Live Feed of Sacripolitical @ College of Marin

Sacripolitical played a lunch-time show at the Kentfield campus of College of Marin on Monday, October 7th. Here’s a live feed of the performance that was posted on the College of Marin Facebook page:

Sacripolitical @ COM

Sacripolitical will play a free, lunchtime show at the College of Marin on Monday, October 7th from 12:30 to 1:30pm. First public performance in 25 years! Come and and enjoy their musical mockery of all things politically sacred!

The Return of Sacripolitical

It’s been 25 years since my old band, Sacripolitical, played its final show at Club Chameleon in San Francisco. Chalk it up to punk nostalgia, middle-aged ennui, or simply an excuse to hang out with old friends; whatever the reason, we’ve recently been having a fun time getting together again and practicing some of our old songs. The newly reconstituted Sacripolitical is made up of: John Marmysz (vocals), Matt Schmidt (guitar), Mark Wallace (bass) and Gary Benson (drums).

When I was in my 20’s, the band was an important part of my life. In existence for almost ten years, Sacripolitical offered a cathartic outlet for my raging emotions as well as an opportunity to work together with good friends, creating music that still means something to me today. We played songs about the meaning (and meaningless) of life, sex, hope, crime, politics and war – always infused with a good dose of humor and irony. We performed in a lot of nasty little clubs, warehouses and living rooms for nothing more than the enjoyment of getting in front of a sympathetic audience and making a racket.

Now, in our 50’s, the band offers a similar kind of fun: bonding with old friends, sharing memories, and creating music for its own sake. At a time in life when so much of what we do seems focused on “sensible” and “practical” goals, it is nice to have a creative outlet that is its own goal and that needs no justification beyond itself.

In addition to the old songs, we’ve also started to write some new material. Here are the lyrics to Gogol’s Nose, a song inspired by Nikolai Gogol’s absurdist short story. It is something that Matt and I started to conceive in the 1980’s, but which only now, in the 2000’s, we have started to develop in earnest:

Gogol’s Nose

Gogol’s Nose! [4 X]

Opened up my eyes to the early morning rays,

The best night of sleep I had had in days.

Hopped out of bed and looked at my face,

Screamed in shock at what was not in place!

 

A void had opened up right above my lips,

A blank space, flat flesh! I started to flip!

The thing that allowed me to breath in fresh air,

Was completely gone; it was no longer there!

 

[Chorus]

Spending all your time being so debonair,

Life could be so easy if you just didn’t care.

Make the right impression, you’re in a rat race.

You’d cut off your nose just to spite your face!

Gogol’s Nose! [4 X]

 

I thought to myself, “That fuckin’ nose!

He’s taken off, stolen some of my clothes!

I’ll need to track him down before he gets too far,

And leaves me with this embarrassing scar.”

 

So I ran out on the street and it was there in the news,

The headline in the paper was my very first clue,

My nose had been spotted wearing my cape,

Boarding a carriage and making his escape.

 

[Chorus]

Spending all your time trying to be a big shot,

Life is so short, appreciate what you got.

You’re rushing here and there; haste makes waste.

You’d cut off your nose just to spite your face!

Gogol’s Nose [4 X]

 

I hailed a ride and without a pause,

I yelled at the driver, “Follow that schnozz!”

He looked at me strange, but I gave him some dough,

And with that we lurched forward and started to go.

 

It turns out that my nose was impersonating me,

Buying fancy clothing, booze and jewelry.

My reputation was on the line,

I must stop that proboscis and end his crimes!

 

I found my nose at work, insulting my boss.

I got him in a bear hug and I started to cuss:

“Listen motherfucker, this nonsense must stop!

Get back on my face, take a place in your spot!”

 

He broke from my grip and tried to get away,

But I punched him in the nose and blood started to spray.

My nose was now defeated and passively,

He whined, “Why on earth would you do this to me?”

 

[Chorus]

Spending all your time playing to the herd,

And you think that the story of my nose is absurd?

Don’t do nothing special, don’t step out of place,

You’d cut off your nose just to spite your face!

Gogol’s Nose! [8 X]

 

Ludovico Teknique

(Note: This is part of a larger project chronicling the history of punk rock in Marin County, California during the 1980’s.)

After the breakup of UXB in 1983, Peter Hansen, Derek Johnston and Scott Williams formed Ludovico Teknique. In need of a new rhythm guitar player and bassist, Derek posted flyers in local music, record and book shops, advertising for musicians friendly to the band’s punk influences, which ranged from Iggy Pop to The Angelic Upstarts.

It was during this period that Derek first met Mike Crowell at the Rafael Book and News, a beloved Marin newsstand and meeting place on 4th Street in downtown San Rafael. Located next door to the Rafael movie theater, the Book and News attracted a wide and diverse variety of patrons in search of everything from paperback novels and pornography, to movie and music magazines. It went out of business in the late 1980’s when George Lucas bought the building in order to expand his film archive, but in its heyday, this was where you could hang out, socialize and browse through magazines such as Violent World, Hammer’s House of Horror, Cinefantastique, UFO Report, Creem, Punk, Slash and hundreds of other titles. Juneko Robinson recalls that, “it was filled with a lot of stuff that appealed to young people. As a teenager, I remember saving my money so that I could buy a copy of The Encyclopedia of the Occult there.” The place was crammed full of books and periodicals found nowhere else in Marin. With narrow aisles that could accommodate only one person standing sidewise, the store was definitely not wheelchair friendly, and with about 500 square feet of tightly packed books, newspapers, magazines, tobacco, lighter fluid and matches, it was a also a fire hazard. Nevertheless, it was a one-of-a-kind gem that many long-time Marin residents still, today, remember fondly.

Derek was in the Book and News one day when he encountered a couple of metalheads who were looking through music magazines. “I heard one of them say ‘Judas Priest,’ so I leaned over to him and said, ‘Lame.’ Then he said something about The Scorpions, so I leaned over again and said, ‘Lame.’ Finally he looked at me and said, ‘Motorhead?’ I gave him the thumbs up.” The metalhead was Mike Crowell, who recognized Derek as the guitar player from UXB. Derek invited Mike to audition for the new band, and he soon became Ludovico Teknique’s first bassist. He also exchanged his long hair for a skinhead haircut. Kent Cates joined as rhythm guitarist, but was replaced by Ronnie Montana before the band’s first gig.

Ludoviko Teknique’s musical style was in some ways stylistically continuous with UXB, but it also in some ways took a different, more polished and experimental turn. “UXB’s songs were machine-gun like,” says Derek. “If you listen closely, a lot of the guitar parts actually resemble songs by the Circle Jerks. With Ludovico Teknique, I wanted a more ethereal sound. I was looking to do something a little bit different; something more arty.” The “artiness” of Ludovico Technique was reflected in many of the flyers that Derek made to advertise the band’s gigs; one of which invited audiences to “An Evening with Ludovico Teknique” against a backdrop of Greek statuary. The band bio – written by their “press guy” Lon Huber, a cashier at the Book and News – emphasized the band’s synthesis of arty inventiveness and punk belligerence:

“This power-mad, high-energy rock assault team has been known as an art band (tell that to the lead singer Peter and he’ll show you why he has a criminal record), but Ludovico Technique’s music is aesthetically confused enough to drive audiences to frenzies of “dancing” otherwise associated with animals lacking complex nervous systems.”

The bio goes on to suggest that, among all of the band members, it was only Derek who had “a complete sense of the unit’s direction, often sharing his personal philosophy with audiences by whipping full cans of Econobuy beer between songs.” At once aggressive and reflective, raw and polished, the contradictions in Ludovico Technique’s music sought an uneasy compromise between elements of 1970’s British Oi! and street punk (as evidenced by the band’s Clockwork Orange inspired name) and art-rock.

For some fans of UXB, the “ethereal” transition made by Ludovico Teknique was not immediately welcomed. Derek recalls the band’s first performance in 1983 at the Sleeping Lady Café in Fairfax. Instead of a ripped t-shirt, he had decided to appear dressed in a collared shirt and blazer in honor of their new image, but was greeted by jeers from a member of the audience taunting them as “sellouts.” As the band started playing their new set of songs, Derek remembers hearing that same voice yelling, “Play Jesus! Play Jesus!” The reference was to a song that UXB would regularly cover: the incredibly vulgar and sacrilegious Jesus Entering from the Rear, by the Phoenix punk band The Feederz. Derek could see that Peter was getting agitated by the heckler, and in exasperation Peter finally handed the microphone over to the obnoxious audience member, telling him, “You go ahead and sing it!” before storming off stage. Unsure if the other members of the band knew how to play the Feederz song, Derek nevertheless launched into Jesus Entering From the Rear, and John Marmysz, the obnoxious heckler, jumped up on stage to sing the song that would bring their first show to an end.

Ludovico Teknique went on to play regularly in Marin and San Francisco, garnering a dedicated following of fans and good reviews. One critic wrote, “Peter Hansen, formerly of UXB, is a strong lead sing, not too hysterical but histrionic enough for proper entertainment. Excellent lead guitar by Derek, very sensitive for hard rockin’.” When their music started to get local radio play, Derek reports feeling as if things were moving in the right direction. “After we played at the VIS Club one night I was approached by the club’s owner who told me he was interested in promoting us. I thought, ‘this could be good!’” In the end, despite their ambitions, and though Ludovico Teknique would be in existence a year longer than UXB, they would remain an underground, Bay Area phenomenon.

Over the course of three years, Peter and Derek were the band’s core members. Mike was eventually replaced by Darcy ? on bass, and just like UXB, Ludovico Teknique went through a long string of drummers – including Tony Short (from 5th Column and the Toiling Midgets) and Brookes DeBruin – until finally Gary Benson took over as their last drummer. Mike returned to play bass in the band’s last year of existence, 1986; an incarnation that Derek judges to be the band’s finest.

One of Ludovico Teknique’s best numbers, which received a lot of radio play on KUSF, was Blind Justice. Accompanied by a harmonica and female back-up singers, in this song Peter’s vocals fluctuate between punk-rock rawness and operatic grandeur. Peter and his wife had recently had a child, and his lyrics reflect his experience, lamenting the oppression of struggling, working class families by the rich and proposing a revolutionary change in leadership that would balance the scales of social justice:

Blind Justice

Your time has come to pay!

 

I see you drive by every day,

But you don’t ever stop and look my way.

Behind the blackened windows in your Mercedes Benz,

You secretly do condemn.

 

You rob our families, one at a time,

You’ve ripped off everything but our pride.

Well now finally on top and feeling free,

I can see you but you can’t see me!

 

You can have this for free,

A little shot of reality!

Righteous leaders for me!

I wanna see leaders like these!

 

Now I’ve got you in my sights,

And I think I’ll take my own sweet time.

Don’t you worry about your family,

Because you’ll get your justice tonight!

 

It’s a golden opportunity,

To return all the favors that you did for me.

Return your money with lightning speed!

The secret is a shot of reality.

 

Your time has come to pay!

You won’t have to suffer,

I will make you pay!

I wanna see leaders like these!

 

Your lawyers they can buy you time,

But there’s no place left to hide.

You will pay your debt to mankind,

‘Cause justice is no longer blind!

 

They can’t control the masses,

Or any man.

They don’t know the masses, NO!

It’s just an unpaid plan!

Blind Justice illustrates some of the ways that, while rooted in the hardcore punk sensibilities of UXB, Ludovico Teknique’s music was also evolving in a different direction. Their songs were becoming more musically complicated, and their lyrics, while still political and angry, started to focus on the personal struggles and frustrations of adult life.

Ludovico Teknique. From left to right: Mike Crowell, Derek Johnston, Peter Hansen, Gary Benson.

Peter’s appearance and behavior also started to evolve with the band. He grew his hair out, and, as Derek states, started to cultivate an “impressive set of dreadlocks.” His usual mode of dress was no longer “punk,” but was characterized by regular work clothes, and sometimes by a fedora that he would wear on stage. Derek reports that toward the end of the band’s existence, Peter became increasingly distant from his bandmates. Whereas in the past he had been very easygoing and tolerant, he began to exhibit a temper, which Derek recalls once seeing on display at a party. “He was holding his kid and someone sneezed right next to him. Peter blew up, yelling at the guy and threatening him with violence. Peter had always been someone you didn’t want to mess with, but I had never seen him react like that before.”

In addition to the pressures of adult life, it may have been the influence of drugs that were a factor in Peter’s changing demeanor. Peter had developed a heroin habit, and both Derek and Gary recall that this was something that increasingly became a problem for the band’s practice and performance schedule. Derek recalls one show, when they were headlining at the 16th Note in San Francisco, that the band was forced to take to the stage without their lead singer, who was nowhere to be found. They began playing their set, not sure what to do, when finally Peter appeared halfway through the first song. As he began to belt out the lyrics, Derek looked over, and Peter stared back at him wide-eyed, gesturing to his own rear-end. After the gig, Derek learned that Peter had shit his pants on stage.

Another time when Peter was shuttling band members and equipment in San Francisco, Gary recalls that he made an unannounced stop, double-parked his truck and ran into an apartment building. When he came out, he jumped back into the truck, and started speeding down the road. As he drove, Peter threw a heroin filled rig to the person riding in the passenger seat, ordering the passenger to inject it into Peter’s arm. After his fix, Gary reports that Peter acted normal, as if nothing was out of the ordinary. Regularly, according to both Derek and Gary, Peter would disappear when they went into the city, saying that he would catch up with them later, but never reappearing. “We knew he was out looking for dope.”

“I don’t want to make Peter look like the only guy who did drugs,” Derek cautions. “We were all pretty loaded.” But it was Peter’s obsession with heroin that had the most profound impact on the group, affecting both their performances as well as influencing the message of their music. Take, for instance, the lyrics to the song Everything, which Derek calls “Peter’s ode to heroin”:

Everything

 

I run up the stairs, third floor on the right,

Give you a call and I walk up inside.

Surrounded by videos and blinking Christmas lights,

You’re perking your soup there in the candlelight.

 

Everything I need is right here on the table,

All I want to do is lie there on the floor.

I’ve got you, you’re right beside me,

Everything I need is right there on the floor.

 

When I see you, you always make me wait,

But I know you’re up to something now behind that iron gate.

When I try to phone you, you pretend like you’re not home,

Leave me freezing and shakin’ all night alone.

 

Everything I need is right here on the table,

All I want to do is lie here on the floor.

I’ve got you, you’re deep inside me,

Everything I need is right there on the floor.

 

Walk through back alleys in the early morning light,

If I don’t see you everyday I just don’t feel right.

Keep me awake as I knock up on your door,

I see you laying there stretched out on the floor.

 

Everything I need is right here on the table,

All I want to do is lie here on the floor.

I’ve got you, you’re deep inside me,

Everything I need is right there on the floor.

Ludovico Teknique continued performing into 1986. One of their last performances was on the bill with The Pukes, Sacripolitical, Victim’s Family and Fang at the Warehouse in San Rafael. It was a packed show with an enthusiastic crowd. Despite an ungrounded microphone that sent electric shocks through anyone who touched it, all of the bands played their hearts out, putting on tremendous performances; except for the headlining band Fang, whose lead singer was so intoxicated that he was unable even to stand up on stage. After the end of the show Derek and Mike approached the organizer, Mike Kavanaugh, asking to be paid, but Kavanaugh complained that Ludovico Teknique had not put on a very good performance. Besides, he pleaded, he had to reserve enough money to pay the “big name” act that evening, Fang! As a consolation, he offered them $7. Outraged by the injustice, Mike Crowell began yelling at Kavanaugh and spit in his face before storming out of the warehouse. Outside, he discovered the members of Fang crouched inside a sports car doing drugs in the parking lot. Still seething with anger, he proceeded to kick out their headlights with his steel-toed Doctor Martens before stomping away from the scene!

The year after the breakup of Ludovico Teknique, Peter Hansen was killed in a construction accident in Davis, Ca. He fell from the roof of the house that he was working on, hitting his head and dying at age 30. Despite his later drug problems, his bandmates remember Peter warmly and fondly as a friendly, kind and talented man. “He was just this very fatherly, nice sort of guy,” Gary recalls. Derek remembers him as “a really nice guy,” while Mike Crowell says, “He was a fantastic lyricist.”

After Ludovico Teknique, Derek Johnston went on to play guitar in a series of San Francisco acts, including The Noise Boys and The White Trash Debutants. Mike Crowell started a number of bands, the longest running being the Reducers SF, who still perform about once a year. Gary Benson continues to play drums, most recently in the band Earstu. Kent Cates currently plays in Altar DeFay. The other members that made up Ludovico Technique remain MIA.

The Avengers

Since I was a teenager, I have adored the legendary San Francisco punk band The Avengers. Their self-titled pink album – released after their breakup in the early 1980’s – was part of the soundtrack of my teenage years. Whether it was on the stereo at house parties, on the cassette deck in the car, or on the sound system at local clubs, songs like We Are the One, I Believe in Me, The Amerikan in MeOpen Your Eyes, Second To None, and Fuck You always seemed to be there, playing in the background. Often, these songs refused to remain in the background, as the defiant passion of the music had the power to get everyone within earshot to stop and sing along. These were songs of unity, self-confidence, and rebellion against the corrupt, adult world. It was music that united young punks like some sort of alternative national anthem.

I was too young to have seen The Avengers perform live in their original incarnation, but now, almost 40 years later, I got the opportunity to see a reformed version of the band play at The Ivy Room, a small, intimate club in Albany, CA. The new lineup retained Penelope Houston as lead singer and Greg Ingraham on guitar, while adding new members Joel Reader on bass and Luis Illades on drums.

Two opening bands – The Neutrals and The Smokers – began the evening with some rousing punk numbers. The Neutrals somehow reminded me of the British band XTC, though they cite Wire as one of their influences. A three piece band whose British lead singer was at times snotty, at times aloof, at times frantic, The Neutrals played a simple, tight and aggressive set of songs. Following them, The Smokers, a four piece band from Oakland, roared through their repertoire of punk songs with great gusto and enthusiasm. They were also very enjoyable. These are two bands I would go out of my way to see again.

When The Avengers took to the stage, it felt as if I was in some sort of wonderful dream. The familiar songs of youth filled my ears. As one, the crowd sang along with Penelope Houston (who seems to have lost none of her passion and energy), raising fists in the air while swaying back and forth like waves on the surface of a single body of water. The strangers around me were mostly my own age, making me imagine that they – like me – were also reliving some of their own youthful, teenage punk rock memories.

But what made the evening especially terrific was to be with some of my old friends; people with whom I share concrete experiences and memories. My wife Juneko Robinson (who I first met when I was 17), my old friend Matt Forristal (with whom I have had many teenaged adventures), and Derek Johnson (whose bands UXB and Ludovico Technique were among my favorites in the 1980’s) were all there, sharing in this punk rock communion. For the duration of The Avengers’ performance, it felt like we transcended current time, entering a trace-like state separated from the worries and obligations of the present.

The wonderful dream came to an end after The Avengers concluded their encore and left the stage for the evening, forcing me to wake up to the realities of the present: going home to let the dog out, getting some sleep, and anticipating work that would have to get done the next morning.

I look forward to more dreams.

Top Ten Nihilist Songs

A playlist of 10 nihilist themed songs.

1. Flipper – Nothing

2. Rancid – Nihilism

3. Sacripolitical – Nihilist Void

4. Fear – No More Nothing

5. Agent Orange – No Such Thing

6. Sex Pistols – No Feelings

7. GG Allin – No Rules

8. Fuck Ups – Negative Reaction

9. Angry Samoans – Lights Out

10 UXB – Anti-Everything