Riot and rock ‘n’ roll the sunset strip in the ’60s – curbed la gas and water


The new establishment, housed in the old Bank of America at 8901 Sunset, started out as a French restaurant, and its management was classic Strip. Elmer Valentine, a tough-talker from Chicago with mob ties, looked like “all seven dwarves,” according to Jack Nicholson. Its manager (and later owner) Mario Maglieri was described by future partner Lou Adler as “one of the toughest guys I’ve ever known in my life.”

Los Angeles has emerged with the biggest and brassiest of the discos—Whisky A Go Go… Two short-skirted maidens demonstrate the latest dance in a nine-foot-square glass-enclosed booth dangling 30 feet above the floor. When the live musicians take five, the girls convert the place into a true discotheque, playing record requests made from strategically located floor telephones on a $35,000 stereophonic sound system.

These electricity news in nigeria female DJs—including Patty Brockhurst and Joanie Labine—in their iconic fringed crop top dresses and white boots became known as go-go dancers. According to Martino, the booths they danced in had originally been cage-like rafters where security would watch over the bank. “They thought it was i electricity bill com kind of a cool gimmick,” Martino explains. “The Whisky is an organic story where it just magically happened.”

Soon the dance floor was crowded every night with stars from the old generation and the new, including Steve McQueen, Cary Grant, Jayne Mansfield, and members of The Beatles. “Oh, my gosh, how those girls jiggle so much with their titties while theyʼre dahn-cing,” Valentine recalled actor James Mason gasping with his clipped British accent.

“What The Byrds did to Ciro’s was unbelievable,” wrote Hit Parade magazine. “There were queues up and down Sunset Strip of desperate teenagers clamoring to get in. The dance floor was a wild and wonderful mad house. A hard core of Byrd followers—wayward painters, disinherited sons and heirs, bearded sculptors, coltish, misty-eyed nymphs with hair all over the place—suddenly taught Hollywood to dance again.”

“There was a string of nightclubs on the Sunset Strip electricity nightcore lyrics from Crescent Heights to Doheny, maybe twenty-five clubs with live bands every night, and there was a whole movement of people that went there every night and walked up and down Sunset—hundreds and hundreds of people,” manager and record executive John Hartmann explains in Laurel Canyon: The Inside Story of Rock-and-Roll’s Legendary Neighborhood .

Popular clubs of the 1960s included the Playboy Club, the Hullabaloo (at the Earl Carroll Theatre), Gazzarri’s, The Trip , and London Fog. After shows, people congregated at diners like Ben Frank’s (now Mel’s Diner and the futuristic coffeehouse Fred C. Dobbs. For those looking for more adult entertainment, there were burlesque and strip clubs like Largo and The Body Shop.

The Strip also became the epicenter for mod and hippie fashions in Los Angeles. The first miniskirt ever displayed in an LA window was at the hip Strip boutique Belinda, according to Martino. Then there was De Voss, an upscale clothing store at Sunset Plaza frequented by Neil Young, Stephen Stills, and the Mamas and the Papas (the Mamas and the Papas even shot this amazing video there).

“The commercial merchants on Sunset Boulevard in a certain area decided that the element of young people on the street every night was not conducive to commercial enterprise,” he explained in a 1971 interview, according to Rolling Stone. “A bunch of kids gas city indiana restaurants got together on a street corner and said we aren’t moving. About three busloads of Los Angeles police showed up, who looked very much like storm troopers… And I looked at it and said, ‘Jesus, America is in great danger.’”

The “Sunset Strip Curfew Riots” would continue for days, although they were more like low-key demonstrations and marches that clogged traffic and led to stare-offs between the hippies and police. In retaliation, Debs and the county Board of Supervisors revoked electricity voltage in paris the permits allowing youth under 21 to dance at clubs without chaperones. Clubs including It’s Boss, The Trip, and Pandora’s Box were forced to close. On Christmas Day, Pandora’s Box was allowed to open for one night only—and Buffalo Springfield performed “For What it’s Worth.”

Tempers would flare up periodically. “It was really serious,” Martino says. In August 1967, Strip teens took their last stand, forming a line in front of the bulldozers sent to demolish Pandora’s Box. “The kids are standing in front of it literally like ‘We’re not moving if you take this thing down,’” Martino says. “And the bulldozer was really going for them like ‘okay, then we’ll run you over too.’ And the kids get out at the very last minute. It’s really shocking… I think that was sort of the end of that movement in LA, when Pandora’s Box went down.”

Dissatisfied with coverage in the local press and use of the term “riot” to describe events on the Strip, the Byrds’ manager and Elektra record producer, Jim Dickson, teamed up with the Beatles and Beach Boys press officer, Derek Taylor. With support from the Woolworth heir Lance Reventlow and Gilligan’s Island actor Bob Denver, they formed Community Action gas bijoux nolita for Facts and Freedom (CAFF), which, among other things, organized a benefit concert to raise bail money for those arrested and help pay for damaged property.

As drug culture took a turn toward cocaine and heroin, and rock ‘n’ roll became corporate, the Strip of the ’70s and ’80s would make the Strip of the mid-’60s look like a wonderland romp. And for many who were there, that is just what it was. Love’s front-man Arthur Lee would write years later that the ’60s Strip was “like a psychedelic movie in technicolor!”