Bill Graham (promoter)
Bill Graham was a German-born American impresario and rock concert promoter.
In the early 1960s, Graham moved to San Francisco, and in 1965, began to manage the San Francisco Mime Troupe. He had teamed up with local Haight Ashbury promoter Chet Helms to organize a benefit concert, then promoted several free concerts. This eventually turned into a profitable full-time career and he assembled a talented staff. Graham had a profound influence around the world, sponsoring the musical renaissance of the 1960s from its epicenter in San Francisco. Chet Helms and then Graham made famous the Fillmore and Winterland Ballroom; these turned out to be a proving grounds for rock bands and acts of the San Francisco Bay area including the Grateful Dead, Jefferson Airplane, and Big Brother and the Holding Company with Janis Joplin, who were first managed, and in some cases developed, by Helms.
Early life
Graham was born on January 8, 1931, in Berlin, Germany. He was the youngest child and only son of lower middle-class Jewish parents, Frieda and Jacob "Yankel" Grajonca, who had emigrated from Russia before the rise of Nazism. There were six children in the Grajonca family. His father died in an accident two days after Graham was born. Graham's family nicknamed him "Wolfgang" early in life.Due to the increasing Nazi persecution of Jews and the death of his father, Graham's mother placed her son and her youngest daughter, Tanya "Tolla", in a Berlin orphanage, which sent them to France in a pre-Holocaust exchange of Jewish children for Christian orphans. Graham's older sisters Sonja and Ester stayed behind with their mother.
After the Fall of France in 1940, Graham was among a group of Jewish orphans spirited out of France, some of whom finally reached the United States. Tolla Grajonca came down with pneumonia and did not survive the difficult journey. Graham was one of the One Thousand Children, mainly Jewish children who managed to flee Nazi Germany and Europe and come directly to North America, but whose parents were forced to stay behind. Graham's mother died on the way to Auschwitz concentration camp.
At age 10, he settled into a foster home in the Bronx, New York. After being taunted as an immigrant and being called a Nazi because of his German-accented English, Graham worked on his accent, eventually being able to speak in a perfect New York accent. He changed his name to sound more "American". Graham graduated from DeWitt Clinton High School and then obtained a business degree from the City College of New York.
Graham was drafted into the United States Army in 1951, and served in the Korean War, where he was awarded both the Bronze Star and Purple Heart. Upon his return to the States he worked as a waiter/maître d' at resorts in the Catskill Mountains in upstate New York during their heyday. He was quoted saying that his experience as a maître d' and with the poker games he hosted behind the scenes was good training for his eventual career as a promoter. Tito Puente, who played some of these resorts, went on record saying that Graham was avid to learn Spanish from him, but only cared about the curse words. Graham also mentions in his bio-pic Last Days At The Fillmore once working for Minnesota Mining.
Career
Fillmore Auditorium (December 10, 1965 – July 4, 1968)
Graham moved from New York to San Francisco in the early 1960s to be closer to his sister Rita. He was invited to attend a free concert in Golden Gate Park, produced by Chet Helms and the Diggers, where he made contact with the San Francisco Mime Troupe, a radical theater group. After Mime Troupe leader R. G. Davis was arrested on obscenity charges during an outdoor performance, Graham organized a benefit concert to cover the troupe's legal fees. The concert was a success and Graham saw a business opportunity.Graham began promoting more concerts with Chet Helms and Family Dog projects, which provided a vital function of the 1960s, promoting concerts that provided a social meeting place to network, where many ideologies were given a forum, sometimes even on stage, such as peace movements, civil rights, farm workers and others. Most of his shows were performed at rented venues, and Graham saw a need for more permanent locations of his own.
Charles Sullivan was a mid-20th-century entrepreneur and businessman in San Francisco who owned the master lease on the Fillmore Auditorium. Graham approached Sullivan to put on the Second Mime Troupe appeals concert at the Fillmore Auditorium on December 10, 1965, using Sullivan's dance hall permit for the show. Graham later secured a contract from Sullivan for the open dates at the Fillmore Auditorium in 1966.
The Fillmore trademark and franchise has defined music promotion in the United States for the last 50 years. From 2003 to 2013 auxiliary writers of the times surrounding the 1960s, and Graham family lawsuits, tell the narrative of the Fillmore phenomena and how the Black community there was disenfranchised. The best way to set the historic record straight concerning Charles Sullivan and Bill Graham is to review what Graham left in his own words. Historically the first time Graham mentioned Charles Sullivan, in print, was in a Bay Area Music article from 1988:
Although Graham acknowledged Sullivan's part he historically has never revealed how he got the lease to the Fillmore Auditorium and how and when he trademarked the Fillmore brand, which by all historical accounts belonged to Sullivan. In a handbill from Graham's first show at the Fillmore Auditorium, "The Mime Troupe is holding another appeal party Friday night, December 10th, at the Fillmore Auditorium", Bill Graham gives a general impression of the Fillmore neighborhood:
Mime Troupe leader R. G. Davis states that, "Graham... got very excited about the success of the Fillmore Auditorium Show. He got a contract with the black guy who owned the Fillmore. He nails it. Closed." On pages 150–156 of his autobiography, Graham outlined his battles with City Hall in getting a dance hall permit. By schmoozing with merchants and having criminologists and sociologists from U.C. Berkeley and U.C. Santa Cruz giving merit to the shows Graham managed to obtain a second permit hearing, but was again denied. He reported that Sullivan came to him sometime in March or April and announced he had to pull his dance hall permit. The morning of the next day, when Graham was returning to move out of his office in the Fillmore Auditorium, Sullivan met him on the steps. Graham claimed Sullivan poured out his life story, concluding with a pledge of support to Graham to beat City Hall. Graham added, "He was the guy, Charles. He was it. I don't know if I could have ever found another place. Why would I have even tried? That was the place."
Graham was denied by the Board of Permit Appeals who refused to overrule the first denial. Graham then stated, "Then on April 21, 1966, a Thursday, the Chronicle ran an editorial, 'The Fillmore Auditorium Case'... t was a big turning point for me. In more ways than one"; he secured his permit.
Charles Sullivan was found shot dead at 1:45 am on August 2, 1966, at 5th and Bluxome Streets, San Francisco. Sullivan had just returned from Los Angeles, where he had presented a weekend concert starring soul singer James Brown. The police have never determined whether Sullivan's death was suicide or homicide.
Sullivan was laid to rest on August 8, 1966, according to the Sun Reporter, which reported that "Last respects were paid Charles Sullivan Monday, Aug. 8, when hundreds crowded into Jones Memorial Methodist Church, 1975 Post St. from 11:30 a.m. to view Sullivan for the last time. An enormous crowd had gathered by 1 p.m. to hear the eulogy for a friend." The funeral announcement is accompanied by photographs of the actual funeral covering two pages in which police are stopping traffic to assist the motorcade to the cemetery in Colma. Graham later reported, "Charles Sullivan got himself killed. He had a bad habit of always carrying a roll of money with him. He was proud of his work and proud of the fact that he earned a good living and always carried a roll. He was jumped and stabbed to death. I went to his funeral in Colma, California. It was small, mostly family. Had that not happened, I think I would have done anything Charles wanted. Just out of gratitude."
After Graham's death on October 25, 1991, the description of his funeral procession states:
The Sun Reporter noted:
According to the historical record, Sullivan also gave the Fillmore Auditorium its name.
Graham's struggle to get his dance hall permit in 1966 was described in an article in Billboard Magazine, July 11, 1966. San Francisco music critic Ralph Gleason, in defense of Graham's Fillmore Auditorium scene, wrote that Graham got a three-year lease for the Fillmore Auditorium from Charles Sullivan and was still struggling to procure his dance hall permit, a fact never publicly revealed by Graham. Charles Sullivan's last show at the Fillmore Auditorium came a week before his death, on July 26, 1966, The Temptations Dance and Show. Graham must have got his permit in mid-July 1966, confirming his possession of the Fillmore brand.
It was unknown how Graham had taken over the Fillmore lease until the 2004 publication of Hendrik Hertzberg's Politics Observations & Arguments . It contains an article, "The San Francisco Sound, New music, new subculture", at the end of which it stated, "Unpublished file for Newsweek, October 28, 1966". This article contains the only published account of how Graham acquired the Fillmore. In the beginning, Hertzberg recounts familiar territory with the Mime Troupe, reducing the Fillmore Auditorium to a run-down ballroom in "SF's biggest negro ghetto." After the success of the Fillmore Auditorium Mime Troupe shows, Graham parts ways with the Troupe: "He went back to the Fillmore and found that eleven other promoters had already put in bids for it. Graham got 41 prominent citizens to write letters to the auditorium's owner, a haberdasher named Harry Shifs, and Shifs gave him a three-year lease at five hundred dollars a month.... he hippie community... has turned out to be something the man from Montgomery Street can point to with pride, in a left-handed way, and say 'these are our boys'", stated Jerry Garcia.
One of the early concerts Graham sponsored, with Chet Helms hired to promote it, featured the Paul Butterfield Blues Band. The concert was an overwhelming success and Graham saw an opportunity with the band. Early the next morning, Graham's secretary called the band's manager, Albert Grossman, and obtained exclusive rights to promote them. Shortly thereafter, Chet Helms arrived at Graham's office, asking how Graham could have cut him out of the deal. Graham pointed out that Helms would not have known about it unless he had tried to do the same thing to Graham. He advised Helms to "get up early" in the future. Graham produced shows attracting elements of America's now-legendary 1960s counterculture such as the Jefferson Airplane, Big Brother and the Holding Company, Country Joe and the Fish, Lawrence Ferlinghetti, the Committee, The Fugs, Allen Ginsberg, and a particular favorite of Graham's, the Grateful Dead. He was the manager of the Jefferson Airplane during 1967 and 1968. His staff's amount of resourcefulness, success, popularity, and personal contacts with artists and fans alike was one reason Graham became the top rock concert promoter in the San Francisco Bay Area.