SF Punk Renaissance 9/25 “SOMA” Winston Tong w Lx Rudis and Moucci, Richard Driskell, Donovan Drummond

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Photo by Mark Hanford who captured so many exceptional performances with equally exceptional photos.

A brilliant performance captured by Eric Goodfield on 9/25 at 111 Minna during SF Punk Renaissance: The Wild, Beautiful, and Eclectic Side of Punk. Always an honor, a profound thank you

SOMA Winston Tong w Lx Rudis and Moucci, Richard Driskell, and Donovan Drummond

111 Minna Winston Tong w Lx Rudis and Moucci joined by Richard Driskell and Donovan Drummond All photos by Mark Hanford

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9/25 Deadbeats Visually and Sonically Stun during First Ever SF appearance at SF Punk Renaissance

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The Deadbeats are in a class of their own; if you didn’t see them back in the day in LA, you missed one of the most visually and sonically dramatic bands of the era. In November, the Deadbeats w/Geza X played the Dangerhouse Reunion and stole the show. Punk Rock Sewing Circle is honored to host the Deadbeats on their first sojourn to SF

This week, on Friday September 25, The Deadbeats/ w Geza X are traveling north for the first time to play at SF Punk Renaissance in celebration of the 40th Anniversary of Punk; don’t miss this rare opportunity to seize the moment and witness this incredible band

The Deadbeats are in the process of completing an LP.. it will be worth the wait!

Courtesy of Dangerhouse Records – A History of the Deadbeats

DEADBEATS ~

DB: The musicianship of the young men who comprised the Deadbeats was a joy to behold. Scott Guerin and his brother Shaun played as extensions of the same self, and the band also served to unleash Geza X and Pat Delaney on the world. Their stage act musically and visually confounded every cliché and preconception about what “punk rock” meant. Their unique, driving sound consisted of treated sax and fuzz guitar layered over flawlessly executed intricate rhythm patterns.

Octavio Pretentious: I’m the cat who designed all those Deadbeats flyers that are probably still hanging on your wall. I first came into contact with the band through Cathie Deadbeat. She was the singer’s girlfriend and did the band’s makeup. You might even say she was a silent co-conspirator in their musical/non-musical assault on the L.A scene. She helped define the Deadbeat look and, brother, I’ll tell you the Deadbeats looked like no other band. At least not until the Dickies got an eyeful of them. They shared a bill at the Masque. The Dickies showed up in your typical T-shirt and jeans and did Ramones and Sex Pistols covers. (See Slash #6 for proof…a picture’s worth a thousand words). The Deadbeats came on and did the Deadbeats. No more T-shirts and jeans for the Dickies.

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Bands may have tried to cop their look, but nobody could cop their sound. Hell, maybe nobody wanted to. On one flyer Brendan Mullen described the band as Bill Haley meets Captain Beefheart in the Theater of the Absurd. Another critic stated that they wanted to confuse. Untrue, untrue. It is my never-so-humble belief that they wanted the masses to share in the joke, but their audiences were just too stupid to get it.

Still, anyway you slice it, the Deadbeats were different. The bass player was a gibbering idiot, but boy could he play. (Some say this was an act.) Slash magazine called the sax player a poindexter squawking on a horn. They had an androgynous drummer named Shaun. (Geddit? Could be a girl’s or a boy’s name). He got several offers to join all-girl bands. (No, not the Go-Go’s.) According to Geza, punk boys secretly fantasized about him, never knowing “it” was a boy. One even claimed his roommate had wet dreams over him. Basic Black magazine called the singer a cross between David Bowie and Felix Unger. Go figure!?!? And what can you say about Geza X? A grown man performing radical psychodrama on himself nightly in front of a live audience. Needless to say, mental illness prevailed.

Unfortunately most people never got to witness this spectacle as the band never made it out of L.A. One rumour has it that Geza’s mommy (the real one) wouldn’t let him leave the city. Jeez, if you had a son like Geza, would you encourage him to stay at home?

Scott Guerin: If not for a string of chance events the Deadbeats may never have come into existence. My brother was asked to play drums for a band called The Whores for the battle of the bands sequence in Cheech and Chong’s Up In Smoke movie. Except he went and got himself grounded for cutting class too much and couldn’t do it. So I filled in for him. This lineup was scheduled to play the Whisky but then the singer was forced to back out under the advice of his lawyer. It seems he was involved in a lawsuit with the Whisky so playing there would constitute a conflict of interest. There was only one course of action to take. I moved to vocals and my brother was brought back to fill the drum slot. For me as a singer this was literally on-the-job training as I had never even thought about singing before and truthfully was pretty awful. After a few sporadic shows our guitarist Hilary Haines up and quit and moved to San Francisco. Pat Delaney and I decided to change the name of the band to the Deadbeats.

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Nickey Beat (drummer for the Weirdos) had the fucking nerve to recommend one Geza X to us and against better judgement we listened. Geza had just been booted out of the Bags for farting out of key or something equally criminal. I may have been responsible for the original sound and concept for the band but the addition of Geza gave us a rawer, harder edge than we ever had before.

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Now as for the breakup of the band, it was down to the usual clash of egos and an over-dependence on substances by certain members that eventually caused the band to implode.

Geza X: Besides the musical sophistication, the best thing about the Deadbeats was the staging. There were no bands doing elaborate things with costumes and props in the early punk scene and we did amazing visuals. Scott was the weirdest dresser on the scene, someone who might wear an impeccable chef’s outfit to a gig or even a party; and he had a complete collection of those novelty items you order from the back of comic books, like fake dog doo and whoopee cushions. Some people mistook his style for Glitter and that was a no-no in the early days but the cool people all got that it was dada.

One time at the Masque, as an intro to the song “Brainless“, we wheeled out a mannequin on a cart and proceeded to cut its skull open to reveal several handfuls of blood drenched cow’s brains, some of which ended up on an unsuspecting audience. Somehow the photographs of that show came out with that magic glow you see in the finest performance art books and we used them on many a flyer.

Another time before a show at the Whisky, we were at the beach and there had been a major storm the night before. I collected a huge mass of abnormally large seaweed and washed it off so it was slimy but clean. During the show that night, I went in to the “Mean Mr. Mommyman” routine to the usual heckling from the “real” punks (the lizard brains who used to come on weekends and show how cool they were). So I ran behind my amp and grabbed two hefty trash bags, from which I heaved a lot of seaweed right into the audience. At first they thought it was rubber, but when it made contact and the smell got around, panic set in and everyone moved way back so there was a large open space in the front. I said something smartarse like “Oh, did it get on you? Just wait a minute…” and ran up the stairs to the backstage area where I had hidden the piece de resistance from everyone (including the band). I came back down the stairs thump, thump, thump dragging a single, perfectly shaped seaweed bulb, the kind with a pointy ball and fins, except this was the granddaddy of all life on earth, being about 11 feet long and about 3 feet wide. To everyone’s fascinated revulsion, I chucked it into the slam pit where it exploded in a pile of goo. There was a moment of absolute silence after that. Somehow, that stands out as one of the most hilarious moments of my life.

Pasquale Amodeo: I’ve always thought it appropriate that I’d be lobotomized before gigs and transformed into a babbling idiot savant bassist unable to pronounce one single word yet play this incredibly intense music.

Shaun Guerin: The scene was so new and experimental and it didn’t matter if anyone could really play their instruments. I remember being at the Masque and watching everyone slamming against each other, having a good time, never realizing what kind of movement they were involved in. It was just something to do.
I’ll never forget the time my brother, Scott, kicked Geza off the stage at the Whisky for doing really corny rock star poses, and the cable, still attached to his amp, pulled it off the speaker cabinet. It came crashing to the ground yet still kept on working. Geza continued to play from down in the audience as though nothing had happened.

Spotlight on 9/26 Verdi: Avengers Classic Punk Anthems at SF Punk Renaissance

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The Avengers Photo by Bobby Castro

“In the late ’70s, The Avengers established themselves as one of the San Francisco’s better known punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the better known punk anthems of the era.

The Avengers opened for the Sex Pistols in San Francisco for their final show at Winterland, and their 4–song EP was produced by Steve Jones of the Sex Pistols. This recording, released in 1979 on White Noise Records featured the memorable song, “The American in Me,” as well as ” Uh Oh!,” “Corpus Christi,” and “White Nigger.” In addition to Houston, James Wilsey played bass, D. Furious played drums, and Greg Ingraham played guitar. Brad Kent played guitar on “Corpus Christi.”

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Penelope Houston by Alana Alberts Photos by Alana will be featured at the Verdi on 9/26

In September of 2012, the Avengers with Penelope Houston, Danny Furious, Greg Ingraham, and Craig Gray of the Toiling Midgets  played at SF Punk Renaissance.

The Avengers return to play again at SF Punk Renaissance  9/26 at the Verdi Club Current line-up: Penelope Houston, Greg Ingraham, Joel Reader, Luis Illades.

From the Dangerhouse Records Site

Penelope Houston on Dangerhouse: Dangerhouse was run by a bunch of guys and some of them were friends of mine. It was KK who was in the Screamers and David Brown who was in the Screamers once playing synthesizer, there was Black Randy, famous on his own and um… oh Bob Dead, and Pat Randall, uh…. Rand McNally. All of them were there at the recording. They were all singing on the chorus of “We Are the One” I think it was. It was pretty funny.

It was recorded in Los Angeles at Kitchen Sync Studios. We did three songs in ten hours or something like that. There was a guy there engineering it. He came with the studio. He actually did his own mix of “Car Crash” that had police sirens in the background. I’ll never forget that. Of course, we didn’t put that out, but I’m sure it’s around somewhere.

It was my first time in a studio. It was really terrifying. When we did “I Believe In Me”, we just did a test vocal to record the tracks along with and when it came to do the vocal I just said to leave that one on. I was too nervous to go in and do it. And it was so sorta spur of the moment as you can tell if you play that one it’s a… everything was made up in the top of my head.

The record came on black and red vinyl. Dangerhouse went in and the company had run out of black vinyl, and they said “Well we have to have these pressed.” [The pressing plant] said “Well, you can have it on red vinyl.” So there it was

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Spotlight on Performance Art: 9/25 Jeorgia Anderson stuns at 111 Minna SF Punk Renaissance

SF Punk Renaissance: The Wild, Beautiful, and Eclectic Side of Punk 111 Minna, Zappa Room Friday September 25, 2015

A true original among originals, Jeorgia has performed with early punk groups from VS to Tuxedo Moon and as The Mechanical Bride for years. Her performance art never fails to amaze. Don’t miss this legend when she performs in the early evening at 111 Minna on Friday September 25, 2015!

Jeorgia will also co-MC the Verdi with Raymond Ernest Andre III

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Jeorgia Anderson and Ruby Ray Photo by Bobby Castro

Here’s a bit about Jeorgia from her own biography

Jeorgia Anderson: Jeorgia Anderson is a living artist who has performed in SF, NY, and LA for centuries. After her studies at UC Davis and USF, Jeorgia created guerilla art exhibits on the street in a series called “Art Goes…” which included a burned out building, shoe store, and rehearsal studio. Experimental music, fashion, and art led her to La Mammelle, the Dadaists, and punk rock in SF. She got a guitar and Olga asked her to play in VS, as seen in Hardcore California and Excapees books. Jeorgia went to NYC with Tuxedomoon and stayed for years, appearing in the scene with bands, films, and fashion. Returning to SF in the 80s, she started her own record label Staccato Dysdain and released two vinyl singles as The Mechanical Bride. Heading to LA in the ’90s, Jeorgia wrote and recorded more of her songs and made a public access TV show, MECHANICAL BRIDE, which ran for 13 years and showcased her music and hyper visual images. Finding the digital revolution a sad excuse for reality, Jeorgia is fascinated with preserving the analog ways. The SF punk reunions by Punk Rock Sewing Circle have brought together the real people who were there and new people who care.

Miss at You Own Peril! First SF Appearance EVER of the Deadbeats! 9/25 Deadbeats w/Geza X

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DUCK, DADDY-O!
Sept. 25 marks the first SF appearance by Once-Upon-A-Time Dangerhouse recording artists THE DEADBEATS, notorious for the anti-hit KILL THE HIPPIES (“Send ’em back to San Francisco”). THE DEADBEATS have shared the stage with the likes of the Germs & the Screamers, and are now hot off their world tour with Justin Beiber in which the band was able to hold their own without the use of autotune on songs like FUCK LIKE A BUNNY, leaving the little Lolitas begging for more!! Favorable comparisons were made between their horn man & Kenny G. HOTCHA!
And bleaso & butso buddy boy–for better or worse, this special event will feature every geezo’s FAVORITE MOMMYMAN, GEZA X performing several classic tunes (Isotope Soap, I Hate Punks) off his “YOU GODDAMN KIDS” album. Dedicated fans will even be able to find MERCH to take home forever and sell to their kids.
MISS THIS AT YOUR OWN PERIL!
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Spotlight on Music: The Iconic Alice Bag Performs at SF Punk Renaissance 9/25 and 9/26!

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Punk Rock Sewing Circle is pleased to present the iconic Alice Bag at 111 Minna on Friday September 25 and 9/26 at the Verdi Club! On 9/25 Alice will perform with her own band and on 9/26 she will be backed by the original San Francisco Riot Girrrls Frightwig!
Alice Bag
(born Alicia Armendariz on November 7, 1958in
Los Angeles, California) is a punk rock singer, musician, author, educator and feminist archivist. Alice was lead singer and co-founder
of The Bags, one of the first wave of punk bands to form in the
mid-1970’s in Los Angeles, CA.
Her first
book, Violence Girl, East LA Rage to Hollywood Stage is the story of her
upbringing in East LA, her eventual migration to Hollywood and the euphoria and aftermath of the first punk wave. Violence Girl reveals how domestic abuse fueled her desire for female empowerment and sheds a new perspective on the origin of hardcore, a style most often associated with white suburban males.
An outspoken activist, feminist and a self-proclaimed troublemaker, Alice has remained active in music since the late 1970’s and published her second book, Pipe Bomb for the Soul in 2015. The ongoing influence of Alice’s style can be seen in the traveling Smithsonian exhibition, American Sabor. She has been profiled by PBS, AARP and has been an invited speaker at colleges including Stanford, Wellesley and USC. Her
memoir, Violence Girl, is now required reading in gender and musicology courses throughout the country.
Pipe Bomb for the Soul
In 2011, Alice Bag’s memoir, Violence Girl – East L.A. Rage to Hollywood Stage, A Chicana Punk Story provided a window into the critical events taking place in Los Angeles in the 1960’s and 70’s, as seen through the eyes of a young Chicana protagonist. Violence Girl ends in the mid-1980’s with the ascendancy of the neo- conservative Reagan era, the evolution of punk into hardcore, and an educational expedition to Sandinista Nicaragua.
In Pipe Bomb for the Soul, Alice Bag invites the reader to join her for one life-changing month in post-revolutionary Nicaragua. From Managua to the small town of Esteli, Alice encounters people and situations that challenge her long-held beliefs and force her to evaluate the true costs and value of the American Dream. An excellent companion piece to Violence Girl, Pipe Bomb for the Soul builds on the anti-authoritarian spirit of punk that proposed self-empowerment as a way of life.
In keeping with the spirit of the book, Bag made the decision to self-publish Pipe Bomb for the Soul in May 2015.
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Press and Reviews:
“Fierce and funny, feminist and political, and punk as f___,
Violence Girl is a true survivor’s tale. An introduction to an irrepressible spirit you’ll be glad you met.”
– Bitch
“After decades of dudes telling their stories of punk’s formative years in memoir, we finally get one of L.A. punk’s most crucial figures—Alice Bag, frontwoman of The Bags
—telling her tale. Unsentimental and tough, she gets out from under her patriarchal family and finds her place among a crew of motley, misfit kids as they accidentally invented the American West Coast punk in bands like X, Black Flag, Germs and her own band, The Bags.” –Jessica Hopper,
Rookie ” Alice Bag is back in book form and is as explosive as ever.
Pipe Bomb For The Soul
excels in rekindling that revolutionary fervor existing in Nicaragua as it attempteda more pluralistic socialist democracy while mired in a bloody U.S.-backed Contrawar.” – OC Weekly
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Spotlight on Film! 9/23 Marc Huestis Co Founder of SF FRAMELINE LGBT Film Festival w Whatever Happened to Susan Jane, Hot Riot, X Communication

Marc Huestis’ cult classics WHATEVER HAPPENED TO SUSAN JANE, Hot Riot, and X Communication will be shown at the Opening Extravaganza at Public Works! The Co Founder of  SF Frameline LGBT Film Festival, the oldest and largest LGBG film festival in the country, Marc is an award winning filmmaker, camp impresario, and social activist. Best known for his motion picture Sex Is… and his in-person tributes/benefit events feting celebrities from Hollywood’s Golden Age and cult personas from Jane Russell to John Waters at San Francisco’s Castro Theatre, his works never fail to delight. Huestis was awarded the coveted Lifetime Achievement GOLDIE Award by the SF Bay Guardian, the oldest and largest alternative weekly in the Bay Area and he is a co-winner of the 2001 Frameline Award in Recognition.

Whatever happened to Susan Jane

WHATEVER HAPPENED TO SUSAN JANE (1982) Once mentioned by Robert Smith of THE CURE as his favorite movie, this newly re-masterd work is a cult classic.  Moving back and forth between black-n-white to color, as well as from past to present. this film is Marc Huestis’ truly underground Tales of the City.  The soundtrack is a celebration of SF punk featuring Tuxedo Moon, Noh Mercy with Esmerelda, Ben Bossi of Romeo Void, The Wasp Women, Indoor Life with Jorge Socarras and others. This camp classic follows Marcie Clark (Ann Block), a polyester suburban housewife dissatisfied with her bouffant-and-barbecue lifestyle hot on the trail of an old high school chum, Susan Jane Smith (Francesca Rosa). When she reconnects with Susan Jane (now Sujana), Marcie stumbles into the wild and wacky world of San Francisco bohemia circa 1980, replete with wild drag queens and glitter, kooky artists, Mohawk hairdos, new wave slackers, and a pool of well-known celebutants. She gets high and finally gives herself over to the intoxicating whirl of a wild party. The colorful cast features appearances by Lulu, Coco Vega, members of the legendary theater group the Angels of Light, Rodney Price, Silvana Nova, Tommy Pace San Francisco Chronicle critic Edward Guthmann.

“Whatever Happened to Susan Jane? began filming on the very day Ronald Reagan became President, according to the director. By the time the film opened, we were experiencing the first wave of AIDS. The film now stands as “the last great burst of innocence before the dawning of the age of AIDS,” Huestis says.”“Susan Jane came from trash, literally,” says Huestis. “I was walking in the Haight in the early 80s and spotted an old 16mm film in a trash can. It turned out to be The Outsider, the campy 50s ‘educational’ film that is the glue that holds Susan Jane together.”

Marc Huestis’ colorful and intelligent New Wave comedy – now a mini camp classic- celebrates wealth of talent in the gay and lesbian underground.