McCain- Palin song.
By Girl George.
Sept.2,2008

"SARAH BARRACUDA"

McCAIN & PALIN..OH MY GOD!!!
CREATIONISM - ABSTINENCE
THE STAFF & THE ROD.

LOOK OUT YOU SINNERS
SARAH'S GOT HER GUN
SARAH BARRACUDA
GONNA SHOW YOU SOME FUN

NO PILL ON THE HILL
NO ROE V.WADE
YOU BETTER GET MARRIED "HONEY"
BEFORE YOU GET LAYED
THE BEST BIRTH CONTROL
IS CROSSING YOUR LEGS
THERE'LL BE A SHOT GUN WEDDING..
REAL SOON.WOULDN'T YOU SAY.

(CHORUS)
AND SHE'S A BEAUTY QUEEN..YEAH..YEAH..
OF THE RIGHT..RIGHT WING..OH YEAH
LIPSTICK PITBULL.SAY..SAY.SAY
BEAUTY QUEEN ON E-BAY

"VOTE REPUBLICAN" !!
ARE YOU OUT OF YOUR EVER LOVING
PEA PICKING MIND!

4 MORE..LIKE THE LAST 8
OUR TRAIN HAS SKIPPED IT'S TRACK
WHATEVER HAPPENED TO THE PEACE TRAIN
WE WANT OUR COUNTRY BACK
TAKE YOUR GRAND OLD PARTY
AND YOUR TOKEN CHICK
WHAT WE WANT IS CHANGE NOW
NOT MORE RHETORIC

..> ..>

Our Favorite Letters of 2007 Readers comment on tree sitters, Paris Hilton, the Jeff Tedford conspiracy, Gum Arabic products, the next soda giant, RepubliCrats, gold for sale, toxic racism, the rogue behavior of Judas, mountain bikers, and much, much more. December 19, 2007 Editor's note Each year we compile some of the more memorable letters, phone calls, and press releases we received during the prior twelve months. In the interest of verisimilitude, all spelling, punctuation, and grammar are the writers' own. "IT'S XMASS IN BERK" ITS XMASS TIME IN BREKELEY AND, THE WHOLE TOWNS TURNING GREEN ELECTRIC CARS..ACOUSTIC GUITARS,& OF COURSE RECYCLING. NO PRESENTS 'NEATH ..THE XMASS TREE NO JEWELS..FO' SURE.. NO FUR COATS... INSTEAD TO A FAMILY IN AFRICA, IN YOUR NAME..THEY SENT A GOAT.. IT NEVER SNOWS IN BERK. I'M HOPING FOR SOME RAIN.. SHINING STREETS,BABBLING CREEKS, PEPPERMINT CANDY CANES. DECK THE HALLS WITH LED LIGHTS, THE TREES AND MISTLETOE.. TOFERKEY..YUM.. FRUIT CAKE SOAKED IN RUM.. ALL VERY ORGANIC..YA KNOW.. A YR NOW SITTERS,SITTING IN THE TREES.. FENCE UM UP..YOU CAN'T GET UM DOWN. ON THE CAMPUS OF BERKELEY.. BERKELEY'S SHE'S ALL DECKED OUT.. FOR THE XMASS AND NEW YEARS BALL. JINGLE BELLS..JINGLE.JINGLE BELLS PEACE ON EARTH TO ALL.. Girl George

         I am a Chinatown whore ,

         I love the trade I'm in….

        

         painted toe's….fishnet hose..

         I love all the men………….              my favorite one's ..are the sailors

           I do them all for free

           because there's something about

           a seafareing guy

           that brings out the animal in me….

  so I'm… fucking all the

sailors in Chinatown                                      

 fucking all  the sailors in Chinatown

         down in old Chinatown..

         fucking all the sailors

         ain't it a beautyfull  world.

           I once fell in love with a seaman

           a real sweet sailor boy.

           his eyes were blue, 

           his pants were too

           his tool was my pride and joy.

           but he was so young

           and so foolish,

            kept me all to himself

             no walking the streets, 

             no kicking up sheets

             kept me in a jar on a shelf..

 

                no ..fucking all the sailors……ect..

             

            then none too soon ..

            he got shipped out..

             said goodby  to my

              sweet sailor  boy.

             I cryed  for  a  day,

             as his  ship  sailed  away…….

              then went back

              to my old trade……

 of…..fucking all the sailors

           in Chinatown……ect.

                  

              now when the big ships dock..

               old Chinatown rocks….. 

                           oh what a Beautfull day

DeMoss Family 
1877-1942. 

The DeMoss Lyric Bands began touring in 1872; their career of musical touring lasted more than 35 years. Family members were James M. DeMoss, his wife Elizabeth, and their five children--Henry, George, Lizzie, Minnie, and May. The children were trained by their parents and also attended the Royal Academy of Music in London. Their first tours were confined to Oregon. Their specialty was playing 40 to 50 different instruments during one performance. The collection contains correspondence, tour journals (mainly lists of towns, evening's grosses, and expenses), manuscripts, testimonials, published music, and publicity materials.
..> ..> ..>..>

This day in 1872 marked the first public performance of Oregon's most famous musical family in Cove, Union County. The DeMoss Family Lyric Bards, as they were called, soon became the west's favorite entertainment group and were enthusiastically welcomed at many remote cowtowns and mining camps as they toured throughout the western states. The family, consisting of Reverend and Mrs. James DeMoss and their five children, wrote most of their own songs and played forty-one different musical instruments. While not on concert tour in America or Europe, the family spent their summers on the DeMoss Springs Ranch in eastern Oregon's Sherman County.

 EAST BAY EXPRESS "George's Jungle" A starring role in a new doc isn't enough for ex-Nashville scenester Girl George....... By Rob Harvilla ....(music editor east bay express).. Sep 29, 2004.... Presumably, Girl George would've enjoyed attending the premiere of Pre-Madonna, the feature-length documentary detailing her dalliances in 1970s Nashville. But alas, the East Bay open mic legend was indisposed. Though she missed Pre-Madonna's Nashville premiere, she did catch its public Berkeley debut late last month at the Starry Plough during her weekly Tuesday night open mic gig. Cool flick, weird subjects. Storys of bein' born to gettin' married at age 16..to gettin' unmarried a month latter..and working and living on her own from 16 on.. to ridin' with the Hells Angels on that Bass lake run Hunter Thompson wrote about...being a topless dancer on Broadway S.F. in 1966..to bein' pregnant  at age 32..running open mic's...Producing her own T.V show for 5 years...Produced yearly love in's for 11years.- Then again, music has never been the most interesting thing about Girl George. She's a Bay Area icon more by sheer force of personality, with her shock of white-blonde hair; bombastically craggy voice; riveting pacing, flailing, and howling conversational habits; and patented mix of childlike exuberance and veteran disdain. Nothing she'll ever do onstage will top the mesmerizing performances she puts on, as herself, offstage. Which, Pre-Madonna asserts, is exactly what made George nominally famous. Except back then she had a little help. Pre-Madonna is subtitled "The Anecdotal Adventures of George and the Arizona Star," the latter being, depending on whom you ask, either George's equal partner in crime or mere sideshow/sidekick. The gist: In '70s Nashville, a halcyon time and place described as "Paris in the '20s," or, more to the point, "When the '60s hit the South," the fertile, talented, but decidedly boring scene is suddenly invaded and held hostage by two young ladies with sparkling musical talents, and world-class scenester skills. First there's a young George, fresh from SF,with a waifish frame,short blonde pixie cut hair and, on her belt, an actual sword, the total package an asexual mix of David Bowie,Joan of Arc and Prince Valiant. And then there's Star, an Arizona-bred sexpot with a finely tuned sense of Marilyn Monroe melodrama. Together, they destroyed Nashville and rebuilt it in their own fractured image. On-camera interviews with big-shot scenesters like Kris Kristofferson reveal earnest musicians thunderstruck by the duo's nonmusical magnetism. "When they arrived they were bigger than everybody," someone onscreen notes as, from the back of the Starry Plough, George violently giggles. "First day they got here." "They weren't writers yet, they were images," another worshipper declares. "Colorful images." The ninety-minute flick rolls by with the usual mix of still photos, archival video footage, present-day interviews, earnest narration, and incidental backing music. Anecdote after anecdote -- the arrests, the scene-crashing public appearances, the various depravities and eccentricities -- Pre-Madonna director Demetria Kalodimos, a twenty-year Nashville vet and beloved TV newscaster who doubles as a greenhorn documentarian -- "I'm sort of committed to underground Nashville tales,"Some footage of George and Star that sneaks in -- a few brief glimpses of a goofy play they wrote entitled The Lobotomy -- required months of technical doctoring to salvage from an old reel-to-reel setup. Demetria says. "I think most of the people who saw the film here in Nashville thought George was the star of the show. I had more people tell me that they were endeared to George and curious about her. I think George as a character is one of the true originals." Did you ever want to be more fem like star?.."You missed that part," George hollers. "Didn't you hear me say she's everything I
ever hated? Ha ha ha. That's not what I wanted to be. I wanted to be a performer. I wanted to be Dylan. I wanted to be Mick Jagger, I wanted to be John Lennon. You take me seriously, not as a girl, I'm supposed to walk two feet behind a man -- I don't think so. That was Star, which was as far over that way as you ever could get."I was Steel..Real as you could ever get..Star was fluff..cotton candy..take a bite and it disapears".. What Pre-Madonna ultimately posits is that you can get famous without ever really being famous, and that you might be better off for it. Nostalgia isn't the point, either. "It isn't like, 'Oh, I wish I were in the '60s, I wish I were in the '20s," George mock-moans. "It's always been there. Artists do that. That's what artists do. They grow up and they grow old, or they O.D., or they grow out of it. I never did. Everyone's half my age, a third my age, but I'm still there doing it. I'm playin' every week." Indeed, her four-year death grip on the Starry Plough won't loosen anytime soon, and her weekly fifteen-minute slot is plenty, thanks -- "I'm a million yrs old," George notes. But she is self-deprecating only to a point. "It's not over," she insists. "Art is forever. I'm doing it. I'm still doing it. If you get famous, then you can't play anymore -- so maybe I lucked out -- and your kid's all fucked up. My kid's great. We get along great. She went to college, she likes me. So my kid turned out great, I get to play every week -- what more can you ask? People get famous, they can't play anymore. They play once a year, on tour. Rolling Stones get to play, what, once every five years? I like to play. This is what I enjoy. The rest is all, nothin' to do with it. I'm a performer." Nobody's gonna dispute that. However unnerved Pre-Madonna left her -- watching a documentary about yourself for the first time in public has gotta be disquieting -- Girl George recovered admirably that night at the Starry Plough. After whisking away the projection screen, she leapt onstage, grabbed a microphone, lassoed the usual pack of backup singers, and launched into an original tune: "Everybodys crazy,But Me"........................

..> ..>

Girl George "Queen of the Underground" by Zarf Lazlo One would not right off think of the Berk. Irish Pub, STARRY PLOUGH, as a vestige of PUNK. But think about it, what is punk ,if not the ultimate musical form of free expression and freedom of speech.  With revolution in the air again, you wonder why you didn't notice it before.  Look up there, on the walls, next to the ceiling, there's posters of every revolution that's come down the pike since before you were born.  yes LOOK around, some of the posters may be down for a while (their remodeling) for their big 35 anniversary, celebration in Sept. of 2007. Lots of BIG PUNK BANDS have played here, but that's not the point, Go to the STARRY PLOUGH any Tue night and you'll find the most amazing thing your eyes will ever behold. To cut to the chase, in one word (or is that two) GIRL GEORGE, a veteran of the San Francisco premiere PUNK CLUB "THE FAB MAB" in the 70's then onto the legendary L.A.PUNKDOMS AL'S BAR "NO TALENT NIGHT" SHE WAS THE QUEEN OF THE UNDERGROUND. (check the videos of al's bar 1990 on her web site www.myspace.com/thegirlgeorge.html) THERE'S NO ONE LIKE GIRL GEORGE. She also played the ANTI CLUB, THE CENTRAL JAM, and ran the open mic at the CATHAY DE GRAND.  Boy talk about someone that's been around. She played the fillmore NEW YEARS EVE '69 going into '70..if you watch the HISTORY Ch. on TV you'll see her in "HISTORY OF THE HELLS ANGELS" Yeah that's her, the blond sitting at the table with Sonny, on the Bass lake run (the one Hunter S. Thompson wrote about) and that's not the only time her path crossed with GONZO, in Nashville in the '70's she gave him a lift to the SMOKEY MOUNTAINS, for a story he had to do. NO GIRL GEORGE was not at WOODSTOCK, she was at ALTAMONT right up in front of the stage (how punk is that?) She went to Nashville in '71 with her act "GEORGE AND THE ARIZONA STAR" flew there on a bum check, crashed the GRAMMIES and the COUNTRY MUSIC AWARDS. Played the Tenn. State Men's Penitentiary, with outlaws DAVID ALLEN COE, AND FARON YOUNG....  KRISTOFFERSON would bring JOAN BAEZ and JERRY JEFF WALKER to the RED DOG SALOON to see them play, When they needed money, they made up tickets for a play called "THE LOBOTOMY", sold tickets by the hundreds, then finally got around to writing the dam thing with ZILCH FLETCHER a wk. before they put it on at the RED DOG SALOON (or was the place called "UP YOURS" by that time) they Did the play a second time when they needed money again, (and by popular demand)...This time it was video taped and shown at a later date at the "EXIT IN" as "THE LOBOTOMY THE MOVIE".. All this is captured in a documentary movie made about them in 2004.You can find this too on one of GIRL GEORGE'S 3 WEB SITES, they're all linked together (follow the yellow brick road) "GEORGE & THE ARIZONA STAR TOURED WITH DR.HOOK, CHUCK BERRY ,STEVIE WONDER IN THE 1970,Came back to SF in 1975,ran the COFFEE GALLERY OPEN MIC for a year.  Went to London hung out with CHRISSIE HYNDE, crashed at her pad for a while.  Came back to SF wearing the first PUNK outfit anyone was to wear at gigs in SF (that's how she met Chrissie, bought the outfit from her when she worked at "LET IT ROCK" punk dress shop) Once back in SF girl started producing and starring in her own TV show (which ran weekly for 5 year) "GEORGE and the SUPERSTARS of the FUTURE" EVERYONE that came through SF at that time,if they were good, they were on that show "PEARL HARBOR AND THE EXPLOSIONS" "ROY LONEY" EVEN DIRK DIRKSEN & LYLE TUTTLE, AND THE ONE AND ONLY "BLUE CHEER" (some say they were the first punk band.) BACK TO THE FUTURE...GIRL GEORGE is 62 now and still RUNNING AROUND, SCREAMING ON STAGE LIKE AN OVER CAFFEINED TEENAGER, STILL LIVING IN THE ETERNAL NOW, STILL RELEVANT, SINGING SONGS SHE WROTE "LIVING IN THE WAR ZONE" "YOU MAKE ME FEEL LIKE A WHORE" and "EVERYBODY'S CRAZY BUT ME".....JOAN PEZ & GIRL GEORGE HAVE BEEN HOSTING ONE HELL OF A OPEN MIC AT THE STARRY PLOUGH GOING ON 7 YEARS NOW,.....NO YOU DON'T HAVE TO BE PUNK, AND THEY DON'T THROW CUPS AT YOU IF YOU SUCK, like at ALS BAR, "NO TALENT NIGHT"...IN FACT THEY GIVE YOU A FREE BEER FOR A CORRECT OR FUNNY TRIVIA ANSWER. JOAN PEZ IS VERY SUPPORTIVE OF ALL THE ACTS, GOOD OR BAD, PUNK OR LOVE SONG.  JOAN PEZ has built her own recording studio to help new acts get a fair deal on that all important CD............JOAN PEZ AND GIRL GEORGE ARE LIKE A PUNK VERSION OF DEAN MARTIN & JERRY LEWIS, JOAN PEZ ever the cool one, GIRL GEORGE the loose cannon, They bounce off each other like old pro's, and that they are.  Sign up is at 7;30 every TUE. at the STARRY PLOUGH OPEN MIC, if you'd like to try your hand at the mic. Or just go there to watch for sure you'll never forget it.     .. toctype = X-unknown -->.. toctype = text -->.. text -->
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.HERE'S ONE OF THE MANY WRITE UP'S ABOUT GG....FROM THE SF STATION..BY;LIZ CHEN.....Bottles and Christmas lights twinkle as I walk into The Stork Club for its Sunday night Open Mic with Girl George. This is not your typical hipster open mic, populated by hip-hoppers looking to spit a few rhymes. This is an old-school open mic, which Girl George has carved out in an odd little bar filled with Americana hodgepodge in the near vicinity of downtown Oakland. 8 years in the running, the open mic has gained a name for itself, as evidenced by the award for" The Best Trashy Open Mic "from the San Francisco Bay Guardian in 1998.BEST OF THE BAY, that is proudly displayed at the entrance, along with one of the open mic flyers showing a Shera-like Girl George cartoon dressed in boots, cape and a sword (you can buy a copy of her CD for the real thing). The interest here seems to be more the wacky characters that gather here for the open mic and their fearless leader, Girl George, rather than the actual performances. with a mix of singer/songwriters, poets and comedians.Before she activates the canned-applause button for Ricky Richardson, the guitarist onstage. She calls out multiple requests to Ricky while she strolls around the bar and chats with patrons. It's only a matter of time before Girl George herself grabs the microphone and accosts the bar-goers in the other room to "get in here" to help her sing her bawdy favorites, like "Johnny Got Herpes" and "You Make Me Feel Like A Whore." Five minutes later, Ricky is playing his guitar from his prostate position on the ground while three audience members are onstage backing up Girl George with a repeating chorus line of "perverts everywhere." The rest of the audience is clapping and singing and heavily encouraged by Girl George to continue the noise-making. September 2002.....................................

The evening's highlight, indisputably, is "Fuckin' All the Sailors in Chinatown." Girl George bellows her bawdy ode to Asian-themed maritime fornication with a cheerleader's enthusiasm and a Baptist preacher's religious fervor. The sixty-year-old ingenue -- her shockingly blonde mane atom-bomb-bright, even within Berkeley's dimly lit Starry Plough -- just holds up a few fingers to explain why she doesn't play much guitar herself anymore. But she has lassoed a random dude into pounding out the punk-simple "Chinatown" chord progression for her, which leaves her free to stalk the stage like an overcaffeinated, magnificently coiffed sasquatch, lumbering into the crowd and manic-aggressively shoving the mic in various patrons' faces. These patrons are universally delighted. George's doting disciples hoot joyfully throughout and join together en masse to extend the crucial note in the bombastic chorus: Fuckin' all the sail-orrrrrrrrrrs!!!!! ..

It's a profane, nonsensical, and absurdly exhilarating moment.

We have gathered to celebrate the fifth anniversary of Girl George's lordship over the Starry Plough's open mic, a duty she shares with booming-voiced singer-songwriter and emcee Joan Pez and a steady stream of surprisingly talented oddballs, weirdos, lovebirds, poets, comedians, and chowderheads -- a fascinating menagerie of scenesters and scene-stealers, many making their virgin voyages as public performers.

"It's given me much pleasure to get musicians onstage for the first time," Pez explains. "I feel like the Bay Area is so competitive, and I feel like this open mic is a place for people to go and feel really supported. Instead of getting attitude, they get a really good feeling -- they meet musicians and have a really good community. We're not about attitude. We're about supporting anybody in their creative art."

But whether she's cackling wildly from behind the soundboard or violently traipsing about onstage like some strange hybrid of Iggy Pop and Dolly Parton, Girl George is the Plough's undeniable Queen Bee. To celebrate the open mic's joyous birthday (along with the balloons and chocolate cake), performers are encouraged to cover each others' songs; wisely, most folks try their hands at a Girl George track. Thus, the evening begins with a very Berkeley-lookin' gent named Paul Pot -- wild gray hair, laid-back demeanor, sandals -- paying homage to "Like a Whore."

(Yeah, that's right: Paul Pot. I'll be sure and let you know when I start making things up.)

Sing it, Paul! Shout counterpoint from behind the soundboard, George!

Like a floozy (Like a floozy!!!)
Like a hustler (Like a hustler!!!)
Like a harlot (Like a harlot!!!)
Like a whore (Like a whore!!! Like a whore!!! Like a whore!!!)

George's compositions primarily address, shall we say, tough love. Case in point: "Beat Me Kick Me," performed by a nervous lass who stared straight down at the lyric sheet she'd taped to the mic stand, and coupled with "Only Lonely," a slightly more sensitive ditty about getting stoned and bringing chumpish dudes home from the club solely on the basis of their pants. But the evening's finest GG homage was "Pervs Everywhere," a cautionary tale only heightened by the fact that it was reinterpreted by the Danny Phartridge Expherience, a trio honoring the last remaining Partridge Family members (they claim Keith, Shirley, and Tracy were killed in a 1977 bus crash) who also blew through "I Think I Love You," "Doesn't Somebody Want to Be Wanted," and a spirited version of "Mr. Tambourine Man," in which they loaded the stage with tambourine-banging crowd members.

Other than that, it was a completely normal open-mic experience. Bill Clinton impressions. A white-funk ode to a partially disabled sex fiend (opening line: Baby's got a wooden leg/She knows just how to use it). A poet named Quiet Pen, dressed as though just back from Mass at a Southern Baptist church, introducing one piece with "I wrote this poem as gunfire shot over my head as I was on my stomach underneath a car." Mia & Jonah, young lovers who write coffeehouse folk tunes about their own loving relationship, ad-libbing Thank yous and Please don't stops as they compliment each other and announcing "We believe in love and shining and all that kinda stuff." (For some reason I'm compelled to write "SUPREMELY PUNCHABLE" in my notebook.) Some dude does an actual credible Elvis impersonation on "Love Me"; Joan Pez adds a credibly hostile version of the Carpenters' "Superstar." And three different performers (including the original songwriter) croon a country anthem entitled "Cold Beer, Hot Women, and Honky-Tonks."

Voilá. An enigmatic cult of personality in which the Kool-Aid takes the form of cackling laughter from the back of the room. Weird and wacky as these tunes are, they can't hold a candle to "Fuckin' All the Sailors in Chinatown," and Girl George knows it. "They scream and yell and I just looove it," she howls, hooting and pacing maniacally about outside the Plough as if she's guarding me in the low post. "It used to be when I was younger, my fans were boys. Now there's alot of girls, which is great. They're all about 21." Furthermore, they'll stay that way: "My fans are always 21. They never change. They keep changing, but they're always 21, when I keep getting older. Because that's the age where you're lookin' for something new, and they find me and they think they discovered me. They don't know I've been doin' it for forty years, the same fuckin' thing, the same songs. I've been doin' the same thing, but to them it's new. Especially art students, because they're lookin' for something strange, bizarre, and wonderful and I'm loud and sparkly. It gives the girls hope, that a girl can do it."

George asserts that she'll keep doing this until she either dies or gets kicked out. "Because there's new people all the time," she explains. "There's fresh blood, and I'm a vampire. I live off all those youngsters in there. Those young kids? I live off their energy. Without that energy, I'd die. If I didn't go at least once a week, I'd die." .....by Rob Harvilla..(music editor fof the east bay express)

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