In Other News(papers) It's been a bad couple of weeks for Courtney Love. Nick Broomfield's Kurt and Courtney, the documentary film that claims that Love drove Cobain to swallow a shotgun, continues its three-week run at the Roxie. Meanwhile, The Stranger, the Seattle alternative-alternative weekly newspaper where sex columnist Dan Savage is an editor, managed to document a nasty, longtime rumor about Love -- that she stole her husband's songs. The Stranger's argument hinges on a 1991 Nirvana song, recorded on a boombox, that a reader mailed in after hearing the song "Old Age" on My Body, the Hand Grenade, a European collection of Hole B-sides. The paper has a minute or so of the songs available for listening on its Web site ( Riff Raff tuned in, and can attest that the melodies and the chord progression are awfully identical, suggesting that Love appropriated the song sometime between 1991 and 1993, when it was released as a B side of the 12-inch European single of "Beautiful Son." BMI music-publishing records list Love as the sole writer. The Stranger's straight-faced Kathleen Wilson documents the story as if it were of presidential importance, but stops short of saying Love snaked the tune. "If in fact it is Cobain's song ... Love taking credit for writing the song in its entirety is like scratching the name off a Picasso and replacing it with the name of the person who bought it," writes Wilson. Nirvana bassist Krist Novoselic is blunter. "That's a Nirvana song. Kurt wrote that song." ... In other alt-weekly scooplets, free-lance writer Jim DeRogatis smacks Marilyn Manson biographer -- and New York Times critic -- Neil Strauss for some pretty serious conflicts of interest in New Times Los Angeles, SF Weekly's SoCal relative. "Strauss seems to have sold his soul to the self-proclaimed 'Antichrist Superstar,' " DeRogatis, who's the pop critic at the Chicago Sun-Times, writes. "In the last 14 months, the young writer has served as a virtual one-man hype machine for the garish star." Strauss and Manson consummated their relationship while the writer was on assignment for Rolling Stone in November 1996. The resulting cover story led to a ghostwriting deal that gave Strauss a reported $200,000 advance. (Strauss disputes the amount.) DeRogatis writes that in the year-and-a-half since, Strauss has continued to produce copy about the star for Rolling Stone and the New York Times. John Pareles, the chief pop critic at the Times, maintains that Strauss was merely writing about Manson because he was in the news. DeRogatis says keeping Manson in the public eye -- a "bolster to Manson's controversial public image" -- helps Manson sell more books. Strauss wouldn't agree to be interviewed; in a short fax to DeRogatis, he tries to explain away some dates, and to make some justification for continuing to cover Manson, but in the end, the story is devastating. Strauss can't argue with the simple premise of the article: Journalists shouldn't do business with the people they write about. The story's available at (J.S.)

my After expiring a year-and-a-half ago, Little My are showing remarkable twitches of rigor mortis. The screwy Oakland-based rock band, whose bent-note sparseness, quirky lyrics, and ignitable live performances put them somewhere near the middle of a musical spectrum bookended by Ed's Redeeming Qualities and Thinking Fellers Union Local 282, recently self-released The Six Fingers of Rick, its first full-length record. And next week, on March 20, the band comes together for a reunion of sorts at the Edinburgh Castle. (It's quite a bill, really: Captain Fatass and someone calling herself "Buns of Butter" will also play.) Here's the quick Little My rockumentary: Singer Nathaniel Parsons (Nat), guitarist Matt Stahl, bassist Tynan Northrop, and drummer Adam McCauley met at CCAC in 1989. The short-lived lineup never got around to releasing a record before Parsons left to pursue art -- the first time. The band broke up, but Northrop soon reformed the outfit as a trio to make a record for a thesis project. She, Stahl, and McCauley carried on without Parsons for three or four years, honing a manic live act that regularly drew loads of other musicians to their shows. Even though they'd made a definitive split, Parsons and the band continued to share a West Oakland studio for painting and practicing respectively. Stahl says one day someone caught Parsons jumping up and down and lip-syncing to the band's practice. After that, the other members easily lured him back to the group. More releases and many shows and even more bass players later, Parsons decided that he would leave once again in the summer of 1996, this time to study art at the University of Iowa. The impending collapse freed the band members. "That was the best period," says Stahl. "It released us from the band grind." In its final six months, the outfit played all the time and recorded the 12 originals and the Souled American cover that appear on The Six Fingers of Rick. The break means that Little My haven't ever played a show in support of this record. Stahl says that Parsons was planning on coming back to the Bay Area for spring break so the rest of the band decided to re-form for one show. "We thought we owed everyone a show, ourselves too," he says. "Little My was a joyful thing and it's good to spread the joy whenever possible." (J.S.)

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