Roma Wines & Chevron Campaigns

In April of this year, this pain­ting became a search, as to who was the artist ? I sent the chal­lenge out to ever­yone on our Geezer mai­ling list.
On Mon, 4/​18/​16, I wrote :
Sub­ject : A follow-​up for those inte­rested, it took less than a day to dis­cover the artist of the mys­te­rious Roma Estate Wine pain­ting, There were several responses, (Thank you : Kir­sten Nusser, Chuck Pyle, Robert Steel, Norm Nicholson and Dick Cole.)

1-Roma Wine PaintingPhoto of Roma painting at The BuckeyePhoto of Roma pain­ting at The Buc­keye in Tam Valley

The answer, must be this, from John Crawford—Clark Agnew ! There were similar Roma Wine illus­tra­tions on the web, but none that listed the artist’s name. It took John with his abi­lity to iden­tify style with the artist’s name.
Clark Agnew did do other illus­tra­tions for Roma Estate Wines and other adver­ti­se­ments that have a similar look. I never knew the story of “the world’s lar­gest winery.”

This was an adven­ture and an edu­ca­tion for a Sunday afternoon—thanks to Jerry Gib­bons and his que­s­ti­o­ning friend, Anna Lind­gren (who used to work at BSSP). Greg Stern (Butler, Shine, Stern & Part­ners) joined in the search.

Larry Nielsen thought to visit The Buc­keye Road­house on Sho­re­line Highway in Mill Valley—to see the pain­ting first-​hand. Jerry Gib­bons wrote : “I’ll invite John Cra­w­ford and Greg Stern to join me at The Buc­keye.”

Ann Thompson

4-​18-​16 This, addi­ti­onal story, from John Cra­w­ford :
While I was pro­w­ling around the internet looking to uncover the illus­trator respon­sible for The Buckeye’s Roma Wine illus­tra­tion, it occurred to me that I had a couple of gou­ache illus­tra­tions for Chevron han­ging down­stairs, and that I’d never taken the trouble to find out who did them. These are lite­rally “found art.” When I was wor­king at BBD&O in the early 70’s, I parked my car out on Sacra­mento Street one eve­ning and ran in to get something. When I came out, I saw a trash barrel full of old art­work – BBD&O had obvi­ously been cle­a­ning out their art files. I grabbed a couple of colorful pieces off the top of the pile and put them in the back of the car. They were illus­tra­tions from the infa­mous “Chevron Island” cam­paign. They fea­ture Irene Tsu as a Hawaiian hula girl on behalf of Chevron avi­a­tion fuel. In one, she is tug­ging on the pro­peller of a piper cub, which seems like a ploy to dis­play her cle­a­vage. In the second, she is gestu­ring at the gas pump while another Piper buzzes the field. As I said, the cam­paign was infa­mous.

There had been a writer at BBDO, Bill Dom­browski, who worked on this cam­paign and who later ended up at Y&R in New York, where they had an annual com­pe­ti­tion for “Worst Ad I Ever Did.” Every year, Bill would enter the Chevron Island cam­paign and every year it would win. A lot of this could be explained by the fact that Herb Ham­merman, the noto­rious Director of Mar­ke­ting at Chevron, had a fix­a­tion on Irene Tsu, which resulted in her being fea­tured in a lot of unli­kely sce­na­rios invol­ving tires, tiki gods, etc. (I don’t mean to imply any­thing other than an inno­cent infa­tu­a­tion – Irene Tsu was, for several years, the live-​in gir­lf­riend of Frank Sinatra and would have had little time for Herb Ham­merman.)

(BTW—Wikipedia : Irene met Frank in Flo­rida while she was fil­ming “Chevron Island” and he was fil­ming “Tony Rome.”) 1968-​1969.

The late Floyd Yost used to tell a story about being assigned to create an out­door board fea­tu­ring Irene Tsu dan­cing the hula on top of the Chevron gas pumps. Floyd attempted to explain the com­po­si­ti­onal chal­lenges involved : gas pumps = strong ver­tical ele­ment ; Irene Tsu dan­cing atop gas pumps = very strong ver­tical ele­ment ; out­door board = strong hori­zontal ele­ment. This seemed to be lost on Ham­merman. Floyd was bundled into a cab with Bob Hilton, the mana­ging director of BBD&O, and Ham­merman to view the pre­miere of the out­door board on Van Ness Avenue. Ham­merman was irate : “I can’t see Miss Irene’s face ! It’s too small!” Floyd again attempted to explain the com­po­si­ti­onal dif­fi­cul­ties, whe­reupon Ham­merman said, “Well, make her HEAD bigger!!” Floyd said, “Herb, you could have been Walt Disney.” Ham­merman : “What?” Floyd : “That was Disney’s big inno­va­tion – he made the heads bigger.” The cab drove off, lea­ving Floyd on Van Ness Avenue, and when he got back to BBD&O, he was no longer employed there.

Chevron outdoor Irene on top of gas pump

Out­door board—Irene on top of gas pump by Charlie Allen

As a sur­prise birt­hday pre­sent many years ago, my wife had the Chevron illus­tra­tions framed for me. In the pro­cess, the tissue over­lays had been dis­carded. This com­pro­mised their his­to­rical value, since the tis­sues had ori­ginal Ham­merman client nota­tions. (e.g. “more spar­kles on teeth!” “fix hair!”) Anyway, I have found that these illus­tra­tions were the work of Charlie Allen, one of the great Pat­terson & Hall illus­tra­tors, who passed away in 2011. I’m sure many of you will recall him. He was a much more gifted artist than Clark Agnew, who did very well on the east coast, but could never have gotten in the door at Pat­terson & Hall. I should have dug a little deeper into that BBD&O trash. There was a lot of dis­carded genius in there.

John Cra­w­ford

This is the final ad for the art above

Chevron-CAllenPrinted

Hi,
I enjoyed the recent sto­ries on ROMA and Chevron. Here’s another from the P&H archives. I remember chat­ting with Charlie about these ads. He thought it was a silly con­cept, but was glad for the work. And, boy could he paint a pretty girl.
Bruce Het­tema

Another piece from the cam­paign

C.Allen-Chevron

I’ve found a few exam­ples of ROMA in our archives. It looks like they did more or the pro­duct illus­tra­tions of bottles and glasses, but I did find a Bruce Bom­berger B&W ad.

Bruce

Roma-artist-unknnown Roma-Bruce-Bomberger

For Love And Money

Our pre­vious col­lection pre­sented pos­ters that were done with “Love”, for no pay. Now I show this col­lection done for various reasons—and, for money. Assig­n­ments had chal­lenges, sometimes very dif­fi­cult, but I don’t remember any illus­trator or graphic designer who didn’t love cre­a­tive work. There were always many com­mer­cial needs for posters—as large as out­door boards and some even small in size, which had mes­sages worthy to be tacked up on a wall.

The cre­a­tive talents in the San Fran­cisco Bay Area were well known. The “Rock Pos­ters” iden­ti­fied a new cul­ture in the area. The cul­ture was shown in the “cos­tume” of the day. Levi’s men’s wear changed dra­ma­ti­cally. Chris Blum, at Honig-​Cooper & Har­rington cre­ated over 75 Levi’s pos­ters for Levi Strauss & Co from 1967 to 1984, hiring a number of local artists.

1970s, “3 Legged Levi’s,” Artist : Victor Moscoso, Let­te­ring : Tony Naga­numa
1971, “Cowboy,” Artist : Charles White III, Let­te­ring : Tony Naga­numa
1971, “18 Wheeler Truck,” Artist : Michael Schwab
1974, “Levi’s Shadow,” Artist : Bruce Wolfe
1980, “1980 Olympics-​Cycling,” Artist : Nicolas Sidjakov

————————-

My intro­duction to poster design :

1-​In 1967, as I was still in the Belli Buil­ding, this Cali­fornia Uni­ver­sity Class Reu­nion poster was assigned to me through ADS Adver­ti­sing. Appa­rently someone from the “Class of ‘42” knew someone in the agency and the assig­n­ment came to my free-​lance studio. The most dif­fi­cult part of the job was spa­cing and cementing the indi­vi­dual alumni names fra­ming the art­work.

2-​1969-This, small and inex­pen­sive flyer/​poster was for the night classes that were offered at the deYoung Museum. I was then free-​lancing at 680 Beach Street and I would drive to the museum at night and “throw pots on the wheel”!

3-​In 1970, A.Carlisle & Co. asked me to create two layouts for Levi’s. This tied into fashion change at that time. One design was to be chosen for a poster and sales folder. I was hired often to create layouts when several prin­ting houses and art stu­dios were com­pe­ting with each other.

4- From Sep­tember 1975 to Sep­tember 1978, I worked for the San Fran­cisco Ballet.
I learned a lot about this ballet com­pany in those years because I was involved with pos­ters, bro­chures, direct mail pieces and news­paper ads. By just chan­ging the colors and the type, this Winter/​Spring Season poster adapted well for the addi­ti­onal poster for the spe­cial guest per­for­mances of Valery & Galina Panov.

5- In May of 1979, Ayer /​Pri­tikin & Gib­bons asked me to create a simple B&W line illus­tra­tion of Maiden Lane (their loca­tion) to be used on the cover of fol­ders for internal use in that agency. On each of the printed fol­ders, I was instructed to hand-​paint only the area of their sign—as I show here (I don’t remember, now, the actual colors). Weeks after I was paid, I stopped by the agency and found that the art had been enlarged—larger than a poster— to the height of their wall in their recep­tions area !

6- Again I was hired only for a layout, its pur­pose was to get approval for the ele­ments of a pro­posed design. For the 1979 poster for the San Fran­cisco Opera, La Gio­conda (pre­vi­ously assigned to Bruce Wolfe) I was instructed by Catherine Flan­ders, at D’Arcy-MacManus & Masius, to create a layout of a carved, stone (marble?) lion with the scene of a “ship on fire” in its mouth. The type was already styled. The SF Opera approved this layout and then Bruce Wolfe cre­ated the finished art.

7- Since the early ‘70s, I worked often with “medical agen­cies” such as Vicom Asso­ci­ates. In 1982 at 901 Bat­tery Street, I was asked to imi­tate George Mont­go­mery Flagg’s image for their client, IVAC.

8- In 1985, again with Vicom & Asso­ci­ates, I had the chance to create the layout and the finished art for a poster for Cutter Bio­me­dical. Pre­vious to the accepted layout, I pre­sented 30 “thumbnail” ske­t­ches at 4”x 5”, as pos­si­bi­li­ties.

9- Skate Ame­rica Inter­na­ti­onal ’91 The full color art for this poster and B&W ver­sion for news­paper ads were for art director, Gail Perry Johnson,

———————————

The fol­lo­wing is a col­lection of pos­ters by various artists wor­king in the San Fran­cisco Bay Area.

A- Pacific Northwest, United Air­lines, Artist : Stan Galli, Art Director : Eugene Raven, 1958

B- Ship­stad & Johnson Ice Fol­lies, Artist : Larry Green. I remember this poster in color, but I could only find this, as shown in the 1964 ADASF Annual Show publi­ca­tion. This poster was a big depar­ture from the usual “ice fol­lies” tra­di­ti­onal style. This was art directed by Jack Keeler at Campbell-​Ewald, 1964

C- Moby Grape /​Jack the Ripper /​Big Brother & The Hol­ding Co., Artist : John Lich­ten­walner, 1967

D- “The Silent Majo­rity”, Artist : Primo Angeli, 1969

E- Cliff House, Artist : Ste­phen Haines Hall

F- SF Jazz Fes­tival, Pre­sented by Ame­rican Air­lines, Artist : Ward Schu­ma­cher, 1994

Ann

San Francisco’s Art Clubs 1958 – 1984

In 1958, the 10TH Annual Exhi­bi­tion of San Fran­cisco Adver­ti­sing Art was a part­nership of The Art Direc­tors Club and the Society of Desig­ners & Illus­tra­tors. In 1962, the San Fran­cisco Society of Illus­tra­tors was founded. Some time before 1964, the San Fran­cisco Art Direc­tors And Artists Club was esta­blished. Then Bill Hyde designed the new logo and it became, in 1965, the Art Direc­tors And Artists Club Of San Fran­cisco.

In 1971, after copy­wri­ters and other graphic talent joined the club, the title became the San Fran­cisco Society of Com­mu­ni­ca­ting Arts. In 1984, SFADC, the San Fran­cisco Art Direc­tors Club was located at Fort Mason.

Mem­bers Con­tri­bute Their Talents
Con­tri­bu­ting to the success of these clubs, were the many mem­bers who offered their exper­tise, time and energy.
The 1967 ADASF Exhi­bi­tion Annual (6”x 6”)
These photos (credit for photos is una­vai­lable) show just some of those who con­tri­buted their assis­tance for the success of the 1967 event. (Adele Smith was paid, but she con­tri­buted much, much, more than her job des­crip­tion.)

Pos­ters And Mai­lers
For annual exhi­bi­tions, spe­cial events and mem­bership drives — various mem­bers cre­ated the design for each pro­mo­tion and enlisted the gene­rous help from copy­wri­ters, typo­grap­hers and lit­ho­grap­hers. Here are just a few as exam­ples.

1 1966 ADASF “CALL FOR ENTRIES” for the 17th Exhi­bi­tion
Cre­ated by : Chris Blum, Typo­graphy : Timely Typo­graphy, Lit­ho­graphy : Gordon Dettner Prin­ters

1967 ADASF “LUV-​IN” Sur­prise Party for the club’s secre­tary, Adele Smith
Cre­ated by : Bill Hyde, Copy by : Alice Harth /​Har­riet Hunter, Typo­graphy : Reardon & Krebs, Lit­ho­graphy : NAVH San Fran­cisco Prin­ters

1967 ADASF “A NOBLE ‘GESTURE’” Mem­bership Offer
Cre­ated by : Ann Thompson, Typo­graphy : Reardon & Krebs Lit­ho­graphy : Dobson, Inc.

1968 ADASF “eureka ! a mini­a­ture gold rush!”
Cre­ated by : Gerald Mel­cher, Typo­graphy : Head­li­ners & Falk Typo­graphy, Lit­ho­graphy : Pacific Lit­ho­graph, Co.

5 1968 “ADASF WELCOMES COPYWRITERS”
Cre­ated by : Mike Bull, (No other cre­dits avai­lable)

6 1968 “ADASF MEMBERSHIP OFFER”
Cre­ated by : Ann Thompson, Copy­writer : Larry McDer­mott, Typo­graphy : Rapid Typo­grap­hers,
Lit­ho­graphy : Lei­sen­ring Prin­ting

7 1969 ADASF & SF WRITERS CLUB “The 1969 Com­mu­ni­ca­tions Fair”, twelve page bro­chure
Cre­ated by : Jerry Huff (show chairman), Five full page illus­tra­tions : Ed Taber, Typo­graphy : Reprotype Studio, Lit­ho­graphy : Peter Wells Press

8 1970 SAN FRANCISCO AD CLUB Request for avant-​garde sub­mis­sions
Cre­ated by : Primo Angeli (Included in a col­lection of “Images Of An Era : The Ame­rican Poster” spon­sored by Smith­so­nian Insti­tu­tion, 1976)

1969 ADASF “GENISIS 1” FILM EVOLUTION (An Exci­ting Col­lection of Stu­dent Films)
Cre­ated by Mike Bull, (No other cre­dits listed)

10  1984 SFADC “GREAT IDEAS THAT DIDN’T FLY”- COMP SHOW, Call for Entries
Cre­ated by : A.D. Perry Gor­chov, Design & Illus­tra­tion & Hand-​lettering : Dugald Stermer, Co-​Design : Ron Chan, Lit­ho­graphy : Cannon Press /​Charles Douglas Litho

Ann

Ed’s Story

I had reason, one day, to deliver a package to 40 Gold Street—just one block north and one-​half block east of my location—to three very talented artists there : Ed Dif­fen­derfer, John Lich­ten­walner and Stan Dann. They had the name, “222 Group”. Now I see that they had moved from 222 Kearny Street. Ed says that addres­sing mail and ans­we­ring the phone with their three names was difficult—and “222 Group” was already esta­blished.
Here is Ed’s story :

San Fran­cisco Illus­tra­tion & Illus­tra­tors : 1950’S Thru 1960’S

By Ed Dif­fen­derfer

Ed Diffenderfer

Ed Dif­fen­derfer

Back­ground : In the 1940’s and 50’s the illus­trator who most influ­enced the “West Coast” style was Fred Lude­kens, who surely was influ­enced by painter May­nard Dixon. Fred was, in turn, a great influ­ence on S.F. illus­tra­tors like Stan Galli and Bruce Bom­berger. In the late 40’s, Bom­berger worked for a time under Lude­kens when Fred was head art director for Foote Cone and Bel­ding in S.F.

In 1950 I started directly out of art school, Cali­fornia Col­lege of Arts & Crafts, Oak­land, to work for Logan & Cox Art Studio. Mau­rice Logan and Wil­lard Cox ran the studio, and at that time they employed Larry Rehag, Jack Dumas, Paul Carey, and later Joe Cleary. Mau­rice Logan was the pre­mier full-​color illus­trator on the West Coast of the 1920’s and 30’s, and he and Paul Carey were men­tors to me. I learned more in two years there than I did in four years at art school.

Edi­to­rial Art for Stan­dard Oil which was chosen for the six­teenth annual exhi­bi­tion of the Art Direc­tors and Artists Club of San Fran­cisco 1965.
(The illus­tra­tions shown here, are from the in black and white publi­ca­tion of that show.)
Artist : Ed Dif­fen­derfer
Art­Di­rec­tors : Robert Washbish /​C.R. Lyman
Client : Stan­dard Oil Co. of Cali­fornia

In the 50’s almost all adver­ti­sing was art­work, as color pho­to­graphy repro­duction was not that effective then. Most illus­tra­tion was done for adver­ti­sing agen­cies or directly with com­pa­nies head­quar­tered in S.F.: Stan­dard Oil of Cali­fornia (later Chevron) Bank of Ame­rica, Wells Fargo, Hew­lett Packard, to name a few. There were 4 major art studio ser­vices in San Fran­cisco at the time : Logan & Cox ; Sta­ni­ford San­vick ; Pat­terson & Hall ; and Shawl, Nye­land & Seavey.

I was with Logan & Cox (later Logan & Carey) for 11 years. In 1956 I got my first nati­onal full color maga­zine series for Georgia Pacific Lumber, run­ning in Time, News­week, and For­tune. I split the series of 12 with Jim Hanson, an out­stan­ding free­lance illus­trator at that time.

Around 1960 an illus­trator by the name of Bill Shields came to S.F. from Texas and looked me up. His work made a big impres­sion on all of us. Before, the “San Fran­cisco Style” of illus­tra­tion had not changed too much in 15 years, but Bill’s style was very free and dra­matic, easy to spot. He loo­sened us all up, espe­ci­ally our edi­to­rial pieces for annual reports and com­pany publi­ca­tions.

Bill Moyers

Bill Moyers

This Bill Moyers illus­tra­tion was done for Chevron World Maga­zine ; it also ran in PBS maga­zine on Cre­a­ti­vity with Bill Moyers Series/​spon­sored by Chevron.

I went out on my own, free­lan­cing, in 1962, and joined illus­tra­tors John Lich­ten­walner and Stan Dann in a space on 222 Kearney Street. Later, we moved to 40 Gold Street. We were able to work together on annual reports, etc. In the 1950’s and 1960’s annual reports had copious amounts of art­work, as opposed to today. As a free­lancer I was now able to go to New York and pick up maga­zine assig­n­ments for Argosy, Reader’s Digest, Boy’s Life, etc. About that time I was assigned by Sears Roe­buck in Chi­cago to do 25 por­traits of famous sports stars. These included Ted Wil­liams, Sir Edmund Hil­lary, Bob Mathias, and many others, and were used by Sears to pro­mote sports equip­ment.

Sir Edmund Hillary

Sir Edmund Hil­lary

The 60’s were very busy for illus­tra­tors. I even did a 50- foot mural for Barclay’s Bank in S.F. Most of us were wor­king in down­town stu­dios, and wal­king on the streets we always saw artist friends and agency people. Now almost all have gone to home stu­dios, just as the New York illus­tra­tors all went to home stu­dios in Con­nec­ticut.

Cele­bra­tion of SFSI Alumni on May 20, 2001.

Around 1960 a small group of us formed the San Fran­cisco Society of Illus­tra­tors. Our first show was in a restau­rant called Pucci’s Pub, but we grew in mem­bership and began to show once a year in the Zel­ler­bach Buil­ding on Bush & Market. The large win­dowed lobby was a very good space, very acces­sible to the public.

U.S. Air Force

Our Society was approved by the U.S. Air Force for their art pro­gram around 1961. Don Davey and I were the first to be sent, and in 1961 we went to Japan. In 1969 Lowell Her­rero and I went to illus­trate the blast-​off of Apollo 9 at Cape Cana­veral, Flo­rida. The Air Force art pro­gram had tra­ve­ling shows throug­hout the U.S., and one of these shows came to San Fran­cisco and was to be hung in the Zel­ler­bach Bldg. lobby. I got on the phone and was able to get the Air Force Band from Travis Air Base to come and play at the ope­ning. It made a big impres­sion and drew a huge crowd.

5-Theodore-Roosaevelt

Teddy Roo­se­velt was done for S.F. Illus­tra­tors Annual show at Zel­ler­bach Buil­ding. Topic was ‘Ame­ri­cana’.

Classic Cord
Classic Cord car was in the Los Angeles Society of Illus­tra­tors Show.

The 50’s and 60’s were won­derful cre­a­tive times for illus­tra­tion, and this con­ti­nued through the 70’s and 80’s for me. The demise of a lot of the maga­zines that used so much illus­tra­tion changed things quite a bit, but many of us found other ave­nues for our art.

Ed Dif­fen­derfer

More Eating and Drinking Memories

Enricos – Wat­ched one waiter fondle another waiter over by the cash register. Quite the show.
Julius Castle – Cele­brated win­ning the HP account here while at Dancer.
Bottom of the Mark – (later called Mildred Pierce, site of cur­rent Fog City Diner) I wat­ched the owner/​chef carve into his hand as well as the roast beef wit­hout noti­cing. Yes, blood in your sand­wich.
Swiss Louis – where my sometimes-​partner AD Jack Jannes held court from noon to 5pm almost daily. Seldom saw him in the after­noon at the Dancer office.
Mis­sion Rock Resort – I went there with AD Mick Kit­a­gawa, saw a big biker guy clad in old school biker leat­hers enjoying lunch out­side with his friend, a little person dressed in exactly the same style. Wish I had taken a photo.
Molinari’s – I used to get a sand­wich there, then hike uphill on Tele­graph hill, sit down somew­here and look for head­lines.
Graf Zep­pelin – (later Goodby turned it into their offices) After work at DFS I would go there, get half drunk, then go to karate practice.
Grumpy’s – (I think it was called something else back in the day) Went there at night with Kit­a­gawa, the bar­tender had to leave so of course Mick got behind the bar and worked the rest of the night, never put­ting a dime in the cash register, it all went into the tip jar.
Grumpy’s or wha­tever it was called – I would go there with Kit­a­gawa at noon, we’d have a drink, then Mick’s friend huge Chuck the Truck Driver would start buying us drinks. I looked at 3 drinks backed up in front of me and Mick said very seri­ously, ”Chuck doesn’t like it when you don’t drink his drinks.” I drank.
Kitagawa’s old Mer­cedes sedan parked near the Dancer office was occa­si­o­nally used by local dock wor­kers for a place to sit at lunch and listen to his radio.
Cry­stal Palace – an early “natural food” place on Bro­adway. ECD at Dancer Don Car­leson would drink some kind of fancy drink with Fram­boise and ver­mouth and eat fruit salads or something. Great place.
Red­wood Room – I went there with the Fore­most client, Fred Fornia, and a Dancer Fitz­ge­rald AE named Dick Somers. Red­wood refused to seat us because my hair “tou­ched” the edge of my collar. Long haired hippy freak.
Wash Bag – ACD at FCB David Hunter took me to lunch there to offer me a job at FCB to work on the Levi’s account. The salary offered was $36,000!! I took the job.
Pier 23 – AD Arthur Vibert (of Max Hea­droom fame) and I went here to think up a repla­ce­ment for Mike Koelker’s very successful Levi’s 501 Blues. We came up with “Wear them as long as you can”, David Fin­cher shot maybe six or eight spots with us, but they never ran. Tes­ting killed them, alt­hough ever­yone saw them on Fincher’s Pro­pa­ganda reel. Someone called them the most famous spots that never ran.
Tim Price

…uhhh…uhhh…Price???…uhhh Tim…oh yeah..Tim Price. Now I remember some young kid who was just hired as a Copy­writer.. We called him “RUBE” cause he looked like he just rolled in from some Farm ! We took him out to lunch (ha-​ha) – Remember that, Tim !
Mik

My God Ann, you remember all the restau­rants I choose to forget.
Jack Allen

Little Joe’s– was on Bro­adway across the street from Enrico’s a few doors up towards Columbus. I think 523 Bro­adway. Jerry Leon­hart and I used to go there for the cala­mari sauté with penne pasta – always cooked to per­fection. It was served on an oval plate piled high. If you were smart and a cala­mari lover, you’d order the dish with the penne on the side ; that way you’d get the same sized plate piled just as high with cala­mari and an extra plate of penne also piled as high.
Joel Fugaz­zotto

Sorento’s- pizza Columbus and Bro­adway. The top­less bars opened up in their loca­tion. I have a story to tell you about one of these places, just not in wri­ting.
Piet Hal­ber­stadt

Enrico’s- great place to meet friends and watch the world go by. And did you know, Enrico, for all his Bohe­mian per­sona, came from But­ton­willow, a Cen­tral Valley wide spot in the road.
Samm Coombs

Bardelli’s- All of us at Joseph Magnin would go To Bardelli’s on O’Farrell St. on Friday. I did not see Bardelli’s on your list. We then had to get back to JM to get the ads out for the fol­lo­wing week. It was crazy sometimes, but fun !
Diana Robinson Creber

The Washington Square Bar & Grill- My go to favo­rite was the WashBag Good food, great bar. Art direc­tors always had their pre­fe­rences, Johns Grill, Dago Mary’s, The Clam House.
Kurt Andersen

Café Trieste- After I sold my house in Mil­l­brae and moved in to the city I spent more times going out to eat, as I lived in North Beach, freelancing.?There were a lot of good places like, Vanessi’s, Enrico’s, The Washington Bar & Grill, Spag­hetti Fac­tory and spe­ci­ally Cafe Trieste where I and David Grove used to have a coffee and talk. Nice memo­ries !
Lars Melander

Scoma’s -Loca­tion pre­vi­ously (1962) was a coffee shop where the founder of the Aca­demy of Art, “Pappy” Ste­vens, would hold court with his “on-​location” dra­wing class.
Gold Street– (1960s-) New Years Party every night.
Schroeder’s- In the 1960s, it was a “men only” restau­rant. I was allowed as a lunch guest of Butte, Her­rero & Hyde.
La Pan­tera Café– In 1959 w/​Beatniks on upper Grant Ave., owner Rena Nicoli didn’t allow women in if wea­ring Capri pants. She finally let me slip quickly to a table.
Charles’ Bis­trot-(1964) Drink : La Guil­lo­tine, Menu : Mtn. Oys­ters. Charles le Bugle ran for mayor of San Fran­cisco, pro­tes­ting the Vietnam War.
Hoffman’s Grill- In the ‘60s, women were not allowed to stand with the men at the bar along the west wall. Women were told to order a beverage only while sit­ting at a table in the dining area.
The Hippo and Dante Bennedetti’s New Pisa  (1960s-) were deco­rated by Wolo, (Baron Wolff Erhardt Anton George Trut­zschler von Fal­ken­stein).
The North Star Café- (1960s) Also, men only, but I got in ! At the bar, they served drinks from a small white enamel bedpan—diners were to wear toilet seat pro­tector when orde­ring ciop­pino ! One more thing, when a man entered the men’s room (oppo­site the bar) the bar­tender would quickly follow him in and imme­di­a­tely emerge wea­ring a gas mask !
The Sails– had a very large aqua­rium with a variety of large fish. Often there were only a few—we were told they would eat each other.
Ori­ginal Joe’s Two with the same name, explained ? 144 Taylor Street—carries the his­tory of Louis Rocca and Tony Rodin who opened the “ori­ginal” in 1937—closed as a result of a fire in 2007. And the other, also called “Ori­ginal Joe’s” on Ches­tnut Street was also from the 1930s. It also closed. Now the only “ori­ginal” is at 601 Union Street (repla­cing Fior D’Italia 1886—the oldest Ita­lian restau­rant in the USA. It had a fire in 2005. Joe DiMaggio’s Ita­lian Chop­house moved in that loca­tion but closed in 2010. Fior D’Italia is now in the San Remo Hotel.
There are photos of many of these loca­tions on the web, now there are these, below, from McGovern’s (which was never listed in a direc­tory nor did the owner want it to be). The clien­tele was longs­ho­remen and all others. The bar and tables were in one open room. Once when the trap door to the storage in the base­ment was left open with no chairs blocking the hole—someone fell in—and felt no pain ! After some years, Grumpy’s (know as a “fern-​bar”) opened at this same loca­tion. No more longs­ho­remen.
Before smart phones, who had a camera to record a favo­rite hangout ? I did. By 1980, I was located at 901 Bat­tery Street and McGovern’s was just a half block away—on Val­lejo Street). These photos are blurry (hand-​held, no flash).
Ann Thompson

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