v

The Espresso BarP A S a d e n a , c a l i f o r n i a

photos by Muary Cohen�

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Batchelder Fountain

Vandevort Bldg: 1890sVandevort Bldg: 1890s

Valentino was hereValentino was hereValentino was here

The Alley DoorThe Alley Door

Chinese LanternChinese Lantern

In 1894 J.W. Vandevort built the building that still bears his name at

34 S. Raymond Avenue.

Top and bottom photo by David Melrose

Ain

Cock

e

Ain CockeScott H.

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Tucked away in an alley behind Raymond Avenue from the late 1970s through the mid 1990s, the E-Bar served coffee afi cionados willing to make the trek into the decidedly neglected Old Pasadena. A visit to the bar in the early days was like a visit to a 19�0s-era speak-easy. There was no signage announcing its presence, just the surprise of three bright red doors at the end of a dark back alley near the railroad tracks. The visit likely involved careful steps around snoozing winos or a complicated give and take with Larry, down but not out —“I made Michael Jackson, man. All them. Prince? Him too.”—who supported himself by plundering donated castoffs from behind the Salvation Army and re-selling the goods to anyone too polite to say no.

The coffee, however, was never the Bar’s prime mover. Coffee paid the rent, sort of, but more importantly, it inspired the room’s rapid-fi re cafe culture. The heavenly ambiance of steaming coffee, clattering plates, the crackling fi replace, the rhythmic roar of the Chicago bound train played only a supporting role to the sounds of percussive conversation out on the tables, alive with energy and passion.

Despite the many accoutrements the E-Bar acquired in the ‘70s, ‘80s and ‘90s—its scarred tables and chairs, its piano, its early fi fties juke-box, the artwork by locally recognized artists—the Espresso Bar’s staff and ownership sought to maintain, “a neutral or void space,” in the words of one of its former owners. “The fi rst time I saw the room,” says Espresso Bar founder Margaret Schermerhorn, “I was fi lled with the strange feeling I had entered a ‘stream of time’ that spoke of past, pres-ent and future.” The arched alcove, the sweeping cone over the curved fi re-place, the old wood fl oor, and the

Long before Starbucks sprouted up in all the prime real estate, the Espresso Bar was the only cappuccino in town. One could drive the length and breadth of Southern California and fi nd only a handful of demitasses. The market for exotic coffees was tiny then and few Angelenos had yet learned the difference between a latte and a cappuccino. “By the way, shouldn’t there be an ‘x’ in ‘espresso,’ and isn’t a buck twenty-fi ve an awful lot for such a tiny cup of coffee?”

mysterious three doors, side-by-side seemed to provide a magical link back in time. As it happened, much of the Bar’s clientele shopped the neighborhood’s many thrift stores and often arrived dressed in vintage clothing of the 19�0s, ‘30s, ‘40s, ‘50s and ‘60s, contributing to the Bar’s strange sense of timelessness. The Bar nurtured a sense of placelessness, as well. Customers from around the world insisted that “this place is just like the old place I go to at home in Buenos Aires, Caracas, Bombay, Lisbon,

Melbourne…”

Although the building dates back to the 1890s, the Espresso Bar’sconnection to Pasadena’s past was strongest to these fi ve decades (19�0s-’60s), which was refl ected in the music on the jukebox. The Espresso Bar won many hearts for the selec-tions on its 1956 AMI Juke Box, which was named Best Juke Box in LA several times. There was nothing among Margaret’s original 45s that was newer than the early 60s. “When I was putting the place together,”says Schermerhorn, “I felt responsible to continue the sense of ‘timewarp’ that perme-ated the atmosphere, it seemed to be the original ‘Hernando’s Hideaway’!

“I was dumbfounded when an older upstairs tenant told me that young Rudolph Valen-tino had rented that very room to give ‘dancing lessons’ to newly arrived east-coast ladies residing at the Hotel Green who were waiting for their divorces to fi nalize,” recalls Margaret. Not long after opening, she learned that the space once housed the west coast’s fi rst Horticultural Society—perhaps a clue to the genesis of the wonderful Batchelder fountain that faced the Bar’s alley entrance, a relic from Pasadena’s rich Arts & Crafts heritage.

We’ll Call You When It’s Ready The Espresso Bar’s Place in Pasadena’s Cultural Heritage

Center Stage: the AlcoveCenter Stage: the AlcoveAt the far end of the main room, a beautifully rounded alcove was nightly cleared of tables and transformed into a stage, where musicians played, poets read and artists performed. Tuesday Night it hosted Spoken Word, Wednesday came Espresso Yourself, an open-mic talent show. Weekends there was music.

Eric

Pet

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“ART-I-CULTURE is what developed here,a convergence of soul traffi c in a roiling harbor.” Margaret Schermerhorn

Throughout its 15 plus years, the cultural experience of the Espresso Bar was rich, unique, and defi nitively Pasadenan. Locally-renowned artists Ed Nunnery and Jack McIntosh frequently exhibited their work. In an article in Follies magazine in the late 70s, Art Chip-pendale writes that in the 60s and 70s (when Old Town was skid row), the �00 or so artist’s studios in the area was the largest such collection on the West Coast.

The variety of art showcased in the Espresso Bar did not represent any single school or approach, although some may fi nd thematic similarities reminiscent of a noire tone. Common themes many of these artists explored included struggle, communication, loss, loneli-ness and the beauty of the banal. The non-exhaustive list of artists featured on the walls includes John Kempton, Virginia Holt, Carol Lewis, Curtis Nashimaya, Diane Stockler, Giuliana, David Nelson, J. Scott Riker, Sara

The Espresso Bar

and the Arts

“Conspiracy” Ain Cocke

Seager, Jack Nadelle, Maury Cohen, Bob Ross, Meg Cole, Tim Burton, Rick Heinrichs, Lisa Hedberg, Janice Yudell, and Dan Barber.

Two paintings commonly associated with the E-Barwere “Frankenstein” (in two succeeding versions) by Ed Nunnery, and “Conspiracy” (a view of the AV Room) by Ain Cocke, who was a long-time regular and employee. The fi rst “Frankenstein” was the subject of a published short-story by Pasadena writer Janet Grey, “Think Of It Ellen”, which depicted a night in the Espresso Bar and the mystery presented by the painting.

The Bar was open late, sometimes very late, until 3:00 or4:00 in the morning, hosting blues, jazz, and a variety of acous-tic music. Among those who played the E-Bar Gary White, the Chinchillas, Jeremy Kellock, and Josh Hanna, Magi Bloom, Serge Kasimiff/Scott Colley, Severin Browne, Val-erie Aldin, the Rockin Shadows, Desert Sun, Don Kirby, and Elderlocke. The rich musical tradition is one of the mostmemorable aspects of the E-bar’s cultural identity.

International Dada artist, Cavellini stopped in to bless The Espresso Bar on the DadaFest World Tour in 1980. Included in the crowded event were mail artists Dan Bar-ber, Lon Spiegleman, Michael Mollett (L.A. Dada), Polly Esther, Buster Cleveland, Anna Banana, Splatter-Dash artist Francis Brown was also present, as was Al Hansen (grandfather of Beck) of the New York “Happenings” of the 50s. Peter Apanel, the Doo-Dah Parade czar and E-Bar regular, was also present. Espresso Bar owner Margaret had been appointed Queen of the �nd Doo-Dah Parade along with Jack McIntosh as King. Recently their daughter, Molly McIntosh was made a Doo-Dah Queen, the only second generation Doo-Dah royalty ever.

“Frankenstein”Ed Nunnery

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Ain Cocke was also a regular. Ain Cocke was also a regular. Now a successful artist in NYC, his painting “Conspiracy” is shown on the opposite page.

Before publishing her fi rst works of poetry, Kavita Sharma was a regular at the Espresso Bar. (Ted Soqui)

Painter, woodcut, and screenprint artist Bob Ross, well known in Northern California, had great reviews at his Espresso Bar show.

While at Disney, director Tim BurtonWhile at Disney, director Tim Burtonlived at Hotel Green, was an Ebar regular with Academy Award winner Rick Heinrichs, an upstairs tenant.

Filmmaker Bill Scaff was a remark-Filmmaker Bill Scaff was a remark-able contributor to the deep able contributor to the deep artistic spirit of Pasadena through Filmforum and many other venues.

Painter Jack McIntosh, “Godfa-Painter Jack McIntosh, “Godfa-ther” of the Espresso Bar, stopped ther” of the Espresso Bar, stopped in daily (and nightly) to fuel long hours in his studio nearby on

Filmmaker Bill Scaff was a remark-Filmmaker Bill Scaff was a remark- Photographer Maury Cohen shot Photographer Maury Cohen shot three classic eBar photos, the three classic eBar photos, the “Headless Domino Player” (below) and two color photos on page 2.

Bob McGuire performed under the Bob McGuire performed under the name Bobbie Mack at the eBar in name Bobbie Mack at the eBar in the early ‘80s.

The poet laureate of Southern The poet laureate of Southern California, Wm McLean read California, Wm McLean read frequently here and wrote an article about the E-Bar.

Before creating the Simpsons, Matt Groening is remembered for his visits to the eBar and his graf-fi ti of Binky left by the payphone.

Ted Souqi is renowned for his photos of the So.Cal. landscape. photos of the So.Cal. landscape. Ted took the cover photo and other classics.

(Ain

Coc

ke)

“The E-bar was the artistic gathering place for Pasadenans to share collective experiences, and provide art and self-expression to a hungry audience.

The atmosphere encouraged participants to dance to the beat of their own drummer, and to do so with unabashed abandon. The locale invited artists, students, and businesspersons alike, the guests constantly changing and diversifying. The theme was simply ‘come as you are, have been, will be.’ No expectations.

Besides being able to enjoy a steamed milk with molasses on a wintery evening, or a double caffe mocha pick-me-up on a sluggish afternoon, the space offered a place for people to grow. Some of my most meaningful introductions to art, poetry, and music were a direct result of the E-bar, and took place in the backroom, by the fi re, and in the curved wooden booth. The e-Bar exposed me to countless people, with infi nite ideas about every topic imaginable.

I spent many Espresso-Yourself evenings, soaking in the ‘local culture’ which, as is turns out, has helped weave the tapestry from which we reference what it means to make art, to identify art, to be art.”

Kavita SharmaPoet

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(Ted Soqui)(Ted Soqui)

(Ted Soqui)

Ain Cocke

(Ain

Coc

ke)

Hosted by Maurice Illinois, “Espresso Yourself” runs still to this day online at theespressobar.org.

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(Ted Soqui)Riquelle Small

age range inter-mingling clientele that remained remarkably wide: from teenagers to those in their 60s and 70s. Together they formed a weave of generations that remains unusual to this day. It was common to become friends with people who were �0, 30, 40 years older or younger, which created an inter-generational web of keen minds and encouraging intellects.

Without extensive demographic studies or a concerted ef-fort to create a marketable identity, the Espresso Bar ended up as one of Pasadena’s most recognizable cultural enti-ties. Imagine the Beatnik stereotype (as the Bar itself was sometimes described), the troubled poet in a smoky corner hunched over a dog-eared notebook muttering about mass consumerist ethos, until, inspired by a cup of espresso, he scribbles, “Just be, Man. Just Be.” That was the Bar’s tack, its market strategy, Just Be, and for plenty of Pasadenans over the years the E-Bar was just that. Everybody was welcome at the E-Bar, even Larry when he managed to keep himself clean and agreed to stash his second-hand goods behind the dumpster by the railroad tracks.

The E-bar was not run as a business so much as a philanthropic project on the part of its successive owners. Eventually the rising rents in Old Town would drive the old Espresso Bar east down Green Street, where it managed to hang on for just over a year. But the magic was just not the same. The ambience and chemistry of the E-bar at Raymond Street was lost. A decade after it closed its doors this business that was not a business has inspired a “Friends of” organiza-tion, made up of 300 regulars who regularly patronized the Espresso Bar. The DIY ethos that fueled the Bar in its prime is a legacy that lives on.

Most of those who spent afternoons or evenings at the E-Bar were forever altered by the experience. Great

schemes were hatched there, lovers met, deals closed, philosophies wrestled with, friendships tested, deci-sions reached, contacts made, plays, stories and poems writ-ten, mathematics and physics argued, espresso tasted, culture felt and absorbed. There are other places, of course, but none are the Espresso Bar.

The Education of the Espresso Bar

schemes were hatched there, lovers met, deals

In retrospect, the lessons of the Espresso Bar refocus from coffee culture to the educational side of the e-Bar experience. Employee Dean Moody writes of the “cultural importance of the Espresso Bar,” where he “learned more than I ever could have from the fi nest, most comprehensive music appreciation course.” This point of view is common to many who found a more authentic learning experi-ence than at college. Though the focus was on the arts, it remained a liberal arts education with impromptu debates in physics by Caltech students, lessons in chess and the emerging shift to computer design, lectures in history and the arts. Later an adjoining AV Room and bookstore served as the library of this casual college.

Perhaps the educational ethos was oddly embodied best by the weekly Espresso Yourself “talent show” that was to become a Pasadena cultural institution in its own right. This essential cornerstone of the E-Bar experience, gave an “open-mic” opportunity to get up and join the show, refl ecting the general theme that anyone can do it. Spoken Word (poetry and prose) followed on Wednesday nights, hosted by Don Kirby. Anyone can do it was a core ethos of the e-Bar. In this way, the Espresso Bar can be seen to be a part of the larger ethos of do-it-yourself energy that perme-ated Pasadena at the time, a constellation that includes the DooDah Parade, the “buy-sell-trade” PooBahs Record Shop, and the back alley Ice House Comedy Club.

Teenagers found an easy entre into this emerging adult world, the absence of alcohol providing a place to keep out of trouble(for the most part). College students from Art Center, PCC, Caltech, Occidental, USC, UCLA and other universities formed the next strata, there at the Espresso Bar cramming for an exam, home visiting on winter break, reading The Fountainhead, and invariably discussing ideas and the arts.This cross-pollination of ideas sprouted from an

Espresso Bar Literary Journals

A generation earlier they would have been called literary journals, but in

the 1980s and ‘90s they were generally known as “Zines,” fi lled with the poetry and prose of Espresso Bar regulars.“Cypher” and “(sic)” were two of the many published out of the Espresso Bar.

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THE OPPORTUNITY

THE OPPORTUNITY The 34 South Raymond Street location of the Espresso Bar is now vacant.

WHO WE ARE The Friends of the Espresso Bar (www.theespressobar.org). a group of 300 former patrons, employees and owners.

THE GOAL To outline options, encourage and facilitate the resurrection of The Espresso Bar at 34 South Raymond Street for one of three purposes.

THE OPTIONS The three options listed below are elaborated on page 14.

Scenario #1: To be run as a Historical and Cultural, Non-Profit Organization.

Scenario #2: To be run as a business.

Scenario #3: A temporary retrospective and exhibit.

AUDIENCE: As the opportunities presented on the following pages have only come to light in the last week (March 5, �007), this proposal to both the Friends of the Espresso Bar and to potential supporters within the City of Pasadena, the Pasadena Arts Council, potential venture philathropists, and potential business venture capitalists.

LOCATION Currently, the Vandevort building, at 34 S. Raymond, is listed on the National Register of Historic Places, as a contributing building of the “Oldtown Historic District.” This means that the owners of the building can apply for Mills Act (City of Pasadena) tax savings monies for improvements for retrofitting and any needed improvements, requested by the tenant or the Epresso bar. The Espresso Bar qualifies as a Cultural and Social Landmark. This would be a worthwhile endeavor by the Friends of the Espresso Bar with a Biographer or oral historian.

1�

As the nation’s downtowns decayed in the 1960s and ‘70s, Pasadena’s core was no different. Redevelopment brought the wholesale demolition of many city blocks in the name of improvement. The city’s response, however, took a more progressive turn when Pasadena Heritage led the effort to stop threatened demolishing of Old Town and led the historic preservation of this archi-tecturally signifi cant district. Measured economically, it has been a raging success as once vacant buildings are now fi lled. In terms of protecting the buildings of the 1890s-1930s, it has also been a success.

Though the buildings have been preserved, much of the richness of the cultural landscape also been lost. Gone is the Raymond Theater (now condos). Gone is Pasa-dena Hardware, now a boutique. Gone is the women’s undergarment store, replaced by Hooters. Somewhere on the road to keeping Pasadena uniquely Pasadena, much of the unique character has been lost as it has become a more bland landscape of businesses also found in the relentless strip malls that line the streets of America.

Unfortunately for most indepen-dent businesses, redevelopment was not a good fi t. Few of the locally owned businesses that served the daily needs of the people of Pasadena could keep pace with the corporate chains that descended on the revitalizing neighborhood. Many fl ed. Some closed altogether.

And yet, today some of those same corporate tenants are strug-gling. Saks Fifth Avenue has pulled out. Tower Records is out of business and Starbucks is merely a quick stop for coffee be-tween appointments rather than an important meeting place and cul-tural nexus. There are also signs of hope. Within this trend towards homogenizing the landscape,

there has also been a counter-trend, as many cities have begun to protect the institutions that have been cultural cornerstones of their community.

As we approach �010, lessons have been learned in the redevelopment of Old Town Pasadena and the mistakes of the 1980 Plaza Pasadena mall that was torn down two decades after it needlessly demolished fi ve square blocks of beautiful buildings on the eastern edge of Old Town Pasadena. Pasadena is now ready to recognize the need to protect not just the buildings of the pre-WWII era, but the cultural resources of the 1970s, 1980s and 1990s as well. A rejuvenated and renewed Espresso Bar would be a key component of any revitalization of lo-cally-inspired arts and culture in Old Pasadena.

The Vandevort building that housed the Espresso Bar is included in the National Register of Historic Places

under the “Old Town Pasadena Historic District.” While the space does not carry an “historic façade” easement from Pasadena Heritage, the registry status is suffi cient to provide for some funds from the city, credited to the tax bill, on ap-proved retrofi tting and seismic up-grades. The cultural history of the business has been well documented in journals and periodicals over the years, including the Wall Street Journal. Much more is contained in the website developed by the Friends of the Espresso Bar.

How can this be done? The fi rst requirement is vision. The Espresso Bar can satisfy a need for nostal-gia and locally-generated culture through the promotion of its historic location, its ambience and intimacy, and by celebrating local arts and artists. With a smart stra-tegic plan and the right leadership, these positives can be translated into a solid business opportunity and/or non-profi t organization.

Across from the alley door, this Batchelderfountain has lacked its two front catch bowls from long before the Espresso Bar days. The fountain and bass relief was a key anchor of the e-Bar alley. The potential resurrection of the Espresso Bar presents a unique opportunity to restore the fountain by one of the great masters of Pasadena’s Arts & Crafts movement of 1900. It has fallen into further neglect and must be protected.

THE OPPORTUNITY

ERNEST BATCHELDER FOUNTAIN

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R AY M O N D S T.

A L L E Y

34 RAYMOND TODAY

After the Espresso Bar moved in 1994 the al-cove was removed to create one big space from the alley to the street. The location

of the old alcove can be seen delineated in

light grey below.

The front of the al-ley now has a trash dumpster blocking

the front with a gate behind the dumpster.

There is a door to the right of the dumpster that can allow access

to the alley.

The members of the Friends of the Espresso Bar (FEB) who put this proposal together have done their job and are passing the baton to whoever may be inspired to provide leadership. Bringing the Espresso Bar back to 34 South Raymond will take an accepted business arrangement from proprietors, owners and investors. After that, with the guidance of the FEB, the Espresso Bar can regain its place as the amaz-ing, nostalgic, and much-needed cultural anchor in the cultural landscape of Pasadena’s Old Town in the heart of downtown.

The title this proposal is: “We’ll Call you When it’s Ready,” which were the fi nal words of the counter-person after taking your order and money. In a very real sense, this proposal is stating the same thing. The Espresso Bar location is available and we have a very short window of opportunity. At the minimum, please pass this proposal to anyone who can either help lead or contribute time to the formation of a arts-based non-profi t, or someone who would want to run the Espresso Bar as a business. These need not be people who were ever at the Espresso Bar as long as they are committed to the general ethos. And if you want to see any of these three options happen, your presence and leadership is needed now to take this proposal and provide the needed leadership outlined on the following two pages. Please lend your sup-port, vision or leadership, or business plan. It is now March 1�, �007. Time is of the essence.

The Sisters of Bubik just moved out of the double space. In the front, Sister Diana sold her wire-wrapped crystal jewelry and Sister Sharie’s line of cloth-ing for women of substance. In the back they sold coffee and bagels. As the alcove dividing front and back has been removed, they occupied the entire 1700+ square foot space. They painted the white walls with a “castle fairyland” theme, with faux brick castles and blue sky with clouds on the ceiling. If the Sisters of Bubik could make a go of it for fi ve years, certainly a business with the legacy of the Espresso Bar can be successful with the right business plan.

The Sisters of Bubik

Scenarios #1 and #2 are fl exible in the separation of these two spaces. The return of the Espresso Bar would require the return of the alcove, white walls, and the repatriation or replication of as many elements as possible: the long bar itself, a jukebox, Espresso Yourself night (the host Maurice Illi-nois still lives close by). The Chinese lanterns, painting of Frankenstein and use of the al-ley would also be important elements to revive.

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T H E O P T I O N S

If scenarios 1 and 2 do not fi nd the necessary support, the option remains to create a temporary retrospective and exhibit. Under this option, four options have emerged.

A temporary Retrospective and Exhibit

SCENARIO 1 To be run as a Historical and Cultural, Non-Profi t

What it would

take

A) A Non-Profi t Center for the Arts: Under the umbrella of a non-profi t arts organization that hosts exhibit space in the front and The Espresso Bar in the back. Scenarios includenon-profi t umbrella that includes other arts organizations such as Lightbringer (which brings art programs to Pasadena schools). Street front half of space could be used as an art exhibit, public education or space for one or many Pasadena based arts organizations.

B) A Friends of the Espresso Bar Nonprofi t: Though it is not widely known, the original opening of the Espresso Bar at 34 South Raymond was funded by Rhino Records owner Richard Foos. Options would require the election of a Board of Directors within the FEB, which fi nds angel investors, raises funds, creates a full-time position to develop a business plan (appending to this proposal).

Options

Options

What it would

take

1) A retrospective in the Main Room space.�) An event in the Alley: a retrospective 3) A one night gathering with music in the Alley.4) An exhibit and retrospective at another location

• Permission from the owners of the Vandervort Building.• Creation of an organizing committee within the FEB and someone to lead this effort. • Collection of artifacts and recollections• Funding to pay for insurance, expenses, the printing of large photographs, publicity, etc.

SCENARIO 3

A “viral” marketing effort on the part of the Friends of the Espresso Bar to disseminate this document to potential investors and venture philanthropists. Within the FOE, this would need to be coordinated by a business outreach vol-unteer. The brokers say they are “fl exible” on price. A business owner willing to be open to opening the e-bar business and create working relationship with the Friends of the Espresso Bar to repatriate the parts and pieces of the main room, coordinate mailing list, website, printed and electronic work, etc.

To be run as a Business

1. Business Partners, together with divided or undivided interests�. Sole Proprietors), i.e. “Mom & Pop”, etc.3. Joint Venture/Common ownership or Limited Liability, a.k.a. LLC.4. Corporation, may be external or established.5. Complimentary owners on Raymond St. side with the Espresso Bar in the back. Examples include:

Options

What it would

take

SCENARIO 2

Art Based: Art School or fi ne arts gallery.

Caffeine Based: Coffee and Tea supply store. (Coffee Bean or other supply and utensil retail)

Education Based: Yoga House or aerobics, Culinary School Kitchen Lab, Art School (Art Center, Chouinard).

Music Based: Music School Extension (LAMA, Guitar Center, etc.), Music Store (Poo Bah, Penny Lane, Canterbury, etc.). Music Store for classical instruments or horns.

Nostalgia Based: Pharmacy nostalgia store (i.e. SouthPasadena’s), Soda Fountain, souvenirs, cards, ice cream parlor or other and retro-nostalgia related business.

Of the three scenarios outlined on this page, the Non-Profi t approach requires the greatest number of people to quickly step forward and help lead and/or support. Both options would require the creation of a 501(c)3 Non Profi t Organization that has a Board of Directors, someone to serve as chair of the board that oversees the running business, retail, cafe’ and serves as a liaison to investors or the other non-profi t organizations under the umberlla organization described above.

Either in the alley or the main room (or another location), a temporary exhibit could be just one night, or preferably for a much longer period of

time, until the space is leased actually leased.

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ESPRESSO BAR

AL L E Y

R A Y MO N D

AMENITIES & CHALLENGES

or the creation of an exhibit as support to help navigate the ressurection of the Espresso Bar. New leaders will have to quickly step forward and make themselves known.

Much like the “Friends of the Raymond Theatre” http://www.raymondtheatre.com, this type of “cultural heritage” effort will need a group of leaders (a board of di-rectors) and executor to carry out the organization’s goals.

On March 5, �007, 34 South Raymond Street become vacant. This proposal has been quickly created by a few of the Friends of the Espresso Bar in 8 days of hard work.

This proposal is This proposal is NOTNOT a plan that will move forward solely a plan that will move forward solely on the part of the individuals of the Friends of the Espresso on the part of the individuals of the Friends of the Espresso Bar who created it. Your leadership is needed. You can ex-Bar who created it. Your leadership is needed. You can ex-pect help in updating this proposal for non-profi t, business pect help in updating this proposal for non-profi t, business

AMENITIES

1) CULTURAL LEGACY: As established on pages 1-11, the Espresso Bar has a rich and signifi cant cultural heritage that few businesses share.

2) PREVIOUS BUSINESS INCLUDED A CAFE: The space currently has the amenities and approvals to operate as a cafe.

3) CUSTOMER BASE: The overwhelming response of theespressobar.org website and the 300 Friends of the Espresso Bar represent just a fraction of people who lament the loss of the Espresso Bar, still live in the area and would form a new customer base along with the publicity the resurrection of the Espresso Bar would create.

CHALLENGESCHALLENGES

1) TIME IS OF THE ESSENCE:1) TIME IS OF THE ESSENCE: Perhaps the most challenging aspect of this proposal is the urgency challenging aspect of this proposal is the urgency of immediate action. The Espresso Bar location at of immediate action. The Espresso Bar location at 34 S. Raymond is vacant now (March 17, �007), 34 S. Raymond is vacant now (March 17, �007), but could be leased by others. but could be leased by others.

2) LEADERSHIP IS NEEDED: 2) LEADERSHIP IS NEEDED: Though this proposal has been created by the leadership of a few of the has been created by the leadership of a few of the Friends of the Espresso Bar, it is a “passing baton” Friends of the Espresso Bar, it is a “passing baton” effort. Support and leadership is required for this effort. Support and leadership is required for this unique opportunity to take shape. unique opportunity to take shape.

3) RENT: Old Town rent is not cheap. By dividing the Old Town rent is not cheap. By dividing the 1700 square foot space in two, however, the rent 1700 square foot space in two, however, the rent could be as low as $4000 per month. Non-profi t sub could be as low as $4000 per month. Non-profi t sub sidies could reduce this signifi cantly. sidies could reduce this signifi cantly.

4) BUSINESS INTEREST: 4) BUSINESS INTEREST: Quickly indentifying a business person supportive of the basic ethos of the business person supportive of the basic ethos of the Espresso Bar and willing to invest in and/or operate it Espresso Bar and willing to invest in and/or operate it as a business.

R A Y MO N D

SPECIFIC THINGS YOU CAN DO

1) Support the “viral marketing” efforts of this proposal by passing it along to potential supporters, non-profi t organizations, grant writers, business investors, venture philanthropists, venture capitalists, wealthy acquain tances and anyone who might support this proposal.

2) Lend your help by assisting in facilitating media coverage of this effort, which could fi nd the necessary support.

3) Step forward and provide either active support or leader ship in this effort.

CONTACT

David Wolf at support@theespressobar.org or call (�13) �91-6093. See www.theespressobar.org.

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