Mission Mission

The other day I was reminiscing with my buddy Jay Beaman about what it was like to see the Fucking Champs at 12 Galaxies right here in the Mission.

The Fucking Champs were sort of a metal band for non-metal-heads I guess? One serious metal fan laughed at me when I said I was a fan, explaining that the Champs were “hipster metal.” I was like, wellllll whatever you want to call it I fucking loooove it.

12 Galaxies was a gloriously scuzzy rock club in the spot on Mission near 22nd that is now called Balançoire. During the early-to-mid ’00s they booked seemingly every band I cared about, and they had cool wraparound mezzanine. It was probably the first place during my tenure in the Mission whose closure hit me really hard (other than KFC).

I was telling Jay that one of my favorite memories was during the period where Bender’s was closed and in limbo after being firebombed. Johnny Davis from Bender’s, one of my all-time favorite bartenders, had picked up a shift or two at Doc’s Clock (right next door to 12 Galaxies) and so I’d walk over there early, buy a drink from Johnny, go see a band, pop back over and buy a shot from Johnny, go back and see the next band, go back and do another shot, etc. etc. until last call. Gooooood times.

I’m pretty sure this was one of those nights:

If you’ve watched Netflix’s first original animated series BoJack Horseman, you probably noticed that the opening credits sequence totally rules. Maybe you also happen know that one of the composers of the theme music is Patrick Carney, drummer for the Black Keys.

But I bet you didn’t know that the co-writer of the track and the guy who layered all that sweet saxophone on it is his uncle and local musician Ralph Carney, who you may have seen around town playing with Gaucho, the Cottontails, and Serious Jass Project.

Oh, are those acts a little too underground? Well then maybe you’ve heard his past work with Tom Waits, the B-52s, Elvis Costello, and They Might Be Giants.

Once, Harvey Pekar wrote a comic about him:

Ralph is a rare jazz musician who brings something that it’s sorely needed to the genre: a sense of humor. You can’t help but smile every time you see him play. But it’s not a gimmick, it’s in his DNA. Tom Waits once described him best: “He’s guided by some other source of information. He’s like a broken toy that works better than before it was broken.”

We chatted with Ralph recently about the theme song, and other pretty interesting stuff:

MM: So how did you get approached to do this project?

Ralph Carney: Patrick from the Black Keys was asked to do a theme for the show and he sent them this track that we already finished last November. It was his first tune from his newly built home studio. The producers loved it. They edited it down from 4 minutes to 30 seconds or so.

It was a lucky break. Patrick and I have been trading files on and off since around 2007 but nothing had ever come of any of it till this.

MM: So you had no idea you were writing something for a show about an anthropomorphic horse?

Ralph Carney: Haha nope. It wasn’t really composed for the show, but it worked for them. I got a text from Patrick in April saying, “I think we have a sync deal.” I thought he meant something about plumbing.

MM: It’s awesomely sax-heavy. When I first heard it I thought it was a lead guitar. Then other parts of it sound like a guitar chunking out power chords. How many tracks of saxophone are on there?

Ralph Carney: There are 3: tenor, soprano and baritone. The soprano didn’t make the theme but there is some in the 4 minute version that will be out on iTunes soon, I hear. And one bass trombone part.

MM: Haha awesome. Can’t wait to hear the whole thing. Patrick Carney has been pretty open about your influence on his musical career. Did you encourage him a lot as a kid?

Ralph Carney: Well I know he liked the Tin Huey record on Warner Brothers, and as he got older he thought it was cool he had an uncle who was on a record. Not sure if I musically influenced him, though.

I turned him on to weird children’s records and the Shaggs when he was in high school and came to visit in 1996 or so.

MM: Oh yeah, the Shaggs influence is clear.

Ralph Carney: His first musical output which I have on cassettes is pretty out there. That is why I was kinda surprised when he played me the first Black Keys stuff. I thought Dan was an African American. Also, I didn’t know he (Patrick) was a drummer. The rest is history, I guess.

MM: How long have you been in San Francisco?

Ralph Carney: Since 1995. I moved to Oakland in 1989, two weeks before the earthquake.

MM: Glad that didn’t scare you off. Do you think there’s been much opportunity for the working musician here?

Ralph Carney: It depends on what you are trying to do I guess, I think it is harder for young people in rock bands. Too expensive. But as far as the kind of gigs I do, it is not so bad, plenty of restaurants and bars to play old music.

You have heard it all before from Patti Smith, David Byrne, etc. Meaning here, NYC, etc. are no longer cheap like in the mid to late 70′s.

MM: Maybe I’m venting now, but it also seems like the going rate for the working session musician hasn’t changed since the ’60s.

Ralph Carney: Agreed! I sometimes wonder what I was thinking and then a thing like BoJack comes up.

MM: What else do you have going on musically these days?

Ralph Carney: Just recording stuff for various singers in my home studio. And then local gigging.

(Editors note: Ralph is being modest. “Various singers” includes St. Vincent. Here is his playing on the track “Digital Witness” on her record from this year.)

Ralph Carney: I just played a wedding for Roman Coppola. That was exciting, seeing Nic Cage yell at his kid.

MM: Haha the goth kid?

Ralph Carney: Hahaha, I don’t think he was there. They were a lot younger and not goth. There was a lake and Cage yelled to be in the water where “I CAN SEE YOU!!!” (in his best Nic Cage impression)

MM: Yeah, plus goths don’t swim.

Ralph Carney: Hell no!

MM: Where are you playing these days?

Ralph Carney: Well I play all over S.F. and now suddenly Alameda.

(Editor’s note: More Ralph vagueness. I happen to know Ralph blows on his bizarre assortment of horns every Wednesday 8-10pm at Amnesia with Gaucho, and every 3rd Sunday at the Riptide with the Cottontails. Also various nights here at there at the Rite Spot Cafe under his own name.)

Thanks Ralph! I should also mention that all the fantastic character design in the show was done by the Bay Area (now LA) artist Lisa Hanawalt, but that, as they say, is another interview… hopefully!

Just what is the deal with this weird bench?  Says our pal Carlos:

It’s a bench on 26th and mission for absolutely no reason. It just faces a pole with its back to the intersection and there is no bus stop there (even though there is a bus in photo haha). Or maybe it’s a relic from a very old bus stop?

Ooh, maybe it’s a Thommason!!! Perhaps noted Mission historian Burrito Justice can shed some light on this conundrum. Until then . . . IT IS A MYSTERY 👻

I do! Last night I checked out local crooning singer-songwriter DonCat at the Chapel Bar for free. It’s a tucked away stage with only a few prime seats for real listening, but great if you’re just wanting an atmosphere to have a drink and listen to some pleasant background tunes. Either way, you can’t really go wrong. And if you hate it, you can leave – no dollars lost!

Next free shows in the Chapel Bar:

Tue, Sep 23: Cello Joe

Tue, Sep 30: Local Label Series feat. Do Not Disturb Records artist FRONDS

Hopefully more to come soon.

Excellent news! Remember how sad we all were when Pop’s got busted for doing DJ nights under the radar? Such a bummer!

But a new era is about to begin. Mission Local reports:

The historic bar’s new owner, Michael Krouse, who also owns Madrone on Divisadero, applied for a permit to have a full entertainment license, meaning the bar could legally offer its patrons live bands and DJs. With some conditions, the commission unanimously approved the change of use.

“Pop’s Bar has been around for 79 years, and through 11 owners; our goal is to continue that tradition of a great neighborhood bar,” said Krouse, who bought the bar last fall. “We want to complement the district with a variety of music and entertainment options.”

The change of use was greeted with no opposing public commentary. Erick Arguello, of Calle 24, shared with the commission that he’s been working closely with Krouse, who has been responsive to most of the merchant association’s concerns.

“As a Latino Cultural District, we’ve talked about how they are accommodating us by playing once or twice a week Salsa, Cumbia, Reggaeton or other Latino music to connect with the existing community in the area,” Arguello said.

Read on for more info.

[Photo by Google Maps]

As part of a digression in a great post about Thomassons (objects in cities that are useless but still remain, like these hitching posts from the days of horses in SF), TK from 40 going on 28 poses a question:

When you’re saying something is located in a neighborhood that ends in “Hill,” do you say “in” or “on”?  Like, I say “You know, Thee Parkside, over on Potrero Hill,” or “That is the douchiest place on Russian Hill, and that’s saying something.”  Sally obviously prefers the “in” usage, as in “My bro sold his startup to Google and bought a place in Rincon Hill.”  Is either one right or are they both cool?  I don’t know.  *shrugs*

Tough one! Maybe think geographically? Thee Parkside is technically in the Potrero Hill neighborhood, but it is not on the hill. So I’d say “in.” Whereas Blooms Saloon is definitely *on* Potrero Hill, so maybe I’d say, “Blooms, on Potrero Hill.” Or would I? Hard to say.

There’s a movement brewing. Not an organized boycott of NFL football per se, but basically that people are feeling disinclined to watch the sport because of the growing sense of dread that comes with it. Jason Kottke, one of my favorite bloggers, explains:

I’ve been a steadfast fan of NFL football for the past 15 years. Most weekends I’d catch at least two or three games on TV. Professional football lays bare all of the human achievement + battle with self + physical intelligence + teamwork stuff I love thinking about in a particularly compelling way. But for a few years now, the cons have been piling up in my conscience: the response to head injuries, the league’s nonprofit status, the homophobia, and turning a blind eye to the reliance on drugs (PEDs and otherwise). And the final straw: the awful terrible inhuman way the league treats violence against women.

It’s overwhelming. Enough is enough. I dropped my cable subscription a few months ago and was considering getting it again to watch the NFL, but I won’t be doing that. Pro football, I love you, but we can’t see each other anymore. And it’s definitely you, not me. Call me when you grow up.

Getting dressed up in red and gold and going to Thieves Tavern is sure fun, but, I dunno… we’ll see.

Read on for more.

[Photo by Honey Jets]

ARTCRANK is putting on yet another annual show of handmade, bike-themed posters designed by Bay Area artists, and the opening is this Friday, September 12, 5-10pm, at SOMArts (934 Brannan Street)!

The signed, limited edition prints are available that night for one night only, and proceeds will benefit the San Francisco Bike Coalition. And there will be beer of the craft variety! Go support and party with your local artists, and score a gorgeous poster (or several) for your walls!

(Full disclosure: I have a print in ARTCRANK this year. It’s a dedication to awesome women who ride bikes, it involves wolves (of course), and I would be super stoked if you came by to see it!)

RSVP and invite your friends!

[Photo via ARTCRANK on Instagram]

Pretty light on detail, but it looks like we’ve got Mission Dolores, Mission High, Seals baseball, booze, boozers, the pound, a factory, firefighters’ school, and lots of train tracks.

[via The Bold Italic]

Sleek!

[via Capp Street Crap]