When the Justice League, which is co-owned by O'Connor and his wife Lisa, first opened its doors three years ago, it was anything but a sure thing. Two other clubs had failed in the same location, and O'Connor's idea for the space -- to provide a platform for hip hop, reggae, and electronic music -- was commercially unproven. Over time, however, O'Connor carved out a niche for the club -- not an easy prospect in a city where venues open and close as frequently as restaurants. Now, however, the Justice League faces a new question: With rising rents forcing old customers out of town and new residents arriving with little interest in hip hop, how will the club stay relevant?
The Justice League isn't the first club O'Connor has operated. In the early '90s, when he was still in his teens, O'Connor ran Mr. Five's Club, a jazz/hip hop place on Market Street. "Broun Fellinis, Charlie Hunter Quartet, and Alphabet Soup all played a lot of their first gigs at Mr. Five's," O'Connor says. "[It] was devoted to live jazz when literally nobody was playing live jazz. Plus, the first bona fide dancehall night in San Francisco was at Mr. Five's." Unfortunately, the club was located in a non-seismically retrofitted building and had a short lease. After the venue closed, O'Connor took a break from live music, spending time building handmade furniture and studying architecture at Cal.
O'Connor always knew he wanted to open another club, and when the space at 628 Divisadero became available, he jumped at the chance. Previously the Western Addition building had housed the Kennel Club, a well-respected venue offering reggae, hip hop, and indie rock. In 1994 the Kennel Club's owners grew tired of the grind of running the venue, and the Crash Palace moved into the space. Unfortunately, the Crash Palace never established much of an identity or customer base, and the dance club quickly went under. "I don't know if they were even open a year," O'Connor says. "They just came and went like that."
With the venue's jinxed history, most entrepreneurs would have avoided the location like the Bates Motel; O'Connor, however, figured it would be easier to renew a defunct club than to find another space, since live music permits are given to a site -- not the club in the site -- and can be transferred from owner to owner. Unfortunately, O'Connor became mired in permit appeals court and entangled in neighborhood planning disputes. It took another 18 months before the Justice League finally opened.
Another problem was the live music network, which is comprised of older, more established venues that are notoriously insular. O'Connor explains the dilemma: "If somebody new comes along, everybody sits on the sidelines and waits to see his head get chopped off. I think that's what the other clubs were expecting to see -- what would happen to me. Nobody's going to be supportive; it's up to you to sink or swim."
While venues like the Elbo Room, the Up & down Club, Cafe Du Nord, and Club Deco booked hip hop-flavored acts in the early '90s, those clubs focused primarily on jazz and funk bands. After the Kennel Club closed, the straight-ahead hip hop scene flourished everywhere in the Bay Area except San Francisco. OZE, a longtime San Francisco MC and DJ, explains, "[Hip hop groups] got so desperate that they used to play at raves. Not because they wanted to play raves, but simply because there was no place else to play."
"Other clubs didn't go out of their way to cater to people of color," O'Connor says. "I grew up in San Francisco, and I've been here my whole life. I book the music that I know." The Justice League was one of the first large venues to showcase emerging acts such as Del tha Funkee Homosapien, Souls of Mischief, QBert, ShortKut, and DJ Shadow. O'Connor explains, "Now [other venues] have realized, "Look how well the Justice League has done with underground hip hop. Why don't we do it now?' Before the Justice League, people thought, "Hell no, we don't want people of color in our club.' The Justice League has proven to people that you can have hip hop without a lot of drama."
O'Connor books many shows guerrilla style, bypassing agents and appealing directly to the artists. It's a difficult, time-consuming process that has rewarded the club with performers who usually play in much bigger arenas -- people like the Jungle Brothers, Me'shell NdegéOcello, De La Soul, and Fatboy Slim. "The larger acts can't make as much at the Justice League as they would at larger venues," O'Connor says. "But they play here because they like the vibe and they like the people. So instead of playing one night, they play two. They'd rather do that and play at a place they enjoy than make a lot of cash quickly at a place that isn't as fun."
The Justice League is not without its problems. O'Connor's single-man approach often leads to organizational chaos; at times the club has suffered from a lack of advertising and promotion, and a second-rate sound system as well. O'Connor's penchant for approaching radio station DJs directly about ticket giveaways and soliciting clubgoers at rival venues has netted him enemies. Recent cancellations by the Beat Junkies and Company Flow have irked customers, and tickets to shows can be difficult to purchase in advance. Understaffing also poses a problem. Earlier this year Tim Husom of Emperor Norton Records booked a record release party at the Justice League for the Dutch group Arling & Cameron. Husom explains that the night of the show, "The only [staff member] who showed up was the door guy. Also, they didn't have us in their [calendar] listings, and we never got paid. It was kind of a discouraging thing. I haven't booked a show at the Justice League since, and I have no plans to book one in the future."
"From time to time the club has been understaffed," O'Connor admits. "I haven't had an assistant, and I've tried to do too much myself. Until recently my booking staff has consisted of one person -- me. We're a very young club, and I've still got a lot to learn." As for problems getting tickets, O'Connor explains, "I don't sell through Ticketmaster because I'm opposed to the high surcharge." There are plans for a new Web site, www.justiceleaguelive.com (still under construction), which will feature message boards, event listings, and up- to-the-minute information on bookings and cancellations.
Presently, O'Connor is most concerned about what he sees as a dwindling customer base. "Recently we had a weekend event with Shortkut, Apollo, and Vin Roc, three of the greatest DJs in the world. Whereas two or three years ago the place would have been guaranteed jampacked, this time it wasn't half full. That's because of the changing demographic of San Francisco. San Francisco is economically pricing a lot of people of color out of the city. All subcultures in this city are dwindling, and all artistic communities are being hit." Indeed, recent shows by acclaimed local hip hop acts and turntablists -- both at the Justice League and other clubs -- have drawn poorly.
O'Connor also feels that the local DJ environment has grown conservative. "Right now in San Francisco anybody who wants to open a club or a bar books house music. You have a lot of plastic, vapid house parties that have zero cultural content. They're basically wallpaper to [give] office-weary, white twentysomethings a place to go and drink cocktails, with really no desire to do anything interesting musically. I love house music, but right now there's not one good house night."
With both competition from large venues booking hip hop and the changes in San Francisco's demographic affecting the Justice League's bottom line, O'Connor is hoping to expand the club's range by building strong, regular events like "Club Dread" and "Second Sundays" and booking more indie rock shows. O'Connor is optimistic about the future. "Every year the Justice League runs better and smoother," he explains. "Like any small, developing business, sometimes you have to keep your belt tightened. We haven't filed Chapter 11 yet, and I don't plan on it anytime soon."