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February 3, 2010 - San Francisco, CA – After winning a crucial one-week delay on the City of San Francisco’s plans to dump giant boulders on Ocean Beach, local community advocates continue to make gains in their struggle to protect the south Sloat area of the beach and force a long-term solution to this decades-old problem.

At the San Francisco Board of Supervisors meeting on Tuesday at City Hall, coastal advocates from Save The Waves and San Francisco Surfrider Foundation, as well as other local community leaders, argued that the City should not dump boulders on the beach to temporarily protect city infrastructure from erosion and rising sea levels.

Among other commitments to protect the coastal environment and the waves at Ocean Beach, Supervisors Ross Mirkarimi and Sean Elsbernd introduced a resolution that requires the city to limit the scope of its “emergency” repair work by minimizing the placement of boulders on the beach, analyze the use of existing rubble already on the beach to shore up the bluffs and control erosion, and commit all relevant parties to sit down and revisit the long-term solutions to the beach erosion problem. “Save Sloat!” advocates feel the long-term solution should focus on a managed retreat strategy, including removal of all past structures placed on the beach, restoration of eroded bluffs, prohibition of future hard structures used for erosion control, and the relocation of city infrastructure at risk from rising sea levels.

“While we never advocate the use of hard structures on the beach, we recognize that the City needs to address the immediate threat and are encouraged that they’ve agreed to limit the scope and look at moving existing rock that’s already on the beach to address the short-term problem,” says Dean LaTourrette, executive director of Save The Waves. “More importantly, we’ve convinced the City and others to immediately reinitiate a proactive planning process for a long-term, environmentally and financially beneficial solution, in the face of continued erosion and impending sea level rise.”

On January 15 the City of San Francisco declared a state of emergency at the Great Highway south of Sloat Boulevard to protect roadway and other infrastructure falling onto the beach due to large storms and rising sea levels. The city proposed the placement of large boulder structures on the beach to protect eroding areas, but local residents, surfers and coastal advocates pushed for a more environmentally friendly solution based on long-term recommendations submitted years ago by the Ocean Beach Task Force.


Playa de Larino in Galicia is a fairly exposed beach break that usually has waves and can work at any time of the year. Offshore winds blow from the northeast. Tends to receive a mix of groundswells and windswells and the ideal swell direction is from the southwest. The beach break provides left and right handers. Best around low tide. Unlikely to be too crowded, even when the surf is up.


Originally, the city's northeast shoreline extended only to what is today Taylor and Francisco streets. The area largely known today as North Beach was an actual beach, filled in with soil years ago.
This neighborhood, particularly on Broadway east of Columbus, was infamous until fairly recently as home to many of the city's striptease clubs. In the 19th century, the area was the locale of the infamous Barbary Coast. Many of the sex-related businesses seen in Clint Eastwood's Dirty Harry movies, Paul Schrader's Hardcore and TV's The Streets of San Francisco have been converted to other, more mainstream uses. The Condor Club, on the corner of Columbus and Broadway, was opened in 1964 as America's first topless bar. It later became a lobster restaurant, then a New-Orleans seafood/jazz bar; now, again, it is a topless bar. The Lusty Lady, a peep-show establishment, is notable as the world's only worker cooperative strip club. The Broadway strip was also home to the Mabuhay Gardens, the Stone and On Broadway nightclubs, which were important venues in the punk rock scene of the late 1970s to mid-1980s. By the late 1990s, however, the economic facts of life asserted themselves and the area's diverse nightlife became limited to those places that could afford to stay in business.


The Santa Compaña ("Holy Company") is probably one of the most deep-rooted mythical beliefs in rural Galicia, and also in Asturias, where it is called Güestia. It is also known under the names of "Estadea", "Estantiga'" (estantigua in Spanish, from Latin hostis antiquus, confounding the meaning of "ancient enemy", a euphemism for the Devil, and "host", a military troop), "Rolda", "As da noite" [The Night Ones], "Pantalla", "Avisóns", "Pantaruxada"... all of these are terms that show us the presence of the dead in the world of the living.


ALL TIME CLASSIC: lyrical humorous poitical lyric from Squirmy - "We're gonna grow pot"....
AND B.T.W. - if you are an (honest) law enforcement officer working for the good of your community to help its citizens, then please accept our most sincere apologies - this was written WAY before proposition 284 - the brainchild of Squirm's kooky survivalist anarchist "I'm gonna go out and live in the hills and pan for gold" period....


J.S. Bach's suite for baroque lute in C minor bwv 997.

5 movements:

Kali and a pair of neumanns

(this is for all the snobs and haters out there... boo hoo, I don't like techno, I don't like rap... boo hoo)

a little friendly advice: "I don't like..." = "I don't know anything about... and am uninterested in learning"

LOVE MUSIC - there is good and bad in ALL styles.

The mighty swamp sound system is about inclusion, diversity, variety, & learning about the things we don't understand.


This is the opening track from the Swamp Sound System debut album.
We used it to open all our live shows for years.
Inspired by Clint's brilliant film.


This is an original arrangement of
a Robert Johnson lyric, done in a style which was very popular in the 1970's. Originally we were doing 'Stones in My Pathway' to this jam, but we decided we like the lyric to "Travellin' Riverside Blues" better, but we kept "Pathwaystones" as the title.
Click Dark is the bad-ass-mo-fo on drums.
note: 'open' drums at the end for all you producers out there...


Johnny Bond's lyric done in a contemporary style with Kali on all instruments.


"Yeah, it's a true story man..." All of these things happened exactly as described one hot summer of hitch hiking around the American southwest.

The tunes itself was actually crafted in Switzerland with Kali's friend Sven reading the words off of a sheet of paper while Kali worked out the groove. Sven has great English, but between some pronunciation problems and some illegibility, he occasionally asked a question or mis-read something. We had a cassette recorder running just for fun as we were housebound in a dark, cold, Swiss winter. Listening to the recording later, we decided that some of these ad lib's were funny so we included things like, "Hey what's that?" and "No - it was the Santa Fe" - Sven said, "Hey man, it's a true story" in one of the guitar breaks.


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