Dead Kennedys + Crucifucks @ San Francisco, CA 1984-01-21

 


LIMITED TIME / LAST TIME

https://pixeldrain.com/l/GaFuxQNk

Dead Kennedys
On Broadway
San Francisco, CA
1984-01-21 (Saturday)

MYTP 16

Source: SBD > Sony D5M > Cassette Master > CD
Original Extraction (Mike Singal): CD > EAC v0.99 prebeta 4 (secure mode) > WavMerge 2.1 > DCWAV 1.97 > Audacity 1.2.6 > FLAC 8 / Align SBE
Extraction: CD > rubyripper 0.8 (cdparanoia secure rip, cdrdoa TOC) > FLAC
Processing: Audacity (soft limit -0.1db to remove light clipping, splits) > FLAC 8 > acxi (tagging, checksums, FLAC data)

Recorded, preserved, shared by micgram
Release processing by teetering

FLAC: 16/44.1 (2 channels)
Quality: 4/4 (17khz, very good, except for drops)
Time: 1:06:19.03
Size: 393.3 MiB
Average kb/s: 829
Tracks: 22

Setlist:
01. intro >
02. Police Truck
03. Short Songs >
04. We've Got A Bigger Problem Now
05. Straight A's
06. Life Sentence
07. Do The Slag
08. tuning, banter, audience >
09. Trust Your Mechanic >
10. MTV Get Off The Air >
11. Goons Of Hazzard
12. tuning, intro >
13. Drug Me
14. intro >
15. Jock-O-Rama
16. Bleed For Me
17. Riot
18. Dead End
Encore:
19. Halloween
20. banter, tuning >
21. Kill The Poor

Bonus:
22. Descendents - Myage (Unknown date/venue)

Band:
Jello Biafra - vocals
East Bay Ray (Raymond Pepperell) - guitar
Klaus Flouride (Geoffrey Lyall) - bass
Darren Peligro (Darren Henley) - drums

Recording notes:
* The encore noise section was cut out, fades out, then in.
* Start of track 16 has 3 fadeins/outs, 1 was re-merged, 2 were shortened a bit.
* Track 17, Riot, has a tape flip about 2/3 way through.

Processing notes:
* Gaps that could be merged cleanly merged. Gaps that couldn't be merged fade out/in to make less jarring.
* Track 17 tape flip gap shortened, fade in/out to smooth.

Notes:
* On Broadway 1-20,21 Lineup:
 1-20: DKs, TSOL, Crucifucks, The Part Time Christians
 1-21: DKs (MYTP 16), Crucifucks (MYTP 1), The Part Time Christians.
* Includes gig flyers.
* Not sure who 'Mike' who does the DKs intro is. He reappears in track 8 breaks as well.

* Band website: http://www.deadkennedys.com/
* Bandsintown: https://www.bandsintown.com/a/50631-dead-kennedys
* Songkick: https://www.songkick.com/artists/520381-dead-kennedys
* Note: the current touring version of the DKs is the Jello-less one.

* Band wikipedia:
"Dead Kennedys are an American punk rock band that formed in San Francisco, California, in 1978. The band was one of the defining punk bands during its initial eight-year run.
Dead Kennedys' lyrics were usually political in nature, satirizing political figures and authority in general, as well as popular culture and even the punk movement itself. During their initial incarnation between 1978 and 1986, they attracted considerable controversy for their provocative lyrics and artwork. Several stores refused to stock their recordings, provoking debate about censorship in rock music; in the mid-1980s, vocalist and primary lyricist Jello Biafra became an active campaigner against the Parents Music Resource Center. This culminated in an obscenity trial between 1985 and 1986, which resulted in a hung jury.
The group released a total of four studio albums and one EP before disbanding in 1986.
...
In 2000 (upheld on appeal in 2003), Biafra lost an acrimonious legal case initiated by his former Dead Kennedys bandmates over songwriting credits and unpaid royalties. In 2001, the band reformed without Biafra; various singers have since been recruited for vocal duties.
...
Dead Kennedys formed in June 1978 in San Francisco, California, when East Bay Ray (Raymond Pepperell) advertised for bandmates in the newspaper The Recycler, after seeing a ska-punk show at Mabuhay Gardens in San Francisco. The original band lineup consisted of Jello Biafra (Eric Reed Boucher) on vocals, East Bay Ray on guitar, Klaus Flouride (Geoffrey Lyall) on bass, 6025 (Carlos Cadona) on rhythm guitar and Ted (Bruce Slesinger) on drums and percussion. This lineup recorded their first demos. Their first live show was on July 19, 1978 at Mabuhay Gardens in San Francisco, California. They were the opening act on a bill that included DV8 and Negative Trend with The Offs headlining.
...
While they continued to play live shows during 1983 and 1984, they took a break from releasing new records to concentrate on the Alternative Tentacles record label, which would become synonymous with DIY alternative culture. The band continued to write and perform new material during this time, which would appear on their next album..."

* About the On Broadway (435 Broadway, at Montgomery St., San Francisco, CA):
The On Broadway was basically the 2nd floor of the Mabuhay Gardens. It was not quite as grungy as the Fab Mab in its heyday.
https://en.wikipedia.org/wiki/Mabuhay_Gardens
"The Mabuhay was in the lower level of the 435 Broadway building, which also housed the On Broadway Theater, known in 1984-1985 as "Rock on Broadway."
Dirksen had a unique style as emcee, deliberately baiting and trading insults with audience and band members, which had the effect of raising the energy of audience and performers alike. Dirksen’s abrasive performance was a central part of the atmosphere of the Mabuhay.
Dirksen and Aquino dissolved their agreement in the early 1980s over disputes concerning Dirksen booking all his higher profile shows at the venue directly upstairs from the Mabuhay, The On Broadway Theater."
* More on the On Broadway/Mab: https://oldpunkflyers.tumblr.com/mabuhaygardens
"After booking both venues for a period of time Dirksen moved his entire operation upstairs. Aquino brought in two young booking agents, Michael Reidy and David Kaplan who started "Punk Nights" on Monday's with free spaghetti featuring bands like Urban Assault, Fuck Ups, MDC, Code Of Honor and Sick Pleasure. In their 4 year tenure post Dirksen, Reidy and Kaplan soon started doing weekends as well with bands like Social Distortion, Agent Orange, Wipers, Richard Hell, Johnny Thunders as well as goth bands like 45 Grave and Specimen. The two venues engaged in booking wars, Reidy and Kaplan finally left in 1986.
The Mabuhay Gardens closed in 1988, at the very end Aquino attempted to move his operation upstairs to the On Broadway (by then vacated by Dirksen) under the moniker of “The Mab On Broadway."
* Even more about the On Broadway: https://acidheroes.wordpress.com/2013/12/11/the-on-broadway-theater/
"People still talk about the legendary Mabuhay Gardens and the Elite Club. But you rarely hear about the On Broadway Theater these days. Which is odd, because it was the primo venue for San Francisco punk bands back in the 1980s.
The On Broadway Theater was run by the legendary Dirk Dirksen.
...
The On Broadway Theater itself was a beautifully laid-out piece of architecture. It had the vibe of a decadent and decaying haunted mansion right out of the Addam’s Family. You walked up a narrow staircase to get into the place. The seating and the balcony was akin to the most cozy and comfortable, beat-up old movie theatre. Then there was a bar in the next room. And an outdoor patio where you could sit and drink around tables and clear your head with some fresh air. And if the bands sucked, you could always go downstairs and check out the more intimate setting of the Fab Mab. Outside there was the narrow alleyway where the roadies loaded and unloaded the bands, and where drugs were scored and beefs were settled (usually over cracked heads and bloody noses)."
* San Francisco renamed that small alley next to the On Broadway/Mabuhay "Dirk Dirksen Place" to honor Dirk's contributions to the cultural heritage of San Francisco. The alley next to City Lights Books (founded by Lawrence Ferlinghetti, at 261 Columbus, right by Broadway, a few blocks from the Mab... and somewhere the more literate people in the scene would have spent time) was similarly renamed Kerouac Alley to honor the famous beat writer. It was originally named Rowland Ave but Kathy Peck of the band Contractions and founder of H.E.A.R. (Hearing Education & Awareness for Rockers) spearheaded a movement to get the name changed to dirk dirksen Place.
* Dirk and his DMP production company stopped doing shows at the On Broadway, upstairs from the Mabuhay, 1984-06-16, and as far as I know, did not do more shows downstairs at the Mab after that, though other promoters, including Ness Aquino I believe, kept doing shows at both venues for a while longer.
* To give you an idea of how much times have changed since then, the 433 Broadway building was recently listed at around $10,000,000!!!

--------------------------------------------------------

No distribution in lossy formats!!
No selling!!
No bootlegging!!
Yes sharing. Definitely share.

Support the artists when or if they play, and buy their records/merchandise.

Please correct any errors or oversights in this information in the comments section so the information can be as accurate as possible.

If you can find related materials like flyers, posters, ticket stubs, even photos, etc, please add them in a comment and I will add them to the main release folder, so that can be included on the next re-seeding. Every bit is welcome, and as I am time constrained on this project due to the amount of material, I cannot spend as much time on each release doing research as I would like, so if we can add to and improve the information and release contents during this series, that would be great.

Please make an effort to pick at least one of these MYTP releases and keep it seeded for as long as you can, particularly the lesser known groups. That will really help out long term.

--------------------------------------------------------
About Michael Young and the MYTP:

Michael: "I lived in the bay area 1980-92. Being a Deadhead I had a lot of friends who recorded shows, so when I got a nice Sony D5M (in 83, I think it was) I would bring it with me to the Mabuhay Gardens and On Broadway and other places as well. I would ask the sound man if I could plug in and they usually said yes. I did this mostly in 1984 a few in 85. My first punk show was in my hometown of Philadelphia at a place called the Hot Club in 1978. I was hooked on the high energy and the fun of slamming around... I think my first SF hardcore punk show was Flipper at Kezar Pavilion in May of '81. I might have seen some other bands around town before that but that one sticks out for sure."
[teetering: I was also at that Kezar TG/Flipper show. Flipper was great that night.]

TECH:
Michael used a Sony D5M portable cassette recorder, plugged into the soundboard outs, to record most of these shows. This was for the time a very expensive unit, with some advanced features, which probably accounts for why these recordings are so good in general.

* D5M manual: https://transom.org/wp-content/uploads/2005/02/om.tcd5m.pdf
* About D5M: https://transom.org/2005/sony-tc-d5m/
All metal, reliable, simple, and fixable, it runs on two D-cells

* More on the D5M: https://www.cassettedeck.org/sony/tc-d5m
This Sony TC-D5M is a stereo cassette deck with Dolby B noise reduction, it was first sold by Sony in 1979 with a recommended retail price of USD $680 [about $2500 in today's dollars] and discontinued a year later.
The main features of the Sony TC-D5M are: 2 heads, mechanical 3 digit tape counter, manual tape type selection and capable of handling normal, chrome, ferro-chrome and metal tapes, belt driven single-capstan transport.
Typical of this deck is the 70's top loading layout with the cassette compartiment located on the left side of the deck. Tape eject is operated mechanically and the cassette needs to be placed with the side to be played facing forward in the cassette well.
Level meters used on the TC-D5M are analog needle VU reading meters. Mechanical transport controls for reliable TC-D5M transport function selection.
The Dolby-B system reduces tape hiss on tapes recorded on the TC-D5M by as much as 10 dB at the highest frequencies. The 19kHz multiplex pilot slgnal present in FM stereo broadcasts can cause false triggering of the noise reduction system. The switchable MPX filter of the TC-D5M filters out the pilot signal, and assuring proper Dolby processing of FM stereo programs.
To make live recordings this deck has 2 microphone inputs to connect microphones with a jack connector.

--------------------------------------------------------
About Dirk Dirksen and the Mabuhay Gardens/On Broadway:

Dirk Dirksen (RIP 2006), aka 'The Pope of Punk', was the music promotor and MC (but really more accurately, the impresario) of the Mabuhay Gardens/On Broadway punk clubs. Dirk was an incredibly interesting, sharp-witted, biting, cutting element of the original San Francisco punk scene. His legendary introductions and post set commentaries are preserved in many of these recordings. Dirk was a nephew of United States Senator Everett Dirksen.

Shows at the Mabuhay started probably in 1977. The On Broadway was an upstairs night club right next to the Mabuhay that opened in summer 1981 and closed 1984. When the On Broadway opened in 1981, they initially only did Friday/Saturday night shows.

The Mabuhay Gardens was originally a Filipino night club/restaurant run by Ness Aquino (RIP). One fateful day he was approached by Jerry Paulsen, who offered to try to fill the club on slow nights (Monday/Tuesday) with punk shows. Dirk took the booking and MC duties over from Jerry, and the rest, as they say, is history.

"...deliberately baiting and trading insults with audience and band members, which had the effect of raising the energy of audience and performers alike. In order to maintain the show's fast pace, he would move past an encore to get to the next band and tell the audience, "Eat it." Dirksen's abrasive persona (which was largely a performance) was a central part of the atmosphere of the Mabuhay.
...
Dirksen was the sole person responsible for connecting the English punk rockers with those in the United States. By creating an exchange program, punk bands for England and NY came to the Mabuhay and vice versa, staying in each city performing a few nights at a time."

Terry Hammer: "[Dirk] believed in theatre and group participation that's why he was sarcastic. He wanted to get a rise in people and get them to participate. He was a really nice person if you got to know him."

Dirk was also active with the organization H.E.A.R. (Hearing Education and Awareness for Rockers), the organization started by Kathy Peck of the Contractions (also part of this THTP series).

It was hard to really know how diverse his interests were until I went to his memorial service in San Francisco, where his punk friends and connections were only a fraction of the people who spoke in his memory. He was involved in various charities, the Mission Recreation Center, the list was quite large.

A book on Dirk was released 2021-01-15:
Shut Up You Animals!!! The Pope is Dead. A Remembrance of Dirk Dirksen: A History of the Mabuhay Gardens

Wikipedia: https://en.wikipedia.org/wiki/Mabuhay_Gardens
Wikipedia: https://en.wikipedia.org/wiki/Dirk_Dirksen
SF Gate obituary: https://www.sfgate.com/bayarea/article/Dirk-Dirksen-pope-of-punk-amused-insulted-2466523.php

--------------------------------------------------------
 - teetering


The Crucifucks
On Broadway
San Francisco, CA
1984-01-21 (Saturday)

Source: SBD > SonyD5M > Cassette Master > CD
Extraction: CD > rubyripper 0.8 (cdparanoia secure rip, cdrdoa TOC) > FLAC
Processing: Audacity (soft limit -0.1db to remove light clipping, phase correct, splits) > FLAC 8 > acxi (tagging, checksums, FLAC data)

Recorded by micgram

FLAC: 16/44.1 (2 channels)
Quality: 4/4 (17khz, very good, clear)
Time: 35:49.72
Size: 214.3 MiB
Average kb/s: 836
Tracks: 16

Setlist:
01. tuning >
02. By The Door
03. I Was >
04. Go Bankrupt And Die
05. You Give Me The Creeps
06. Marching For Trash
07. ???
08. Democracy Spawns Bad Taste
09. I Am The Establishment
10. Similar Items >
11. Legacl Genocide
12. Cops For Fertilizer
13. intro > Official Terrorism
14. Down On My Knees
15. No One Can Make Me Play Along With This >
16. Hinckley Had A Vision

Band:
Doc Corbin Dart - vocals
Gus Varner - guitar
Marc Hauser - bass
Steve Shelley - drums

Notes:
* I'm assuming that lineup is more or less correct, that was the lineup according to Steve Shelley in Dec, 1984, and the lineup on their album. Correct if wrong.
* On Broadway 1-20,21 Lineup: 
  1-20: DKs, TSOL, Crucifucks, The Part Time Christians
  1-21: DKs, Crucifucks, The Part Time Christians.
* Includes gig flyer.

About Band:
* https://alternativetentacles.com/artists/crucifucks/
"The Crucifucks career has been anything but boring. From the beginning, the Crucifucks endured, like many bands, a revolving-door membership. Formed in Lansing, Michigan in 1982, the only constant in the Crucifucks was lyricist and mouthpiece, Doc Corbin Dart. The original guitarist, who played on the first two albums, Gus Varner, is retired and living in New York City while original drummer, Steve Shelley, went on to an illustrious career in Sonic Youth, as well as keeping busy performing with other musicians and running his Smells Like Records label. Doc says the Crucifucks never “officially” broke up but rather drifted apart due to various “problems.” Thankfully, the self-titled Crucifucks and Wisconsin releases stand as documentation of those creative and volatile beginnings."

* Joe Dart was the original guitar player, but I believe Gus Varner would have been on this tour since he recorded on the 1984 Alternative Tentacles album.
https://en.wikipedia.org/wiki/Doc_Corbin_Dart
"Doc Corbin Dart (born March 16, 1953) is an American musician and former vocalist of the 1980s Lansing, Michigan punk rock band the Crucifucks. As of the early 2000s, he is also known by his moniker 26.
Dart's unorthodox vocal stylings have been described as wailing and alarming, while others have described them favorably as heartfelt and influenced by Pete Shelley of iconic UK punk group Buzzcocks. His lyrics alternate between personal themes of abandonment and depression, and an anarchist worldview. "
* Scott Fagersten on bass appears to have been replaced by Marc Hauser at least as of December 8, 1984
* Steve Shelley went on to join Sonic Youth in early 1985.
https://www.brooklynvegan.com/pics-of-steve-shelleys-pre-sonic-youth-band-the-crucifucks-cts-the-anthrax-in-1984/
"The Crucifucks playing Stamford, CT all-ages club The Anthrax on December 8, 1984.
...
In addition to their intentionally offensive, confrontational name (which was way more offensive in 1984) and putting out records on Jello Biafra's Alternative Tentacles label, The Crucifucks were notable as the band Steve Shelley was in before moving to New York and joining Sonic Youth. Steve tells us that this East Coast tour was what got the ball rolling on that. "We also played CBGB's on this trip -- where Thurston Moore and Lee Ranaldo caught our set," says Steve. "Bassist Marc Hauser and I would leave the band a few months later, drive to NYC and dog-sit for Kim and Thurston at their LES apartment while they were on tour in Europe.
...
As for The Anthrax show, Steve tells us "The line-up for this tour was Doc Dart - vocals (and trombone!), Gus Varner - guitar, Marc Hauser - bass, and myself on drums," and that these photos offer a rare look at "Dart blowing on the trombone -- at later shows Doc would take a trombone solo during the song 'When The Top Comes Off'.""

* More Steve Shelley: 
http://wbstyn.blogspot.com/2010/04/steve-shelley-speaks-of-no-zones-new.html
"The first band I was in was The No Zones. It was mostly covers; just a teenage basement thing.But then my friend (and future Crucifucks bass player) Scott Begerston and I started playing with a New Wave band from Lansing called Faith and Morals and that’s when I met Doc Dart (vocalist for Crucifucks) We were playing at Club Doo Bee and we started talking to him; it certainly wasn’t at a Black Flag show like that article in Vice states. I never saw Black Flag ever in my life.
...
Doc seemed so much older to us. By that time, he had to be in his late twenties or early thirties. When we first started to practice, there was this guy Terry who was the guitar player, and he had a similar history to Docs’. He may have been in Vietnam, so he didn’t stick around very long. He was even more mentally fragile than Doc was as far as dealing with people went. He may have made it through one practice, maybe two. He’s mentioned in one song where Doc screams, “I hate the government, and so does Terry.” He was replaced with Docs’ cousin Joe Dart. He was a high school kid who wasn’t really into new music that much, he was more about being a rock star. So he became the guitar player for a little bit, and then he was replaced by Gus Varner. Gus was a much better fit musically. His two favorite things were Black Flag and Jimi Hendrix.

I know that everything happened really quickly with The Crucifucks. We started opening up for bands really quickly and we kinda went all over, because there was no town that was big enough to keep you active or interested. I think we did really well obviously because of Docs’ antagonistic character; it made us stick out right away. I don’t think we ever considered ourselves a hardcore band, but we played on a lot of hardcore bills. Doc specifically had an antagonism towards hardcore, making fun of the kids, especially when things got a little more meat headed and macho.
...
I know at one point, we recorded an EP with Corey Rusk that was supposed to be released on his subsidiary label, Special Forces. Special Forces was somewhat assigned to that whole thing of, ‘Well this isn’t hardcore but we kinda like it’ vibe. The recordings just sort languished and never happened, but I think Doc might have alienated someone and Corey might of been like, ’We just won’t put that out.” Maybe Doc and Tesco stopped getting along at a certain point. They got along for awhile because they were the two older guys, but I think Doc might have gotten jealous of Tesco’s power by the Touch & Go fanzine.

In the meantime, Jello Biafra got interested in the band. Through either Timmy Yohannon (editor of Northern Californian fanzine Maximum Rock ‘N’ Roll) or the M.D.C. guys, Jello heard that tape we did in Corey’s basement. He invited us to play with them at the City Club that summer. I think Jello saw something of himself in Doc and wanted to take us under his wing. He invited us to do a northwest tour with them and asked if we wanted to do a record on (Jello's label) Alternative Tentacles. To all those Detroit punkers, the Dead Kennedys were already something that was totally passé. Being involved with them was not cool at all, but they provided us with opportunities that didn’t exist for us in Michigan.

After that, we went on the Yippie sponsered ‘Rock Aginst Reagan’ tour in ‘83 or ‘84. We rode in a school bus that the Yippies had, which was really uncomfortable. We met up with The Dicks, and I think D.R.I came for part of it and then M.D.C showed up, so Doc found some real kindred spirits there. I wasn’t the biggest M.D.C fan but I became really close friends with The Dicks. Those shows were pretty huge and we learned a lot. We played clubs but then we’d also play state capitols and stuff. W played in Madison Wisconsin near the capitol and I remember joints being rained down on the audience, because the Yuppies were all pro-pot, so it was this “Reagan sucks, smoke pot!” moment.
...
We recorded the first Crucifucks album out in California with Spot. It was kinda weird being out there because we stayed at SST and we kinda were met with this paranoid caution because we were recording for Alternative Tentacles. The SST people were like ’Why aren’t they recording for us?’ We just liked the records Spot had made and we were big fans of the Minutemen. I remember Spot telling us he was really proud that he just finished this new project which was ‘Meat Puppets II’ and Doc and I were giant Neil Young fans, so he played it for us and we loved it. The line up that recorded that first album was the last real line-up of The Cruicfucks. Both Marc Hauser and I moved to New York in the Spring of ‘85 and subletted Kim and Thurston’s apartment and I joined Sonic Youth shortly after.
"

* About the On Broadway (433 Broadway, at Montgomery St., San Francisco, CA):
The On Broadway was basically the 2nd floor of the Mabuhay Gardens. It was not quite as grungy as the Fab Mab in its heyday.
https://en.wikipedia.org/wiki/Mabuhay_Gardens
"The Mabuhay was in the lower level of the 435 Broadway building, which also housed the On Broadway Theater, known in 1984-1985 as "Rock on Broadway."
Dirksen had a unique style as emcee, deliberately baiting and trading insults with audience and band members, which had the effect of raising the energy of audience and performers alike. Dirksen’s abrasive performance was a central part of the atmosphere of the Mabuhay.
Dirksen and Aquino dissolved their agreement in the early 1980s over disputes concerning Dirksen booking all his higher profile shows at the venue directly upstairs from the Mabuhay, The On Broadway Theater."
* More on the On Broadway/Mab: https://oldpunkflyers.tumblr.com/mabuhaygardens
"After booking both venues for a period of time Dirksen moved his entire operation upstairs. Aquino brought in two young booking agents, Michael Reidy and David Kaplan who started "Punk Nights" on Monday's with free spaghetti featuring bands like Urban Assault, Fuck Ups, MDC, Code Of Honor and Sick Pleasure. In their 4 year tenure post Dirksen, Reidy and Kaplan soon started doing weekends as well with bands like Social Distortion, Agent Orange, Wipers, Richard Hell, Johnny Thunders as well as goth bands like 45 Grave and Specimen. The two venues engaged in booking wars, Reidy and Kaplan finally left in 1986.
The Mabuhay Gardens closed in 1988, at the very end Aquino attempted to move his operation upstairs to the On Broadway (by then vacated by Dirksen) under the moniker of “The Mab On Broadway."
* Even more about the On Broadway: https://acidheroes.wordpress.com/2013/12/11/the-on-broadway-theater/
"People still talk about the legendary Mabuhay Gardens and the Elite Club. But you rarely hear about the On Broadway Theater these days. Which is odd, because it was the primo venue for San Francisco punk bands back in the 1980s.
The On Broadway Theater was run by the legendary Dirk Dirksen.
...
The On Broadway Theater itself was a beautifully laid-out piece of architecture. It had the vibe of a decadent and decaying haunted mansion right out of the Addam’s Family. You walked up a narrow staircase to get into the place. The seating and the balcony was akin to the most cozy and comfortable, beat-up old movie theatre. Then there was a bar in the next room. And an outdoor patio where you could sit and drink around tables and clear your head with some fresh air. And if the bands sucked, you could always go downstairs and check out the more intimate setting of the Fab Mab. Outside there was the narrow alleyway where the roadies loaded and unloaded the bands, and where drugs were scored and beefs were settled (usually over cracked heads and bloody noses)."
* San Francisco renamed that small alley next to the On Broadway/Mabuhay "Dirk Dirksen Place" to honor Dirk's contributions to the cultural heritage of San Francisco. The alley next to City Lights Books (founded by Lawrence Ferlinghetti, at 261 Columbus, right by Broadway, a few blocks from the Mab... and somewhere the more literate people in the scene would have spent time) was similarly renamed Kerouac Alley to honor the famous beat writer. It was originally named Rowland Ave but Kathy Peck of the band Contractions and founder of H.E.A.R. (Hearing Education & Awareness for Rockers) spearheaded a movement to get the name changed to dirk dirksen Place.
* To give you an idea of how much times have changed since then, the 433 Broadway building was recently listed at around $10,000,000!!!

--------------------------------------------------------

No distribution in lossy formats!!
No selling!!
No bootlegging!!
Yes sharing. Definitely share.

Support the artists when or if they play, and buy their records/merchandise.

Please correct any errors or oversights in this information in the comments section so the information can be as accurate as possible.

If you can find related materials like flyers, posters, ticket stubs, even photos, etc, please add them in a comment and I will add them to the main release folder, so that can be included on the next re-seeding. Every bit is welcome, and as I am time constrained on this project due to the amount of material, I cannot spend as much time on each release doing research as I would like, so if we can add to and improve the information and release contents during this series, that would be great.

Please make an effort to pick at least one of these MYTP releases and keep it seeded for as long as you can, particularly the lesser known groups. That will really help out long term.

--------------------------------------------------------
About Michael Young and the MYTP:

Michael: "I lived in the bay area 1980-92. Being a Deadhead I had a lot of friends who recorded shows, so when I got a nice Sony D5M (in 83, I think it was) I would bring it with me to the Mabuhay Gardens and On Broadway and other places as well. I would ask the sound man if I could plug in and they usually said yes. I did this mostly in 1984 a few in 85. My first punk show was in my hometown of Philadelphia at a place called the Hot Club in 1978. I was hooked on the high energy and the fun of slamming around... I think my first SF hardcore punk show was Flipper at Kezar Pavilion in May of '81. I might have seen some other bands around town before that but that one sticks out for sure."
[teetering: I was also at that Kezar TG/Flipper show. Flipper was great that night.]

TECH:
Michael used a Sony D5M portable cassette recorder, plugged into the soundboard outs, to record most of these shows. This was for the time a very expensive unit, with some advanced features, which probably accounts for why these recordings are so good in general.

* D5M manual: https://transom.org/wp-content/uploads/2005/02/om.tcd5m.pdf
* About D5M: https://transom.org/2005/sony-tc-d5m/
All metal, reliable, simple, and fixable, it runs on two D-cells

* More on the D5M: https://www.cassettedeck.org/sony/tc-d5m
This Sony TC-D5M is a stereo cassette deck with Dolby B noise reduction, it was first sold by Sony in 1979 with a recommended retail price of USD $680 [about $2500 in today's dollars] and discontinued a year later.
The main features of the Sony TC-D5M are: 2 heads, mechanical 3 digit tape counter, manual tape type selection and capable of handling normal, chrome, ferro-chrome and metal tapes, belt driven single-capstan transport.
Typical of this deck is the 70's top loading layout with the cassette compartiment located on the left side of the deck. Tape eject is operated mechanically and the cassette needs to be placed with the side to be played facing forward in the cassette well.
Level meters used on the TC-D5M are analog needle VU reading meters. Mechanical transport controls for reliable TC-D5M transport function selection.
The Dolby-B system reduces tape hiss on tapes recorded on the TC-D5M by as much as 10 dB at the highest frequencies. The 19kHz multiplex pilot slgnal present in FM stereo broadcasts can cause false triggering of the noise reduction system. The switchable MPX filter of the TC-D5M filters out the pilot signal, and assuring proper Dolby processing of FM stereo programs.
To make live recordings this deck has 2 microphone inputs to connect microphones with a jack connector. 

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About Dirk Dirksen and the Mabuhay Gardens/On Broadway:

Dirk Dirksen (RIP 2006), aka 'The Pope of Punk', was the music promotor and MC (but really more accurately, the impresario) of the Mabuhay Gardens/On Broadway punk clubs. Dirk was an incredibly interesting, sharp-witted, biting, cutting element of the original San Francisco punk scene. His legendary introductions and post set commentaries are preserved in many of these recordings. Dirk was a nephew of United States Senator Everett Dirksen. 

Shows at the Mabuhay started probably in 1977. The On Broadway was an upstairs night club right next to the Mabuhay that opened in summer 1981 and closed 1984. When the On Broadway opened in 1981, they initially only did Friday/Saturday night shows.

The Mabuhay Gardens was originally a Filipino night club/restaurant run by Ness Aquino (RIP). One fateful day he was approached by Jerry Paulsen, who offered to try to fill the club on slow nights (Monday/Tuesday) with punk shows. Dirk took the booking and MC duties over from Jerry, and the rest, as they say, is history.

"...deliberately baiting and trading insults with audience and band members, which had the effect of raising the energy of audience and performers alike. In order to maintain the show's fast pace, he would move past an encore to get to the next band and tell the audience, "Eat it." Dirksen's abrasive persona (which was largely a performance) was a central part of the atmosphere of the Mabuhay.
...
Dirksen was the sole person responsible for connecting the English punk rockers with those in the United States. By creating an exchange program, punk bands for England and NY came to the Mabuhay and vice versa, staying in each city performing a few nights at a time."

Terry Hammer: "[Dirk] believed in theatre and group participation that's why he was sarcastic. He wanted to get a rise in people and get them to participate. He was a really nice person if you got to know him."

Dirk was also active with the organization H.E.A.R. (Hearing Education and Awareness for Rockers), the organization started by Kathy Peck of the Contractions (also part of this THTP series).

It was hard to really know how diverse his interests were until I went to his memorial service in San Francisco, where his punk friends and connections were only a fraction of the people who spoke in his memory. He was involved in various charities, the Mission Recreation Center, the list was quite large.

Apparently a book about Dirk Dirksen will be coming out Summer 2020.

Wikepedia: https://en.wikipedia.org/wiki/Mabuhay_Gardens
Wikipedia: https://en.wikipedia.org/wiki/Dirk_Dirksen
SF Gate obituary: https://www.sfgate.com/bayarea/article/Dirk-Dirksen-pope-of-punk-amused-insulted-2466523.php

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 - teetering