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All those cargo ships sitting in the San Francisco Bay are going away, maybe forever.Wise choice from our perspective but perhaps questionable from any other. I heard that Ken Kesey was driving down it one day and his brakes gave out and he had to make a quick decision: he could crash into the Grateful Dead house, or he could crash into the Hells Angels house.
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Like many San Franciscan streets, Ashbury is on a hill. Kinda a nice juxtaposition - and the names play off each other, too. So you had the Grateful Dead on the one side of that street, and the Hells Angels on the other. Also of note: 715 became somewhat of a nest for Hells Angels. So did Alton Kelley and Stanley Mouse, the famous psychedelic poster artists who did several of our album covers and whose art remains a big part of our identity today - most notably the “Skull and Roses” image. Sue Swanson and Ron Rakow, both eventual Grateful Dead employees, lived there. There was another Victorian across the street, at 715 Ashbury that, while not nearly as famous, is still a part of the story. “We knew the management.” And that’s how 710 Ashbury became the Grateful Dead house. It was no coincidence that when we needed to leave Camp Lagunitas for the real world, rooms there mysteriously began to open up until we took over the entire building. Our place on Ashbury Street was the same boarding house where (band managers Rock) Scully and (Danny) Rifkin first set up the band’s office, while managing both the band and the house.