AMBROSIA CAKE FALSTAFF BLISS
The Carousel Ballroom is a beautiful place to hang out. There's good local bands like the Dead and the Airplane, plus they've presented people like Thelonius Monk, Johnny Cash, and Dr. John the Night Tripper. But it's more than a dance concert. The place is big enough so you aren't forced to listen. You can wander off into the side rooms and talk or eat and drink. And since you have all those choices, it's easier to listen, easier to be relaxed. It's like a big party in a big house.
Food? I had a plate of chicken cooked in tomatoey sauce, saffron rice, asparagus cooked in wine, and home-made bread for 95 cents. My old lady had a piece of Ambrosia Cake with real orange slices in the layers. Ahhhhhh, instant Falstaff bliss! Take your whole harem for a meal today.
The dance floor has a ceiling made of velvet silver glittery drapes arranged like huge upside down mushrooms. There's carpets and chairs on the side, and a big bar area with more carpets and a restaurant with damask walls.
It was groovy like a Victorian opera house bordello even before people started turning it into a rock palace with their decorations. Now paintings are growing on the walls. Mouse painted a stoned Donald Duck on a pillar. Spider did a wall. Ovid is painting a three-wall mural. You can't go wrong with names like that. And Bob Thomas is painting a Magical Black Light Forest.
The Carousel, new as it is, radiates an important force in the community. There's a great sense of participation there. We're all part of it. There's jam sessions on Tuesday night for a dollar. A band forms up and plays for about an hour, then another band forms. Last week, Jerry Garcia and Elvin Bishop jammed together. And last Sunday, the Carousel moved their whole show, which included the Dead, Charley Musselwhite, and Petris out to Golden Gate Park for the afternoon as a holiday celebration.
Last Friday Ron Rakow, the manager, got together with Bill Graham for a three-hour talk over breakfast about ways in which the ballrooms could cooperate so that each could do their scene and it would all work and make a more total thing.
A lot of people like to put down Bill Graham. It's a favorite indoor sport. Because he's successful, or ornery, or commercial, or too straight...lots of reasons, lots of put-downs. The great thing about put-downs is that while you are describing what THAT person did wrong, you don't have to DO anything right yourself, you can just play Instant Expert.
We can't afford that luxury now. We have to do something affirmative, whatever we can: rap, sew, eat, dance, sing, or set up another dance hall. Argument can be very good when it's face to face. When we do our thing somehow in relation to each other, a tremendous energy force flashes between us, our various scenes and methods reflect on and strengthen each other. Insofar as we do that, we are a community.
So when the Carousel people and Graham try to work out ways to cooperate, just the fact of their trying helps us. This kind of sharing and of breaking down barriers is characteristic of the things the Carousel has been involved with, such as the beautiful Free City Convention, the Hells Angels Dance, the jam sessions...even the strike-breaking that Ron Rakow got into when he advertised on KMPX. I didn't like that, but in fact it DID help blow open a situation that had by then turned into pretty much a game.
The whole feeling of the Carousel is that it's a gathering, a place for all of us to happen, rather than a concert. Go there and hang out, meet your friends, it's our palace.
(by Sandy Darlington, from the San Francisco Express-Times, 6 June 1968)
Thanks to jgmf.blogspot.com
See also: http://deadsources.blogspot.com/2013/06/springsummer-1968-san-francisco.html