653 Chenery Street
in San Francisco's Glen Park neighborhood
1-415-586-3733
[email protected]
Open to walk-in trade and browsing
Tuesday to Sunday
noon to six
Live Streams every weekend!
Refresh your browser to catch a show in progress!
Visit our Facebook page or YouTube channel!
But nothing beats being in the room with the music & the musicians!
—Joseph Stroud
www.carolynmillerwords.com
“Gerald Fleming is a remarkable writer, made more so by his commitment to the prose poem, a form which at its best, as here, is a delicious treat on almost every occasion. His new volume, One, takes on the monosyllable and wrestles it into dizzying and wonderful pretzel-esque works which may appear, at first glance, non-pretzel-esque. You’ll probably love this book as much as I do.†- Frederick Barthelme
Gerald Fleming’s most recent books are The Choreographer (Sixteen Rivers Press, San Francisco) and Night of Pure Breathing, prose poems (Hanging Loose). From 1995–2000 he edited and published the literary magazine Barnabe Mountain Review, and is currently editing both the limited-edition vitreous magazine One (More) Glass and The Collected Prose and Poetry of Lawrence Fixel. Fleming taught in the San Francisco public schools for thirty-seven years and has written three books for teachers, including Rain, Steam, and Speed (Jossey–Bass/Wiley). He lives part of the year in the San Francisco Bay area and part of the year in Paris.
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The Bird & Beckett Cultural Legacy Project
Our events are put on under the umbrella of the nonprofit Bird & Beckett Cultural Legacy Project (the "BBCLP"). That's how we fund our ambitious schedule of 300 or so concerts and literary events every year.
The BBCLP is a 501(c)(3) non-profit...
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The Independent Musicians Alliance
Gigging musicians! You have nothing to lose but your lack of a collective voice to achieve fair wages for your work!
The IMA can be a conduit for you, if you join in to make it work.
https://www.independentmusiciansalliance.org/
Read more here - Andy Gilbert's Feb 25 article about the IMA from KQED's site