Stained Glass), who was the principal songwriter, guitarist Gary Phillipet, bassist Hutch Hutchinson and drummer David Weber. The band had a harder sound than Quicksilver, with more of an R&B feel. Columbia records signed the band, and they had released their debut album in Spring 1973. Copperhead played all the Bay Area clubs, but they had not yet toured Nationally.

Unfortunately, Clive Davis was pushed out as CEO of Columbia Records in the Summer of 1973.

Many of the Bay Area bands signed by Clive, including Copperhead (as well as the Sons Of Champlin, the Rowan Brothers and David Rea) were dumped by the label. Copperhead had a local following in the clubs, but their album was left high and dry. They would break up by the end of the year.

November 4, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)
November 5, 1973 Long Branch, Berkeley, CA: Rockets
(Monday) free
The fact that the flyer lists some weeknight shows as free is an indicator that the principal weeknight business of the Long Branch was selling beer to the locals.

November 6, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday) November 7, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
November 8, 1973 Long Branch, Berkeley, CA: Chains
(Thursday) free
The Tubes at Winterland ca 1974, with Fee Waybill as Quay Lewd, probably singing "White Punks On Dope"
November 9-10, 1973 Long Branch, Berkeley, CA: The Tubes/Spotlight (Friday-Saturday)
The Tubes had only formed around March, 1972. Most of the band members were from Phoenix, AZ. Initially, guitarist Bill Spooner, keyboard player Vince Welnick and bassist Rick Andersen had been in a popular Phoenix band called The Beans. The Beans had moved to San Francisco in Fall 1970. They had played numerous local gigs, but hadn't really made much headway. After some band members left the Beans, it had turned out that another popular Phoenix band had lost some members, so guitarist Roger Steen and drummer Prairie Prince had relocated to San Francisco to

join The Beans. Their roadie John "Fiji" Waldo was added as lead singer, and The Tubes were born.

The Tubes played a sort of progressive rock rather than modified blues. They also had a fairly elaborate stage show, which was pretty much unheard of at the time. Initially, of course, their props were just cardboard and confetti, but they were a performing band from the beginning. The Tubes had first played the Long Branch on June 4, 1972, and periodically returned. By late '73, there was an underground buzz about them. They played a lot of gigs in gay bars, which were quite lucrative but not advertised in the mainstream press. In the early 70s, gay culture was the source of style and cool in the Bay Area, so the Tubes managed to always be right on the cutting edge of that cool. On June 1, 1973, the unknown Tubes had opened for Led Zeppelin at Kezar Stadium (fifth on the the bill), which for the wider Bay Area was the first time rock fans would even hear of them (this included me).

Spotlight is unknown to me.

November 11, 1973 Long Branch, Berkeley, CA: Grayson
Street (Sunday)
November 13, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos/Above & Beyond (Tuesday)
Above & Beyond are unknown to me.

November 14, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
November 15, 1973 Long Branch, Berkeley, CA: Chains
(Thursday) free
November 16-17, 1973 Long Branch, Berkeley, CA: Sutro Sympathy Orchestra/Enola Faye Moss [16 only] (Friday- Saturday)
Sutro Sympathy Orchestra were from Reno, although they played regularly in the San Francisco area. Singer Lynne Hughes had been in The Charlatans back in the 1960s.

CONTRIBUTORS
Corry342
The Yellow Shark

Enola Faye Moss is unknown to me.

November 18, 1973 Long Branch, Berkeley, CA: Grayson
Street (Sunday)
November 19, 1973 Long Branch, Berkeley, CA: Rockets
(Monday) free
Even The Rockets, a house band, played for free on a Monday night.

November 20, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday) November 21, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
Closed for Thanksgiving Thursday (22).

November 23, 1973 Long Branch, Berkeley, CA: Rockets
(Friday)
November 24, 1973 Long Branch, Berkeley, CA: Grayson Street (Saturday) November 25, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday) November 27, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos/Above & Beyond (Tuesday)
November 28, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
November 29, 1973 Long Branch, Berkeley, CA: Chains
(Thursday) free
November 30, 1973 Long Branch, Berkeley, CA: Earth Quake (Friday)
December 1973 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)
December 1, 1973 Long Branch, Berkeley, CA: Rockets
(Saturday)
We are missing listings for December 2 and 3 (Sunday and Monday), but it's reasonable to assume that some of the usual suspects played.

December 5, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
December 6, 1973 Long Branch, Berkeley, CA: Chains
(Thursday)
December 7, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Topkela (Friday) December 8, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Alice Stuart & Snake (Saturday)
Topkela is unknown to me.

December 9, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

December 10, 1973 Long Branch, Berkeley, CA: Titans/Rockets/Country Thunder (Monday) Legal Aid Benefit It's easy to make fun of Berkeley--I for one never tire of it--but there's no question that things happen in Berkeley long before they happen elsewhere (for example, Berkeley's Freight And Salvage club banned smoking in 1968, and the city of Berkeley would ban smoking in restaurants around 1977). As a result of its forward-looking nature, some things catch on in Berkeley that never catch on elsewhere. One such trend was "white reggae," hippie bands that played sped-up reggae for dancing. They were very popular in 1970s Berkeley, and pretty much nowhere else. The Titans, formerly Knee Deep, were the first such band. Titans would evolve into The Shakers, and became Long Branch regulars a few years later, even releasing an album, but they too are forgotten.

Country Thunder are unknown to me.

December 12, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
December 13, 1973 Long Branch, Berkeley, CA: Chains
(Thursday)
December 14-15, 1973 Long Branch, Berkeley, CA: Earth Quake (Friday-Saturday) December 16, 1973 Long Branch, Berkeley, CA: Rockets
(Sunday)
December 17, 1973 Long Branch, Berkeley, CA: Rockets
(Monday)
December 19, 1973 Long Branch, Berkeley, CA: Rubinoos
(Wednesday)
December 20, 1973 Long Branch, Berkeley, CA: Rockets
(Thursday)
December 21, 1973 Long Branch, Berkeley, CA: Rockets/Grayson Street (Friday) Country Casanova, the third Paramount Records album by Commander Cody and His Lost Planet Airmen. George "Cody" Frayne leans on a Lincoln.

December 22, 1973 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/Asleep At The Wheel (Saturday)
Commander Cody and His Lost Planet Airmen and Asleep At The Wheel could both pack the Long Branch on a weekend, and had done so many times. There would have been no reason to book both of them, so the bands must have wanted to do it. Since the bands were good friends and shared management, it wouldn't have been hard to arrange.

Cody and The Airmen had been playing the Long Branch since before their first album was released, and indeed at least one track on their immortal debut Lost In The Ozone had been recorded there (either "What's The Matter Now" or "20 Flight Rock"). The band's third Paramount Records' album, Country Casanova, had been released in May 1973 . In November, the Airmen had recorded their next album (Live From Deep In The Heart Of Texas)a tt h e Armadillo World Headquarters in Austin, TX (it would be released in March, 1974).

Asleep At The Wheel, meanwhile, had decided to move to Austin, as it was their spiritual home.

Since the band moved to Texas in early 1974, it's possible that this show was a celebration and fare-thee-well for the Wheel's departure.

December 23, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday) December 26, 1973 Long Branch, Berkeley, CA: Rubinoos
(Wednesday)
December 27, 1973 Long Branch, Berkeley, CA: Chains
(Thursday)
December 28, 1973 Long Branch, Berkeley, CA: Earth Quake/Rubinoos (Friday) December 29, 1973 Long Branch, Berkeley, CA: Grayson Street (Saturday) December 30, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday) December 31, 1973 Long Branch, Berkeley, CA: Earth Quake/Rockets (Monday) Beserkeley Chartbusters, Vol 1, released by Beserkeley Records in July 1975, was put together by Earth Quake's management. It featured songs by Earth Quake, Greg Kihn, Jonathan Richman and The Rubinoos, all of whom had played the Long Branch many times.

Outcomes Assessment: Long Branch Bands
Berkeley's Long Branch was essentially a neighborhood club, booking bands every week for regular patrons who lived nearby. Yet rock music was booming in the Bay Area, so many of the aspiring bands who played the Branch ended up leaving a much larger mark than you might think for a 350-capacity beer joint in West Berkeley.

Bill Graham signed Eddie Money to a management contract in 1975. His 1977 debut album on Columbia included "Two Tickets To Paradise" and "Baby Hold On," and sold millions

The Rockets broke up in early 1974. All of them thrived. Lead singer Eddie Mahoney debuted the Eddie Money Band in June 1974, and they played the Long Branch regularly too. In early 1975, Money was signed by Bill Graham's management team. Ultimately Money would be hugely successful, selling millions of records on the back of giant hits like "Two Tickets To Paradise" and "Baby Hold On To Me."
Drummer John Cuniberti has been a successful producer, particularly with "New Wave" bands.

Guitarist Dan Alexander is well-regarded in production and audio circles, and bassist Chris Sohlberg played with Santana and many other artists.

In 2021, Ray Benson and Asleep At The Wheel released Half A Hundred Years, on Home Records
Asleep At The Wheel moved to Austin in early 1974. They are still together, still touring and established legends. Pretty good for a band from Paw Paw, WV.

Love On The Wire, Clover's 4th and last album, and their 2nd on Mercury Records, was released in late 1977. It's a very good album, even if almost no one has heard it.

Clover struggled on until 1977. They were "discovered" in 1976 by producer Nick Lowe, who had loved the first two Fantasy albums and had no idea they hadn't broken up. Lowe facilitated two excellent Clover albums recorded in England in 1976 and '77, but the band never caught on. The Lowe association, however, was how members of Clover ended up backing Elvis Costello on his debut album My Aim Is True.

After Clover, broke up, Huey Lewis and pianist Sean Hopper teamed up with members of Soundhole and became hugely successful as Huey Lewis & The News. Guitarist John McFee, meanwhile, joined the Doobie Brothers (they were still touring in 2023), and singer Alex Call wrote some hit singles.

8.5, by Earth Quake, released by Beserkeley in 1976
Earth Quake had been dropped by A&M, but their manager Mathew "King" Kaufman started the Beserkley Records label. Besides releasing Earth Quake and Rubinoos albums, the label had big hits with Jonathan Richman and Greg Kihn. Earth Quake broke up in the early 80s, ultimately releasing 5 albums.

Grayson Street never recorded, but many members of the band moved on to bigger groups.

Tenor saxophonist Lenny Pickett still leads the Saturday Night Live Band. Founder Terry Hanck joined Elvin Bishop and toured with him in the late 70s for many years.

Jonathan Richman and The Modern Lovers, released by Beserkeley in 1976 Jonathan Richman and The Modern Lovers released albums on Beserkley Records, starting in 1976. "Egyptian Reggae" became a hit, and songs like "Road Runner" and "Abominable Snowman In The Market" are underground classics.

Tubes lead singer Fee Waybill, at Winterland ca 1974, as Dr. Strangelove, singing Tom Jones' "It's Not Unusual" (a regular showstopper for the band--you had to have seen it, just trust me...) The Tubes released their first album in 1975, and it was a huge sensation. Their stage show, with every song its own self-contained "music video'--six years before MTV--was inspired and unforgettable. They toured America and the UK to well-deserved acclaim, and they had popular radio hits as well. The economics were unworkable, however, and the financial woes of the band eventually ground them to a halt. Keyboard player Vince Welnick joined the Grateful Dead in 1990. Versions of The Tubes have continued to perform intermittently over the decades.

Appendix: Long Branch Performers, January-July 1974
Lydia Frazier Bosley was kind enough to send some additional flyers, and for historical value I have included them below. Since the Long Branch had a repetitive booking strategy, I didn't write out each booking. I did note when there was a band that had not appeared at the Long Branch before.

January 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)
January 15, 1974 Long Branch, Berkeley, CA: Asleep At The Wheel/Naomi Ruth Eisenberg (Tuesday)
Asleep At The Wheel had supposedly moved to Austin by this time, but they toured so much that they regularly appeared in Bay Area clubs anyway.

Naomi Ruth Eisenberg had been in various local ensembles, but she was best-known for having been one of the original "Hot Licks" with Dan Hicks. She sang and played fiddle, and was also a singer- songwriter.

Terry Dolan and Terry and The Pirates finally released a 1979 album of live performances, with an All-Star cast (including John Cipollina, Greg Douglass, Lonnie Turner, Nicky Hopkins and Grateful Dead engineer Dan Healy as producer)

January 18-19, 1974 Long Branch, Berkeley, CA: Terry and The Pirates (Friday-Saturday)
Copperhead finally disintegrated by the end of 1973, so John Cipollina promptly hooked up with numerous local ensembles. One such band was Terry And The Pirates,l e db y singer/songwriter Terry Dolan. Dolan had moved from the Washington, DC area in 1969 and had been playing around the Bay Area ever since. Terry And The Pirates was a somewhat casual ensemble that played Dolan's songs. Cipollina was the only regular "member," with a rotating cast depending on who was available. Typical members included guitarist Gregg Douglass (ex- Country Weather, future Steve Miller Band) and the old Copperhead rhythm section (Hutchinson and Weber).

Dolan's songs were pretty good, but not really great. Terry And The Pirates were popular locally, and his demos got some airplay on FM, but he never really got over the top.

January 20, 1974 Long Branch, Berkeley, CA: Valley Boys (Sunday)
The Valley Boys were a country rock band, possibly from Fresno, who regularly played Bay Area clubs.

I Gotta Be Me, Gideon & Power's 1972 album on Bell (recorded in 1971 at Keystone Korner in San Francisco with members of the Elvin Bishop Group)
January 25-26, 1974 Long Branch, Berkeley, CA: Gideon & Power/Grayson Street [25]/Frank Biner and The Nightshift [26] (Friday-Saturday) Gideon Daniels was a powerful singer with a gospel background, and the band Gideon & Power played in a sort of gospel-rock style. Gideon & Power recorded a 1971 album live at the Keystone Korner, supported by some players from the Elvin Bishop Group. Since Gideon Daniels had been Elvin Bishop's housemate at one point, it's not surprising to find out that various members came and went through Gideon & Power over the years, and the band was somewhat of a farm team for Bishop. Singer Mickey Thomas and organist Melvin Seals had successful shifts with Gideon and then Elvin, too (Seals of course went on to play with the Jerry Garcia Band for 15 years).

Frank Biner was a popular local soul singer. Over the course of the 70s, Tower Of Power recorded a few of his songs, and he put out a few albums as a bandleader, but back in '74 Biner was just another guy working the clubs. Biner, with his band Nightshift, was a regular on weeknights at the Keystone Berkeley, but he played some gigs at the Long Branch, too. Biner was originally from Chicago, where he had recorded a few singles, but he had moved to the East Bay in the late 60s.

February 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)
February 8, 1974 Long Branch, Berkeley, CA: Earth Quake/Son Of Pete (Friday) The Friday show was reviewed by Berkeley Gazette critic Todd Tolces. It seems that Stoneground was booked to open for Malo at UC Berkeley's Zellerbach Auditorium. Stoneground had a band illness, and had to cancel, so Earth Quake did the opening set, and then hustled the 2 miles down to the Long Branch to headline.

Tolces also described Son Of Pete's set, extended somewhat due to Earth Quake's delayed arrival.

Son Of Pete appears to have been a reggae "Toaster," a very odd thing outside of Jamaica and some neighborhoods in New York City. Toasters dj'd reggae records for dancing over customized sound systems, playing with the stereo mix and various effects, while also singing or talking over the records. As I understand it, the "Toaster" setup, pioneered in Jamaica, was a technological building block for rap music. Nascent rappers apparently took Toaster-type setups (sound system, multiple turntables, mic) and layered different music onto it. Outside of New York (or Kingston), however, many did not recognize the configuration.

It's easy to laugh at Berkeley--and fun too--but here was a guy playing gigs as a Reggae Toaster, playing a style of music unseen outside parts of New York Metro. Tolces praised Son Of Pete particularly for having numerous cool, unheard Reggae 45s, and I assure you that Berkeley took record snobbery seriously indeed. I have seen references that suggest that Son Of Pete was Earth Quake manager (and Beserkley Records founder) Matthew Kaufman, but I can't confirm that.

February 22-23, 1974 Long Branch, Berkeley, CA: The Tubes/Kid Gloves (Friday-Saturday)
Kid Gloves are unknown to me. They regularly opened for The Tubes.

SF Examiner March 8, 1974
March 8, 1974 Long Branch, Berkeley, CA: Earth Quake/New Stoneground (Friday) I do not have flyers for March and April 1974, but I did some research on booked bands. I am including notes on any of the groups that hadn't played in the previous several months.

Stoneground had been formed in 1970 out of various San Francisco bands, to provide a "house band" for KSAN boss Tom Donahue's Medicine Ball Caravan. The Medicine Ball Caravan was

meant to be a sort of traveling Woodstock, busing freaks around the country to put on mini-Woodstocks everywhere. The Grateful Dead backed out at the last moment. A strange film was made of the peculiar trek. Stoneground was signed by Warner Brothers and recorded 3 moderately successful album. Stoneground had no less than five lead singers, and had a sort of gospel-ish feel laid on top of a typical rock band. Stoneground broke up in mid-1973.

In early 1974, Stoneground lead guitarist Tim Barnes re-formed the band, initially just as a quartet. Barnes was the only lead singer. They probably did some of Stoneground's old songs, but they would have sounded different with just one singer. Other band members were organist Fred Webb (ex-It's A Beautiful Day), bassist Terry Davis and drummer Sammy Piazza (ex-Hot Tuna).

Somewhat later, Stoneground would add two lead singers, including Jo Baker, and return somewhat to their older sound, and they eventually rose to at least a similar level to what they had been in the early 70s.

SF Examiner March 21, 1974
March 21, 1974 Long Branch, Berkeley, CA: Jimmy Baric Group (Thursday) The Jimmy Baric Group are unknown to me. They played the Long Branch regularly during March 1974. I suspect that it might be guitarist Jimmy Berick, later in the Epic Records band Masters Of The Airwaves.

SF Examiner, March 23, 1974
March 23, 1974 Long Branch, Berkeley, CA: Naomi Ruth Eisenberg/Mitch Woods and His Red Hot Mama (Saturday) Brooklyn-born pianist Mitch Woods had been playing in the Bay Area since 1970. Woods backed singer Gracie Glassman, as Mitch Woods And His Red Hot Mama, but I'm not sure if they had a band or were a duo. In the next few years, Woods would form Mitch Woods and His Rocket 88s, who had a throwback R&B sound. Woods has had a successful career ever since, and he still appears to be going strong.

SF Examiner, March 30, 1974
March 30, 1974 Long Branch, Berkeley, CA: Valley Boys/Soundhole (Saturday) Soundhole was a Marin band, who seemed to have debuted at the Branch on this Sunday night.

By year's end, Soundhole would headline every Sunday night for a couple of months. Bay Area geography is odd, and West Berkeley was actually very near to Marin County (particularly after rush hour), so this was really a local gig for them.

Soundhole was a rock band, but they had a sound that was influenced by jazz and soul. Kinda like Van Morrison, which is why Van Morrison- -another Bay Area club regular--hired them as his backing band around 1974. Heady stuff for some guys from Marin who were still pretty new to the music scene. Soundhole was led by guitarist Brian Marnell, who would become somewhat known in the Bay Area for leading the band SVT (with Jack Casady) in the later 1970s. John Farey (later in Zero) played organ, and Brian Hogan played tenor sax.

Bassist Mario Cipollina (John's younger brother), drummer Bill Gibson and saxophonist/guitarist Johnny Colla would team up with two members of Clover (see above) to form Huey Lewis And The News, going on to fame and fortune.

May 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)
May 2, 1974 Long Branch, Berkeley, CA: Fluid Drive
(Thursday)
Fluid Drive are unknown to me. They were regular performers at the Long Branch on Thursdays in May 1974.

The Long Branch did not advertise bands on Monday, Tuesday and Wednsday nights. I don't know if the club was closed those nights, or if they just didn't book music.

May 10-11, 1974 Long Branch, Berkeley, CA: Frank Biner and The Nightshift/Lucky Strike (Friday-Saturday)
After his club debut a few months earlier, Frank Biner was now headlining weekends at The Long Branch
Lucky Strike was a blues-rock band fronted by singer and harmonica player David Burgin. They had some good success in East Bay clubs, but never climbed any higher on the ladder.

May 17, 1974 Long Branch, Berkeley, CA: Grayson Street/Steel Band (Friday) The Steel Band are unknown to me. Possibly it's "a" (Caribbean) steel band.

June 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)
June 16, 1974 Long Branch, Berkeley, CA: Frank Biner and The Nightshift featuring The Stovall Sisters (Sunday)
Lillian, Netta and Joyce Stovall were three of 22 (!) children raised in a gospel-singing family that had moved to Oakland in the late 1950s. The trio had released a sort of gospel-soul album on Reprise in 1970 which included the hit "Hang On In There." They were also the backup singers for

Norman Greenbaum's "Spirit In The Sky." I assume Biner and Nightshift backed them for a set, and also played their own set.

June 29, 1974 Long Branch, Berkeley, CA: Eddie Money/Lucky Strike (Saturday) The Rockets had broken up at the end of 1973. In June 1974, Eddie Mahoney re-introduced himself as "Eddie Money," with a new band led by guitarist Jimmy Lyons. They dominated the Long Branch, just as the Rockets had done.

July 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)
July 5, 1974 Long Branch, Berkeley, CA: Norman Greenbaum & Crossfire/Yesterday & Today (Friday)
Norman Greenbaum was an anomaly at the Long Branch, as he was at every club he played at.

Greenbaum, a guitarist and singer, had been in a 60s band that played in a sort of Lovin' Spoonful style band called Dr West's Medicine Show and Junk Band. In 1969, Greenbaum wrote a song that got him signed by Reprise, and assigned to staff producer Erik Jacobsen, former producer of the Spoonful. After a re- arrangement, Greenbaum's gospel-folk "Spirit In The Sky" sold millions of copies and went #1 all over the world. It is still heard regularly today on soundtracks on commercials.

December 1, 1973 Long Branch, Berkeley, CA: Rockets
(Saturday)
We are missing listings for December 2 and 3 (Sunday and Monday), but it's reasonable to assume that some of the usual suspects played.

December 5, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
December 6, 1973 Long Branch, Berkeley, CA: Chains
(Thursday)
December 7, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Topkela (Friday) December 8, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Alice Stuart & Snake (Saturday)
Topkela is unknown to me.

December 9, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)
December 10, 1973 Long Branch, Berkeley, CA: Titans/Rockets/Country Thunder (Monday) Legal Aid Benefit It's easy to make fun of Berkeley--I for one never tire of it--but there's no question that things happen in Berkeley long before they happen elsewhere (for example, Berkeley's Freight And Salvage club banned smoking in 1968, and the city of Berkeley would ban smoking in restaurants around 1977). As a result of its forward-looking nature, some things catch on in Berkeley that never catch on elsewhere. One such trend was "white reggae," hippie bands that played sped-up reggae for dancing. They were very popular in 1970s Berkeley,

and pretty much nowhere else. The Titans, formerly Knee Deep, were the first such band. Titans would evolve into The Shakers, and became Long Branch regulars a few years later, even releasing an album, but they too are forgotten.

Country Thunder are unknown to me.

December 12, 1973 Long Branch, Berkeley, CA: Swan
(Wednesday)
December 13, 1973 Long Branch, Berkeley, CA: Chains
(Thursday)
December 14-15, 1973 Long Branch, Berkeley, CA: Earth Quake (Friday-Saturday) December 16, 1973 Long Branch, Berkeley, CA: Rockets
(Sunday)
December 17, 1973 Long Branch, Berkeley, CA: Rockets
(Monday)
December 19, 1973 Long Branch, Berkeley, CA: Rubinoos
(Wednesday)
December 20, 1973 Long Branch, Berkeley, CA: Rockets
(Thursday)
December 21, 1973 Long Branch, Berkeley, CA: Rockets/Grayson Street (Friday)

regularly today on soundtracks on commercials.

He did release a second album, which included a minor hit "Canned Ham."Greenbaum lived quietly on his farm in Petaluma and didn't perform much, because he didn't have to. Nonetheless, he sometimes toured around local clubs. We can guess his last number. Crossfire seems to have been an existing group, but I don't know anything else about them.

Yesterday & Today was a band from Oakland. Initially a cover band, they had started to play their own material in a hard rocking English style, kind of like Humble Pie. The quartet slugged it out in East Bay clubs for years. In 1984 when "hair metal" was popular on MTV, they finally made i tb i ga sY&T ,r e l e a s i n gt h eh i ta l b u mIn Rock We Trust.

July 11, 1974 Long Branch, Berkeley, CA: Frisco Kids
(Thursday)
The Frisco Kids are unknown to me.

July 31, 1974 Long Branch, Berkeley, CA: Butch Whacks And His Glass Packs (Wednesday)
Butch Whacks and His Glass Packs were a 15-piece rock and roll band dedicated to performing old style rock and roll hits from the 50s and early 60s. The band got their start as students at St. Mary’s College in Moraga playing frat parties, and eventually morphed into a very popular bay area club and theater act.

For the post about shows at the Long Branch from its opening in May 1971 through December 1971, see here
For the post about shows at the Long Branch from January through June 1972, see here POSTED BY CORRY342 AT 9:19 AM 2 COMMENTS: LABELS: 1973, 1974, 70S ROCK NIGHTCLUBS ,

BERKELEY

HTTP://WWW.CHICKENONAUNICYCLE.COM/CABALE%20HISTORY .HTM

CABALECREAMERY

Latest Update: February 9, 2013

Copyright © 2004-2011 Ross Hannan and Corry Arnold. All Rights Reserved.

Picture to Left: The Kentucky Colonels are joined on stage at the Cabale Creamery by Sandy Rothman in November 1964.

The Cabale and Cabale Creamery, 2504 San Pablo Avenue, Berkeley, CA (see also Questing Beast, Tito's and Longbranch)
None of this would be possible without the input from Sandy Rothman, Jesse Cahn, Evelyn Kerr and Sherwood Donahue
Evelyn Kerr's TimeMazine article on Chan Loughlin

Read Part 1 Here

Read Part 2 Here

Read Part 3 Here

TimeMazine Details

This is an excerpt from Sandy Rothman’s brief memoir of the Cabale, written as part of a project on the great Clarence White, which is well worth reviewing.

The Cabale Creamery
Sandy Rothman
It was on San Pablo Avenue, a main north-south thoroughfare parallel to Telegraph on the opposite (west) side of town, at the southwest corner of Dwight Way and San Pablo. I don't recall how "Creamery" got attached to it -- maybe from the steamed milk that was in the cappuccinos and lattes? The name "Cabale" was taken from "Cabala," a medieval system of Jewish mysticism. (Other dictionary definitions are: "a traditional, esoteric, occult, or secret matter" and "an esoteric doctrine or mysterious art." Do any of those terms resonate with bluegrass, nearly a cult in itself?! Hahaha.)
In the early 1960s, there was a ‘folk circuit’ that emphasized serious folk music like Doc Watson and Mississippi John Hurt (as opposed to the more popular Kingston Trio-style of folk music). The Cabale was one of the anchors of the circuit, along with Club 47 in Cambridge, many clubs in Greenwich Village (such as the Gaslight and Folk City), the Ark in Ann Arbor and the Ash Grove in Los Angeles. The story of this circuit is well told in Jim Rooney and Eric Von Schmidt’s book Baby Let Me Follow You Down (U-Mass Press, 1979).

The Cabale, at 2504 San Pablo Avenue (at Dwight), was a folk club founded in late 1962 by Rolf Cahn and Debbie Green (two Cambridge, MA folkies) along with Howard Ziehm and Red Dog alum Chandler A. Laughlin III (later known as Travus T. Hipp). It opened on January 4, 1963 and ran until mid-1965, when the folk action moved to the Jabberwock. Somewhere along the way Carroll Peery, manager of the Chambers Brothers and Big Mama Thornton, happened to acquire a majority interest in the Cabale. Jesse Cahn, son of Cabale founder Rolf and folksinger Barbara Dane, recalls "I was the one who cleaned the johns and swept up and practically lived there until 1965 ...". Jesse went on to play with Tongue & Groove (with Lynne Hughes and Michael Ferguson) and the Chambers Brothers. After some time on the East Coast he returned to manage the Jabberwock for Bill "Jolly Blue" Ehlert when he moved across to San Francisco to run the Matrix. The name of the venue was changed to the Cabale Creamery in August of 1964. As a side issue, the one time notoriety of the Cabale/Cabale Creamery coffee house led the local vice squad and FBI to ban the licensing of any business under the name "Cabale" in the future. However, Chan

Laughlin (Travus T Hipp) still retains Cabale News Service as his business cover. His broadcasts can be found on kpig.com.

One of the Cabale's founders was Rolf Cahn, a Jewish refugee from Nazi Germany who had served in the US Army during the war and also played and taught classical, flamenco, and folk guitar. Bluegrass was scheduled only occasionally at the Cabale, but on the other hand, it was the only club in Berkeley where it was presented at all during that period (1963-4). The usual entertainment at the Cabale included local musicians and quite a few travelling "folk individuals" from the more developed Cambridge folk scene. (The similarity between the Cabale's monthly calendar and that of Cambridge's Club 47 may have been an inspiration for Rick Shubb's placement of Berkeley and Cambridge as next-door neighbours in his legendary "Humbead's Revised Map of the World" poster which may be viewed in the book "Baby, Let Me Follow You Down" by Von Schmidt & Rooney). Physically, the Cabale was a fairly small, long and narrow, dark room with the ambience of a '50s Beat coffeehouse. Coffee drinks were made at the far end of the room. When the Colonels played there the stage was against the long wall on the north side of the room (the right side as you walked in); later, it was on the short wall just inside and to the right of the entrance.

The name was amended from simply "the Cabale" to the Cabale Creamery in August 1964. The site of the Cabale Creamery became, briefly The Good Buddy (a poster from May 1965 survives), Caverns West and then, in the Fall of 1965, it became a club called The Questing Beast. Much of the performance history of the Questing Beach (November 1965 to May 1966) has been demystified (see here) due to the availability of posters, handbills and advertisements in the Berkeley Barb.

Subsequently it became Tito’s, The Babylon and then in the early 1970s The Longbranch.

A List of Cabale Shows

Date Cabale, 2504 San Pablo Ave, Berkeley, CA Some Interesting Notes Friday 04 January 1963 Cabale opens to the public under the management Zeem and Chandler A. Laughlin III.

Sunday 17 March 1963 Hoot
Monday 18 March 1963 Janet Smith, Bobby Neuwirth & Buzzy Martin

Tuesday 19 March 1963 Perry Lederman & Al Young
Wednesday 20 March 1963 Dave Jones, Fred Meija & Ernesto Flamenco Thursday 21 March 1963 Redwood Canyon Ramblers Bluegrass Friday 22 March 1963 Toni Brown, Dave Fredrickson & Steve Talbott
Crabgrass
Saturday 23 March 1963 Doug Brown, Cal Grayon & Carl Granich Sunday 24 March 1963 Hoot
Monday 25 March 1963 Janet Smith, Bobby Neuwirth & Buzzy Martin

Tuesday 26 March 1963 Perry Lederman & Al Young
Wednesday 27 March 1963 Dave Jones, Fred Meija & Ernesto Thursday 28 March 1963 Redwood Canyon Ramblers
Friday 29 March 1963 Toni Brown, Dave Fredrickson & Steve Talbott

Saturday 30 March 1963 Doug Brown, Cal Grayon & Carl Granich Sunday 31 March 1963 Hoot
Monday 01 April 1963 Janet Smith, Bobby Neuwirth & Buzzy Marten

Tuesday 02 April 1963 Perry Lederman & Al Young
Wednesday 03 April 1963 Dave Jones, Fred Meija & Ernesto Thursday 04 April 1963 Redwood Canyon Ramblers
Friday 05 April 1963 Toni Brown, Dave Fredrickson & Steve Talbott

Saturday 06 April 1963 Doug Brown, Cal Grayon & Carl Granich Sunday 07 April 1963 Hoot
Monday 08 April 1963 Janet Smith, Bobby Neuwirth & Buzzy Martin

Tuesday 09 April 1963 Perry Lederman & Al Young
Wednesday 10 April 1963 Dave Jones, Fred Meija & Ernesto

Thursday 11 April 1963 Redwood Canyon Ramblers
Friday 12 April 1963 Toni Brown, Dave Fredrickson & Steve Talbott

Saturday 13 April 1963 Doug Brown, Cal Grayon & Carl Granich Sunday 14 April 1963 Hoot
Monday 15 April 1963 Janet Smith & Merrit Herring Ballads Tuesday 16 April 1963 Miriam Stafford & Huck Rorick Blues & Country Wednesday 17 April 1963 Perry Lederman & Debbie Green F o l k&G u i t a r Thursday 18 April 1963 Dave Jones, Fred Meija & Ernesto Flamenco Friday 19 April 1963 Bobby Neuwirth & Buz Marten Country Saturday 20 April 1963 Judy Roderick, Al Young & Clarence Van Hook
Folk and Blues
Sunday 21 April 1963 Hoot
Monday 22 April 1963 Janet Smith & Merrit Herring Ballads Tuesday 23 April 1963 Miriam Stafford & Huck Rorick Blues & Country Wednesday 24 April 1963 Perry Lederman & Debbie Green F o l k&G u i t a r Thursday 25 April 1963 Dave Jones, Fred Meija & Ernesto Flamenco Friday 26 April 1963 Bobby Neuwirth & Buz Marten Country Saturday 27 April 1963 Judy Roderick, Al Young & Clarence Van Hook
Folk and Blues
Sunday 28 April 1963 Hoot
Monday 29 April 1963 Janet Smith & Merrit Herring Ballads Tuesday 30 April 1963 Miriam Stafford & Huck Rorick Blues & Country Wednesday 01 May 1963 Perry Lederman & Debbie Green F o l k&G u i t a r Thursday 02 May 1963 Dave Jones, Fred Meija & Ernesto Flamenco Friday 03 May 1963 Bobby Neuwirth & Buz Marten Country
Saturday 04 May 1963 Judy Roderick, Al Young & Clarence Van Hook
Folk and Blues
Sunday 05 May 1963 Hoot
Monday 06 May 1963 Janet Smith & Merrit Herring Ballads Tuesday 07 May 1963 Miriam Stafford & Huck Rorick Blues & Country Wednesday 08 May 1963 Perry Lederman & Debbie Green F o l k&G u i t a r Thursday 09 May 1963 Dave Jones, Fred Meija & Ernesto Flamenco Friday 10 May 1963 Bobby Neuwirth & Buz Marten Country
Saturday 11 May 1963 Judy Roderick, Al Young & Clarence Van Hook
Folk and Blues
Sunday 12 May 1963 Hoot
Monday 13 May 1963 Janet Smith & Merrit Herring Ballads Tuesday 14 May 1963 Miriam Stafford & Huck Rorick Blues & Country Wednesday 15 May 1963 Perry Lederman & Debbie Green F o l k&G u i t a r Thursday 16 May 1963 Dave Jones, Fred Meija & Ernesto Flamenco Friday 17 May 1963 Bobby Neuwirth & Buz Marten Country
Saturday 18 May 1963 Judy Roderick, Al Young & Clarence Van Hook
Folk and Blues
Sunday 19 May 1963 Reverend L Overstreet Guitarist with his four sons Monday 20 May 1963 Janet Smith & Merrit Herring Ballads Tuesday 21 May 1963 Miriam Stafford & Huck Rorick Blues & Country Wednesday 22 May 1963 Perry Lederman & Debbie Green F o l k&G u i t a r Thursday 23 May 1963 Dave Jones, Fred Meija & Ernesto Flamenco Friday 24 May 1963 Bobby Neuwirth & Buz Marten Country

Saturday 25 May 1963 Judy Roderick, Al Young & Clarence Van Hook
Folk and Blues
Saturday 01 June 1963 Los Flamencos De La Bogeda (El Rubio, Fred Mejia, Ernesto); (from 11:00 to
01:00) Saturday Night at The Cabale on
KPFA featuring Cabale Performers and
Guests

Sunday 02 June 1963 Janet Smith, Tim Small
Monday 03 June 1963 Pine Ridge Ramblers
Tuesday 04 June 1963 Judy Roderick, Carl Dukatz
Wednesday 05 June 1963 KC Douglas & Clarence Van Hook
Thursday 06 June 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg

Friday 07 June 1963 Perry Lederman & Al Young
Saturday 08 June 1963 Los Flamencos De La Bogeda (El Rubio, Fred Mejia, Ernesto); (from 11:00 to
01:00) Saturday Night at The Cabale on
KPFA featuring Cabale Performers and
Guests

Sunday 09 June 1963 Janet Smith, Tim Small
Monday 10 June 1963 Pine Ridge Ramblers
Tuesday 11 June 1963 Judy Roderick, Carl Dukatz
Wednesday 12 June 1963 KC Douglas & Clarence Van Hook
Thursday 13 June 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg

Friday 14 June 1963 Perry Lederman & Al Young
Saturday 15 June 1963 Los Flamencos De La Bogeda (El Rubio, Fred Mejia, Ernesto); (from 11:00 to
01:00) Saturday Night at The Cabale on
KPFA featuring Cabale Performers and
Guests

Sunday 16 June 1963 Janet Smith, Tim Small
Monday 17 June 1963 Pine Ridge Ramblers
Tuesday 18 June 1963 Judy Roderick, Carl Dukatz
Wednesday 19 June 1963 KC Douglas & Clarence Van Hook
Thursday 20 June 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg
Crabgrass
Friday 21 June 1963 Perry Lederman & Al Young
Saturday 22 June 1963 Los Flamencos De La Bogeda (El Rubio, Fred Mejia, Ernesto); (from 11:00 to
01:00) Saturday Night at The Cabale on
KPFA featuring Cabale Performers and
Guests

Sunday 23 June 1963 Janet Smith, Tim Small
Monday 24 June 1963 Pine Ridge Ramblers
Tuesday 25 June 1963 Judy Roderick, Carl Dukatz
Wednesday 26 June 1963 KC Douglas & Clarence Van Hook
Thursday 27 June 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg

Friday 28 June 1963 Perry Lederman & Al Young
Saturday 29 June 1963 Los Flamencos De La Bogeda
Sunday 30 June 1963 Janet Smith, Tim Small
Wednesday 03 July 1963 Los Flamencos De La Bogeda, Fred Meija Thursday 04 July 1963 Mayne Smith, ?????
Friday 05 July 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg
Crabgrass
Saturday 06 July 1963 Perry Lederman

Friday 02 August 1963 Jesse Fuller
Saturday 03 August 1963 Elmer Snowden Trio
Sunday 04 August 1963 Janet Smith & Mayne Smith
Monday 05 August 1963 Hoot with Ken Spiker
Tuesday 06 August 1963 Carol Leigh & Ken Ellis 1920 Blues Wednesday 07 August 1963 Perry Lederman
Thursday 08 August 1963 Larry Hanks, Roger Perkins
Friday 09 August 1963 Jesse Fuller
Saturday 10 August 1963 Elmer Snowden Trio
Sunday 11 August 1963 Janet Smith & Mayne Smith
Monday 12 August 1963 Hoot with Ken Spiker
Tuesday 13 August 1963 Carol Leigh & Ken Ellis
Wednesday 14 August 1963 Perry Lederman
Thursday 15 August 1963 Larry Hanks, Roger Perkins, Canyon Cinema (Brakhage, 3:10 to Yuma)

Friday 16 August 1963 Mayne Smith, Niel Rosenberg & Scott Hambly

Saturday 17 August 1963 Elmer Snowden Trio
Sunday 18 August 1963 Mayne Smith, Niel Rosenberg & Scott Hambly

Monday 19 August 1963 Hoot with Ken Spiker
Tuesday 20 August 1963 Carol Leigh & Ken Ellis
Wednesday 21 August 1963 Perry Lederman
Thursday 22 August 1963 Larry Hanks, Roger Perkins
Friday 23 August 1963 Jesse Fuller
Saturday 24 August 1963 Elmer Snowden Trio
Sunday 25 August 1963 Mayne Smith, Niel Rosenberg & Scott Hambly

Monday 26 August 1963 Hoot with Ken Spiker
Tuesday 27 August 1963 Carol Leigh & Ken Ellis
Wednesday 28 August 1963 Perry Lederman
Thursday 29 August 1963 Larry Hanks, Roger Perkins, Canyon Cinema (Films of Larry Gordon)

Friday 30 August 1963 Jesse Fuller
Saturday 31 August 1963 Elmer Snowden Trio
Monday 02 September 1963 Hoot with Ken Spiker
Monday 09 September 1963 Hoot with Ken Spiker
Monday 16 September 1963 Hoot with Ken Spiker
Monday 23 September 1963 Hoot with Ken Spiker
Tuesday 01 October 1963 Ale Ekstrom, Debbie Green
Wednesday 02 October 1963 Los Flamencos De La Bogeda
Thursday 03 October 1963 Carol Leigh
Friday 04 October 1963 Perry Lederman, Janet Smith, Al Young Saturday 05 October 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg
Crabgrass
Sunday 06 October 1963 Tim Small & Ellen Faust
Monday 07 October 1963 Hoot with Ken Spiker
Tuesday 08 October 1963 TA Talbot, JC Burris
Wednesday 09 October 1963 Los Flamencos De La Bogeda
Thursday 10 October 1963 KC Douglas & Clarence Van Hook; Canyon Cinema (High Noon, Knight of the Trail,
Great Train Robbery)

Friday 11 October 1963 Fred Gerlach
Saturday 12 October 1963 Fred Gerlach
Sunday 13 October 1963 Janet Smith, Cy Koch
Monday 14 October 1963 Hoot with Ken Spiker
Tuesday 15 October 1963 Ale Ekstrom, Ellen Faust
Wednesday 16 October 1963 Los Flamencos De La Bogeda
Thursday 17 October 1963 Perry Lederman, Al Young
Friday 18 October 1963 Tim Small, Debbie Green
Saturday 19 October 1963 Rolf Kahn
Sunday 20 October 1963 Ale Ekstrom, Janet Smith
Monday 21 October 1963 Hoot with Ken Spiker
Tuesday 22 October 1963 TA Talbot, JC Burris
Wednesday 23 October 1963 Los Flamencos De La Bogeda
Thursday 24 October 1963 Perry Lederman, Al Young, Canyon Cinema (Brother Orchid, All Wet, Christmas Carol
Community Singing)

Friday 25 October 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg
Crabgrass
Saturday 26 October 1963 Rolf Kahn
Sunday 27 October 1963 Cy Koch, Clarence Van Hook
Monday 28 October 1963 Hoot with Ken Spiker
Tuesday 29 October 1963 Janet Smith, Tim Small
Wednesday 30 October 1963 Los Flamencos De La Bogeda
Thursday 31 October 1963 KC Douglas, Debbie Green
Friday 01 November 1963 Rolf Kahn
Saturday 02 November 1963 Al Young
Sunday 03 November 1963 Tim Small, Debbie Green
Monday 04 November 1963 Hoot
Tuesday 05 November 1963 Ellen Faust,
Wednesday 06 November 1963 Los Flamencos De La Bogeda
Thursday 07 November 1963 JC Burris, TA Talbott
Friday 08 November 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg
Crabgrass
Saturday 09 November 1963 Bukka White
Sunday 10 November 1963 JP Pickens
Monday 11 November 1963 Lightning Hopkins
Tuesday 12 November 1963 Lightning Hopkins
Wednesday 13 November 1963 Lightning Hopkins
Thursday 14 November 1963 Lightning Hopkins
Friday 15 November 1963 Al Young, Sandy Bull
Saturday 16 November 1963 Bukka White
Sunday 17 November 1963 Ellen Faust, Cy Koch
Monday 18 November 1963 Hoot
Tuesday 19 November 1963 Pat Kilroy, Janet Smith
Wednesday 20 November 1963 Los Flamencos De La Bogeda
Thursday 21 November 1963 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg
Crabgrass
Friday 22 November 1963 Al Young, Sandy Bull
Saturday 23 November 1963 Bukka White
Sunday 24 November 1963 Janet Smith

Monday 25 November 1963 Hoot
Tuesday 26 November 1963 Sandy Bull
Wednesday 27 November 1963 Los Flamencos De La Bogeda
Thursday 28 November 1963 JC Burris, TA Talbott
Friday 29 November 1963 Perry Lederman, Al Young
Saturday 30 November 1963 Bukka White
Sunday 01 December 1963 Hoot with Ken Spiker
Monday 02 December 1963 Closed
Tuesday 03 December 1963 Perry Lederman
Wednesday 04 December 1963 Los Flamencos De La Bogeda
Thursday 05 December 1963 TA Talbott, Lil Sun Glover, Dickens 44 Tony Glover Friday 06 December 1963 Tom Paxton
Saturday 07 December 1963 Tom Paxton
Sunday 08 December 1963 Hoot with Ken Spiker
Monday 09 December 1963 Closed
Tuesday 10 December 1963 Snopes Country Camp Followers
Wednesday 11 December 1963 Los Flamencos De La Bogeda
Thursday 12 December 1963 Perry Lederman
Friday 13 December 1963 Bukka White
Saturday 14 December 1963 Jesse Fuller
Sunday 15 December 1963 Hoot with Ken Spiker
Monday 16 December 1963 Closed
Tuesday 17 December 1963 Pat Kilroy, Janet Smith
Wednesday 18 December 1963 Los Flamencos De La Bogeda
Thursday 19 December 1963 Pete Berg, Toni Brown
Friday 20 December 1963 Bukka White
Saturday 21 December 1963 Jesse Fuller
Sunday 22 December 1963 Hoot with Ken Spiker
Monday 23 December 1963 Closed
Tuesday 24 December 1963 Closed
Wednesday 25 December 1963 Closed
Thursday 26 December 1963 Snopes Country Camp Followers Friday 27 December 1963 Al Young, Debbie Green
Saturday 28 December 1963 Jesse Fuller
Sunday 29 December 1963 Hoot with Ken Spiker
Monday 30 December 1963 Closed
Tuesday 31 December 1963 Closed
Wednesday 01 January 1964 Tim Small
Thursday 02 January 1964 Al Young
Friday 03 January 1964 Bobby Neuwirth
Saturday 04 January 1964 KC Douglas and His Band
Sunday 05 January 1964 Hoot with Ken Spiker
Monday 06 January 1964 Closed
Tuesday 07 January 1964 Snopes Country Camp Followers
Wednesday 08 January 1964 Pat Kilroy, Debbie Green
Thursday 09 January 1964 Perry Lederman
Friday 10 January 1964 Barbara Dane

Saturday 11 January 1964 Danny Kalb
Sunday 12 January 1964 Hoot with Ken Spiker
Monday 13 January 1964 Closed
Tuesday 14 January 1964 Kellery Powers, Lonny Feiner
Wednesday 15 January 1964 Al Young
Thursday 16 January 1964 Danny Kalb
Friday 17 January 1964 Barbara Dane
Saturday 18 January 1964 Hoot with Al Young
Sunday 19 January 1964 Hoot with Ken Spiker
Monday 20 January 1964 Closed
Tuesday 21 January 1964 Reverend Gary Davis
Wednesday 22 January 1964 Reverend Gary Davis
Thursday 23 January 1964 Reverend Gary Davis
Friday 24 January 1964 Jesse Fuller
Saturday 25 January 1964 TA Talbott, Lil Sun Glover, Dickens 44 Sunday 26 January 1964 Hoot with Ken Spiker
Monday 27 January 1964 Closed
Tuesday 28 January 1964 Perry Lederman
Wednesday 29 January 1964 Pete Berg, Toni Brown
Thursday 30 January 1964 Snopes Country Camp Followers
Friday 31 January 1964 Toni Brown, Dave Fredrickson, Art Koch & Perter Berg
Crabgrass
Wednesday 11 March 1964 Jim Kweskin's Jug Band
Tuesday 31 March 1964 Elizabeth Cotten
Wednesday 01 April 1964 Elizabeth Cotten
Thursday 02 April 1964 Elizabeth Cotten
Thursday 09 April 1964 Perry Lederman, Clarence Van Hook Thursday 16 April 1964 Perry Lederman, Clarence Van Hook Thursday 23 April 1964 Kentucky Colonels
Wednesday 29 April 1964 Mance Lipscombe
Thursday 30 April 1964 Mance Lipscombe
Friday 01 May 1964 Mance Lipscombe
Saturday 02 May 1964 Los Tigres De La Sierra (2pm); Mance Lipscombe (9pm)
Sunday 03 May 1964 Mance Lipscombe
Monday 04 May 1964 Tom Glass and The Jazz Mice
Tuesday 05 May 1964 Los Flemencos De La Bogeda
Wednesday 06 May 1964 Pat Kilroy, Ben Willis
Thursday 07 May 1964 Perry Lederman
Friday 08 May 1964 Rolf Cahn
Saturday 09 May 1964 Rolf Cahn
Sunday 10 May 1964 Hoot
Monday 11 May 1964 Tom Glass and The Jazz Mice
Tuesday 12 May 1964 Los Flemencos De La Bogeda
Wednesday 13 May 1964 Pat Kilroy, Ben Willis
Thursday 14 May 1964 Perry Lederman
Friday 15 May 1964 R a gT i m eQ u a r t e t Bob Detwilder, Vince Hickey, Red Honore, Peter Be Saturday 16 May 1964 The Chevelles Rhythm and Blues, Dancing

Sunday 17 May 1964 Hoot
Monday 18 May 1964 Tom Glass and The Jazz Mice
Tuesday 19 May 1964 Los Flemencos De La Bogeda
Wednesday 20 May 1964 Nick Gravenites
Thursday 21 May 1964 Al Young, Wardez Taylor
Friday 22 May 1964 R a gT i m eQ u a r t e t
Saturday 23 May 1964 The Chevelles Rhythm and Blues, Dancing Sunday 24 May 1964 Hoot
Monday 25 May 1964 Tom Glass and The Jazz Mice
Tuesday 26 May 1964 Lightning Hopkins, Clarence Van Hook Wednesday 27 May 1964 Lightning Hopkins, Clarence Van Hook Thursday 28 May 1964 Lightning Hopkins, Clarence Van Hook Friday 29 May 1964 Lightning Hopkins, Clarence Van Hook Saturday 30 May 1964 Lightning Hopkins, Clarence Van Hook Sunday 31 May 1964 Hoot
Wednesday 10 June 1964 Barbara Dane
Thursday 11 June 1964 Barbara Dane
Friday 12 June 1964 Barbara Dane
Wednesday 15 July 1964 Mississippi John Hurt
Thursday 16 July 1964 Mississippi John Hurt
Friday 17 July 1964 Mississippi John Hurt
Friday 14 August 1964 First reference to The Cabale being called The Cab and Carrol Peery
Tuesday 18 August 1964 Chambers Brothers
Wednesday 19 August 1964 Chambers Brothers
Saturday 22 August 1964 Chambers Brothers
Sunday 23 August 1964 Chambers Brothers
Tuesday 25 August 1964 Terry Garthwaite, Perry Lederman Wednesday 26 August 1964 Chambers Brothers
Thursday 27 August 1964 Chambers Brothers
Friday 28 August 1964 Chambers Brothers
Saturday 29 August 1964 Chambers Brothers
Thursday 29 October 1964 Jesse Fuller
Friday 30 October 1964 Jesse Fuller
Saturday 31 October 1964 Jesse Fuller
Tuesday 17 November 1964 Kentucky Colonels Sandy Rothman plays with the Kentucky Colonels Wednesday 18 November 1964 Kentucky Colonels Sandy Rothman plays with the Kentucky Colonels Thursday 19 November 1964 Kentucky Colonels Sandy Rothman plays with the Kentucky Colonels Friday 20 November 1964 Kentucky Colonels Sandy Rothman plays with the Kentucky Colonels Saturday 21 November 1964 Kentucky Colonels Sandy Rothman plays with the Kentucky Colonels Tuesday 24 November 1964 Mance Lipscombe
Wednesday 25 November 1964 Mance Lipscombe
Thursday 26 November 1964 Mance Lipscombe
Friday 27 November 1964 Mance Lipscombe
Saturday 28 November 1964 Mance Lipscombe
Sunday 29 November 1964 Mance Lipscombe
Tuesday 16 February 1965 Mississippi Fred McDowell

Wednesday 17 February 1965 Mississippi Fred McDowell
Thursday 18 February 1965 Mississippi Fred McDowell
Friday 19 February 1965 Mississippi Fred McDowell
Saturday 20 February 1965 Mississippi Fred McDowell
Friday 19 November 1965 Opens under the ownership of Terry Sullivan and T called "The Good Buddy" and "Caverns West".

QUESTINGBEAST
Latest Update: September 13, 2011
Copyright © 2004-2011 Ross Hannan and Corry Arnold. All Rights Reserved. http://www.chickenonaunicycle.com/Questing%20Beast%20History.htm The
Questing Beast, 2504 San Pablo Avenue, Berkeley, CA
This has been researched and prepared by Ross Hannan and Corry Arnold Thanks are due to Cactus Pete Anderson who contributed significantly to the research

In the early 1960s, there was a “folk circuit” anchored by Cambridge, Massachusetts and Berkeley, California. Folksingers could play the Club 47 in Cambridge, go down to Greenwich Village, and work there way across the country, possibly hitchhiking, and sleeping on the couches and floors of other folkniks. The history of this circuit is best covered in the book Baby Let Me Follow You Down (Eric von Schmidt and Jim Rooney, UMass Press 1979).

The Cabale Creamery (2504 San Pablo at Dwight in Berkeley), founded by Rolf Cahn, Debbie Green, Howard Ziehm and Chandler A. Laughlin III , was a crucial stop on this circuit. By August 1964, the club was owned and run by Carroll Peery, manager of the Chambers Brothers who subsequently moved to Cambridge themselves, and Howard Ziehm. Bay Area bluegrass musician Sandy Rothman has written a brief but excellentmemoir of the Cabale as part of a project on the great Clarence White and Jorma Kaukonen recorded his album "Cabale Creamery" here in 1964.

When the Cabale finally folded, probably sometime in the summer of 1965, the 2504 San
Pablo premises briefly became The Good Buddy then Caverns West before being taken over, by Terry Sullivan and Tony Sage, and re-opened as the Questing Beast on November 19.

Unfortunately, by May 1966 The Beast had been slain with its downfall well documented in the May 6 (Vol 2, Number 18) and May 13 (Vol 2, Number 19) issues of the Barb.

The Questing Beast was primarily a folk coffeehouse and hosted similar acts to the Jabberwock on Telegraph Avenue with a fair amount of flamenco, bluegrass and classical guitar playing thrown in. By all accounts it never managed to turn a profit.

The end was bought about following problems with the local police department and Board of Health who had visited in mid April 1966 and demanded a number of costly improvements to be made. It also transpires that the joint managers of The Questing Beast, Terry Sullivan and Tony Sage, borrowed a patron’s car on Saturday April 30 in order to go for cider and donuts and were pulled over by Patrolman George Williamson, allegedly because of a defective rear light.

A subsequent routine ID check was conducted and the vehicle searched. A small amount of marijuana was found and the two arrested. Friends struggled to find the bail money and their fiancées apparently considered “turning tricks” to raise the funds. By May 2, the day of the arraignment, Sullivan’s bail was in place. However, immediately before the court session, Inspector Darrell Hickman of the Detective Division told Sullivan “I’m revoking your entertainment license” – despite that neither Sullivan nor Sage had been tried or convicted. Sage was taken after arraignment to the maximum security Greystone facility at Santa Rita. Sage recounted to the Barb stories of the scant conditions and food at Graystone in an article published on May

13. A hastily arranged three day benefit was arranged with Solomon (Feldthouse – later of eclectic LA band Kaleidoscope) with the Holiday Dancers, Country Joe and The Fish, John Paul, Dave Cohen, Dan Paik and The Gospel Tonics (who had originally been scheduled) appearing.

By the time the Berkeley Barb was published on May 6, it was clear that without their cabaret license it would be impossible for The Questing Beast to have any paid performers, scheduled performances, admission or cover charge, and no advertising of live entertainment could be placed. Notwithstanding this, Country Joe and the Fish went on to perform as scheduled that evening. Although the staff at the Beast had told the Barb that emphatically and unanimously that “The Questing Beast will not close”, the Country Joe and the Fish show that Friday proved to be the last music performed there.

Sunday and Monday saw The Questing Beast host Jerry Abrams’ Berkeley Cinematheque (something they had done each Sunday since March 20) and the doors closed for the final time on May 9, 1966.

2504 San Pablo later became home to Tito’s, Babylon and then the Longbranch Saloon. Today the building houses a business called “Good Vibrations” (more Duracell than the Beach Boys).

The Questing Beast as it was on October 7, 2005 - "Good Vibrations" 2504 San Pablo Avenue through the years ...

Art of the Questing Beast

A List of Questing Beast Shows
Friday 19 November
1965
Alice Stuart Opening of The Questing Beast. Alice Stuart was, and still is, a folk singer. At the back of her Arhoolie debut album "All The Good Times".

Saturday 20 November
1965
Alice Stuart
Sunday 21 November
1965
Hoot
Monday 22 November
1965
Closed
Tuesday 23 November
1965
Wednesday 24 November
1965
Thursday 25 November
1965
Clarence Van Hook The ad says “Open Tuesday thru Sunday, 9-1”. This suggests that the venue was “name” acts on the weekend. The same ad promotes a Sunday night “Hoot.” Friday 26 November
1965
Clarence Van Hook,
KC Douglas
KC Douglas was born in Sharon, MS in 1913, and played with blues legend Tomm Vallejo, CA in 1945 to work in the Navy shipyards. By 1947 he had relocated to O as a blues performer. He had a hit in 1949 with "Mercury Boogie," better know by Steve Miller (1967), David Lindley (1981) and Alan Jackson (1992), and later u From 1963 to 1970, Douglas was an employee of the Berkeley Public Works Dep the Berkeley Blues Festival in 1970, Douglas had a boost in popularity, and he pe death in 1975. Clarence van Hook, a guitar player, generally accompanied Dougl into the 1990s.

Saturday 27 November
1965
Clarence Van Hook,
KC Douglas
Sunday 28 November
1965
Hoot
Monday 29 November
1965
Closed
Tuesday 30 November
1965
Jim Lynch Ad states "rambler tunes and flat picking".

Wednesday 01 December
1965
Bob Cooper
Thursday 02 December
1965
Friday 03 December
1965
Jean Redpath and
Karen Williams
Jean Redpath was a singer of Scottish ballads.

Saturday 04 December
1965
Jean Redpath and
Karen Williams
Sunday 05 December
1965
Hoot
Monday 06 December
1965
Closed
Tuesday 07 December
1965
Jim Lynch
Wednesday 08 December
1965
David and Tina Meltzer Ad says "electric bass, bluegrass and ballads". Both would go on to be members of Serpent Power.

Thursday 09 December
1965
John Shine Blues
Friday 10 December
1965
Lee Underwood Blues and kazoo
Saturday 11 December
1965
Sunday 12 December
1965
Hoot
Monday 13 December
1965
Closed
Tuesday 14 December
1965
Wednesday 15 December
1965
Thursday 16 December
1965
Friday 17 December
1965
Huck Rorick and His Rock &
Roll Friends
By all accounts, a rock & roll band.

Saturday 18 December
1965
Huck Rorick and His Rock &
Roll Friends
Sunday 19 December
1965
Hoot
Monday 20 December
1965
Closed
Tuesday 21 December
1965
Ken Spiker Flamenco and classical guitar
Wednesday 22 December
1965 Bob Cooper
Bob Cooper plays Carter Family Bluegrass this evening at the Questing Beast.

Thursday 23 December
1965
Golden Key Gospel Singers,
Jay Vernon and His Group
Friday 24 December
1965
Golden Key Gospel Singers,
Jay Vernon and His Group
Saturday 25 December
1965
Golden Key Gospel Singers,
Jay Vernon and His Group
Sunday 26 December
1965
Hoot
Monday 27 December
1965
Closed
Tuesday 28 December
1965
Wednesday 29 December
1965
Thursday 30 December
1965

Friday 31 December
1965

Saturday 01 January
1966

Sunday 02 January
1966
Square Dancing with Reed
Cooper calling [1:00 pm], Hoot

Monday 03 January
1966
Closed
Tuesday 04 January
1966

Wednesday 05 January
1966

Thursday 06 January
1966
John Paul
Friday 07 January
1966
New Brothers
Saturday 08 January
1966
New Brothers
Sunday 09 January
1966
Square Dancing with Reed
Cooper calling [1:00 pm], Hoot

Monday 10 January
1966
Closed
Tuesday 11 January
1966
Jason Weininger - Classical
guitar

Wednesday 12 January
1966
Clarence Van Hook
Thursday 13 January
1966
Jim Lynch
Friday 14 January
1966
The Friendly Strangers, Sandy
Rothman, Lloyd Williams,
Butch Waller, Ray Scott
[Bluegrass Special]
Bluegrass Special
Saturday 15 January
1966
The Friendly Strangers, Sandy
Rothman, Lloyd Williams,
Butch Waller, Ray Scott

Sunday 16 January
1966
Square Dancing with Reed
Cooper calling [1:00 pm], Hoot

Monday 17 January
1966
Closed
Tuesday 18 January
1966
Jason Weininger - Classical
guitar

Wednesday 19 January
1966
Clarence Van Hook

20 January
1966
Joe McDonald Although advertised by the Questing Beast as a Joe McDonald show, evidence points to this being more likely a Country Joe and The Fish show with Joe McDonald, Barry
Melton, Bruce Barthol and possibly John Francis Gunning. It is likely that they played "Bass Strings" and other songs. In Joel Selvin's book "San Francisco: The Musical History Tour", Selvin says, about an Instant Action Jug Band show in late 1965, that took place at the Cabale Creamery and that
McDonald, Melton and Barthol played "Bass Strings". If this were correct then it would date it to well before November 1965 as the Cabale had long closed at this point in time.

After November 19, 1965 the 2504 San Pablo location was home to the Questing Beast - the venue having also been called The Good Buddy and Caverns West since it was the Cabale Creamery. Therefore either the date is wildly
incorrect, or (more probably in my view) the location correct (2504 San Pablo) but the venue name incorrect.

Furthermore, in an interview with Mojo Navigator (Issue 10), Gunning states that the first Country Joe and the Fish show was at the Questing Beast. The implication is that earlier shows had either been Instant Action Jug Band shows or Country Joe and the Fish as the McDonald/Melton duo - perhaps augmented by Richard Saunders, Carvel Bass or
other members of the band.

Friday 21 January
1966
Malachi "Psychedelic Music". Malachi, an eastern influenced ex jazz musician, was a self-styled "Existential Guitarist" who had appeared regularly at the Studio C Gallery at 1625 San Pablo during the summer and autumn of 1965. He was often
accompanied on rattle by his wife.

Saturday 22 January
1966
Malachi
Sunday 23 January
1966
Square Dancing with Reed
Cooper calling [1:00 pm], Hoot
Monday 24 January
1966
Spontaneous Hoot with Chess,
Darts and Bridge

Tuesday 25 January
1966
Ken Spiker
Wednesday 26 January
1966
John Shine
Thursday 27 January
1966
Don Garrett
Friday 28 January
1966
Vern and Ray with Herb
Pederson
Saturday 29 January
1966
Vern and Ray with Herb
Pederson
Sunday 30 January
1966
Square Dancing with Reed
Cooper calling [1:00 pm]; Hoot
See Page 2 of January 28 Barb - multimedia projection show called the "Questing Beast" presented. Composed as it is watched.

Monday 31 January
1966
Spontaneous Hoot with Chess,
Darts and Bridge

Tuesday 01 February
1966

Wednesday 02 February
1966
Thursday 03 February
1966
New Brothers
Friday 04 February
1966
New Brothers
Saturday 05 February
1966
New Brothers
Sunday 06 February
1966
Square Dancing with Reed
Cooper calling [1:00 pm]; Hip
Culture Enterprises - Local
Filmmakers; Hoot
Monday 07 February
1966
Closed
Tuesday 08 February
1966
Ken Spiker, Clarence Van Hook
Wednesday 09 February
1966
Jim Lynch, Paul Malecot
Thursday 10 February
1966
Saint James Five
Friday 11 February
1966
Disassociates, Saint James Five The ad says “Jazz, Rhythm and Blues Jam Session with The Disassociates.” Films are advertised for Sunday night
(February 13). Supposedly, the Grateful Dead were using The Questing Beast as a rehearsal hall at this time. This ended when the Dead abruptly decamped to Los Angeles
with their patron, LSD king Augustus Owsley Stanley III. The Bear was an old Berkeley hand, and there is a whiff that the Questing Beast arrangement was Owsley’s doing. There
may have been a Grateful Dead show scheduled at the
Questing Beast for Friday (February 11) which was canceled as well. A Grateful Dead tape circulates as “Questing Beast Rehearsal February 11, 1966,” but both the date and venue are spurious.

Saturday 12 February
1966
Disassociates Advertised as a "folk rock" group but possibly incorrectly billed in the Berkelely Barb and should be "The Disaffiliates".

Sunday 13 February
1966
Square Dancing with Reed Coop
calling [2:00 pm] WC Fields and
Chaplin shorts with Bernie Burn
Piano [8:00 pm and 10:30 pm]

Monday 14 February
1966
Closed
Tuesday 15 February
1966
Wednesday 16 February
1966
Thursday 17 February
1966
Jesse Fuller Advertised as "The Lone Cat, Jesse Fuller, playing his fodella, kazoo singing blues, Jazz and folk".

Friday 18 February
1966
Jesse Fuller

Saturday 19 February
1966
Jesse Fuller
Sunday 20 February
1966
Hoot with Allan Kaplan
Monday 21 February
1966
Closed
Tuesday 22 February
1966
Ken Spiker, Clarence Van Hook
Wednesday 23 February
1966
Paul Malecot, Jim Lynch
Thursday 24 February
1966
John Shine
Friday 25 February
1966
Jesse Fuller
Saturday 26 February
1966
Wizards and Witches Guild
Party
Sunday 27 February
1966
Hoot with Allan Kaplan
Monday 28 February
1966
Closed
Tuesday 01 March 1966 Paul Malecot
Wednesday 02 March 1966 William Spires with Kathy
Goldman, Paul Malecot
William Spires with Kathy Goldman sang and played
traditional English and American ballads
Thursday 03 March 1966 William Spires with Kathy
Goldman, Charles Perry
Friday 04 March 1966 William Spires with Kathy
Goldman, Lee Underwood
The Berkeley Barb ad says “Funky Blues and Ballads”. Lee Underwood was a singer of "urban and delta blues".

Saturday 05 March 1966 William Spires with Kathy
Goldman, Lee Underwood
Sunday 06 March 1966 Disaffiliates
Monday 07 March 1966 Hoot with Allen Kaplan MC
Tuesday 08 March 1966 Disaffiliates
Wednesday 09 March 1966 Bill Spires, John Paul
Thursday 10 March 1966 Disaffiliates
Friday 11 March 1966 Lee Underwood, Juan Molina
Saturday 12 March 1966
Sunday 13 March 1966 Disaffiliates
Monday 14 March 1966 Hoot with Allen Kaplan MC
Tuesday 15 March 1966 Disaffiliates
Wednesday 16 March 1966 Disaffiliates
Thursday 17 March 1966 New Brothers, Rick Sinclaire The Barb ad says Rick Sinclaire “Contemporary Guitar.” Friday 18 March 1966 New Brothers, Rick Sinclaire
Saturday 19 March 1966 New Brothers, Rick Sinclaire
Sunday 20 March 1966 Berkeley Cinematheque: The
Green Archer, The Flower
Thief
A series of films are presented on Sunday nights at the Questing Beast (for the complete set of Barb ads for the films, see the Chicken site). In the 60s, few films were shown on TV, and all those were bland Warner Brothers fare or contemporary “family” type movies. Opportunities to
see Classic, Foreign or Underground films were rare, and film events like this were a significant part of the
counterculture at the time.

Monday 21 March 1966 Hoot with Allen Kaplan MC
Tuesday 22 March 1966 Breadbasket - chanties
Wednesday 23 March 1966 Breadbasket - chanties
Thursday 24 March 1966 Breadbasket - chanties
Friday 25 March 1966 Dan Paik, Ken Spiker, Paul
Malecot
The Barb ad says Dan Paik-“folk-blues,” Ken
Spicer-“flamenco” and Paul Malecot-“folk guitarist.”
Saturday 26 March 1966 Dan Paik, Ken Spiker, Paul
Malecot
Sunday 27 March 1966 Barn Dance Music (afternoon),
Berkeley Cinematheque:

George, The Inviolate House
(evening)

Monday 28 March 1966 Hoot
Tuesday 29 March 1966 Breadbasket Jazz
Wednesday 30 March 1966 Breadbasket
Thursday 31 March 1966 Juan Molina - Flamenco
Friday 01 April 1966 Jesse Fuller, John Paul, Dan
Paik, Raleigh Morris, Clarence
Van Hook, KC Douglas, Dave
Van Campen, Ken Spiker,
Rachel and Joyce Halmen, plus
20-30 others [Folk Fest
Marathon and Rent Benefit for
the Questing Beast]
The Barb ad says “Scores of Performers and more.”
Saturday 02 April 1966 John Paul, Dan Paik, Raleigh
Morris, Clarence Van Hook, KC
Douglas, Dave Van Campen,
Ken Spiker, Rachel and Joyce
Halmen, plus 20-30 others
[Folk Fest Marathon and Rent
Benefit for the Questing
Beast]
Sunday 03 April 1966 Berkeley Cinematheque:

Confessions of a Black Mother
Succuba, Schmeerquntz, The
Green Archer; Folf Festival:

John Paul, Dan Paik, Raleigh
Morris, Clarence Van Hook, KC
Douglas, Dave Van Campen,
Ken Spiker, Rachel and Joyce
Halmen, plus 20-30 others
Monday 04 April 1966 Hoot with Allen Kaplan MC
Tuesday 05 April 1966 Breadbasket
Wednesday 06 April 1966 Breadbasket
Thursday 07 April 1966 Breadbasket
Friday 08 April 1966 Clarence Van Hook, KC
Douglas
Saturday 09 April 1966 Clarence Van Hook, KC
Douglas

Sunday 10 April 1966 Berkeley Cinematheque: High
Noon, The Cat People, The
Green Archer
Monday 11 April 1966 "Play or Listen" for free
Tuesday 12 April 1966 Robbie Basho, Jan Ward
Wednesday 13 April 1966 Jim Lynch, Jim Brown
Thursday 14 April 1966 Party: Witches and Wizards
Friday 15 April 1966 Solomon (Feldthouse), Nino
and Catana [Psychedelic
Music, Malachi, Flamenco
Guitar and dancing, Cante
Jondo]
Solomon Feldhouse would later go on to play with
Kaleidoscope
Saturday 16 April 1966
Sunday 17 April 1966 Berkeley Cinematheque: Oh
Dem Watermelons, Thick
Pucker, St Chicago, Poon Tang
Trilogy, Some Don't Olds
Mo-bile, The Green Archer;
Health People
The Board of Health scheduled a visit to inspect the Beast.

Monday 18 April 1966 Health People The Board of Health took the opportunity to conduct an inspection of The Questing Beast.

Tuesday 19 April 1966 Health People Mance Lipscomb show cancelled whilst the Board of Health inspected the Beast.

Wednesday 20 April 1966 Health People Mance Lipscomb show cancelled whilst the Board of Health concluded the inspection of the Beast. It transpires they were less than pleased and, like the Jabberwock a year later, demanded a series of costly improvements to be made.

Although attempts were made to keep the Beast afloat with the "folk festival" and benefit at the end of April, by the second week of May the Beast was slain.

Thursday 21 April 1966 Mance Lipscomb, Dan Paik
Friday 22 April 1966 Mance Lipscomb, Dan Paik
Saturday 23 April 1966 Mance Lipscomb, Dan Paik
Sunday 24 April 1966 Mance Lipscomb, Dan Paik
Monday 25 April 1966 Berkeley Cinematheque:
"Twicew A Man", "Everybody
Hit Their Brother Once",
"Faces of Mexico", "The Green
Archer"
Tuesday 26 April 1966 Jesse Fuller, Lynne Hughes Jesse Fuller, a "folk blues" multi-instrumentalist and singer who invented the Fodella known as ‘The Lone Cat,” was
based in San Francisco. Lynne Hughes (her name misspelled on the poster), was a fellow traveler and part-time member of The Charlatans from the Red Dog Saloon of the previous year.

Wednesday 27 April 1966 Jesse Fuller, Lynne Hughes Lynne Hughes was the singer, barmaid and book keeper for the Red Dog Saloon in Virginia City, NV during the summer of 1965 when the Charlatans played their legendary six
week stint. Lynne was later involved with both Stoneground

and Tongue and Groove, as well as appearing at live shows with The Charalatans.

Thursday 28 April 1966 Jesse Fuller, Lynne Hughes,
Country Joe and The Fish, Dan
Paic, Blind Ebbets Field, Dave
Cohen, KC Douglas, Clarence
Van Hook, Solomon, Nino,
Catana, Flamenco and others
[Folk Festival]
The Barb ad says "psychedelic music" and "other nights, other guests". Solomon was Solomon Feldthouse, a major
figure on the West Coast folk scene, and later a mainstay of the eclectic LA group Kaleidoscope. He often appeared with flamenco or gypsy dancers. K.C. Douglas was an Oakland
bluesman. Blind Ebbetts Field, is a Nom Du Folk of Barry Melton.

Friday 29 April 1966 Jesse Fuller, Lynne Hughes,
Country Joe and The Fish, Dan
Paic, Blind Ebbets Field, Dave
Cohen, KC Douglas, Clarence
Van Hook, Solomon, Nino,
Catana, Flamenco and others
[Folk Festival]
The configuration of Country Joe and The Fish at this time would have been Joe, Barry, David Bennett Cohen (guitar, organ), Bruce Barthol (guitar), Paul Armstrong (bass), John Francis Gunning (drums). Interestingly, the Dave Cohen
listed on the poster is likely to be the Fish organist rather than the Los Angeles session musician with the same name.

That Dave Cohen was Country Joe’s guitar teacher in about 1963 in Los Angeles.

Saturday 30 April 1966 Jesse Fuller, Lynne Hughes,
Country Joe and The Fish, Dan
Paic, Blind Ebbets Field, Dave
Cohen, KC Douglas, Clarence
Van Hook, Solomon, Nino,
Catana, Flamenco and others
[Folk Festival]
Sunday 01 May 1966 Berkeley Cinematheque:

Senseless, Quixote, Eric and
the Monsters, Sandusk, The
Green Archer; Jesse Fuller,
Lynne Hughes, Country Joe
and The Fish, Dan Paic, Blind
Ebbets Field, Dave Cohen, KC
Douglas, Clarence Van Hook,
Solomon, Nino, Catana,
Flamenco and others [Folk
Festival]
Monday 02 May 1966 Solomon with the Holiday
Dancers/Country Joe and The
Fish/John Paul/Dave
Cohen/The Gospel Tonic/Dan
Paic
[Benefit Help] There are a few surviving posters from this week (4.26-5.5.66) at The Questing Beast. They list
numerous acts over several days. Logic and David Bennett Cohen’s comments suggest that the listed acts played one or two nights at the club each, rather than all appearing every night. However, we have been unable to determine the
exact breakdown of acts aach night. Solomon was Solomon Feldthouse, a major figure on the West Coast folk scene, and later a mainstay of the eclectic LA group Kaleidoscope. He often appeared with flamenco or gypsy dancers. John Paul was a local Berkeley musician, very influential in the
intellectual appreciation of musical developments at the time (e.g. the Beatles). David Cohen recalls that he was

probably booked to play separately from Country Joe and The Fish, although could well have just played a set with the band.

Tuesday 03 May 1966 Solomon with the Holiday
Dancers/Country Joe and The
Fish/John Paul/Dave
Cohen/The Gospel Tonic/Dan
Paic [Benefit Help]
One of the posters says “Help” and lists a Berkeley Public Health and Safety Ordinance by number. We must presume
that the venue was in violation of some requirement, but what exactly is unknown. The last Berkeley Cinematique ad for the film series in the Barb is for Sunday May 8. Whatever violations may have been subject to statute, it appears the venue closed, later to become Tito’s and then the
Longbranch.

Wednesday 04 May 1966 Solomon with the Holiday
Dancers/Country Joe and The
Fish/John Paul/Dave
Cohen/The Gospel Tonic/Dan
Paic [Benefit Help]

Thursday 05 May 1966 Solomon with the Holiday
Dancers/Country Joe and The
Fish/John Paul/Dave
Cohen/The Gospel Tonic/Dan
Paik [Benefit Help]

Friday 06 May 1966 Country Joe and the Fish
Saturday 07 May 1966 Country Joe and the Fish
Sunday 08 May 1966 Berkeley Cinematheque:

Uptight, LA is Burning - Shit,
Acid Camp, Colorfilm, White
Trash, The Green Archer

Monday 09 May 1966 Berkeley Cinematheque:

Uptight, LA is Burning - Shit,
Acid Camp, Colorfilm, White
Trash, The Green Archer
The Questing Beast closes.

Tuesday 10 May 1966 Jan Ward Show cancelled following the closure of the Questing Beast Wednesday 11 May 1966 Dave Cohen how cancelled following the closure of the Questing Beast Thursday 12 May 1966 Dave Cohen Show cancelled following the closure of the Questing Beast Friday 13 May 1966 Robbie Basho Show cancelled following the closure of the Questing Beast Saturday 14 May 1966 Robbie Basho Show cancelled following the closure of the Questing Beast Sunday 15 May 1966 Films Show cancelled following the closure of the Questing Beast

Monday 16 May 1966 Folk Festival Show cancelled following the closure of the Questing Beast Tuesday 17 May 1966 Dan Paik, Solomon Show cancelled following the closure of the Questing Beast Wednesday 18 May 1966 Dan Paik, Solomon Show cancelled following the closure of the Questing Beast Thursday 19 May 1966 PH Phactor Jug Band, Lynne
Hughes
Show cancelled following the closure of the Questing Beast Friday 20 May 1966 PH Phactor Jug Band, Lynne
Hughes
Show cancelled following the closure of the Questing Beast Saturday 21 May 1966 PH Phactor Jug Band, Lynne
Hughes
Show cancelled following the closure of the Questing Beast Sunday 22 May 1966 Films Show cancelled following the closure of the Questing Beast Monday 23 May 1966 Folk Festival Show cancelled following the closure of the Questing Beast Tuesday 24 May 1966 Solomon Show cancelled following the closure of the Questing Beast Wednesday 25 May 1966 Ken Spiker, Jon Paul Show cancelled following the closure of the Questing Beast Thursday 26 May 1966 Ken Spiker, Jon Paul Show cancelled following the closure of the Questing Beast Friday 27 May 1966 W&W Party Show cancelled following the closure of the Questing Beast Saturday 28 May 1966 "Special" Show cancelled following the closure of the Questing Beast

One day, when King Arthur stopped to rest by a spring, he was surprised by a sound like thirty baying hounds. A strange animal with a snakes head the body of a leopard the back legs of a lion and the hooves of a deer burst through the underbrush, pursued by King Pellinore. Pellinore had hunted the Questing Beast, as the creature was called, all his life but never managed to capture it. Malory describes it as "the strongeste beste that ever he [Arthur] saw or herde of."

This strange beast reappears frequently, beginning with Suite du Merlin and Perlesvaus, in French, Spanish, and Italian romance and in Malory. The Questing Beast also goes by the name of "Beste Glatissant".

In Search of the Questing Beast

Administrative Record
This attachment is on file and available for review at
the City Clerk Department, or can be accessed from
the City Council Website. Copies of the attachment
are available upon request.

City Clerk Department
2180 Milvia Street
Berkeley, CA 94704
(510) 981-6900
or from:

The City of Berkeley’s Website
http://www.berkeleyca.gov
Attachment 5-6

ATTACHMENT 7

NOTICE OF PUBLIC HEARING

BERKELEY CITY COUNCIL
LPC APPEAL: 2500-2512 SAN PABLO AVENUE, LMIN2024-0004
The public may participate in this hearing by remote video or in-person.

Notice is hereby given by the City Council of the City of Berkeley that on TUESDAY, MAY 20, 2025 at 6:00 P.M. a public hearing will be conducted to consider an appeal against a decision by the Landmarks Preservation Commission to DESIGNATE 2500-2512 San Pablo Avenue (APN: 054-1780-004-12) as a City of Berkeley Landmark.

The hearing will be held at the Berkeley Unified School District Board Room located at 1231 Addison Street, Berkeley CA 94702.

For further information, please contact Anne Hersch, Land Use Planning Manager at (510) 981-7411
A copy of the agenda material for this hearing will be available on the City’s website at https://berkeleyca.gov/ as of May 8, 2025. Once posted, the agenda for this meeting will include a link for public participation using Zoom video technology, as well as any health and safety requirements for in-person attendance.

Written comments should be mailed or delivered directly to the City Clerk, 2180 Milvia Street, Berkeley, CA 94704, or e-mailed to [email protected] in order to ensure delivery to all Councilmembers and inclusion in the agenda packet.

Communications to the Berkeley City Council are public record and will become part of the City’s electronic records, which are accessible through the City’s website. Please note: e- mail addresses, names, addresses, and other contact information are not required, but if included in any communication to the City Council, will become part of the public record. If you do not want your e-mail address or any other contact information to be made public, you may deliver communications via U.S. Postal Service or in person to the City Clerk. If you do not want your contact information included in the public record, please do not include that information in your communication. Please contact the City Clerk at (510) 981-6900 or [email protected] for further information. __________________________________
Mark Numainville, City Clerk
Mailed by: May 6, 2025
Noticed Pursuant to: Berkeley Municipal Code Section 3.24.300.A, Public Hearing Notice NOTICE CONCERNING YOUR LEGAL RIGHTS: If you object to a decision by the City Council to approve or deny (Code Civ. Proc. 1 094.6(b)) or approve (Gov. Code 65009(c)(5) an appeal, the following requirements and restrictions apply: 1) Pursuant to Code of Civil Procedure Section 1094.6,

ATTACHMENT 7
no lawsuit challenging a City decision to deny or approve a Board or Commission decision may be filed more than 90 days after the date the Notice of Decision of the action of the City Council is mailed. Any lawsuit not filed within that 90-day period will be barred. 2) In any lawsuit that may be filed against a City Council decision to approve or deny a Board or Commission decision, the issues and evidence will be limited to those raised by you or someone else, orally or in writing, at a public hearing or prior to the close of the last public hearing on the project.

If you challenge the above in court, you may be limited to raising only those issues you or someone else raised at the public hearing described in this notice, or in written correspondence delivered to the City of Berkeley at, or prior to, the public hearing. Background information concerning this proposal will be available by request from the City Clerk Department and posted on the City of Berkeley webpage prior to the public hearing.

Office of the City Manager
2180 Milvia Street, Berkeley, CA 94704 ● Tel: (510) 981-7000 ● TDD: (510) 981-6903 ● Fax: (510) 981-7099 E-Mail: [email protected] Website: https://berkeleyca.gov/

ACTION CALENDAR
May 20, 2025
To: Honorable Mayor and Members of the City Council
From: Paul Buddenhagen, City Manager
Submitted by: Mark Numainville, City Clerk
Subject: Appointment of Four Berkeley Residents to the SAFE STREETS Citizen Oversight Committee

RECOMMENDATION
Adopt a Resolution confirming the appointments of up to four Berkeley residents to the SAFE STREETS Citizen Oversight Committee (SSCOC), to be appointed by the City Council as a whole.

FISCAL IMPACTS OF RECOMMENDATION
None.

CURRENT SITUATION AND ITS EFFECTS
At the March 18, 2025, City Council meeting, the Council established April 15, 2025 as the deadline for submitting applications for the SSCOC. The City Clerk Department received a total of fourteen applications. These applicants are provided to the Council in Attachment 2 for review against the required eligibility criteria. The applications submitted for consideration were sent to Council in an Off-Agenda Memo on April 21, 2025. This memo, with the applications included, is posted to the City’s website.

The SSCOC is composed of seven members:
 Two members of the Transportation and Infrastructure Commission  One member of the Environment and Climate Commission
 Four members of the public who are Berkeley residents (members of the public are required to have a background in civil engineering, transportation engineering, infrastructure program management, or the implementation of municipal bond or tax measures)
On April 29, 2025, the City Council adopted the first reading of an amendment to the enabling ordinance to add ADA experience to the list of required experience. At the same meeting, the Council adopted an amendment to the implementing resolution to add the following language:

Appointment of Four Berkeley Residents to the ACTION CALENDAR SAFE STREETS Citizen Oversight Committee May 20, 2025

Council shall also strive to ensure that at least one member of the SSCOC has experience with ADA compliance and/or the accessible infrastructure challenges facing seniors and the disabled community.

BACKGROUND
Measure FF, also known as the Sustainable and Accountable Funding for Equitable Street Transformation, Revitalization, Enhancements, and Essential Traffic Safety (SAFE STREETS) Initiative, was approved by voters on November 5, 2024, and adopted as Ordinance 7,952-N.S. on December 10, 2024. The measure mandates the creation of the SAFE STREETS Citizen Oversight Committee (SSCOC) as specified in Section 7.11.040.

ENVIRONMENTAL SUSTAINABILITY AND CLIMATE IMPACTS
There are no identifiable environmental effects, climate impacts, or sustainability opportunities associated with the subject of this report.

RATIONALE FOR RECOMMENDATION
None.

ALTERNATIVE ACTIONS CONSIDERED
None.

CONTACT PERSON
Mark Numainville, City Clerk, (510) 981-6900
Attachments:

1. Resolution – Members of the Public Commissioners

2. SSCOC Redacted Applications

RESOLUTION NO. ##,###-N.S.

APPOINTMENTS TO THE SAFE STREETS CITIZEN OVERSIGHT COMMITTEE WHEREAS, Berkeley Municipal Code Section 7.11.040 (B) stipulates that four members of the public who are residents of Berkeley shall be appointed to the SAFE STREETS Citizen Oversight Committee (SSCOC) by the Berkeley City Council in its entirety; and WHEREAS, Members of the public appointed to the SSCOC shall be required to possess a background in civil engineering, transportation engineering, infrastructure program management, or the implementation of municipal bond or tax measures; and NOW, THEREFORE BE IT RESOLVED by the Council of the City of Berkeley that the following persons are appointed to serve on the SAFE STREETS Citizen Oversight Committee (SSCOC):

SSCOC Public Appointees

1. 2.

3. 4.

SAFE STREETS Citizen Oversight Committee (SSCOC) Application APPLICANT NAME: ~ tr Mt&?~
First Name
PREFERRED PRONOUN(S): tf 2
Allan
Last Name M l
RESIDENCE ADDRESS:

MAILING ADDRESS:

Street
EAMIL ADDRESS:

PRIMARY PHONE : AL TERNA TE PHONE:

I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) D Background in Civil Engineering
D Background in Transpo rtation Engineering
D ~ground in Infrastructure Program Management
[M"Background in Municipal Bond/Tax Measure Implementati on Please describe in detail your relevant experience related to the category(ies) identified above :
~~¥~:;j
~~ch
SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 2 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application The City of Berkeley's Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements o.f Economic Interests - FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk's Department at 981 -6900, or visit our website at https://berkeleyca.gov/your-government/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, gt ~ /If/ , hereby declare, under penalty of perjury, that I am a res ent of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six months , I may no longer serve on a Berkeley Commission should this cease to be true.

Signature of Applicant: --

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES

NAME ADDRESS
I certify unde r penalty of perju te of California that the foregoing is true and correct.

Signature of Applicant: Date:

SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 3 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 2 of 3 APPLICANT NAME:

First Name Last Name MI
PREFERRED PRONOUN(S):

RESIDENCE ADDRESS:

Street City Zip
MAILING ADDRESS:

Street City Zip
EAMIL ADDRESS:

PRIMARY PHONE: ALTERNATE PHONE:

I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) Background in Civil Engineering
Background in Transportation Engineering
Background in Infrastructure Program Management
Background in Municipal Bond/Tax Measure Implementation Please describe in detail your relevant experience related to the category(ies) identified above:
___________________________________________________________________________________________________ ___________________________________________________________________________________________________ __________________________________________________________ _________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________ ________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ Rena Fischer R.
she/her
Berkeley 94703
Same
none
X Call by CM Blackaby to include representation from the disability community.

Having served two terms as Chair of the City’s Commission on Disability, I am currently Vice-chair. I am fully aware of the legal issues that must be considered when developing and reviewing the City’s implementation of SAFE STREETS/FF. In addition, my approach is to find common cause; our shared goal is safer streets for all. While legal mandates that implement accessibility for people with disabilities must be followed, engineered solutions that protect the safety of bicyclists, pedestrians and rollers, must be implemented. Traffic must be slowed. The City must move the numerous relevant guiding plans forward, while it continues to show leadership in disability access—both are possible. We can not view FF as a zero-sum game: for “my” group to win, “yours” must lose. In addition to these qualifications, my professional life was spent in development—raising money for good causes. I have written and reported on multi-million dollar grants to the Corporation for Public Broadcasting (CPB) and the National Institutes of Health (NIH). Over the course of a 25-year career, I raised approximately 50 million dollars; I have the financial oversight skills to fulfill the mandate of this important committee. I look forward to putting my expertise in both of these vital areas to use on behalf of Berkeley. [Highlighted text added
to form by applicant]
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□
□
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SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 3 of 3 The City of Berkeley’s Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests – FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk’s Department at 981-6900, or visit our website at https://berkeleyca.gov/your-government/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, _______________________________________________, hereby declare, under penalty of perjury, that I am a resident of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six months, I may no longer serve on a Berkeley Commission should this cease to be true.

Signature of Applicant: Date:

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAME ADDRESS PHONE NO.

I certify under penalty of perjury under the laws of the State of California that the foregoing is true and correct.

Signature of Applicant: _ _________ Date:

Rena R. Fischer
April 14, 2025
Kathy Pugh
Mina Sun
Irwin Keller
April 14, 2025

SAFE STREETS Citizen Oversight Committee (SSCOC) Application APPLICANT NAME: Z ac hary
F irst Na m e
PREFERRED PRONOUN(S): He /Him
RESIDENCE ADDRESS:

Stree t
MAILING ADDRESS:

Stree t
EAMIL ADDRESS:

Fraser
Last Na m e
Berekeley
C ity
Berk eley
C ity
G
94702
94702
M l
Z ip
Z ip
ALTERNATE PHONE: ______ ___ _
I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) IZI B ackground in C ivil E nginee ring
IZ] B ackground in Transportation E ng ineering
D B ackground in Infrastructure Program M ana geme nt
D B ackground in Mun icipal Bond/Ta x M eas ure Im plem entation Plea se describe in detail your relevant experience related to the categ ory(ies) identified a bov e :

If chosen as a member of this committee, I will bring a perspective shaped by my background in civil and transportation engineering, my experience as a local pedestrian and bicycle commuter, and my role as a new parent who values safety above all else.

Between 2015 and 2017 I worked as a LEED ND consultant and reviewed designs for dense urban planning projects in Seoul, South Korea. I'm currently working for Caltrans as a transportation engineer in the Planning Department where I oversee local projects and assist with their federal and state funding. These projects help improve bicycle and pedestrian safety on local roads . Some initiatives include Active Transportation Programs and Local Highway Safety Improvement Programs.

I also enjoy working collaboratively with my community . This year, I volunteered as a bicycle mechanic at Berkeley's Fix it Fest, where I helped members of our community repair their bikes. I also volunteer at Bike East Bay, supporting their small projects and events.

In my free time, I join local group bike rides in Oakland and Berkeley, and I participate in local cyclocross and road races. I want to help make Berkeley safer for all users, especially pedestrians and cyclists, by making safety recommendations that are backed by data, expert opinions, and the community input.

SAF E STR EE TS Citizen Ov e rsight Committ ee (SSCOC ) App lication Pag e 2 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application Th e C ity of B erkeley's Co nflict of Interest Co de requires mem bers of all C ity o f Berkeley Co mmi ssions to file S tatements of Economic Interests - F PPC Fo rm 700. The Form 700 is a pub lic doc ument. For more informa tion, pleas e contact the C ity C le rk's D epartment at 98 1-6900 , or visit our w ebs ite at https://berkeleyca.gov /your-government/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, Zac hary Frase r , hereby declare , under pe nalty of perjury, tha t I am a resident of the C ity of Berke ley . I understand that, w ith the exception of a tempo rary reloca tion ou tside of Berkeley not to exceed six months , I may no longer serve on a Berkeley Commission shou ld this cease to be true .

S igna ture of Ap plicant: --
Da te: 4/11 /2025

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAM E ADDRESS PH O N E NO .

Gr ace Lee ,
Jordan C hase,
I certify under penalty of perjury under the law s of the State of California that the foregoing is true and correct.

Date: 4/11 /2025
SAFE ST R EETS Citizen Overs ight Committee (SSCOC ) A pp lication Page 3 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 2 of 3 APPLICANT NAME:

First Name Last Name MI
PREFERRED PRONOUN(S):

RESIDENCE ADDRES
Street City Zip
MAILING ADDRESS:

Street City Zip
EAMIL ADDRESS:

PRIMARY PHONE ALTERNATE PHONE:

I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) Background in Civil Engineering
Background in Transportation Engineering
Background in Infrastructure Program Management
Background in Municipal Bond/Tax Measure Implementation Please describe in detail your relevant experience related to the category(ies) identified above:
___________________________________________________________________________________________________ ___________________________________________________________________________________________________ __________________________________________________________ _________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________ ________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ Ben Gerhardstein
he/him
Berkeley CA 94702
Same as residence
I am a public health professional by training, with 15+ years of professional, volunteer, and lived experience in traffic safety and street design. Professionally, I've researched the relationship between vehicle speed and pedestrian injuries, outlined public health recommendations for community-wide vehicle speed reduction, and published on national trends in bicyclist fatalities. I've volunteered my expertise as a CIty of Berkeley Transportation Commissioner, a temporary Transportation and Infrastructure Commissioner, a member of the Vision Zero advisory committee and the Vision 2050 Task Force. In those roles I provided Council and staff with feedback on street infrastructure plans, projects, programs, and expenditures. In 2018, I co-founded the local safe streets advocacy group Walk Bike Berkeley, and I have served on the organization's coorrdinating committee since. In that role, I have provided technical and policy feedback on numerous City of Berkeley street improvement projects with the goal of delivering safe, sustainable, and equitable street designs. I am very familiar with transportation guidance documents, such as the Manual of Uniform Traffic Control Devices and the National Association of City Transportation Officials Urban Street Design Guide. Further, I know Berkeley's transportation plans and policies and thus am positioned to ensure that Measure FF funds are used as outlined in the Measure and in alignment with adopted plans. 4 4
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SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 3 of 3 The City of Berkeley’s Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests – FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk’s Department at 981-6900, or visit our website at https://berkeleyca.gov/your-government/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, _______________________________________________, hereby declare, under penalty of perjury, that I am a resident of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six months, I may no longer serve on a Berkeley Commission should this cease to be true.

Signature of Applican Date:

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAME ADDRESS PHONE NO.

I certify under penalty of perjury under the laws of the State of California that the foregoing is true and correct.

Signature of Applicant: ____ Date:

Ben Gerhardstein
April 14, 2025
Barnali Ghosh,
Brandon Yung,
April 14, 2025
Jamie Parks,

• C.1T ''( QF ~:":':! :J_::_.~·t ·· t :!-i._; r~:1 -~
SAFE STREETS Citizen Oversigh t Committee (SSCOC) Applicatip,n.:i,~ c,•·_;\, 7 r .. ,(:>:~'.:/ APP LICANT NAME: Dav id
First Name
PREFERRED PRONOUN (S ): he , him , his
RESIDENCE ADDRESS :

MA ILING -AOOR.ESS:

G oldin
Last Name
B erkeley, CA 94709
City
erkeley, CA 94709
L
Ml
Zip
E A M IL . .-\DD RESS: ~--C-ity __ ____ ______ z_ip--
AL TERNA TE PHONE :

I QUALIFY UNDER THE PUBLIC MEMBERS APPO INTMENT CA T EGORY B E LOW: (check all th at apply) 0 Background in Civil Eng ineering
D Background in T ransportation Engineering
0 Backg round in Infrastructure Program M an agemen t
0 Background in Municipal Bondrrax Measure Implementation __ ___ P leas~describe _ in detail your relevant experience related to the cate_~ory(ies) ide~!!!Ied above:

I am a long-term resident of Berkeley, a graduate of UC Berkeley and have retired· as the Chief Facilities Officer for the San Francisco Unified School District, where I directed the $2.4 billion G .O . School Facilities Construction Bond program. I have extensive experience serving on "both sides" of a bond oversight committee .... both as a member of the committee and as representing the program that is being monitored by an oversight commission.

I have great respect of the work required for Bond Oversight and for the importance of reporting to the citizens of Berkeley that their bond funds were expended according to the intent of the bond language. Below are some ofmy qualifications to serve on the SSCOC and I have attached a brief resume and some professional and community activities for your reference. - Member of the Citizen's School Facility Bond Oversight Committee for Measure G and I, Berkeley Unified School District
- Member of the Bond Oversight Commission, Office of Community Investment and Infrastructure (OCH) City and County of San Francisco
- Design Review Committee, City of Berkeley (Committee Chair 1997-99) - Retired Registered California Architect and Licensed California Class B contractor - Experience in safety and infrastructure projects for 140 San Francisco public school sites including vehicular, pedestrian and bike safe routes for students and the com mun ity, including working with the SF Department of Public Works, Transportation-Muni , SF Bike coalition and City Hall/Board of Supervisors and Mayor.

Thank you for your considersation.

SAFE S°TREE'rs ·citizen Oversight Comm ittee (SSCOC) Application Page 2 of 3

f SAFE STREETS Citizen Oversight Committee (SSCOC) Application The City of Berkeley's Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests - FPPC Form 700 . The Form 700 is a public document. For more information, please contact the City Clerk's Department at 981-6900, or visit our website at https://berkeleyca.gov/your-government/public-records/conflict-interest-reports.

AFFI.OAV .IT 0.F ~l;~I_DENCY
D ·avid L. Goldin . I, ____________________ , hereby declare, under penalty of perJury, that I am a resident of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six months serve on a Berkeley Commission should this cease to be tru
Signature of Applic Date: April 4, 2025
NAME

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMAENT ON MY CAPABILITIES ADDRESS ~; PHONE NO.
...... -.c_-\-er ~.Ac.'-'--"" ec;
16r:::>
I certify under penalty of perjury under the laws of the State of California that the foregoing is true and correct.

Date: April 4, 2025
SAFE STRE:tTS Citizen Oversight Committee (SSCOC) .Appiication Page 3 of 3

R E S U M E
D A V I D L. G O L D I N A. I. A.

C H I E F F A C I L I T I E S OF F I C E R - RE TIRE D,

SAN FRANCISCO

UNIFIED SCHOOL DISTRICT
EDUCATION:
• MASTER OF ARCHITECTURE, UNIVERSITY OF CALIFORNIA BERKELEY • BA ARCHITECTURE - ENVIRON1v1ENTAL DESIGN, UNIVERSITY OF CALIFORNIA BERKELEY, • ARCHITECTURE AND PLANNING, LUNDS UNIVERSITET, LUND, SWEDEN • PHI BETA KAPPA, UNIVERSITY OF CALIFORNIA BERKELEY
PROFESSIONAL REGISTRATIONS:
• REGISTERED ARCHITECT, CALIFORNIA
• NCARB NATIONAL ARCHITECTURAL CERTIFICATION
• LICENSED GENERAL BUILDING CONTRACTOR, CALIFORNIA
PROFESSIONAL AFFILIATIONS:
• AMERICAN INSTITUTE OF ARCHITECTS
• NCARB NATIONAL ARCHITECTUT'OKAL BOARD
COMMUNITY AND PROFESSIONAL SERVICE:
• CITIZEN'S SCHOOL FACILITY BOND OVERSIGHT COMMITTEE FOR MEASURE G AND I,

BERKELEY UNIFIED SCHOOL DISTRICT
• BOND OVERSIGHT COMMISSION, OFFICE OF COMMUNITY INVESTMENT & INFRASTRUCTURE (OCII), CITY AND COUNTY OF SAN FRANCISCO
• BOARD OF DIRECTORS. HAMIL TON FAMILIES. SAN FRANCISCO. CA 2015-2025 CHAIR BOARD OF DIRECTORS 2020-2022 .. -
• BOARD OF TRUSTEES, SAN FRANCISCO CAMPUS FOR JEWISH LIVING (SFCJL) BOARD TRUSTEE SINCE 2019
• FACILITY CAPITAL PLANNING COMMITTEE - JEWISH COMMUNITY FEDERATION &

ENDOWMENT FUND, SAN FRANCISCO
• CALIFORNIA STATE BOARD OF ARCHITECTURAL EXAMINERS- STATE EXAM COMMISSIONER • CITY OF BERKELEY DESIGN REVIEW COMMISSION, CHAIRPERSON 1996-1999 • CITY OF CONCORD DESIGN REVIEW COMMISSION, CHAIRPERSON • CHILDREN'S COMMUNITYCENTER SCHOOL, BERKELEY,.CA. - CHAIRPERSON D a ,, i cl L. G o 1 cl i n A. I, A

April 3, 2025
.Hrief Background Description for David L. Goldin A.I.A.

David L. Goldin A.LA served as the Chief Facilities Officer for the San Francisco Unified School District from 2004 to 2018. In this capacity Mr. Goldin directed 10 operational departments and a staff of 650 persons, including the $2.4 billion school facility construction bond program at over 140 district school sites. In addition, he directed the district's custodial, facility maintenance, transportation, environmental health, emergency planning, real estate, facility rental permiting and energy sustainability departments with annual operating budgets of over $75 million, excluding construction. Mr.

Goldin was a member of the Superintendent's Cabinet and an active participant in the development and implementation of the District's strategic planning to improve academic achievement.

Mr : Goldin is twice a: graduate of the University of California at Berkeley, studied architecture and planning .in Sweden and .graduated Phi Beta Kappa. He is a registered .California architect and licensed general· buildi-t:1g -coRtractor. T=li-s • profossioMI experi ence-inc-ludes a-di verse-baakgr:ound-of-experi-ence _i,;1cluding the design of cities in Saudi Arabia and Indonesia, educational, institutional and religious facilities and the management and construction of public and private schools in California. In addition, he served on the Board of Directors and as Board Chair of Hamilton Families in San Francisco, a non­ profit dedicated to eliminating family and child homelessness in the San Francisco Bay Area and is a Board Trustee of the San Francisco Campus for Jewish Living, one of the Bay Area's largest senior care providers.

Mr. Goldin is married to an architect, is the son of an architect and has two children, neither of whom chose to become architects. In addition to traveling abroad whenever he can, David can be found doing Tai Chi, hiking around the Bay area and happily paddling in his bright yellow kayak.

Da vid L. Goldin AJA
Berkeley, CA 94709
[Type here]

SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 2 of 3

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
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APPLICANT NAME: Sybil Hatch, PE

First Name Last Name MI
PREFERRED PRONOUN(S): she/her
RESIDENCE ADDRESS: Berkeley 94708

Street City Zip
MAILING ADDRESS:

EAMIL ADDRESS:
same

Street City Zip

PRIMARY PHONE:

ALTERNATE PHONE: n/a

I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) Background in Civil Engineering
Background in Transportation Engineering
Background in Infrastructure Program Management
Background in Municipal Bond/Tax Measure Implementation Please describe in detail your relevant experience related to the category(ies) identified above:

BS and MS, Civil Engineering. Registered PE. 15 years of consulting engineering on large infrastructure projects. 4 years in hazardous waste remediation construction. 27 years as founder and president of Convey, Inc. specializing in communications, outreach, and engagement for transportation, water resources, and construction projects. Close collaboration with public works agencies, flood control districts, and transportation agencies (county, regional, and statewide).

Deep insights and extensive experience with infrastructure funding, planning, design, and construction. Experience with bike/ped, transit, parking, roadways, highway, and flood control projects. Author of several books, technical documents, and countless communications pieces about civil projects and programs.

Strong advocate for excellent civil infrastructure that serves the public.

SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 3 of 3

_

AFFIDAVIT OF RESIDENCY
I, Sybil Hatch , hereby declare, under penalty of perjury, that I am a resident of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six months, I may no longer serve on a Berkeley Commission should this cease to be true.

Signature of Applicant: Date: 03/26/25

The City of Berkeley’s Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests – FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk’s Department at 981-6900, or visit our website at https://berkeleyca.gov/your-government/public-records/conflict-interest-reports.

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES

NAME ADDRESS PHONE NO.

Moses Tsang, PE, Deputy Director, Alameda County Flood Control & Water Conservation District,

Derek McGill, Director of Planning, Transportation Authority of Marin,

Lawrence Roth, PE, GE, recently retired, VP & Technical Specialist, Arcadis US, Inc.,

I certify under penalty of perjury under the laws of the State of California that the foregoing is true and correct.

Signature of Applicant: Date: 03/26/25
------------

SAFE STREETS Citizen Oversight Committee (SSCOC) Application APPLICANT NAME: Douglas Legg
First Name Last Nam e M l
PREFERRED PRONOUN($): He/Him --------
RESIDENCE ADDRESS: Berkeley 94 704
Street City Zip
MAILING ADDRESS: Same
C ity Zip
EAMIL ADDRESS:

PRIMARY PHONE: ALTERNATE PHONE: _________ _
I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) D Background in Civil Engineering
D Background in Transportation Engineering .
~ Background in Infrastructure Program Management
~ Background in Municipal BondfTax Measure Implementation Please .describe in detail your relevant experience related to the category(ies) identified above :

Please see attached statement of qualifications.

SA FE STREETS C itizen Ove rsight C o mmittee (SSCOC ) Applicatio n Page 2 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application The City of Berkeley's Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests - FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk's Department at 981-6900 , or visit our website at https://berkeleyca.gov/your-government/public-rec ords/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, Douglas Legg . ' hereby declare, under penalty of perjury, that I am a resident of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six month , I may no longer serve on a Berkeley Commission should this cease to be true.

Signature of Applicant: Date: April 14, 2025

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES

NAME ADDRESS
Carmen Chu, San Francisco City Administrator
Brian Strong • • •
Damian Park,
I certify under penalty of perjury under the aws of the State of .California that the foregoing is true and correct.

Signature of Applicant: Date: April 14, 2025
SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 3 of 3

Douglas Legg
SSCOC Application
Please describe in detail your relevant experience related to the category{ies) identified above:

For the last four years I have served as a Deputy City Administrator in the City and County of San Francisco. One of the most significant programs I oversee is the Office of Resilience and Capital Planning which produces the City's ten-year capital plan, General Obligation Bond Measures and the City's proposed annual capital-budget. Streets are one of the largest recipients of capital dollars in the City, with a program that encompasses street resurfacing,. sidewalk and curb ramp programs, and bicycle and pedestrian safety projects.

The implementation of San Francisco's capital plan has resulted in the funding of numerous complete street projects {with safety and environmental benefits) and allowed the City to improve its Pavement Condition Index from a score of 63 (Fair) in 201 Oto a score of 75 {Good) in 2024. (Berkeley's PCI score in 2023 was 56, categorizetj as "at risk".) Prior to working in the City Administrator's Office I was the Manager of Finance, Budget and Performance for the San Francisco Department of Public Work where I worked closely with our engineering division and cha.mpioned funding for these programs. In 2011 I helped spearhead a $248 million Road Repaving and Street Safety General Obligation Bond which was approved by the voters. I was responsible for reporting on bond expenditures to the City's Capital Planning Committee and the Citizen's General Obligation Bond Oversight Committee. This initiative had similar goals to Berkeley's measure FF and I believe the implementation of the projects helped strengthen San Franciscan's trust in the City's ability to deliver needed services.

As the parent of two bicycle riders at Berkeley High School, and pedestrian, cyclist and driver in my home town I am excited to contribute my expertise to the Safe Streets Citizen's . Oversight Committee.

SAFE STREETS Citizen Oversight Committee (SSCOC) Application APPLICANT NAME: Heath Maddox
F irst Name
PREFERRED PRONOUN($): he /his
RESIDENCE ADDRESS:

Street
MAILING ADDRESS:

EAMIL ADDRESS:

Last Name
Berkeley CA 94 703
C ity
Berkeley CA 94 703
C ity
Ml
Z ip
Z ip
ALTERNATE PHONE: _ ______ ___ _
I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) lZI Bac kground in Civil Engineer ing
lZ) Bac kground in Transportation Eng ineering
lZI Bac kground in Infrastructure Program Management
lZI Bac kground in Mun icipal Bond/Tax Measure Implemen tation Please descr ibe in detail your relevant exper ience related to the category(ies) identified above:

I have a master's degree in City and Regional Planning w ith a focus in transportation planning and policy.

Since 2000 , I have served as transportation p lanner , team leader and program manager for loca l and regional public agenc ies in Northern Ca lifornia, including 4 years as the C ity of Berke ley's bicycle and transportation planner and 11 years with the SFMTA's Livable Streets Subdivision. In both those positions, as well as my current job managing bicycle access for BART , I have wo rked closely with transportation and civil engineers to implement projects, with a particular emphasis on bicycle parking and bicycle sharing in both the public ROW and in off-street, secure facilities. My formal, academic training is in transportation planning , but a quarter of a century of applied experience conce iving pub lic realm projects, getting them done and then managing them as public assets has provided me with ample background in engineering and infrastructure program management. A key source of funding for many if not most of my projects in San Francisco and th roughou t the three-cou nty BART D istrict has been genera l ob ligation bond a nd countyw ide tax meas ure funds .

SAFE STREETS Citizen Overs ight Comm ittee (SSCOC) App lication Page 2 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 3 of 3 The City of Berkeley’s Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests – FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk’s Department at 981-6900, or visit our website at https://berkeleyca.gov/your-government/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, _______________________________________________, hereby declare, under penalty of perjury, that I am a resident of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six months, I ma y no longer serve on a Berkeley Commission should this cease to be true.

Signature of Applicant: Date:

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAME ADDRESS PHONE NO.

I certify under penalty of perjury under the laws of the State of California that the foregoing is true and correct.

Signature of Applicant: _ __ Date:

Heath Maddox
4/7/25
Eric Anderson
Matt Nichols
4/7/25
Jaime Parks

APPLICATION FOR APPOINTMENT TO BERKELEY
SAFE STREETS Citizen Oversight Committee (SSCOC)
APPLICANT: Susi Marzuola
Thank you for your interest in serving on the SAFE STREETS Citizen Oversight Committee (SSCOC).

Below is some important information about SSCOC that you should review before completing your application.

BACKGROUND
The SSCOC was created by the passage of Measure FF in the 2024 Election. Measure FF was codified in the Berkeley Municipal Code in Chapter 7.11. The SSCOC reviews expenditures and progress reports from the City Manager and City Auditor to ensure compliance with Chapter 7.11. The Committee evaluates the impacts of tax expenditures relative to the Chapter's goals and prepares public reports on its findings.

The SSCOC also prepares an annual independent progress and performance report, which will be publicly a
Y D L O D E O H R s Q ubmitte W d to K thH e City & Cou Lnc Wil. \ ¶ V Z H E V L W H D Q

COMPOSITION OF THE COMMISSION
The SSCOC consists of seven members, as follows:
x Two members of the Transportation and Infrastructure Commission. x One member of the Environment and Climate Commission. x Four public members appointed by the City Council who are Berkeley residents and have a background in civil engineering, transportation engineering, infrastructure program management, or municipal bond/tax measure implementation.

HOW TO APPLY
Please Send the completed application form to the City Clerk:
x Submit by email to [email protected]
x Submit in person or by mail at 2180 Milvia Street 1st floor, Berkeley, CA 94704 For more information, please contact the City Clerk Department at (510) 981-6900, or visit the website at https://berkeleyca.gov/your-government/boards-commissions.

SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 2 of 3

APPLICANT NAME: Susi Marzuola

First Name Last Name MI
PREFERRED PRONOUN(S): she/her

RESIDENCE ADDRESS:

MAILING ADDRESS:

EAMIL ADDRESS:

Berkeley, CA 94704

Street City Zip
Same as above

Street City Zip

PRIMARY PHONE:

ALTERNATE PHONE:

I QUALIFY UNDER THE PUBLIC M
EMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) › Background in Civil Engineering
› Background in Transportation Engineering
› Background in Infrastructure Program Management
✔› Background in Municipal Bond/Tax Measure Implementation

Please describe in detail your relevant experience related to the category(ies) identified above:

I offer my candidacy for the Safe Streets Community Oversight Committee as a Berkeley resident and licensed architect with 40 years of experience designing sustainable and long-lasting public facilities and developing urban master plans throughout the Bay Area. My professional work, in collaboration with civil and transportation engineers and infrastructure program managers on municipal bond projects, has given me deep insight and relevant experience in creating safe, accessible public spaces that serve diverse community needs.

As a longtime Berkeley resident and professional who understands the experiential, design, and technical aspects of urban design, I bring a unique perspective on how our Berkeley public realm — primarily concentrated in street rights-of-way — shapes transportation safety across all modes. My daily experiences as a pedestrian, cyclist, driver, and parent of now-adult children growing up in Berkeley complement my design and technical expertise, allowing me to understand our infrastructure challenges from multiple viewpoints.

My previous public service as co-chair of BUSD's Construction Bond Oversight Committee demonstrates my commitment to responsible public project implementation, and my ability to work effectively within municipal
oversight structures. Having an architect who understands spatial relationships, accessibility requirements, and the integration of different transportation modes would bring valuable technical and design expertise to the SSCOC and directly benefit Berkeley's safe streets initiatives.

I would be honored to apply my professional knowledge and community perspective to help create safer, more resilient and accessible public spaces for all Berkeley residents. □
□
□
□

SAFE STREETS Citizen Oversight Committee (SSCOC) Application 7KH &LW \ RI %HUNHO H \ 1fV &RQIOLFW RI
file Statements of Econom ic Interests ::f P PC Form 700. The Form 700 is a public document. For more L Q I R U P D W L R Q S O Irie~ aW81-m:x:F , oRv iQt ol,/r webB iteNit W K H https://berkeleyca.qov/your-qovernmen t/pub lic-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, .§usi Marzuola , hereby declare, under penalty of perjury, that I am a resident of the City of Berkeley. I understand that, w ith the exception of a temporary relocation outside of Berkeley not to exceed six months , I may no longer serve on a Berkeley Commiss ion should this cease to be true.

S ignature of Applicant: Date : 4/15/25

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON M Y CAPABILITIES NAME ADDRESS PHONE NO .

Landmarks Comm issioner Member
Eleanor H ollander, Berkeley Res ident & City of Berkeley Office of E conom ic Development, John Caner Berkele Resident & CEO Do w ntow n Business Assoc iation I certify under pe nalty of perjury under the law s of the State of California that the foregoing is true and correct.

Signature of Applicant: Date: 4/15/25
SAFE STREETS C itizen Oversight Committee (SSCOC ) Application Page 3 of 3

APPLICANT NAME: Phyllis Orrick M .

First Name
PREFERRED ·PRONOUN(S): ·St.le/her
RESIDENCE ADDRESS:

Street
MAILING ADDRESS: same
Last Name M l
rkeley CA 94702
City Zip
EAMIL ADDRESS:

Street
- -----------
City Zip
ALTERNATE •PHONE: _n_la ______ __ _
I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that app"ly) !fa ··sackgrourid '.in ·Oivil Engineeriir,g
0 • Backgrouncfin Tran·spbrtation 'Engineering
D Background in Infrastructure Program Management
.□ Backgr:ound in Municipal Bond/Tax Measure Implementation ... •,'•
Please describe in detail your relevant experience related to the cat~gory(ie~) identified above :
: '.. . .

For 17 years, I was an editor, researcher and publications manager for various research units on the . . ' .

UC ·Berke·1ey campus in :the areas ·of tr:anspoi1ation en_gineering, ;pavement ·de SigA, :road design, tral}sportation and ur"an planning, a~tive transportation design and traffic safety. I initiated the Cali~ornia A~tive.Tran.spo!1<1tioi:1 Information Pages (CATSIP) which CQllects pedestrian and bicycle plans _ from ·around .the state and :led ,oreation a nd ·renaming of.the web~ite ,for the •WC Berkeley Safe :rraAsportation Research and Education Center (SafeTREC) . I have worked closely with researchers on books and articles, including The Fundamentals of Traffic Engineering, Martin Wachs's Enviromental Justice Handbook ,and articles on intelligent :trar:ispor.ta:tion ·systems, :pedestrian:and :bicycle:sa:fety, :active itransporta:tion and roadway design. I have been an author on numerous peer-reviewed p~pers and have presented at the Transportation Research Board annual meeting (see partial 11st). I am a member of the Berkeley.Aging ,Commission , '.helping develo.p-dlscusSlons on .mobility ,issues; ,I •Ohair :the Caltrans PAC. _j -e. e t·,-\rArf\ c,yt '> {_~ Q f)
SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 2 of 3

The City of Berkeley's Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests - FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk's Department at 981-6900, or visit our website at https://berkeleyca.gov/your-qovernment/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY .

I, ~4 /1 ,£ (Y} · (!/r I; C 1: , hereby declare, under penalty of pe~ury, that I am a sident of the City of Berkeley. I understand that, with the exception of a temporary relocation outside of Berkeley not to exceed six months I ma no Ion er serve on a Berkeley Commission should this cease to be true.

Signature of Applicant:

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAME ADDRESS PHONE NO.

Karen Trapenberg Frick Associate Prof C A P'
Julia B . Griswold D ir. SafeTREC (S afe Transportation Researc JIii Cooper (Retired) Co-Director SafeTREC
I certify under penalty of perjury under the laws of the State of California that the foregoing is true and correct.

Signature of Applicant: Date:

SAFE STREETS Citizen Over sight Comm ittee (SS C OC ) Application P age 3 of 3

Grembek, O.; Medury, A.; Orrick, P.; Leung, K.; Ragland, D. R; Loukaitou-Sideris, A., et'aU'.?S (2014). A Comparative Analysis of Pedestrian and Bicyclist Safety Around University Campuses. UC Berkeley: Safe Transportation Research & Education Center. Retrieved from bttps;//escholarship. org/uc/item/57s5214g
Schneider, R. J, Grembek, 0., Braughton, M., Orrick, P., & Ragland, D.R. (2013). Pedestrian and Bicycle Safety Strategies for UC Berkeley Campus and Periphery: Recommendations for Implementation. UC Berkeley: Safe Transportation Research & Education Center. Retrieved from https://escholarship.org/uc/item/2nc3v9b0
Orrick, P., & Frick, K. T. (2013). Airports and Bicycles: what are the obstacles and incentives for operators 1 to improve bicycle access? UC Berkeley: Safe Transportation Research & Education Center. Retrieved from https://escholarship.org/uc/item/0001 n47j Ragland, D. R, Grembek, 0., Orrick, P., & Felschundneff, G. (2013). Roadway and Infrastructure Design and Its Relation to Pedestrian and Bicycle Safety: Basic Principles, Applications, and Benefits. UC Berkeley: Safe Transportation Research & Education Center. Retrieved from https://escholarship.org/uc/item/9qg3s59b
Orrick, P., Trapenberg Frick, K., & Ragland, D. (2011). Why Do Building Owners Invest in Bicycle-Oriented Design? UC Berkeley: University of California Transportation Center. Retrieved from https://escholarship. org/uc/item/64d457 c9
Ragland, D. R, Grembek, 0., & Orrick, P. (2011). Strategies for Reducing Pedestrian and Bicyclist Injury at the Corridor Level. UC Berkeley: Safe Transportation Research & Education Center. Retrieved from httgs://escholarshig.org/uc/item/0tx6f6gr Orrick, P., Frick, K., & Ragland, D. (2010). Bicycle Infrastructure that Extends beyond the Door:
examining investments in bicycle-oriented design through a qualitative survey of commercial building owners and tenants. UC Berkeley: University of California Transportation Center.

Retrieved from https://escholarship.org/uc/item/4x09s7fx Cooper, D. L, Duffy, S., Orrick, P., & Ragland, D.R. (2010). Develop Methods to Reduce or Prevent Backing Crashes. UC Berkeley: California Partners for Advanced Transportation Technology, Retrieved from https://escholarship.org/uc/item/01 c0s44j Dahlgren, J., Khattak, A., McDonough, P., Banerjee, I., Orrick, P., & Sharafsaleh, A. (2004). ITS Decision Enhancements: Developing Case-Based Reasoning and Expert Systems and Incorporating New Material. UC Berkeley: California Partners for Advanced Transportation Technology. Retrieved from https://escholarship.org/uc/item/9242q08h

C-lTA1)orJ5
Editor
Huey, S., & Ragland, D. (2007). Changes in Driver Behavior Resulting from Pedestrian Countdown Signals. UC Berkeley: Safe Transportation Research & Education Center. Retrieved from https:/lescholarship.org/uc/item/5g82b3r5
Diogenes, M., Greene-Roesel, R., Arnold, L. S, & Ragland, D.R. (2007). Pedestrian Counting Methods at Intersections: a Comparative Study. UC Berkeley: Safe Transportation Research & Education Center. Retrieved from https://escholarship.org/uc/item/208349wf-acknowledgement Greene-Roesel, R., Diogenes, M., & Ragland, D.R. (2007). Estimating Pedestrian Accident Exposure: Protocol Report. UC Berkeley: Safe Transportation Research & Education Center.

Retrieved from https://escholarship.org/uc/item/8j8685jt-aknowledgement Homburger, W. S, Hall, J. W, Reilly, W. R, & Sullivan, E. C. (2007). Fundamentals of Traffic Engineering - 16th Edition. Retrieved from https://escholarship.org/uc/item/1vp7t2dp Cairns, S., Greig, J., & Wachs, M. (2003). Environmental Justice & Transportation: A Citizen's Handbook. UC Berkeley: Institute of Transportation Studies at UC Berkeley. Retrieved from https://escholarship.org/uc/item/66t4n94b
Flamm, B. (2006). Environmental Knowledge, Environmental Attitudes, and Vehicle Ownership and Use. UC Berkeley: University of California Transportation Center. Retrieved from https://escholarship.org/uc/item/6pv1 x9xq
Bertini, R. L, & Orrick, P. (1998). Proceedings of the Institute of Transportation 5oth Birthday Symposium April 23-24, 1998 The Transportation Enterprise: Challenges of the 21st Century.

UC Berkeley: Institute of Transportation Studies at UC Berkeley. Retrieved from https://escholarship.org/uc/item/0n85f38k

APPLICATION FOR APPOINTMENT TO BERKELEY
SAFE STREETS Citizen Oversight Committee (SSCOC),
Thank you for your interest in serving on the SAFE STREETS Citizen Oversight Committee (SSCOC).

Below is some important information about SSCOC that you should review before completing your application.

BACKGROUND
The SSCOC was created by the passage of Measure FF in the 2024 Election, Measure FF was codified in the Berkeley Municipal Code in Chapter 7.11. The SSCOC reviews expenditures and progress reports from the City Managerand City Auditor to ensure compliance with Chapter 7.1.1. The Committee evaluates the impacts of tax expenditures relative to the Chapter's goals and prepares public reports on. its findirigs ..

The SSCOC also prepares an annual independent progress and performance report, which will be publicly available on the City's website and submitted to the City Council.

COMPOSITION OF THE COMMISSION
The SSCOC consists of seven members, as follows:
• Two members of the Transportation and Infrastructure Commission. • One member of the Environment.and Climate Commission .. • Four public members appointed by the City Council who are Berkeley residents and have a background in civil engineering, transportation engineering, infrastructure program management, or municipal bond/tax measure implementation ..

HOW TO APPLY
Please Send the completed application form to the City Clerk:
• Submit by email to [email protected]
• Submit in person or by mail at 2180 Milvia Street 1st floor, Berkeley, CA 94704 For more information, please contact the City Clerk Department at (510) 981-6900, or visit the website at https://berkeleyca.gov/your-government/boards-commissions.

SAFE STREETS Citizen Oversight Committee (SSCOC) Application APPLICANT NAME: Nancy Rader A
F irst Na m e
PREFERRED PRONOUN($): she/her
RESIDENCE ADDRESS:

Street
Las t Na m e
Berkeley 94 708
C ity
M l
Z ip
MAILING ADDRESS: -
===-------------------------Street C ity Z ip
EAMIL ADDRESS:

ALTERNATE PHONE: _n_o_n_e ____ ___ _
I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that app ly) D Bac kground in Civil Enginee ring
D Bac kground in Transportation Eng ineering
D Bac kground in Infrastructure Program Ma nagement
0 Bac kground in Mun icipal Bond/Tax Measure Implemen tation Please describe in detail you r relevant expe rience related to the category(ies) identified above:

I served on the Disaster and Fire Safety Commission for almost two years immediately following passage of Measure FF on the 2020 ballot. I focused much of my time on the Commission's oversight duties for that measure , seeking the information necessary to accomplish that task and encouraging the city to create a plan for use of the funds, against which success can be measured. Th is experience will allow me to help ensure the SSCOC's ability to effectively oversee the imp leme ntation of 2024 Measure FF funds and , more importantly, to promote the ach ievement of Measure FF's implementation plan.

SAFE STREETS C itizen Overs ight Co m mittee (SSCOC ) App lica tion Page 2 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application The City of Ber keley 's Conflict of Interest Code requires members of all C ity of Berke ley Comm issions to file Statemen ts of E conom ic Interests - FPPC Form 700 . The F orm 700 is a pub lic document. For more information, please contact the City Clerk's Department at 981 -6900 , or visit our w ebs ite a t https://berkeleyca.gov /your-government/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
I, _N_a_n_c_y_R_a_d_e_r _____________ , hereby declare, under penalty of perjury, that I am a residen t of the City of Berke ley. I understand that, w ith the excep tion of a temporary reloca tion ou tside of Berkeley not to exceed six months , I may no longer serve on a Berke ley Commiss ion shou ld this cease to be true.

S igna ture of Applicant: Date: 4-14-2025

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAM E ADDR ESS P H ONE NO.

Ray Yep
Les Guliasi
I certify under pena lty of perjury under the law s o f the State of Ca lifornia that the foregoing is true and co rrect.

Signature of Applicant: _ Date: 4-14-2025
SAFE STREETS C itizen Ove rsight Committee (SSCOC ) App lication Page 3 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application APPLICANT NAME: Ma ti T e iblum
First Name
PREFERRED PRONOUN ($ ): Mr
RESIDENCE ADDRESS:

MAILING ADDRESS:

EAMIL ADDRESS:

Street
Sa me
Street
Last Name
ee rkeley 94707
C ity
C ity
M l
Zip
Zip
PRIMARY PHONE ALTERNATE PHONE: ____ ______ _
I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that app ly) D B ackgroun d in Civil Engineering
D B ackgroun d in T ransportation E ng ineering
D B ackgroun d in Infrastructure P rogram M anagement
~ B ackgroun d in Mu n icipal B on d/Tax M eas ure Im plementat ion Please describe in detail your re levant ex pe rience re lated to the category(ies) identified above:

I am a Ca lifornia licen sed Architect and Gener al Co ntractor.

As A rch itect I have managed multiple public projects, often funde d by special bo nds or tax measu res , work ing for cities and count ies throug hout the bay area .

One of those projects - and a pe rsonal favorite - was the Be rke ley Sou th Branch Library, funde d by Berkeley's 2008 Meas ure F As P roject Manage r I held a central role in managing , commun icating and coordinating project goa ls and objectives between the various project stakeho lders : the pub lic and library users , the Berkeley Public Library d irector, board and staff, the C ity of Berke ley and it's departments of Building and P ub lic Works - as well as leading and coordinating the design team du ring the des ign phases anc cons truction administration in collaboration w ith the co ntractors and construction managers , including and coordination of des ign and cons truction trades of site and infrastructure elemen ts of projects - pa rking , circulation , accessibility, utilities and so on , requiring in dep th under sta nding of the engineering principles, requirements and specifications.

SAFE S T REETS Citizen Oversight Committee (SSCOC) Applicat ion P age 2 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application The City of Berkeley's Conflict of Interest Code requires members of all City of Berkeley Commissions to file S tatements of E conom ic Interests - FPPC F orm 700. Th e F orm 700 is a pub lic document. F or mo re information, please contact the City Clerk's Departm ent at 981-6900 , or visit our webs ite at https://berkeleyca.qov/your-government/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
1, _M_a_ti_T_e_ib_lu_m _____________ , hereby de clare, unde r pena lty of pe rjury, that I am a reside nt of the City of Berke ley . I understand that, w ith the exception of a tempora ry relocation outside of B e rkeley not to exceed six mo nths, I may no longe r serve on a B e rkeley Commission should this cease to be true.

Signature of Applicant: Da te: 04.07.25

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAME ADDRESS PHONE NO.

Janet Tam
I certify unde r pena lty of pe rjury under the laws of the State of California that the forego ing is true and co rrect.

Signature of Applicant:_ Date: 04.07.25
SAFE STREETS C itizen O versight Co m m ittee (SSCOC) App lication Page 3 of 3

SAFE STREETS Citizen Oversight Committee (SSCOC) Application SAFE STREETS Citizen Oversight Committee (SSCOC) Application Page 2 of 3 APPLICANT NAME:

First Name Last Name MI
PREFERRED PRONOUN(S):

RESIDENCE ADDRESS:

Street City Zip
MAILING ADDRESS:

Street City Zip
EAMIL ADDRESS:

PRIMARY PHONE: ALTERNATE PHONE:

I QUALIFY UNDER THE PUBLIC MEMBERS APPOINTMENT CATEGORY BELOW: (check all that apply) Background in Civil Engineering
Background in Transportation Engineering
Background in Infrastructure Program Management
Background in Municipal Bond/Tax Measure Implementation Please describe in detail your relevant experience related to the category(ies) identified above:
___________________________________________________________________________________________________ ___________________________________________________________________________________________________ __________________________________________________________ _________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________ ________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ ___________________________________________________________________________________________________ Prester Wilson
He/him
same
I have been a licensed Civil Engineer for San Francisco Municipal Transportation Agency (SFMTA) since 2000 working as Project Engineer (PE) and Engineer of Record (EOR) on many rail and roadway projects in San Francisco including the Van Ness Improvement Project ($325M) and L Taraval Improvement Project ($150M).

I also worked as Utility Coordinator on two project above in addition to the Central Subway and Third Street Light Rail Projects. The latest project I have supervised, M & J Safety Improvement Project, includes addition of a bike lane adjacent to boarding islands.

I have personally designed many curb ramps and reviewed many others as Section Manager for the Track & Civil Section of the Capital Programs & Construction Division.

I have overseen construction on many projects as EOR and Field Engineer for the Third Street Light Rail Projects and other projects.
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SAFE STREETS Citizen Oversight Committee (SSCOC) Application The City of Berkeley's Conflict of Interest Code requires members of all City of Berkeley Commissions to file Statements of Economic Interests -FPPC Form 700. The Form 700 is a public document. For more information, please contact the City Clerk's Department at 981-6900, or visit our website at https://berkeleyca.qov/your-qovernment/public-records/conflict-interest-reports.

AFFIDAVIT OF RESIDENCY
1, Prester Wilson
that I am a resident of the City of Berkeley.
outside of Berkeley not •
this cease to be true.

Signature of Applicant:
, hereby declare, under penalty of perjury,
I understand that, with the exception of a temporary relocation serve on a Berkeley Commission should
Date: _1.J...+../_;r-1..--&o_~S-_
'

THE FOLLOWING INDIVIDUALS ARE QUALIFIED TO COMMENT ON MY CAPABILITIES NAME
Jane Wang,
Peter Gabancho,
I certify under penalty
correct.

Signature of Applica

ADDRESS
SAFE STREETS Citizen Oversight Committee (SSCOC) Application PHONE NO.
f California that the foregoing is true and
oate: w~)...S