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That 1st Wicked full moon @ Baker Beach will always be tops for me. But there’s also the time we took a small sound system to a Grateful Dead show, not long after we’d arrived in SF. We drove Ernie Munson’s truck into the parking lot and set up the turntables and just went for it. By the time dusk fell, and The Dead were in full swing in the main stadium, we were also in full swing in the lot, turning on the psychedelic heads to new & trippy grooves. It was magical and unique cross-fertilization, long before events like Burning Man brought dance music and counter-culture together so infamously.

Also my early residency at Pete Avila’s Osmosis party was debauched fun. It was one of the more mixed crowds I had the pleasure of playing too – a lot of drag queens, club kids, ravers, hip hop heads, all kinds of fun loving folks. Should also mention the early Toontown parties at 650 Howard (now the Gold Club) which were a musical playground for me. Preston, later of the Stompy parties, was part of Toontown, and was obsessed with having the bassiest sound possible in the club. He’d have the sound guys heap bass bin upon bass bin in front of the DJ booth, until everything was vibrating like an earthquake. So perfect for SF.

4. Who were some of the people involved in making the scene what it was at the time?

There were a handful of American DJs & promoters out here before us, on a similar tip, but things hadn’t coalesced into a scene yet. It was missing the intent, and also the passion & magic I had experienced back in the UK acid house days. Doc Martin had tried to build something, but it just wasn’t catching fire, and he’d headed to LA instead. There were of course the gay club nights, and there were folks like Pete Avila, Jerry Bonham, David Hall, DJ Spun who were dropping acid & other house tracks in their DJ sets, but it was still missing the enticing outlaw vibes of a new subculture.

The arrival of the Brits and Europeans really helped catalyze that new energy. And my friends and I, for our part, we brought our fire, a do-or-die commitment, a ballsy disregard for the rules, an already developed sound, and our devotion to music as a way of life that was thankfully compatible with SF’s left-coast openness. It wasn’t just us, there were a number of free-thinking folks in the city then, who were up for it. Too many to mention, but folks like Malachy, Cosmic Jason, Earthgirl, Nick Philips, & Donovan for example. However, in my opinion, more than anyone it was Alan (with Trish’s help) who behind the scene’s was passionately and intentionally out there, working his arse off to build something, to build a scene, to bring people together, to connect them as family, and send them away afterwards filled with love & inspiration to start something similar of their own. He was in so many ways the father figure of the early SF 90s scene.

5. When did you realize the significance of what was happening in the scene there?

It’s hard to say, we were so caught up in doing what we loved, that I don’t know that we were stopping to note the significance. But personally I’d have these moments, in the middle of an early full moon jam say, or at 4am in a dark warehouse somewhere, where you just couldn’t help but feel the overwhelming strength of connection between those people present, the bond we were forming and sharing. I had experienced it before, in my punk rock days, and at UK raves & acid house jams, but not this intensely. And it wasn’t something you could easily verbalize, so I’d just have to look at my friends and they’d look back and we had this intuitive understanding between us that we were sharing something incredibly and unforgettable, even if it was just in that moment.

Looking back at it now, and to call on a cliche to express it- it was simply love, in it’s pure and unconditional form, that lit us up like candles. And it made us better people in the end, which is the most significant thing, for me, when all is said and done.

6. Why were the 90’s the right time for the scene to blow up in San Francisco?

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