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San Francisco Sound
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San Francisco Sound
San Francisco pictured in 2009.
Stylistic origins
Rock
Cultural origins
Mid 1960s, San Francisco, California, U.S.
Other topics
Acid rock
California Sound
Haight-Ashbury
Psychedelic rock
The San Francisco Sound refers to rock music performed live and recorded by San Francisco-based rock groups of the mid-1960s to early 1970s. It was associated with the counterculture community in San Francisco during these years.[1] San Francisco is a westward-looking port city, a city that at the time was 'big enough' but not manic like New York City or spread out like Los Angeles. Hence, it could support a 'scene'.[2] According to journalist Ed Vulliamy, "A core of Haight Ashbury bands played with each other, for each other, for free and at Chet Helms's Avalon Ballroom and Bill Graham's Fillmore."[3]
The Bay-Area-based jazz critic and columnist Ralph J. Gleason had established the first journal (Jazz Information) devoted to jazz, in 1939. Gleason was open to new pathways. He admired San Francisco's new music scene in the mid-1960s, and wanted to draw attention to it. According to an announcer for a TV show that Gleason hosted: "In his syndicated newspaper column, Mr. Gleason has been the foremost interpreter of the sounds coming out of what he calls 'the Liverpool of the United States.' Mr. Gleason believes the San Francisco rock groups are making a serious contribution to musical history."[4] The first serious journal of rock music, Crawdaddy, had been founded in the eastern U.S. in 1966 by Paul Williams. However, Ralph Gleason, shortly after the Monterey Pop Festival, became one of the founders of what would become the nation's dominant rock-scene fan journal, Rolling Stone.
Contents
1 Characteristics
2 Venues
3 AM and FM radio
4 Associated artists
4.1 Main artists
4.2 Other Bay Area artists
4.3 Other cities' artists associated with the San Francisco Sound
5 See also
6 References
7 External links
Characteristics[edit]
Jefferson Airplane's original personnel
The new sound, which melded many musical influences, was perhaps heralded in the live performances of the Jefferson Airplane (from 1965 on), who put out an LP record earlier than nearly all the other new bands (September 1966).[5] According to writer Douglas Brinkley, celebrated author Hunter S. Thompson, one of the Bay Area cultural-scene boosters, was a big early fan of the group: "Thompson extolled the sonic energy of the Jefferson Airplane as it pulsed around the California locales that nursed the psychedelic era..."[6]
The bohemian predecessor of the hippie culture in San Francisco was the "Beat Generation" style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting. Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk and Brechtian art songs." [7] The entire tone of the new subculture was different. According to biography author Robert Greenfield, "Jon McIntire [manager of the Grateful Dead from the late sixties to the mid-eighties] points out that the great contribution of the hippie culture was this projection of joy. The beatnik thing was black, cynical, and cold."[8] The new music was loud and community-connected: bands sometimes presented free concerts in Golden Gate Park and "happenings" at the city's several psychedelic clubs and ballrooms. The many bands that formed signalled a shift from one subculture to the next.
Monterey, California is about 120 road miles south of San Francisco. At the June 1967 Monterey Pop Festival, Bay Area groups (Jefferson Airplane, the Grateful Dead, and Big Brother and The Holding Company) performed from the same stage as established and fast-rising musical groups and well-known individual artists from the U.S., England, and even India. Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, established Rolling Stone magazine (first issue's date: November 1967).
Each San Francisco band had its characteristic sound, but enough commonalities existed that there was a regional identity. By 1967, fresh and adventurous improvisation during live performance (which many heard as being epitomized by the Grateful Dead and by the "cross-talk" guitar work of Moby Grape) was one characteristic of the San Francisco Sound. A louder, more prominent role for the electric bass—typically with a melodic or semi-melodic approach, and using a plush, pervasive tone—was another feature.[9] This questing bass quality has been wryly characterized as a "roving" (rather than the conventional "stay-at-home") style. In jazz it had been exuberantly pioneered by numerous musicians—and such bassists as Charles Mingus, Scott LaFaro, and Steve Swallow had taken it into very exploratory places. A musician who was a leading example of this, Jack Casady of Jefferson Airplane (and the offshoot Hot Tuna) pioneered the approach, perhaps best represented on the album Bless Its Pointed Little Head. Phil Lesh, bassist with the Grateful Dead, furthered this sound. Lesh had developed his style on the foundation of having studied classical, brass-band, jazz, and modernist music on the violin and later the trumpet.[10]
Exploration of chordal progressions previously uncommon in rock & roll, and a freer and more powerful use of all instruments (drums and other percussion, electric guitars, keyboards, as well as the bass) went along with this "psychedelic-era" music. Brasses and reeds, such as trumpets and saxophones were rarely used, unlike in contemporary R&B and soul bands and some of the white bands from the U.S. East Coast (e.g., Blood, Sweat & Tears or Chicago). Sly & the Family Stone, a San Francisco-based group that got its start in the late 1960s, was an exception, being a racially integrated hippie band with a hefty influence from soul music, hence making use of brass instrumentation.
"Rock & roll" was the point of departure for the new music. But well known stars of rock & roll "were being called fifties primitives" by this time.[11] This was the period when "rock" was differentiating itself from rock & roll, partly due to the upshot of the British Invasion.[12] In San Francisco, musical influences came in from not only London, Liverpool, and Manchester, but also included the bi-coastal American folk music revival of the 1950s and 1960s, the Chicago electric blues scene, the soul music scenes in Detroit, Memphis, and Muscle Shoals, jazz styles of various eras and regions. A number of key San Francisco rock musicians of the era cited John Coltrane and his circle of leading-edge jazz musicians as important influences.
The journalist Ed Vulliamy wrote: "The Summer of Love had an empress, and her name was Janis Joplin."[13] Women, in a few cases, enjoyed an equal status with men as stars in the San Francisco rock scene—but these few instances signaled a shift that has continued in the U.S. music scene. Both Grace Slick (singing with Jefferson Airplane) and Joplin (singing initially with Big Brother & the Holding Company) gained a substantial following locally and, before long, across the country.[14]
Another woman singer (and songwriter), Stevie Nicks, as a child had recurrently moved in the U.S. with her family. Coming of age in the San Francisco Bay Area, she gained her first performing experience there in the '60s with Lindsey Buckingham's rock band. Eventually both Nicks and Buckingham achieved international exposure and acclaim once their California talents were absorbed into the established British rock band Fleetwood Mac in 1975.
Venues[edit]
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Performances of an international super group like the Beatles were hosted in a huge venue like the Cow Palace. At first, the local Bay Area bands played in smaller ones. The early band venues, while the new SF scene was emerging from folk and folk-rock beginnings, were often places like the Matrix nightclub. As audiences grew, and audience dancing became customary, performances moved into venues with more floor space, such as the Longshoreman's Hall, the Fillmore Auditorium, the Avalon Ballroom, Winterland, and the Carousel Ballroom (which was later renamed Fillmore West). Outdoor performances, often organized by the band members themselves and their friends, also played their part.
Because San Francisco had an especially vibrant and attractive countercultural scene in the latter half of the 1960s, musicians from elsewhere (along with the famous hip multitude) came there. Some stayed and became part of the scene. Examples include the Sir Douglas Quintet, whose music took on more of the character of the San Francisco Sound, while yet retaining some of its original Texas flavor, Mother Earth, fronted by female lead singer Tracy Nelson, who relocated to the Bay Area from Nashville, and the Electric Flag, bringing Chicago blues to the Bay Area care of former Paul Butterfield Blues Band guitarist Mike Bloomfield. Steve Miller (who formed the Steve Miller Band) was from Wisconsin, by way of Chicago and New York City while bandmate Boz Scaggs originally called Texas home.
AM and FM radio[edit]
The San Francisco bands' music was everything that AM-radio pop music wasn't. Their performances contrasted with the "standard three-minute track" that had become a cliché of the pop-music industry, due to the requirements of AM radio, to the sound capacity of the 45 RPM record, and to the limited potentials of many pop songs and song treatments. It is true that many of the San Francisco bands did record "three-minute" tracks when they desired pop-music station airplay for a song. But in live performance, the bands would often share their improvisatory zest by playing a given song or sequence for as long as five or six minutes, and occasionally for as long as half an hour. In early 1967, Tom Donahue–a veteran disc jockey, rock concert producer, songwriter, and music-act manager–was inspired to revive a moribund radio station, KMPX, and inaugurate the first FM-radio rock station, in San Francisco, in order to showcase this type of music.[15] Donahue was uniquely qualified, being savvy and enthusiastic about jazz, R&B, Soul, and ethnic music, besides the then-current rock music.[16] An important departure in this new era of "album oriented radio" (AOR) was that show hosts felt free to play lengthy tracks or two or more tracks at a time from a good record album.
Associated artists[edit]
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Main artists[edit]
The Grateful Dead in December 1970
Members of Jefferson Airplane playing in June, 1967
Grateful Dead
Jefferson Airplane
Jefferson Starship
Quicksilver Messenger Service
Big Brother and the Holding Company
The Great Society
Moby Grape
It's A Beautiful Day
Santana
Sly and the Family Stone
Hot Tuna[17]
Blue Cheer
The Beau Brummels
Malo
Cold Blood
Steve Miller Band
Sons of Champlin
The Steve Kimock Band
Mother Earth
New Riders of the Purple Sage
Kozmic Blues Band
Frumious Bandersnatch
Sopwith Camel
Tripsichord Music Box
Flamin' Groovies
We Five
Joy of Cooking
The Mojo Men
The Charlatans
Fifty Foot Hose
The Ace of Cups
Blackburn and Snow
Butch Engle & the Styx
The Mystery Trend
Salvation
The Wildflower
The Final Solution
Journey
Other Bay Area artists[edit]
Aum (Bill Graham's Fillmore Records)[18]
Country Weather - Walnut Creek
Country Joe and the Fish- Berkeley
The Savage Resurrection - Richmond
Creedence Clearwater Revival - El Cerrito
The Chocolate Watch Band - San Jose
Count Five - San Jose
The Doobie Brothers - San Jose
Strawberry Window- Oakland
Syndicate of Sound - San Jose
The Loading Zone - Oakland
The Vejtables - Millbrae
People! - San Jose
Stained Glass - San Jose
Cold Blood - Oakland
Tower of Power - Oakland
Gary Lee Yoder - Davis
Earth Quake - Berkeley
Dan Hicks and His Hot Licks - Santa Rosa
Andrew Hallidie-Oakland[19]
Other cities' artists associated with the San Francisco Sound[edit]
Neil Young - Canada
John Lennon - UK
The Mamas & the Papas - New York
Scott Mckenzie - Florida
Crosby, Stills, Nash & Young - California
The Doors - Los Angeles
Incredible String Band - UK, Real hippie band
Buffy Sainte Marie - Canada
Melanie Safka - New York
Joni Mitchell - Canada
Buffalo Springfield- Los Angeles
The Peanut Butter Conspiracy- Los Angeles
Tim Buckley - Washington, D.C
Tim Hardin - Oregon
Janis Joplin - Texas
Jimi Hendrix - Seattle, Washington
Love - Los Angeles
Arlo Guthrie - New York
Richie Havens - New York
Phil Ochs
Canned Heat - Los Angeles
The Byrds - Los Angeles
Bob Dylan - Minnesota→　NY
The Youngbloods - New York
Jesse Colin Young - New York
The Animals - UK→ West coast
Jackson Browne
John Prine
Randy Newman - Los Angeles
Phoebe Snow
Albert Hammond - UK
The Leaves - San Fernando Valley
The Seeds - Los Angeles
The Greg Kihn Band - Baltimore→ San Francisco
Mad River
The Neighb'rhood Childr'n
See also[edit]
San Francisco Bay Area portal
Music portal
List of bands from the San Francisco Bay Area
California Sound
Music of California
Love Is the Song We Sing: San Francisco Nuggets 1965–1970
Woodstock
Hippie
References[edit]
Jump up ^ Reasoner, Harry & Wallace, Warren 1967. ""The Hippie Temptation" (segment) CBS News report on Haight-Ashbury". Retrieved 2013-04-12. CS1 maint: Multiple names: authors list (link)
Jump up ^ Stanley, Bob 2013 Yeah, Yeah, Yeah: The Story of Modern Pop. London: Faber and Faber.
Jump up ^ Vulliamy, Ed "Love and Haight". The Guardian / The Observer. 20 May 2007. Retrieved from Web October 1, 2013
Jump up ^ Gleason, Ralph J.; et al. "April 8, 1967: Ralph Gleason TV Interview". Retrieved 2013-05-21.
Jump up ^ Gilliland, John (1969). "Show 41 – The Acid Test: Psychedelics and a sub-culture emerge in San Francisco" (audio). Pop Chronicles. University of North Texas Libraries.
Jump up ^ Brinkley, Douglas 1999 "Introduction" in Hunter S. Thompson's Hell's Angels, The Modern Library edition, New York: Random House. p. xi.
Jump up ^ O'Brien, Karen 2001 Joni Mitchell: Shadows and Light. London:Virgin Books, pp.77-78
Jump up ^ Greenfield, Robert. "The Burden of Being Jerry" (interview). Retrieved 2013-09-11.
Jump up ^ Melhuish, Martin & Hall, Mark (1999) Wired for Sound: A Guitar Odyssey. Kingston Ontario: Quarry Press.
Jump up ^ Jackson, Blair (1999). Garcia: An American Life. Penguin Books. p. 74. ISBN 0-14-029199-7.
Jump up ^ Schickel, Richard (2011) Conversations with Scorsese New York: Alfred A. Knopf, pg. 78.
Jump up ^ n.a. 2010 "Rock and Roll". Encyclopædia Britannica. Chicago: Encyclopædia Britannica.
Jump up ^ Vulliamy, Ed "Love and Haight". The Guardian / The Observer. 20 May 2007. Retrieved from Web October 1, 2013
Jump up ^ Bove, Tony & Donahue, Raechel et al. n.d. ""Haight-Ashbury in the Sixties" documentary (part 1)". Retrieved 2013-04-12. CS1 maint: Multiple names: authors list (link)
Jump up ^ Bove, Tony & Donahue, Raechel et al. n.d. ""Haight-Ashbury in the Sixties" documentary (part 1)". Retrieved 2013-04-12. CS1 maint: Multiple names: authors list (link)
Jump up ^ Jerry Garcia and Phil Lesh 1967 Interview, Youtube
Jump up ^ http://www.shsu.edu/lis_fwh/.../San%20Francisco%20Sound2.htm[permanent dead link]
Jump up ^ Resurrection, Aum, Fillmore Records F30002, 1969
Jump up ^ December 2, 1969 Fillmore West. December 30, 1969 and April 28th Fillmore West.
External links[edit]
San Francisco Rock and Roll Hall of Fame
Chronology of San Francisco Rock
Discographies of San Francisco bands (1965-1973) at the Grateful Dead Family Discography
"S.F. Sound artists and critics" interviewed on the Pop Chronicles (1969)
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List of hotels in New York City
From Wikipedia, the free encyclopedia
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This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.
The following is a list of some notable hotels in New York City.
Contents
[hide]
1 Number of hotels
2 Largest hotels
3 Hotels on the National Register of Historic Places
4 Former hotels
5 References
6 External links
Number of hotels[edit]
Most of the hotels are represented by the Hotel Association of New York City trade organization. As of 2016, the organization had 270 members, representing 75,000 rooms and 50,000 employees.[1] Private hotels, such as the Yale Club, are members of the group.
More than half the hotels (114) are in Midtown Manhattan with 75 on the west side (most in the Times Square area) and 39 on the Midtown East Side.[2] The city tourist list does not include single room occupancy hotels.
Largest hotels[edit]
Following is a list of the largest hotels in New York based on number of rentable rooms.[3] Included in this lists is any hotel in the NYC area with at least 500 rooms.
The total room number includes suites. Some large hotels have been carved up into mixed use buildings in which the hotel occupies a portion of the building. This list includes only the hotel portion.
Hotel Total Rooms Notes
New York Hilton Midtown 1,980
New York Marriott Marquis 1,949
Sheraton New York Times Square Hotel 1,781
Hotel Pennsylvania 1,700
Grand Hyatt New York 1,311
Row NYC 1,331
Waldorf Astoria New York 1,245
New Yorker Hotel 1,083
The Roosevelt Hotel 1,015
Park Central Hotel 935
The New York Palace Hotel 909
Edison Hotel 900
The Westin New York at Times Square 873
Hudson Hotel 807
The Westin New York Grand Central Hotel 774
Crowne Plaza Times Square 770
Doubletree Metropolitan Hotel 760
Millennium Broadway Hotel 750
Le Parker Meridien New York 730
The Lexington New York City Hotel 725
YOTEL New York at Times Square 713
Wellington Hotel 700
W New York 696
InterContinental New York Barclay Hotel 686[4]
InterContinental New York Times Square 607[5]
New York Marriott at the Brooklyn Bridge 665
The Manhattan at Times Square 665
New York Marriott East Side 646
Hotels on the National Register of Historic Places[edit]
Hotel Address Notes
Knickerbocker Hotel 142 West 42nd Street
Ansonia Hotel 2101–2119 Broadway
Barbizon Hotel for Women 140 East 63rd Street
Beacon Theater and Hotel 2124 Broadway
Gilsey Hotel 1200 Broadway
Grand Hotel 1232–1238 Broadway
Hotel Chelsea 222 West 23rd Street
Hotel Gerard 123 West 44th Street
Hotel Theresa 2082–2096 Adam Clayton Powell, Jr. Boulevard.
Plaza Hotel Fifth Avenue and Fifty-Ninth St.
Prince George Hotel 505 Eighth Avenue,
Seville Hotel 22 East 29th Street
Times Square Hotel 255 West 43rd Street
Webster Hotel 40 West 45th Street
Former hotels[edit]
Main article: List of former hotels in Manhattan
Grand Central Hotel
New York Biltmore Hotel
Stanhope Hotel
Marriott World Trade Center

References[edit]
Jump up ^ Hotel Association of New York City - hanyc.org - Retrieved September 05, 2016
Jump up ^ http://www.nycgo.com/?event=action.doTaxoSearch&icategory=288&ilocation=1978&ifeatures=528&ilifestyles=432
Jump up ^ Crain's new York Businesses: Book of Lists 2008 - Via cuny.edu - Retrieved September 22, 2009
Jump up ^ http://www.ihg.com/intercontinental/hotels/gb/en/new-york-city/nycha/hoteldetail
Jump up ^ http://www.ihg.com/intercontinental/hotels/gb/en/new-york-city/nychc/hoteldetail
External links[edit]
Official New York City tourist website
Ratings and availability of hotels in New York City
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