Gimme Something Better (3 page)
Read Gimme Something Better Online
Authors: Jack Boulware
Jennifer Miro:
Terra Linda was a Valley Girl kind of a place. This was a rehearsal studio, 1975. I was in this horrible band and I was singing. Somebody said, “There’s this weird band down the hall,” and I said, “Oooh, let’s go see!” So we went down the hall and opened the door and there was Jeff [Olener] and Alejandro [Escovedo], and Kenny on drums, and Nola, the bass player. Alejandro at that point was still a glitter boy. He had long hair and was wearing red platform high-heeled boots. Nola was wearing purple lamé leggings and purple platform high heels. No one was there. They dressed up for the rehearsal.
Terra Linda was a Valley Girl kind of a place. This was a rehearsal studio, 1975. I was in this horrible band and I was singing. Somebody said, “There’s this weird band down the hall,” and I said, “Oooh, let’s go see!” So we went down the hall and opened the door and there was Jeff [Olener] and Alejandro [Escovedo], and Kenny on drums, and Nola, the bass player. Alejandro at that point was still a glitter boy. He had long hair and was wearing red platform high-heeled boots. Nola was wearing purple lamé leggings and purple platform high heels. No one was there. They dressed up for the rehearsal.
Alejandro and Jeff were at College of Marin in the film department, and they were making a film about a rock star. So they had decided to form a band and called it the Nuns.
Edwin Heaven:
They formed a band to make the movie, and then the band became a bigger idea.
They formed a band to make the movie, and then the band became a bigger idea.
Jennifer Miro:
A few days later Jeff called me up and he said, “Do you want to join the band?” I said, “ME? What am I gonna do?” So he said, “Well, you’d sing.”
A few days later Jeff called me up and he said, “Do you want to join the band?” I said, “ME? What am I gonna do?” So he said, “Well, you’d sing.”
Johnny Strike:
Frankie Fix and I were from Harrisburg, Pennsylvania. When I moved to San Francisco, he did, too. We bought cheap guitars and sat around our apartments. We had little amplifiers, and Frankie had an album,
How to Play Guitar with the Ventures
.
Frankie Fix and I were from Harrisburg, Pennsylvania. When I moved to San Francisco, he did, too. We bought cheap guitars and sat around our apartments. We had little amplifiers, and Frankie had an album,
How to Play Guitar with the Ventures
.
We were big Bowie and Lou Reed fans. We knew we could never play music like that. But we thought we could do our version of it. We had no vocals, it was just guitars. In fact, we called ourselves the Guitar Army. When we’d play with people who had an inkling of musical know-how, they’d look at us like, “Guys, could you tune your guitar at least?”
We were looking for people who looked like us. It was the end of the glam era, so it was just kinda slicked-back hair and black leather jackets, juvenile delinquent look. I was working at a disco at the time, as a waiter, and I saw this guy who looked like he had some rock ’n’ roll about him. I said, “We need a bass player,” and he said, “Okay.”
James Stark:
Ron “Ripper” Greco called me and said he’s in this new band and they’re looking for a photographer. They were looking for a
look
, so to speak. I came down to the rehearsal studio on Howard and Sixth. The whole thing reminded me of the early Velvets shows when I lived in New York back in 1967. Frankie and Johnny were dressed in this basic gay drag, leather jackets. They had poppers. It was a lot of loud noise, but it had something going and I thought, wow, this is pretty cool.
Ron “Ripper” Greco called me and said he’s in this new band and they’re looking for a photographer. They were looking for a
look
, so to speak. I came down to the rehearsal studio on Howard and Sixth. The whole thing reminded me of the early Velvets shows when I lived in New York back in 1967. Frankie and Johnny were dressed in this basic gay drag, leather jackets. They had poppers. It was a lot of loud noise, but it had something going and I thought, wow, this is pretty cool.
Sometime in ’75, ’76, David Bowie had done a concert at the Cow Palace, and Frankie and Johnny and their wives went all dressed up as Ziggy Stardust. Their picture was on the front page of the
Chronicle
, maybe the
Examiner
. So they were already into a look. Very style-conscious. They didn’t smile.
Chronicle
, maybe the
Examiner
. So they were already into a look. Very style-conscious. They didn’t smile.
Chip Kinman:
The Dils moved up to San Francisco in 1976. This was even before we played in Los Angeles. We hadn’t played anywhere yet. We didn’t have a place to rehearse or anything. We just moved up there thinking, well, it’s kind of a neat city.
The Dils moved up to San Francisco in 1976. This was even before we played in Los Angeles. We hadn’t played anywhere yet. We didn’t have a place to rehearse or anything. We just moved up there thinking, well, it’s kind of a neat city.
We saw this poster for this band the Nuns, so we went to go see them because we thought the name was interesting. Apparently the owner of the club thought that they were either too loud or weird looking or something. When they went to set up their gear, he sent them away. The owner said, go see them at their rehearsal hall, which was down south of Mission. We were the only ones who showed up.
Jennifer Miro:
We tried every club and nobody would give us a show.
We tried every club and nobody would give us a show.
Johnny Strike:
Our first show was for my barber, a fund-raiser for a gay political candidate at the Old Waldorf. She said, “Why don’t you bring your band and play?” She had no idea what we were.
Our first show was for my barber, a fund-raiser for a gay political candidate at the Old Waldorf. She said, “Why don’t you bring your band and play?” She had no idea what we were.
People were dressed up as fruit. I remember a pineapple walking around, that kind of campy stuff. And then, “Oh, now for the entertainment segment, we have this band called Crime.”
James Stark:
Frankie and Johnny had motorcycle caps, and those white, wife-beater type T-shirts. The gay, rough-trade biker look. I mean, these were two guys that were married.
Frankie and Johnny had motorcycle caps, and those white, wife-beater type T-shirts. The gay, rough-trade biker look. I mean, these were two guys that were married.
Johnny Strike:
We just liked that look. We had Marshall stacks, and we had ’em cranked. I’m sure it was really loud and abrasive. It was actually pretty good, I thought. It was the first time I ever played live.
We just liked that look. We had Marshall stacks, and we had ’em cranked. I’m sure it was really loud and abrasive. It was actually pretty good, I thought. It was the first time I ever played live.
James Stark:
I remember hearing somebody in the back, said, “Oh, it looks like a David Bowie band.” Then they started playing and everybody goes, “What the fuck’s going on here?” They played for about 10 or 15 minutes, and people were getting really upset. They pulled the plug, and someone knocked over a stack of amps. That was the beginning of Crime.
I remember hearing somebody in the back, said, “Oh, it looks like a David Bowie band.” Then they started playing and everybody goes, “What the fuck’s going on here?” They played for about 10 or 15 minutes, and people were getting really upset. They pulled the plug, and someone knocked over a stack of amps. That was the beginning of Crime.
Johnny Strike:
Then we were supposed to play a place called the Stud. Bisexual leather club. Okay, this was gonna be a real show. So we’re gonna do a flyer. What’s the most outrageous flyer we could do? Hitler. We took a picture of Hitler, and now I think years later—Hitler, Crime, at the Stud. It was just the weirdest combination.
Then we were supposed to play a place called the Stud. Bisexual leather club. Okay, this was gonna be a real show. So we’re gonna do a flyer. What’s the most outrageous flyer we could do? Hitler. We took a picture of Hitler, and now I think years later—Hitler, Crime, at the Stud. It was just the weirdest combination.
At this time there was a little bit of a punk scene. There were records coming in from London at Aquarius Records. We had our record in Aquarius. We had recorded a 45, live in one night.
We took our poster all around town. Aquarius said, “No no no no, we’re not putting that poster up in our store. In fact, here’s your records, guys. We’re not selling your records either.” Hitler. The Stud called us and said, “You’re not playing here. We don’t want to have anything to do with this.” That made us the most notorious band in town. After one gig.
James Stark:
The Nuns played the Mabuhay, maybe in November or December ’76. That was the first publicized punk show.
The Nuns played the Mabuhay, maybe in November or December ’76. That was the first publicized punk show.
Johnny Strike:
We both started about the same time. The Nuns were the first to play Mabuhay, we were the first to put out a record.
We both started about the same time. The Nuns were the first to play Mabuhay, we were the first to put out a record.
Jennifer Miro:
When we did the first show at Mabuhay, there was no punk rock. We were the first punk rock band in California. It was actually surprising because there were a few people there. We just stuck a couple flyers on lampposts.
When we did the first show at Mabuhay, there was no punk rock. We were the first punk rock band in California. It was actually surprising because there were a few people there. We just stuck a couple flyers on lampposts.
Johnny Strike:
We were walking around North Beach one night and saw a flyer that said, “Switchblade at the Mabuhay.” We said, “Okay, that sounds kinda like us.” So we went to Mabuhay and talked with Ness. And he said, “Oh yeah, they didn’t do very good. Ten people came. But the Nuns did pretty good.” We said, “Oh, well, we’ll do much better than the Nuns. Don’t worry about it.” And he said, “Alright, I’ll give you a night.”
We were walking around North Beach one night and saw a flyer that said, “Switchblade at the Mabuhay.” We said, “Okay, that sounds kinda like us.” So we went to Mabuhay and talked with Ness. And he said, “Oh yeah, they didn’t do very good. Ten people came. But the Nuns did pretty good.” We said, “Oh, well, we’ll do much better than the Nuns. Don’t worry about it.” And he said, “Alright, I’ll give you a night.”
Al Ennis:
One night I was walking through San Francisco and I saw this magazine,
Psyclone
. It was put out by Jerry Paulson and Dirk Dirksen. It had a picture of Ron the Ripper, the bass player from Crime. I grabbed the magazine, looked through there and found Mabuhay Gardens. And I thought, wow, the Nuns, Crime. These bands look pretty punk. I’ll check ’em out. So I went there and I was not disappointed. They really had it down. They just had the punk spirit. There really wasn’t much media coverage of other punk bands.
One night I was walking through San Francisco and I saw this magazine,
Psyclone
. It was put out by Jerry Paulson and Dirk Dirksen. It had a picture of Ron the Ripper, the bass player from Crime. I grabbed the magazine, looked through there and found Mabuhay Gardens. And I thought, wow, the Nuns, Crime. These bands look pretty punk. I’ll check ’em out. So I went there and I was not disappointed. They really had it down. They just had the punk spirit. There really wasn’t much media coverage of other punk bands.
Penelope Houston:
I moved to San Francisco to go to the Art Institute. December of 1976. I was 19. The first thing I saw on the street was a poster of a Crime show. I went to the show at the Mab. Entertaining. And then I saw Blondie at the Mab, and I saw the Nuns, and maybe the Ramones. And the Damned came through town.
I moved to San Francisco to go to the Art Institute. December of 1976. I was 19. The first thing I saw on the street was a poster of a Crime show. I went to the show at the Mab. Entertaining. And then I saw Blondie at the Mab, and I saw the Nuns, and maybe the Ramones. And the Damned came through town.
James Stark:
All these guys were really different. Crime had one kind of sound, and the Nuns had theirs. Then you had the bands from L.A. that came up, like the Screamers, who were all synthesizers. The Dils, the Weirdos, and the Nerves. The thing that was a common thread was a raw new sound.
All these guys were really different. Crime had one kind of sound, and the Nuns had theirs. Then you had the bands from L.A. that came up, like the Screamers, who were all synthesizers. The Dils, the Weirdos, and the Nerves. The thing that was a common thread was a raw new sound.
Punk was more like Crime and the Nuns, which is more of a harder, rock ’n’ roll sound. And maybe New Wave would be the Screamers or the Nerves, which were more like a pop band. Blondie played the Mabuhay fairly early, and also the Damned, bands like that. Some people said, “Oh, they’re punk.” And other people were like, “No, they’re New Wave.” This was a big point of discussion for a few months. There was this dividing line among some people.
Bruce Loose:
I was still in high school. I was barely aware of Richard Hell and the Sex Pistols. I was a fevered audience member. I was at the Mabuhay every fucking night at that point.
I was still in high school. I was barely aware of Richard Hell and the Sex Pistols. I was a fevered audience member. I was at the Mabuhay every fucking night at that point.
Al Ennis:
When the Mabuhay Gardens started in ’77, they used to have tables and chairs. You sat down and watched, like a nightclub. They still had the old kind of cocktail waitresses.
When the Mabuhay Gardens started in ’77, they used to have tables and chairs. You sat down and watched, like a nightclub. They still had the old kind of cocktail waitresses.
Dirk Dirksen:
We broke a lot of rules in terms of what was considered the norm for clubs, like mixing straight and gay audiences on a very heterosexual sex strip. We premiered something like 25 plays of authors who are now very well known. Whoopi Goldberg did a routine which got her on Broadway. So it was a venue that encouraged everything from a woman dancing in a dress that was wired with live electricity and neon tubes, to a guy that used to do full paintings while the band played—and one time he did it on a pogo stick.
We broke a lot of rules in terms of what was considered the norm for clubs, like mixing straight and gay audiences on a very heterosexual sex strip. We premiered something like 25 plays of authors who are now very well known. Whoopi Goldberg did a routine which got her on Broadway. So it was a venue that encouraged everything from a woman dancing in a dress that was wired with live electricity and neon tubes, to a guy that used to do full paintings while the band played—and one time he did it on a pogo stick.
The reason I became the MC was that the audience had a habit of throwing beer bottles at the stage, and we were trying to figure out various ways to defuse that. I didn’t want anyone to end up being injured. After two days I figured I gotta come up with something. We started with these huge 50-gallon barrels, with oversalted popcorn in them. And I would berate the audience in order to have them get upset with me, and then identify the performers in a way that I might be abusing them. It began welding the two together. The throwing of the popcorn, it was like a blizzard.
Al Ennis:
The Nuns had a really good, powerful punk rock show. They were huge. Jennifer would hit the first couple of notes of a song, and the crowd would just go apeshit. It was real exciting.
The Nuns had a really good, powerful punk rock show. They were huge. Jennifer would hit the first couple of notes of a song, and the crowd would just go apeshit. It was real exciting.
Edwin Heaven:
They were so dramatic. It opened up with Jennifer Miro alone onstage, expressionless, white spotlight on her, and she went, “Lazy, I’m so lazy. I’m too lazy to get laid.” This very Nico/ Marlene Detrich-esque vibe. She was maybe 18 at the time.
They were so dramatic. It opened up with Jennifer Miro alone onstage, expressionless, white spotlight on her, and she went, “Lazy, I’m so lazy. I’m too lazy to get laid.” This very Nico/ Marlene Detrich-esque vibe. She was maybe 18 at the time.
And then these guys came on and they looked like they escaped from Sal Mineo’s closet. Black leather jackets, ripped jeans. They went, “One Two Three”
bam!
—and they did “Decadent Jew.” Musically it was brilliant. It was dramatic, it had a great, great riff to it, it was sung by a Jew, so we got away with it.
bam!
—and they did “Decadent Jew.” Musically it was brilliant. It was dramatic, it had a great, great riff to it, it was sung by a Jew, so we got away with it.
I signed them to a management agreement. I had a feeling they were going to be enormous. I was doing this based on their music and not personality. Coming from a glitter rock band where everybody loves you, the Tubes—they were like family, people had picnics together. This was a whole different vibe.
They started to become really good. The band had a great dynamic. Richie Detrick did that wild gravelly voice. Jennifer would do kinda like a Blondie. She could have had hit records during the ’60s. At the end they would do “Suicide Child.” It was a dirge about a child who killed herself. “You stole my junk, you stupid punk. You slit your wrists, you fucking bitch.” Jeffrey would grab the cord and hang himself. I knew that was a song a label would sign.
Dennis Kernohan:
The first band I saw was the Nuns. They were great. They were like the earliest band. I know Crime claims it. They were like an old-school punk band. They could have started in 1970. They were very poppy, real memorable. They were like the New York punks.
The first band I saw was the Nuns. They were great. They were like the earliest band. I know Crime claims it. They were like an old-school punk band. They could have started in 1970. They were very poppy, real memorable. They were like the New York punks.
Hank Rank:
They had a very eclectic look. A mix of ethnicities, genders. They were all over the place.
They had a very eclectic look. A mix of ethnicities, genders. They were all over the place.
Jennifer Miro:
We were really a snotty little bunch of teenagers. But I really wasn’t that confident in those days. I had all these guys coming on to me because I was really young and unattached. It was weird. All these rock stars wanted to date me, so I just kind of closed off. I was really snooty.
We were really a snotty little bunch of teenagers. But I really wasn’t that confident in those days. I had all these guys coming on to me because I was really young and unattached. It was weird. All these rock stars wanted to date me, so I just kind of closed off. I was really snooty.
Edwin Heaven:
I got an investor friend of mine to put money in. We started doing big, gigantic billboards and posters. I went to KSAN and did a 60-second commercial for the Mabuhay, but it would be 55 seconds from “Suicide Child.” The next time they performed, lines down the block. We knew now that this is our club. We could do a show every week there.
I got an investor friend of mine to put money in. We started doing big, gigantic billboards and posters. I went to KSAN and did a 60-second commercial for the Mabuhay, but it would be 55 seconds from “Suicide Child.” The next time they performed, lines down the block. We knew now that this is our club. We could do a show every week there.
Too Lazy to Get Laid: The Nuns at Mabuhay Gardens
Howie Klein:
Mayor Moscone’s daughter would come to the shows. Everybody in San Francisco society wanted to check out what was going on with this new punk rock thing. The Nuns would have lines around the corner. They were the only band that was able to do that.
Mayor Moscone’s daughter would come to the shows. Everybody in San Francisco society wanted to check out what was going on with this new punk rock thing. The Nuns would have lines around the corner. They were the only band that was able to do that.
Edwin Heaven:
Bill Graham wanted to manage them. I had 20 percent of the band. The deal was, they would retain 15 percent and I would have 5. I didn’t mind. But they could not perform “Decadent Jew.” His family had survived Auschwitz.
Bill Graham wanted to manage them. I had 20 percent of the band. The deal was, they would retain 15 percent and I would have 5. I didn’t mind. But they could not perform “Decadent Jew.” His family had survived Auschwitz.
Dirk Dirksen:
Jeff Olener’s song “Decadent Jew” dealt with the stereotyping of Jewish landlords. Jeff meant it to expose the ease by which people get pegged with stereotypes, and that a whole minority therefore suffers. When Bill Graham heard the song he was so enraged. He said to Howie Klein, I want to buy all of their records, how many are there? There was like 500. When Howie rushed to bring them, he thought, “This is a big break!” Bill destroyed all of them and said, “These guys will never work in this town again.”
Jeff Olener’s song “Decadent Jew” dealt with the stereotyping of Jewish landlords. Jeff meant it to expose the ease by which people get pegged with stereotypes, and that a whole minority therefore suffers. When Bill Graham heard the song he was so enraged. He said to Howie Klein, I want to buy all of their records, how many are there? There was like 500. When Howie rushed to bring them, he thought, “This is a big break!” Bill destroyed all of them and said, “These guys will never work in this town again.”
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