Musicians Union - Revision history

Tobymarx at 02:34, 23 April 2011

2011-04-23T02:34:22Z

← Older revision		Revision as of 19:34, 22 April 2011
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	'''"Formerly Ginger's"'''		'''"Formerly Ginger's"'''

	In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned redwood brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano, played by an elder black man ~~who's~~ artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.		In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned redwood brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano, played by an elder black man whose artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.

	[[Image:Musicians-Union--2--.jpg]]		[[Image:Musicians-Union--2--.jpg]]

Tobymarx at 02:31, 23 April 2011

2011-04-23T02:31:18Z

← Older revision		Revision as of 19:31, 22 April 2011
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	'''"Formerly Ginger's"'''		'''"Formerly Ginger's"'''

	In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned redwood brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano, played by an elder black man~~, whose~~ artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.		In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned redwood brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano, played by an elder black man who's artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.

	[[Image:Musicians-Union--2--.jpg]]		[[Image:Musicians-Union--2--.jpg]]

Tobymarx at 02:29, 23 April 2011

2011-04-23T02:29:41Z

← Older revision		Revision as of 19:29, 22 April 2011
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	</blockquote>		</blockquote>

	In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned redwood, brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano, played by an elder black man, whose artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.		[[Image: Formerly Ginger's-.jpg]]

			'''"Formerly Ginger's"'''

			In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned redwood brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano, played by an elder black man, whose artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.

	[[Image:Musicians-Union--2--.jpg]]		[[Image:Musicians-Union--2--.jpg]]

Tobymarx at 15:49, 8 April 2011

2011-04-08T15:49:10Z

← Older revision		Revision as of 08:49, 8 April 2011
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	</blockquote>		</blockquote>

	In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned, ~~redwood-and-~~brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano; played by an elder black man whose artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.		In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned redwood, brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano, played by an elder black man, whose artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.

	[[Image:Musicians-Union--2--.jpg]]		[[Image:Musicians-Union--2--.jpg]]

Tobymarx at 10:58, 8 April 2011

2011-04-08T10:58:16Z

← Older revision		Revision as of 03:58, 8 April 2011
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	</blockquote>		</blockquote>

	In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street ~~that had~~ a ~~gorgeous~~ old ~~hardwood~~ bar and an ~~old~~ upright piano. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music ~~was provided~~ by an elder black man~~, a consummate professional~~ whose artistry brought the battered ~~piano~~ to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm and blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.		In the early ’70s I was something of a regular at Ginger’s, a little hole-in-the-wall at 115 Mason Street with a surprisingly well-kept, old-fashioned, redwood-and-brass-rail bar that contrasted starkly with beat-up wooden tables and chairs and an ancient parlor upright piano near the back, next to the jukebox. The place was a dive, which was reason enough for me to like it, but what enthralled me was that most nights the music came from the old piano; played by an elder black man whose artistry brought the battered instrument to glorious life with eclectic medleys that ranged from ragtime to swing to rhythm-and-blues. I never failed to put something in his tip jar and frequently expressed my appreciation for his musicianship. Once he got to know me, he’d sit and talk with me sometimes during his breaks. In the course of our conversations I learned, among other things, that he and just about every other working musician in San Francisco belonged to Local No. Six. In fact, the union’s membership was then at its peak, having reached an all-time high of 5,900 in 1969.

	[[Image:Musicians-Union--2--.jpg]]		[[Image:Musicians-Union--2--.jpg]]

Tobymarx at 01:14, 7 April 2011

2011-04-07T01:14:01Z

← Older revision		Revision as of 18:14, 6 April 2011
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	'''"Late Afternoon – Musicians Union"'''		'''"Late Afternoon – Musicians Union"'''

			''Photo: Mark Ellinger''

	After the Musicians Union moved in 1998 to its current headquarters on Ninth Street, the Jones Street hall was taken over by the San Francisco Rescue Mission, who infamously loaded the union’s archives into dumpsters and hauled them away, turning priceless artifacts of San Francisco’s musical history into landfill. The loss is overwhelming, tragic, and irreversible.		After the Musicians Union moved in 1998 to its current headquarters on Ninth Street, the Jones Street hall was taken over by the San Francisco Rescue Mission, who infamously loaded the union’s archives into dumpsters and hauled them away, turning priceless artifacts of San Francisco’s musical history into landfill. The loss is overwhelming, tragic, and irreversible.

Ccarlsson: changed navigation

2011-04-05T00:23:04Z

changed navigation

← Older revision		Revision as of 17:23, 4 April 2011
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	1. King, Clarence H., Secretary-Treasurer, Local No. 6. ''Progressive History of Local No. Six, American Federation of Musicians''. San Francisco. 1925.		1. King, Clarence H., Secretary-Treasurer, Local No. 6. ''Progressive History of Local No. Six, American Federation of Musicians''. San Francisco. 1925.

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	[[category:Tenderloin]] [[category:Architecture]] [[category:Labor]] [[category:Photography]] [[category:1920s]] [[category:1960s]] [[category:1970s]] [[category:1990s]] [[category:2000s]] [[category:Music]]		[[category:Tenderloin]] [[category:Architecture]] [[category:Labor]] [[category:Photography]] [[category:1920s]] [[category:1960s]] [[category:1970s]] [[category:1990s]] [[category:2000s]] [[category:Music]]

Ccarlsson: fixed category from Unions to Labor, added Music category

2011-03-29T16:11:14Z

fixed category from Unions to Labor, added Music category

← Older revision		Revision as of 09:11, 29 March 2011
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	1. King, Clarence H., Secretary-Treasurer, Local No. 6. ''Progressive History of Local No. Six, American Federation of Musicians''. San Francisco. 1925.		1. King, Clarence H., Secretary-Treasurer, Local No. 6. ''Progressive History of Local No. Six, American Federation of Musicians''. San Francisco. 1925.

	[[category:Tenderloin]] [[category:Architecture]] [[category:Labor]] [[category:Photography]] [[category:1920s]] [[category:1960s]] [[category:1970s]] [[category:1990s]] [[category:2000s]]		[[category:Tenderloin]] [[category:Architecture]] [[category:Labor]] [[category:Photography]] [[category:1920s]] [[category:1960s]] [[category:1970s]] [[category:1990s]] [[category:2000s]] [[category:Music]]

Ccarlsson: fixed category from Unions to Labor

2011-03-29T16:10:18Z

fixed category from Unions to Labor

← Older revision		Revision as of 09:10, 29 March 2011
Line 29:		Line 29:
	1. King, Clarence H., Secretary-Treasurer, Local No. 6. ''Progressive History of Local No. Six, American Federation of Musicians''. San Francisco. 1925.		1. King, Clarence H., Secretary-Treasurer, Local No. 6. ''Progressive History of Local No. Six, American Federation of Musicians''. San Francisco. 1925.

	[[category:Tenderloin]] [[category:Architecture]] [[category:~~Unions~~]] [[category:Photography]] [[category:1920s]] [[category:1960s]] [[category:1970s]] [[category:1990s]] [[category:2000s]]		[[category:Tenderloin]] [[category:Architecture]] [[category:Labor]] [[category:Photography]] [[category:1920s]] [[category:1960s]] [[category:1970s]] [[category:1990s]] [[category:2000s]]

Tobymarx at 13:34, 29 March 2011

2011-03-29T13:34:55Z

← Older revision		Revision as of 06:34, 29 March 2011
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	[[Image:Musicians-Union--2--.jpg]]		[[Image:Musicians-Union--2--.jpg]]

	'''"Late Afternoon – Musicians Union'''		'''"Late Afternoon – Musicians Union"'''

	After the Musicians Union moved in 1998 to its current headquarters on Ninth Street, the Jones Street hall was taken over by the San Francisco Rescue Mission, who infamously loaded the union’s archives into dumpsters and hauled them away, turning priceless artifacts of San Francisco’s musical history into landfill. The loss is overwhelming, tragic, and irreversible.		After the Musicians Union moved in 1998 to its current headquarters on Ninth Street, the Jones Street hall was taken over by the San Francisco Rescue Mission, who infamously loaded the union’s archives into dumpsters and hauled them away, turning priceless artifacts of San Francisco’s musical history into landfill. The loss is overwhelming, tragic, and irreversible.