Volume 46 [2011–12]

In the now

2

DANCE On the opening night of its eighth year, the three-weekend “Black Choreographers Festival: Here and Now” deserved its name. The quality of the choreography and the confident performances more than confirmed that BCF is a celebration of excellent contemporary African American choreography. Four out of the five works starred as fine world premieres by local artists. They were stylistically about as diverse as you would want, but this was an evening to rejoice. The Feb. 10 audience at Oakland’s Laney College more than agreed.

Reginald Ray-Savage’s Savage Jazz Dance Company looked better than it has in a long time. For Friday, February 10 he reached for an idiosyncratic collage of scores. Except for the finale, there seemed to be little jazz; still, the selections made sense, starting with a passage of pizzicato violins that played as Lavante Cervantes ceremoniously walked across the stage. But almost immediately, that calm exploded into intense, relentlessly shifting encounters among six dancers.

Though tightly choreographed individually, the passages followed each other without internal logic. Transitions were sublimated into the commitment and clarity of individual moments — fierce turns, huge extensions, and traveling leaps. Every phrase had to stand on its own.

One of Ray-Savage’s gifts is setting in relief individual talents: Melissa Schumann’s tearing into space, Jarrod Mayo’s floating elevations and whiplash turns. Two duets showcased the magisterial Alison Hurley. With Evan Kharazzi, Hurley assertively reversed dance’s traditional male-female relationships; her dramatic-lyrical encounter with Mayo brought out a quasi-maternal quality. Friday‘s only misstep was to bring on Suman Wilson at the very end. Why, if at all, only then?

With a largely changed cast and on a different stage, Robert Moses’ 2008 Approaching Thought looked like new. The current crop of dancers performed the whirlwind choreography clearly and assertively. To see Katherine Wells and Crystaldawn Bell — both of them reed-thin, long-limbed and fierce — next to each other was breathtaking. I still don’t know what the title means, but Moses must have had something in mind along the lines of contrarian relationships, since he built the work around duets.

Approaching is packed with movement ideas — unisons that splinter, duets that evaporate; a hip-hop gesture here, a ballet turn there. People send each other packing, and they embrace. Norma Fong was a one-woman threat to anything in her way; no wonder she sent a cowering Wells into the wings.

Susana Arenas Pedroso’s new version of Yemaya, Ocean Mother, with live music, including her as the lead singer, evoked the give and take of the ocean with mesmerizing intensity. Supported by seven fellow dancers, Regina Tolbert’s Yemaya rolled her shoulders and swayed her skirts, gathering and releasing energy. Playful one moment and ferocious the next, she kept joining a larger whole but also metamorphosed out of it.

Kendra Kimbrough Barnes showed an excerpt of In the meantime. Performed by six women, of divergent physical make-ups and approaches to dance, the work appeared to be the next step in what Barnes has explored in earlier pieces: the internal and external life of African American woman, and by extension other wives, mothers, matriarchs, and burden-carriers. She has a special ability to combine text that speaks softly about momentous issues and pair it with choreography that expands on the language. The complete work will premiere this fall.

The enthusiastically received Ndozi: Ancient Truths Revealed paired Congolese drummer Kazi Malonga and longtime Dimensions Dancer Theater performer Latanya d. Tigner in a coming-of-age story. The overly long opening, with blackouts and too-somber lighting, was awkward as it introduced us to either a dream or the resurrection of a young girl who has to find herself. But to watch Tigner, guided by Malonga, being initiated into the all-male drum ensemble was seeing transformation in action. Tigner was magnificent as she first found her feet and then her rhythm.

For the next two weekends, BCF will be at Dance Mission Theater with new programs, including special performances of Marc Bamuthi Joseph’s Word Becomes Flesh.

 

BLACK CHOREOGRAPHERS FESTIVAL: HERE AND NOW 2012

Fri/17-Sat/18 and Feb. 24-25, 8 p.m.; Sun/19, 4 p.m.; Feb. 26, 7 p.m., $10-$25

Dance Mission Theater

3316 24th St., SF www.bcfhereandnow.com

No country

0

arts@sfbg.com

FILM “The male stereotype makes masculinity not just a fact of biology but something that must be proved and re-proved, a continual quest for an ever-receding Holy Grail,” wrote Marc Feigen Fasteau in The Male Machine, a 1975 Gloria Steinem-approved polemic (she wrote the introduction) that attempted to catalyze American men into joining their sisters in the women’s movement in reexamining and casting off traditional gender roles.

Masculinity of the variety rhapsodized by Ernest Hemingway and scrutinized by Fasteau is now something talked about in scare quotes (see Old Spice’s man on a horse) or presented as a relic of an earlier time à la Don Draper, even if magazines such as GQ routinely make it into a fetish object. Even a cursory scan of contemporary pop culture, from Drake’s broody makeover of hip-hop swagger to Will Arnett’s stay-at-home dad in Up All Night, shows that men today seemingly have more options, and consequently different sets of expectations, when it comes to being a man.

And yet, the ties that bind to that “ever-receding Holy Grail” still grip some men, causing fresh wounds and opening up old scars. It’s a struggle that runs through many of the remaining programs in Yerba Buena Center for the Arts’ ongoing series “Bros Before Hos: Masculinity and its Discontents,” a collection of leftfield representations of masculinity, often under duress.

The hitchhiking bisexual hustler at the center of Meat Rack (1968), a gritty piece of Gay Lib-era San Francisco film history, protests the loudest. Director Michael Thomas, who appears in person at the screening, has his boy-toy clanking his can against the prison bars of pop Freudian psychology as he works out his Mommy issues, turning tricks in Market Street cinemas (appropriate, given that Thomas owned the infamous Strand Theater and later founded its namesake, indie film distributor Strand Releasing). Although the film’s sexual politics are at times as confused as its protagonist’s, Meat Rack depicts with lysergic abandon the panic that can happen when the injunction to be a man is simply too much to bear.

That pressure is also touched on again and again by the various Finnish men Joonas Berghäll and Mika Hotakainen interviewed for their tender documentary Steam of Life (2011). Within the steam-filled confession booth of a sauna, men talk candidly and emotively about their lives, loves, and losses, their famous Scandinavian reserve seemingly melting away into streams of tears with each new puff of steam. “What are the options for boys?” a solider asks a bench-mate, reflecting on his inability to mourn. “Silence and drinking”

Steam of Life wears its nationalism, as well as its heart, on its sleeve, intercutting gorgeous long shots of the Finnish countryside between its in-the-buff interviews, and ending with a dedication, not merely to its subjects, but to, “all Finnish men.”

But the ballad of aging strongman Stanley Pleskun, a.k.a. Stanless Steel, as documented in Zachary Levy’s Strongman (2009), can be called uniquely American. Pleskun’ abilities are the stuff of classic tall tales — he can lift 10,000-pound trucks with his legs and hold aloft three adults with just one finger — even if his chaotic home life and uphill battle to keep his career going, sympathetically captured by Levy, is straight Arthur Miller. For all his might, Pleskun is at times painfully oblivious to his emotional shortcomings, making his quest for the ever-receding Holy Grail of fame and glory one of the rougher paths that “Bros Before Hos” traces. 

“BROS BEFORE HOS: MASCULINITY AND ITS DISCONTENTS”

Through Feb. 26

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Shorts: More top picks from Noise Pop

1

SNOB THEATER

Noise Pop isn’t all studied, somber plucking, ethereal soundscapes, or morose, twisting in the night song lyrics; there are solid yucks to be had. Kata Rokkar and Noise Pop are presenting another installment of Snob Theater at the Noise Pop-Up Shop pre-main events. Hosted by comedian-music blogger Shawn Robbins, it’s a mashup of indie rockers and indie comics, a real giggle fest for the musically-inclined. Brendon Walsh (Comedy Central, Jimmy Kimmel), Dave Thomason (SF Sketchfest), Janine Brito (Laughter Against The Machine), and Chris Thayer (Bridgetown Comedy Festival) bring the comedy, rockers the Ferocious Few and Bobby Ebola and the Children MacNuggits bring the raucous tunage. (Emily Savage)

Feb. 17, 8 p.m., $10

Noise Pop-Up Shop

34 Page, SF

2012.noisepop.com

 

DIE ANTWOORD

 The chances that this South African freak-hop duo will roll onstage with LED-tricked wheelchairs, wearing onesies that make flat-topped emcee Ninja and devil-pixie singer Yo-Landi Vi$$er look like plushies are not high — the two already worked that look for the “Umshini Wam” video, accessorizing with a telescope-sized joint and firearms. No matter, this hot-ticket sell-out show will have a gonzo pack of hipsters twerking to the weird-ass lyrics like there’s no tomorrow. Die Antwoord, like most hip-hop groups these days, is plagued by questions of authenticity (it reps for South Africa’s working-class demographic that its members may not actually hail from), but the performative aspect of its schtick makes it a cultural artifact regardless of where Ninja went to high school. Hot tip for those that dig a long shot: keep one eye peeled for Celine Dion. Die Antwoord’s pegged her as their dream collaborator. Weirdos. (Caitlin Donohue)

Feb. 22, 7 p.m., sold out

Regency Ballroom

1300 Van Ness, SF

2012.noisepop.com

 

HIT SO HARD: THE LIFE AND NEAR-DEATH STORY OF DRUMMER PATTY SCHEMEL

Along with Last Days Here, currently screening as part of the San Francisco Independent Film Festival, Hit So Hard is one of the most inspiring rock docs in recent memory. Patty Schemel was the drummer for Hole circa Live Through This, coolly keeping the beat amid Courtney Love’s frequent Lollapalooza-stage meltdowns after Kurt Cobain’s 1994 death. Offstage, however, she was neck-deep in substance abuse, weathering several rounds of rehab even after the fatal overdose of Hole bandmate Kristen Pfaff just months after Cobain (who appears here in Schemel’s own remarkable home video footage). P. David Ebersole’s film gathers insight from many key figures in Schemel’s life — including her mother, who has the exact voice of George Costanza’s mother on Seinfeld, and a garishly made-up, straight-talking Love — but most importantly, from Schemel herself, who is open and funny even when talking about the perils of drug addiction, of the heartbreak of being a gay teen in a small town, and the ultimate triumph of being a rock ‘n’ roll survivor. If you miss Hit So Hard at Noise Pop, it’ll be back around for a San Francisco theatrical run starting April 27. (Cheryl Eddy)

Feb. 22, 9 p.m., $10

Artists’ Television Access

992 Valencia, SF

2012.noisepop.com/film

 

GRIMES

After listening to Grimes on heavy rotation for the past couple years I still find myself mesmerized by Claire Boucher’s voice. It leaps and falls, circles words in repetitive motions, ciphering their sonic texture and tone into a perpetual undoing of sound. Grimes consistently induces this siren effect, inhabiting that mysteriously seductive threshold somewhere between waking life and dream world. Its third full-length, Visions (Arbutus/4AD), is no different. It continues to draw resources from spectral pop wherever it can, from the processed rhythms underpinning a constellation of electronic dance genres, to the gushing melodies of New Age cassette tapes and 1990s R&B, and even disparate psychedelic folk from across the globe. What holds Grimes’s aesthetic together though is, simply put, mood: whirling awfully close to planetary rapture. (Michael Krimper)

Feb. 22, 8 p.m., $10, sold out

Grimes and oOoOO

With Born Gold, Yalls

Rickshaw Shop

155 Fell St., SF

2012.noisepop.com

 

THE BUDOS BAND

Few bands working within the new wave of funk revivalism during the past decade are as tight as The Budos Band. The Brooklyn-based outfit has released all three of their records, each simply self-titled and numbered, on Daptone Records, home to powerhouse soulstress, Sharon Jones. But The Budos Band has a bit more of a worldly spectrum than other Daptone releases firmly rooted in 1960s R&B. They take influence ultimately from the funk diaspora launched by James Brown: Fela Kuti’s afrobeat jams and the Latin soul of Fania, to the psychedelic ethio-jazz culled by Mulatu Astatke. The drums are deep in the pocket, wah-wah guitars get gritty, and the horn section hits hard, all with the frenetic urgency of a score straight out of a Melvin Van Peebles’ blaxpoitation flick. (Michael Krimper)

Feb. 23, 7:30 p.m., $20

With Allah-Las, Pickwick, Big Tree

Independent

628 Divisadero, SF

2012.noisepop.com

 

JOLIE HOLLAND

This longtime San Franciscan (and seventh-generation Texan) may call the road her home — with brief pauses for righteous swimming holes — but we’ll always think of her as a perfectly impure product of the Bay’s musical bohemia, the latest in long line of city songsmiths succored on prog politics, cultural patchwork, and high times. Whether Holland’s warbling about her mind reeling, blood bleeding on “Black Stars,” that wicked good “Old Fashioned Morphine,” or real-world psychic vampires (referenced in the title of her latest long-player, Pint of Blood (Anti), she taps a deep vein of blues —one related to a familial history steeped in Texas swing and her own soulful explorations here and abroad. This waltz around, she alights in trio form, playing with Carey Lamprecht and Keith Cary. Long may she ramble and roam. (Kimberly Chun)

With Will Sprott of the Mumlers, Dreams, and Emily Jane White

Feb. 24, 7 p.m., $16.50–$18.50

Swedish American Hall

2174 Market, SF

2012.noisepop.com

 

MATTHEW DEAR

Matthew Dear has a talent for surprisingly rewarding detours. With Asa Breed (Ghostly) in 2007, he departed from the pure percussive bliss of minimal techno and house, which occupied the scope of his previous efforts, in favor of pop song structures and vocal stylings in the spirit of Brian Eno. My favorite winding road came with 2010’s Black City (Ghostly): a record prefaced by bubbly vocals and rhythms, whose lightness quickly disperses into an orgiastic sort of density typical of film noir’s crowded urban landscapes, and the lustful encounters they tend to prompt. Last month’s Headcage EP (Ghostly) marks the most recent tangent into drum patterns that glide and skitter, but if Matthew Dear’s past wanderings are any indication, it promises yet another fruitful pathway in the ever expanding multiverse of his sound production. (Michael Krimper)

Feb. 24, 8 p.m., $16

With Maus Haus, Exray’s, Tropicle Popsicle, DJ Mossmoss

Public Works

161 Erie St., SF

2012.noisepop.com

 

VERONICA FALLS

There are a lot of great bands returning to the Bay Area this year during Noise Pop, but one in particular hasn’t made it yet. Veronica Falls was originally scheduled for its debut SF performance at the Brick and Mortar Music Hall last September, when an issue with visas forced the UK quartet of indie pop morbid romantics to cancel at the last minute. At the time of the cancellation the group was also releasing its first self-titled LP on Slumberland Records, so on the plus side there’s been extra time for anyone awaiting Veronica Falls’s appearance to take in the music. It’s an album that delivers on the promise of early singles “Beachy Head” and “Found Love in a Graveyard” — a hauntingly retro British sound with layered vocals led by the bittersweet Roxanne Clifford, laid on top of the classic combination of jangled guitar rhythms and a punchy back beat. (Ryan Prendiville)

Feb. 24, 8 p.m., $14

With Bleached, Brilliant Colors, Lilac

Rickshaw Stop

155 Fell, SF

2012.noisepop.com

 

UPSIDE DOWN: THE CREATION RECORDS STORY

Danny O’Connor’s doc about legendary British indie label Creation Records is named both for the Jesus and Mary Chain single that helped launched the imprint — and the go-for-broke attitude shared by many of the freewheeling characters involved in its story. Most of them chime in to help tell the tale, including founder Alan McGee, a Scot whose thick accent is among many collected here that may make Americans long for subtitles. And, of course, what a tale — filled with colorful encounters, drugs, major-label wooing, drugs, “shockingly out of control” behavior, drugs, and all of the expected trappings of music-biz stardom. The soundtrack is filled with Creation’s many alt-rock, acid house, shoegaze, and Brit-pop success stories, including Primal Scream, My Bloody Valentine, Ride, Swervedriver, Teenage Fanclub, and Oasis. Where were you while they were gettin’ high? Director O’Connor appears in person for a Q&A after the screening. (Cheryl Eddy)

Feb. 25, 7 p.m., $10

 Roxie Theater

3117 16th St., SF 

2012.noisepop.com/film

No country

0

FILM “The male stereotype makes masculinity not just a fact of biology but something that must be proved and re-proved, a continual quest for an ever-receding Holy Grail,” wrote Marc Feigen Fasteau in The Male Machine, a 1975 Gloria Steinem-approved polemic (she wrote the introduction) that attempted to catalyze American men into joining their sisters in the women’s movement in reexamining and casting off traditional gender roles.

Masculinity of the variety rhapsodized by Ernest Hemingway and scrutinized by Fasteau is now something talked about in scare quotes (see Old Spice’s man on a horse) or presented as a relic of an earlier time à la Don Draper, even if magazines such as GQ routinely make it into a fetish object. Even a cursory scan of contemporary pop culture, from Drake’s broody makeover of hip-hop swagger to Will Arnett’s stay-at-home dad in Up All Night, shows that men today seemingly have more options, and consequently different sets of expectations, when it comes to being a man.

And yet, the ties that bind to that “ever-receding Holy Grail” still grip some men, causing fresh wounds and opening up old scars. It’s a struggle that runs through many of the remaining programs in Yerba Buena Center for the Arts’ ongoing series “Bros Before Hos: Masculinity and its Discontents,” a collection of leftfield representations of masculinity, often under duress.

The hitchhiking bisexual hustler at the center of Meat Rack (1968), a gritty piece of Gay Lib-era San Francisco film history, protests the loudest. Director Michael Thomas, who appears in person at the screening, has his boy-toy clanking his can against the prison bars of pop Freudian psychology as he works out his Mommy issues, turning tricks in Market Street cinemas (appropriate, given that Thomas owned the infamous Strand Theater and later founded its namesake, indie film distributor Strand Releasing). Although the film’s sexual politics are at times as confused as its protagonist’s, Meat Rack depicts with lysergic abandon the panic that can happen when the injunction to be a man is simply too much to bear.

That pressure is also touched on again and again by the various Finnish men Joonas Berghäll and Mika Hotakainen interviewed for their tender documentary Steam of Life (2011). Within the steam-filled confession booth of a sauna, men talk candidly and emotively about their lives, loves, and losses, their famous Scandinavian reserve seemingly melting away into streams of tears with each new puff of steam. “What are the options for boys?” a solider asks a bench-mate, reflecting on his inability to mourn. “Silence and drinking”

Steam of Life wears its nationalism, as well as its heart, on its sleeve, intercutting gorgeous long shots of the Finnish countryside between its in-the-buff interviews, and ending with a dedication, not merely to its subjects, but to, “all Finnish men.”

But the ballad of aging strongman Stanley Pleskun, a.k.a. Stanless Steel, as documented in Zachary Levy’s Strongman (2009), can be called uniquely American. Pleskun’ abilities are the stuff of classic tall tales — he can lift 10,000-pound trucks with his legs and hold aloft three adults with just one finger — even if his chaotic home life and uphill battle to keep his career going, sympathetically captured by Levy, is straight Arthur Miller. For all his might, Pleskun is at times painfully oblivious to his emotional shortcomings, making his quest for the ever-receding Holy Grail of fame and glory one of the rougher paths that “Bros Before Hos” traces. 

“BROS BEFORE HOS: MASCULINITY AND ITS DISCONTENTS”

Through Feb. 26

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Junk bonds

0

CHEAP EATS Yeah, ever since they shot Prop 8 tentatively down, I have had to hire grad students and interns to sift through all the marriage proposals. Their job is to weed out the ones with typos in them, suspected vegetarians, those that contain the words “growth” or “cicadas,” and most importantly any that aren’t from Hedgehog, the dyke of my dreams.

As you might imagine, it’s grueling work. And since Hedgehog is not one to repeat herself, the “slush pile” is rapidly taking over our apartment.

Recycling comes on Friday.

Meanwhile, I think I understand now why the queers I play flag football with in San Francisco hate the idea of ever playing co-ed. I’m always saying, at our under-if-at-all-attended practices out at Big Rec, “There’s some boys over there with a football. Let’s play them.” And my teamies look at me like I just suggested charades, or voting Republican.

Well, my New Orleans flag football team is co-ed. And very straight, at that. Although our team color is pink, and our name is Piggy and the Conch Shells, and we lost our first game 63-6. (I could go on and on: I play for us, blazzy blazzy blah.) Anyway, so, last night, en route to winning our second straight game, I found out why no one I know votes Republican.

I was rushing the quarterback, see, and I was getting to him. If it was football football, I would have wrapped him up around the legs or waist, toppled him or driven him to the turf, and then done a funky fuck-you-I-kicked-your-ass dance. But no. It’s flag football. So you have to reach for and pull off one of three flags we all wear on a belt around our waist: there’s one on each hip, and one on the butt.

So I’m reaching for his left hip, and, understand, please: there are alleged blockers trying to be in my way, one of my blitzing teammates reaching for the right hip, and (does anyone see where this is going?) as soon as I make my grab, the quarterback twists away from the other rusher, leaving me with a handful not of flag, but of man-junk. Yes, I missed the sack, but did yank me some penis. Note: accidentally. And shorts-enshrouded. Nevertheless, he threw an interception.

Which is of course an even better result than a sack. But I couldn’t find it in me to do a dance, or celebrate, or even smile. I just stood there and felt squirgly. And hoped he wouldn’t get his way with the ref, at whom he was screaming. In vain, thank God.

What would the penalty have been? … Holding?

Illegal use of hands?

Ruffling the quarterback?

Later in the game, I did get called for roughing the quarterback when I popped him in the face, trying to block his pass. That time (wisely) he didn’t let go of the ball, and I pulled his flag. And the ref threw his. Still, the dude was so mad he kicked the ball into the stands — at which my 15-yard penalty became offset by his, ha ha.

In summary: I now know first-hand (ha ha again) why my queers back home no like play football with the boys. It was a disturbing moment for me, and I’m theoretically bisexual! I’ve held that shit before — albeit not on a football field. Not to mention he was a complete stranger. I mean: eww.

I did apologize to him after the game, and hinted that if he didn’t like to play rough, he might consider a boys-only league. Sike. I just said I was sorry I hit him in the face, I was trying to block the pass.

“I know. That’s ok,” he said. “I was mad at the ref, not you.” And he asked me out. (So I guess it was better for him than me.)

“No, thanks. Prop 8 went down,” I explained. “I’m a betrothalled woman.”

In all possible seriousness, though, my new favorite restaurant for real (if not for long) is Pho 2000, in the ‘Loin. They pile all the steak up together so it’s bright-red raw when it comes to your table. You want it cooked, you have to push it into the broth.

I’m telling you: Fuck Turtle Tower. 

PHO 2000

Mon.-Sat. 8:30 a.m.-8:30 p.m.; Sun. 8:30 a.m.-7:30 p.m.

637 Larkin, SF.

(415) 474-1188

Cash only

No alcohol

 

State Bird Provisions

1

virginia@sfbg.com

APPETITE I would venture to say Fillmore newcomer State Bird Provisions is the ideal companion to that district’s storied jazz tradition, even though there’s no direct musical connection. The spirit of jazz is present in playful, dim sum-style presentation — and in the improvisatory way that near-legendary husband-wife chef duo Stuart Brioza and Nicole Krasinski (formerly of Rubicon) change the menu almost daily. They adhere to the now-typical seasonal approach, yet are guided by a stronger creative prerogative than most. What sounds good? Where else could a dish be taken? What ingredients are new? Plates materialize on carts or trays like flashing jazz riffs, of the moment but never rootless.

The actual soundtrack is more Johnny Cash than John Coltrane: this fits the casual, toned-down setting, with pegboard walls and a front kitchen where cooks greet your arrival. After multiple visits since the restaurant opened two months ago, the staff remembers me, and Brioza is up front with a warm welcome.

A short, thoughtful selection of bottled beers, teas, wines by the glass, and rotating house lassis (fennel salted yogurt, coconut milk persimmon) helps orient visitors. And for those who fear the unknown, the menu lists a handful of “main” dishes. I’d recommend you go elsewhere if you want predictability. God knows there’s more than enough comfort food and traditional menus out there.

The joy of State Bird is that it’s unlike anywhere else. I find larger plates satisfying, even habit-forming, particularly the must-order CA State Bird (a quail, in case you were wondering). This is the one carryover from Brioza’s Rubicon days, the bird crusted in pumpkin seeds and cumin. But small plates offer the wider range of thrills. I am reluctant to even use the played-out term “small plates,” so keep that free-flowing, dim sum spirit in mind. Most dishes fall within the $5–$9 range, and everything on the menu is roughly $2–$18. When one adds up the final check, the variety is amazing given the per person price (on my visits, $30–$40 without drink).

In any case, a full printed list wouldn’t do the dishes justice. Take, for example, the basic-sounding seven pepper flatbread with oxtail (peppers used include long pepper and madras). I’ve seen a lot of oxtail and even more flatbread. This one is different. Upon first visit, the flaky, twisted bread, which forms a bit of bowl in which to pour braised, tender oxtail, transported me to Eastern Europe. It recalled crispy, fried langos bread from my travels in Hungary. (Chef Nick Balla at Bar Tartine does a top notch langos, by the way.). It speaks to the depth of Brioza’s influences and talent that a dish could evoke tradition while being one-of-a-kind. By my next visit, the dish shifted in shape, now topped with lentils and cream. This time its spice profile conjured Morocco and Spain, another time India. Whatever the incarnation, this may be my favorite.

There are countless delights: spanking fresh raw tuna is dashi-poached, coated in toasted quinoa with smoky bonito rosemary aioli, tossed with chrysanthemum leaves. Duck liver mousse is silky and ridiculously good (almost dessert-like) with almond financier cakes. Beef is served in three cuts — brisket, short ribs, chuck — on a bed of fried nettles with pomegranate.

Vegetarian dishes are just as captivating. Mushrooms arrive coated in hazelnut streusel with vanilla cream. Beets are crusted in rye grain, perked up with horseradish-ale cream. Char-grilled chicories are tossed with lemon, olive oil, dates, and almonds over spicy yogurt.

Bites (less than $6) are equally interesting. Celery root curd shows up in different ways: in a raw chicken ‘salad,’ bright with Buddha’s hand citrus, or in a jar of creamy smoked sturgeon and sea urchin.

Krasinski extends the inspiration to unusual desserts, sometimes with welcome savory notes. Two-dollar shots of peanut milk gently sweetened with muscovado (an unrefined brown sugar) are imperative. They call it “world peace” peanut milk because of the happy feelings it invokes. Milk chocolate and sesame mix with candied clementines and cocoa jam, the clincher being a crispy little wafer of chocolate, sesame, and tahini. Pear brandy and long pepper make winning companions in sabayon form — a finish on a high note.

STATE BIRD PROVISIONS

1529 Fillmore, SF.

(415) 795-1273

www.statebirdsf.com

Subscribe to Virgina’s twice-monthly newsletter The Perfect Spot, www.theperfectspotsf.com

 

Everlasting Noise

0

emilysavage@sfbg.com

NOISE POP Thao recalls hosting impromptu beer trivia with Mirah during their joint show a few years back, a festive moment she says is telling of Noise Pop. Cursive vocalist Tim Kasher retained playing one of the “most hungover shows imaginable” many years ago at Bottom of the Hill and it still being one of his favorite shows. Archers of Loaf bassist Matt Gentling has a fuzzy memory of playing the fest in 1997 with Spoon and Knapsack. Roddy Bottum and Jone Stebbins of Imperial Teen once declared themselves “King and Queen of Noise Pop” due to a tireless week creeping nearly every show.

Chances are, if you’ve been in a touring band at any point in the past two decades, or you’re a Bay Area music fan, you’ve got a Noise Pop memory or 20. My own? That incredible moment a couple years back when Yoko Ono and Sean Lennon were rejoined on the ornate Fox stage by Deerhoof, Petra Haden, Harper Simon, and a half dozen more for a stage-audience sing-along of “Give Peace a Chance.”

Longtime Noise Pop co-producer Jordan Kurland clearly has endless stories from the fest. Sitting casually in the bright, spacious Mission office of his own Zeitgeist Artist Management, he smiles as he quietly recounts his life within Noise Pop; Guided By Voices at Bimbo’s in 2002 playing an encore of the first eight songs off 1994’s Bee Thousand, taking duel legends Frank Black and John Doe out to breakfast the morning after their co-headlining show, watching Joanna Newsom — a soon to be star — play her third ever show opening for Cat Power.

He then begins methodically ticking off great shows of NP past: Flaming Lips, Grandaddy, Creeper Lagoon, Death Cab, Rodriguez (M. Ward’s early act) at Great American Music Hall, Two Gallants, Superchunk at Bimbo’s, Wolf Mother at Bottom of the Hill — Lars Ulrich happened to be in the crowd for that one. “When you look back at some of the bills, it’s pretty amazing — and the fact that people still come and appreciate it, it’s gratifying,” he understates. Later he mentions, “we’ve had some misses over the years too, stuff that just doesn’t connect.” But he’s too polite to indulge those.

The Noise Pop festival began in 1993, founded by Kevin Arnold who continues to this day, along with Kurland, to produce it. That first year, there were five bands playing one venue, one day. This year, there are 128 bands, playing 19 venues spread out over six days. Plus there’s the Noise Pop-Up pre-events, and the Thurs/16 pre-party with Class Actress, a Painted Palms DJ set, and Epicsauce DJs at the California Academy of Sciences.

“It’s changed so much,” Kurland says. “When Kevin started [Noise Pop], it was about celebrating a scene that really wasn’t well recognized, and most of the bands were like Hüsker Dü or Replacements, you know, noisey pop.” Now, he says, “it’s really just about independently-minded artists. It doesn’t mean that every band that plays the festival is on an independent label, it’s just a certain approach to the craft.”

He adds that they’ve expanded over the years to include electronic music, dance music, and underground hip-hop. “I feel like we’re all getting older — I know, weird. But our staff is immersed in the culture of this so we have a good sense of what people are listening to — I mean, we’re not going to start booking yacht rock.”

Kurland joined Arnold in 1998, the sixth year of Noise Pop. “At that point, Kevin had been saying for the past five years, ‘this is the last year,’ ‘this is the last Noise Pop, I can’t do it anymore.’ He had a day job in the technology industry, but I was working for another management company so it was easier to weave [booking bands] into the fabric of my day.”

The year Kurland joined, the Flaming Lips did the momentous boombox experiment (pre-Zireka) at Bimbo’s, and Modest Mouse played its first show at Great American Music Hall. In the years that followed, the organizers introduced the Noise Pop Film Festival, which screens music-enwrapped flicks, and have toyed with different music education forums. There was once Noise Pop Night School, this year, there’s Culture Club at Public Works, where you can learn how to bounce with Big Freedia, or all about art, animation, and film with Aaron Rose and Syd Garon. The fest, which began a small indie music creature, is now a many-headed culture beast.

This year is a significant year for Noise Pop, as Kurland is well aware. “You only get one 20th anniversary…so for this year it was a big effort to bring back bands that have played.” He and Arnold called up acts such as Flaming Lips, Archers of Loaf, Bob Mould, and Imperial Teen, all of which played early on.

There’s also Thao and John Vanderslice, locals who have both separately played Noise Pops past in different incarnations, and who this year will co-headline Bottom of the Hill. At that show Thao will be testing out five to six new songs, and says “depending on the reaction, they may or may not go on the new album.”

There is, however, one act that will be brand new to Noise Pop this year and yet, is still part of the tradition in a sense. Kurland has been trying to nab Built to Spill for the fest for the past 14 years, to no avail, though it did once play Treasure Island (also part of Noise Pop Industries). His annual reach-out for the act has become a tradition in its own right. “Every year it’s like a joke, I call them up, and it actually worked this year!”

That Built to Spill show at the Fillmore, however, is long sold out, as are many of the big names — Flaming Lips, Atlas Sound, Imperial Teen, even comparatively newer acts like Grimes. Though those who purchased badges will still have the opportunity to check them out, and there are dozens of other impressive lineups. “It’s definitely moving quicker this year,” Kurland says when the rate of sell-outs is pointed out. “I think there’s more attention on the festival.”

“It seems obvious, but I feel every year we get a little more established,” he adds. “I feel like not that long ago people who should know what Noise Pop is, didn’t.”

Noise Pop also inevitability brings a whole batch of artists wandering the city. Stebbins from Imperial Teen is hoping to catch Archers of Loaf at Great American Music Hall, Christie Front Drive at Cafe Du Nord, and Craig Finn at Bottom of the Hill, among other fellow artists. Interestingly, Kasher from Cursive also mentions those exact shows. Kurland, the eternal music fan, is also ready to haunt SF’s venues yet again. “I’m kind of stressed about some of the nights, I’m like, okay, Saturday night I’ve got Surfer Blood, but also Archers of Loaf…”

Time again to start marking those schedules, fanatics.

NOISE POP

Feb. 21-26

Various venues, SF

2012.noisepop.com

 

Symmetry

1

arts@sfbg.com

NOISE POP It’s been a few months since I’ve seen Nicolas Winding Refn’s Drive, and while many have dedicated countless hours selflessly contributing to the Ryan Gosling meme, which continues to grow and mutate like an uncontained bacterial infection, I’m still utterly and helplessly seduced by the score.

Allow me to draw a rash conclusion in the limited space allotted: Few films have coalesced around a form of sound as succinctly as Drive. On the one hand, the melancholy synth-pop music magnetizes the sense of nostalgia that saturates the film in a mythically neon Los Angeles of the 1980s, or the sprawl imagined in ’50s noir. On the other hand, the score motivates the emotional awakening of a lonely Gosling stricken by an unfolding love for his neighbor of angelic innocence.

What emerges from this tension between loss and erotics parallels none other than Vangelis’ extraordinary dystopian soundtrack for Bladerunner (1982). Through some kind of alchemical dissimulation, currents of machine generated sonic particles make visceral a disturbance within the dream distributed by Hollywood — a disturbance that nevertheless satisfies waves of desire as much as it unsettles.

Although Drive‘s score owes much to Cliff Martinez’s stark drum programming and warm synthetic melodies, some of the most arresting moments are due to Desire’s “Under Your Spell” and the Chromatics’ “Tick of the Clock.” Both songs belong to the musical vision of Johnny Jewel, a tireless producer also behind the Portland group of night stalkers, Glass Candy, and in general, much of the output from the Euro disco revivalist imprint, Italians Do It Better.

If you’re like me, and fiended for more Jewel after stumbling out of the theater under the spell, then you might have come across a few online interviews regarding his own mysteriously scrapped soundtrack for the film, encrypted with announcements for an unspecified future release date.

Then, just at the end of last year, 37 songs comprising nearly two hours of cinematic music quietly appeared like a gift from the void, under the appropriately vague title Symmetry / Themes for an Imaginary Film. The official statement in the press blurb insists, however, that this is not the allegedly trashed Drive score. Instead, it consists of a series of abstract experiments culled over the past three years from Jewel and partner Nat Walker on tone, mood, and structure, stripped of the lyrical motifs and pop formulas that tend to mark their signature work.

I have to admit I’m not entirely convinced by this back-story, but for all listening purposes, it doesn’t much matter. Symmetry draws on the same affective narrative underpinning Drive: As soon as a sense of artificial enclosure reaches the limit of relentless claustrophobia, a rupture slowly deflates from within, without any grand arrival or explosion. And while we may feel the euphoria of its release, the anticipation of an event ever more devastating to come, still crawls wonderfully under our flesh. *

GLASS CANDY, AND THE CHROMATICS

With Soft Metals, Omar and BT Magnum (DJ)

Feb. 24, 8 p.m., $19

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

 

NOISE POP CULTURE CLUB

Johnny Jewel on scoring, Glass Candy, and more

Feb. 25, 2:30 p.m., $10

Public Works 161 Erie, SF

2012.noisepop.com

All the noise

0

 

SNOB THEATER

Noise Pop isn’t all studied, somber plucking, ethereal soundscapes, or morose, twisting in the night song lyrics; there are solid yucks to be had. Kata Rokkar and Noise Pop are presenting another installment of Snob Theater at the Noise Pop-Up Shop pre-main events. Hosted by comedian-music blogger Shawn Robbins, it’s a mashup of indie rockers and indie comics, a real giggle fest for the musically-inclined. Brendon Walsh (Comedy Central, Jimmy Kimmel), Dave Thomason (SF Sketchfest), Janine Brito (Laughter Against The Machine), and Chris Thayer (Bridgetown Comedy Festival) bring the comedy, rockers the Ferocious Few and Bobby Ebola and the Children MacNuggits bring the raucous tunage. (Emily Savage)

Feb. 17, 8 p.m., $10

Noise Pop-Up Shop

34 Page, SF

2012.noisepop.com

 

DIE ANTWOORD

The chances that this South African freak-hop duo will roll onstage with LED-tricked wheelchairs, wearing onesies that make flat-topped emcee Ninja and devil-pixie singer Yo-Landi Vi$$er look like plushies are not high — it already worked that look for the “Umshini Wam” video, accessorizing with a telescope-sized joint and firearms. No matter, this hot-ticket sell-out show will have a gonzo pack of hipsters twerking to the weird-ass lyrics like there’s no tomorrow. Die Antwoord, like most hip-hop these days, is plagued by questions of authenticity (it reps for South Africa’s working-class demographic that members may not actually hail from), but the performative aspect of its schtick makes it a cultural artifact regardless of where Ninja went to school. Hot tip for those that dig a long shot: keep one eye peeled for Celine Dion. Die Antwoord’s pegged her as their dream collaborator. Weirdos. (Caitlin Donohue)

Feb. 22, 7 p.m., sold out.

Regency Ballroom

1300 Van Ness, SF

2012.noisepop.com

 

HIT SO HARD: THE LIFE AND NEAR-DEATH STORY OF DRUMMER PATTY SCHEMEL

Along with Last Days Here, currently screening as part of the San Francisco Independent Film Festival, Hit So Hard is one of the most inspiring rock docs in recent memory. Patty Schemel was the drummer for Hole circa Live Through This, coolly keeping the beat amid Courtney Love’s frequent Lollapalooza-stage meltdowns after Kurt Cobain’s 1994 death. Offstage, however, she was neck-deep in substance abuse, weathering several rounds of rehab even after the fatal overdose of Hole bandmate Kristen Pfaff just months after Cobain (who appears here in Schemel’s own remarkable home video footage). P. David Ebersole’s film gathers insight from many key figures in Schemel’s life — including her mother, who has the exact voice of George Costanza’s mother on Seinfeld, and a garishly made-up, straight-talking Love — but most importantly, from Schemel herself, who is open and funny even when talking about the perils of drug addiction, of the heartbreak of being a gay teen in a small town, and the ultimate triumph of being a rock ‘n’ roll survivor. If you miss Hit So Hard at Noise Pop, it’ll be back around for a San Francisco theatrical run starting April 27. (Cheryl Eddy)

Feb. 22, 9 p.m., $10

Artists’ Television Access

992 Valencia, SF

2012.noisepop.com/film

 

GRIMES

After listening to Grimes on heavy rotation for the past couple years I still find myself mesmerized by Claire Boucher’s voice. It leaps and falls, circles words in repetitive motions, ciphering their sonic texture and tone into a perpetual undoing of sound. Grimes consistently induces this siren effect, inhabiting that mysteriously seductive threshold somewhere between waking life and dream world. Its third full-length, Visions (Arbutus/4AD), is no different. It continues to draw resources from spectral pop wherever it can, from the processed rhythms underpinning a constellation of electronic dance genres, to the gushing melodies of New Age cassette tapes and 1990s R&B, and even disparate psychedelic folk from across the globe. What holds Grimes’s aesthetic together though is, simply put, mood: whirling awfully close to planetary rapture. (Caitlin Donohue)

Feb. 22, 8 p.m., $10, sold out

Grimes and oOoOO

With Born Gold, Yalls

Rickshaw Shop

155 Fell St., SF

2012.noisepop.com

 

THE BUDOS BAND

Few bands working within the new wave of funk revivalism during the past decade are as tight as The Budos Band. The Brooklyn-based outfit has released all three of their records, each simply self-titled and numbered, on Daptone Records, home to powerhouse soulstress, Sharon Jones. But The Budos Band has a bit more of a worldly spectrum than other Daptone releases firmly rooted in 1960s R&B. They take influence ultimately from the funk diaspora launched by James Brown: Fela Kuti’s afrobeat jams and the Latin soul of Fania, to the psychedelic ethio-jazz culled by Mulatu Astatke. The drums are deep in the pocket, wah-wah guitars get gritty, and the horn section hits hard, all with the frenetic urgency of a score straight out of a Melvin Van Peebles’ blaxpoitation flick. (Michael Krimper)

Feb. 23, 7:30 p.m., $20

With Allah-Las, Pickwick, Big Tree

Independent

628 Divisadero St., SF

2012.noisepop.com

 

JOLIE HOLLAND

This longtime San Franciscan (and seventh-generation Texan) may call the road her home — with brief pauses for righteous swimming holes — but we’ll always think of her as a perfectly impure product of the Bay’s musical bohemia, the latest in long line of city songsmiths succored on prog politics, cultural patchwork, and high times. Whether Holland’s warbling about her mind reeling, blood bleeding on “Black Stars,” that wicked good “Old Fashioned Morphine,” or real-world psychic vampires (referenced in the title of her latest long-player, Pint of Blood (Anti), she taps a deep vein of blues —one related to a familial history steeped in Texas swing and her own soulful explorations here and abroad. This waltz around, she alights in trio form, playing with Carey Lamprecht and Keith Cary. Long may she ramble and roam. (Kimberly Chun)

With Will Sprott of the Mumlers, Dreams, and Emily Jane White

Feb. 24, 7 p.m., $16.50–<\d>$18.50

Swedish American Hall

2174 Market, SF

2012.noisepop.com

 

 

MATTHEW DEAR

Matthew Dear has a talent for surprisingly rewarding detours. With Asa Breed (Ghostly) in 2007, he departed from the pure percussive bliss of minimal techno and house, which occupied the scope of his previous efforts, in favor of pop song structures and vocal stylings in the spirit of Brian Eno. My favorite winding road came with 2010’s Black City (Ghostly): a record prefaced by bubbly vocals and rhythms, whose lightness quickly disperses into an orgiastic sort of density typical of film noir’s crowded urban landscapes, and the lustful encounters they tend to prompt. Last month’s Headcage EP (Ghostly) marks the most recent tangent into drum patterns that glide and skitter, but if Matthew Dear’s past wanderings are any indication, it promises yet another fruitful pathway in the ever expanding multiverse of his sound production. (Michael Krimper)

Feb. 24, 8 p.m., $16

With Maus Haus, Exray’s, Tropicle Popsicle, DJ Mossmoss

Public Works

161 Erie St., SF

2012.noisepop.com

 

 

VERONICA FALLS

There are a lot of great bands returning to the Bay Area this year during Noise Pop, but one in particular hasn’t made it yet. Veronica Falls was originally scheduled for its debut SF performance at the Brick and Mortar Music Hall last September, when an issue with visas forced the UK quartet of indie pop morbid romantics to cancel at the last minute. At the time of the cancellation the group was also releasing its first self-titled LP on Slumberland Records, so on the plus side there’s been extra time for anyone awaiting Veronica Falls’s appearance to take in the music. It’s an album that delivers on the promise of early singles “Beachy Head” and “Found Love in a Graveyard” — a hauntingly retro British sound with layered vocals led by the bittersweet Roxanne Clifford, laid on top of the classic combination of jangled guitar rhythms and a punchy back beat. (Ryan Prendiville)

Feb. 24, 8 p.m., $14

With Bleached, Brilliant Colors, Lilac

Rickshaw Stop

155 Fell, SF

2012.noisepop.com

 

 

UPSIDE DOWN: THE CREATION RECORDS STORY

Danny O’Connor’s doc about legendary British indie label Creation Records is named both for the Jesus and Mary Chain single that helped launched the imprint — and the go-for-broke attitude shared by many of the freewheeling characters involved in its story. Most of them chime in to help tell the tale, including founder Alan McGee, a Scot whose thick accent is among many collected here that may make Americans long for subtitles. And, of course, what a tale — filled with colorful encounters, drugs, major-label wooing, drugs, “shockingly out of control” behavior, drugs, and all of the expected trappings of music-biz stardom. The soundtrack is filled with Creation’s many alt-rock, acid house, shoegaze, and Brit-pop success stories, including Primal Scream, My Bloody Valentine, Ride, Swervedriver, Teenage Fanclub, and Oasis. Where were you while they were gettin’ high? Director O’Connor appears in person for a Q&A after the screening. (Cheryl Eddy)

Feb. 25, 7 p.m., $10 Roxie Theater 3117 16th St., SF 2012.noisepop.com/film

Mayor Lee’s vanishing bike lanes

77

By Morgan Fitzgibbons

OPINION When Mayor Ed Lee announced in February 2011 that he understood both the critical importance and the severe dangers inherent in the current bicycle infrastructure along the dual three-block stretches of Fell and Oak between Scott and Baker, a shot went through the community of people who had worked for so long to bring awareness to this troubled path.

Finally, it seemed, we had a mayor who understood that if San Francisco was serious about living up to its own nearly 40-year-old pledge to be a transit-first city, a narrow bike lane sandwiched between parked cars and fast-moving traffic on Fell Street and a complete absence of any bicycle infrastructure on Oak simply wouldn’t do.

Finally, we had a mayor who wouldn’t be satisfied with mere words on a page, who had the courage to carve out one single safe bike route from the east side of town to the west, to create a viable alternative to automobile transportation, to prepare our city for the inevitable challenges presented by climate change, peak oil, and economic collapse, and to do it in the face of the predictable objections from a few small-picture citizens who couldn’t look at the 60 square feet of a parking spot and imagine anything other than a privately owned two-ton pile of steel taking up precious public space.

The community of people who had waited nearly 40 years for the city to live up to its own word kept on waiting throughout 2011, patiently allowing the Municipal Transportation Agency to perform its due diligence, attending multiple public meetings in the hundreds, and delivering a resounding verdict: bring us our separated bike lanes. Make this neighborhood a better place to live. Begin the long work of preparing our city for a way of living that doesn’t center around the automobile.

With the public process complete and the calendar turning to nearly one year since Lee called for the MTA to “move quickly” to create separated bike lanes on Fell and Oak, the MTA handed down a jarring announcement. The Fell and Oak Bikeways were being delayed because the agency needed to take extra time to do all that could be done to find nearby replacements for the 80 parking spots set to be removed for the bike lanes.

That’s right — in a city that has for 40 years had an explicit policy of giving preference to transit options that weren’t the automobile, in a city that, nevertheless, has over 440,000 public parking spots and zero safe, accessible bike routes from the east side of town to the west, the creation of a separated bikeway that the vast majority of the community wants, and that the mayor’s own newly appointed District Supervisor, Christina Olague, is in support of, was being delayed by nearly a year so that the loss of private automobile parking would be as small as possible.

How does this happen? In a word: fear. The mayor and MTA are afraid of ruffling a few feathers to do what they know is right.

Cities like New York, Portland, and Minneapolis are leapfrogging us in building the cities of tomorrow. Chicago is creating 100 miles of separated bike lanes in the next four years. Don’t call us America’s Greenest City — you’re thinking of the San Francisco of 40 years ago.

Morgan Fitzgibbons is co-founder of the Wigg Party, a Western Addition neighborhood sustainability group

Bounce with me

0

Editor’s Note: Unfortunately this show has been cancelled due to Big Freedia’s health. We wish her well and hope to see her again soon! Please read this revealing interview with her multi-talented DJ and producer, Rusty Lazer.

arts@sfbg.com

NOISE POP Despite its continual popularity in New Orleans for the last 20 odd years, it’s been a while since the regional, uptempo, call and response driven style of dance music known as bounce has appeared on a national level. The Juvenile (featuring an adorably young Lil Wayne) track “Back That Azz Up” may be the most recognizable hit, but not the most representative of the genre, especially the rising queer-friendly subsection that Big Freedia rules as “Queen Diva.”

Appearing in her nationwide debut performance on Jimmy Kimmel Live! last month, Big Freedia, born Freddie Ross, possibly brought bounce back into the lives and sets of people outside of NOLA, but they may not have been getting the whole picture. “I get a lot dirtier when it’s a club performance, and I can really get raw,” Big Freedia said in a phone interview last week, “but that was for TV so it was a little more PG.” Freedia, who answers most questions with Southern politeness and a “Yes, sir,” is nothing but grateful for the experience in which her dancers worked with “one of Beyonce’s choreographers,” Frank Gatson, for the segment, but to an observer at all familiar with her reputation for wild live performances, it was pretty tame.

In part it was just a matter of skin. One of Big Freedia’s signature songs at this point is “Azz Everywhere” and it’s the scantily clad dancers in particular that bring the idea to life, making moves and taking positions not unlike a 2 Live Crew show (or the Kama Sutra). We’re talking booty bumping, full splits floor humping, upside down synchronized air thrusting, and other gyrations typically reserved for strip clubs near airports and really great office Christmas parties.

For Big Freedia, who comes with her own crew of male and female dancers, call and response isn’t just lyrical — meaning that when she yells “I got that gin in my system” you should probably retort “somebody gonna be my victim” — but also that people might get called out for not getting down on the dance floor. At her shows, “everyone is involved.” Big Freedia said. “Whoever wants to get onstage can get a chance to come on stage. I’m very connected with the audience so I try to make everyone involved.” This interaction with her audience was the other thing missing from the Jimmy Kimmel performance, where a crowd looked on more as spectators than participants. For her part, Freedia tries to meet people at her shows halfway, saying “I can’t put them all on stage so I have to put myself on the floor with them.”

Effort means a lot for Big Freedia, who has long been known for doing shows at least six nights a week in New Orleans and continues to run a successful decorating company. She considers it part of her message that one can “Make the impossible happen being gay. Working really hard at things you have dreams behind and succeeding no matter what color, creed, walk of life.” Idealistic as that is, it also explains in part her egalitarian approach to dancing. Unlike some artists (::cough:: Sir Mix-A-Lot ::cough) it’s not about a certain type of butt; everyone’s got one, you just have to know how to bounce it. And if you don’t know that, well, she also offers classes.

 

WITH HARD FRENCH DJS, VOGUE & TONE, DOUBLE DUCHESS

Feb. 25, 9 p.m., $16; Culture Club bounce session, 11:30 a.m., $10

Public Works

161 Erie, SF

2012.noisepop.com

How business was done

8

news@sfbg.com

A complicated civil lawsuit alleging corruption and fraud and involving several prominent current and former city officials — including Mayor Ed Lee, who took the witness stand to discuss actions he took as city purchaser a decade ago — could end up costing city taxpayers as much as $10 million.

City and County of San Francisco vs. Cobra Solutions and Telecon was being deliberated by jurors in Superior Court at press time. It centers on a fraud and kickback scheme engineered by convicted felon Marcus Armstrong, a former Department of Building Inspection information technology manager who bilked the city out of at least $482,000 between 1999 and 2001 (see “Dirty Business,” 2/8/11). His scheme was exposed by an FBI investigation following a whistleblower’s complaints in September 2001 that sub-contractors were not being paid.

The City Attorney’s Office accused Cobra Solutions of participating in Armstrong’s fraud, but Cobra’s owners denied being part of the scheme and they say their business was wrongfully damaged when their contracts were frozen by city officials.

Armstrong created two phony companies, Monarch Enterprises and Mindstorm Technologies, and ordered master contractor Cobra Solutions to use the phony sub-contractor companies to provide technology services to the city’s Computer Store (a list of approved contractors) under an agreement awarded to Cobra by the Committee on Information Technology (COIT). It also partnered with another company alleged by the city to be fraudulent, Government Computer Sales, Inc. (GCSI), whose principals fled and whose whereabouts are unknown.

Cobra Solutions founder and president James Brady had raised questions about Armstrong as early as 2000, questions that triggered an unfruitful investigation by the city. Brady maintained in court testimony that Cobra, unaware of Armstrong’s fraud, relied on him to sign off on work services that Armstrong’s phony companies were supposed to have supplied to the city.

The Computer Store was set up by then-Purchaser Ed Lee under the administration of then-Mayor Willie Brown to centralize technology procurement across departments. Now-Mayor Lee was deposed in the case and called to the witness stand on Feb. 6, where he said he awarded Cobra Solutions the highest-rated ranking among several vendors being evaluated by COIT for master contract award status. Each of the other city evaluators, including Deputy Controller Monique Zmuda, also ranked Cobra the top service provider.

According to Armstrong’s guilty plea agreement, GCSI partnered with Armstrong to defraud the City out of $240,000. Deborah Vincent James — then-director of COIT and now deceased — testified in a pre-trial deposition that GCSI was “fraudulent,” that city staffers recommended against certifying the company, and that it was only awarded master contract status because of its political ties to Brown, who directed Lee to overrule the staff recommendation. In his deposition, Lee claimed he could not remember GCSI.

Vincent-James and former Purchasing Directory Judith Blackwell forwarded whistleblower complaints about GCSI to the City Attorney’s Office in early 2001, but neither that office nor the Controller’s Office acted on the complaints until GCSI had gone bankrupt and GCSI’s owners, two foreign nationals, had disappeared.

Of note, Lee was not questioned about his and Brown’s involvement in awarding GCSI its master contract status in 1998. Time restrictions placed on attorneys by Judge James McBride limited the scope of witness examinations, so the most politically explosive charges went largely unexplored in court.

The city completed a subsequent investigation in January 2003 that resulted in stopped payments to Cobra, contract termination, and the city’s civil lawsuit filed by City Attorney Dennis Herrera against Cobra in April 2003. Following Herrera’s filing against Cobra, Herrera demanded an audit of Cobra which Cobra refused, citing a conflict of interest. Herrera had previously represented Cobra in private practice before he was elected City Attorney in 2001.

A trial court ruled in that Herrera had a conflict of interest, disqualifying Herrera and his office from participating in the Cobra case, a ruling later upheld by the California Supreme Court. Yet the suit alleges Herrera and his office continued to supply work to various City agencies and to effectively prevent Cobra from doing further business with city. By withholding the $2 million Cobra was owed by the City, COIT was able to disbar Cobra from entering into master contract agreements with the city, claiming Cobra was fiscally “non-responsible,” according to court testimony.

Blackwell, in her testimony at trial, said the determination of Cobra’s non-responsibility was used as a “pretext” for Cobra’s disbarment, a procedure that should have triggered a hearing to allow Cobra to defend itself against debarment. That never happened.

An FBI investigation into Armstrong’s kickback scheme resulted in Armstrong pleading guilty to mail fraud, wire fraud, and obstruction of justice in July 2003. No criminal charges were ever brought against Cobra Solutions or Telecon and yet the city’s outside law firm, Cotchett, Pitre & McCarthy LLP, which tried the case on behalf of the city, held on to the city’s allegation of fraud committed by Cobra and Telecon throughout the case and trial until closing arguments on Feb. 9.

In his closing arguments, attorney Ara Jabagchourian made no mention of Telecon, effectively dropping the city’s claims against Telecon, and constricted the city’s damage claims against Cobra. He asked the jury to award the city up to $266,000, money paid to Cobra for work authorized and signed-off by the city, via Armstrong, for breaching a provision in the contract agreement between the city and Cobra that requires the master contractor to “supervise” sub-contractors.

But Cobra’s lawyers — the firm of Gonzalez & Leigh, which includes former Board of Supervisors President Matt Gonzalez, who took a leave from his current job as deputy public defender to consult on the case — says it is the city that should pay for fatally harming a business without just cause.

“The City and City Attorney’s office falsely accused Cobra and Telecon of stealing $2.4 million dollars from the City, destroying these companies and ruining the lives of good, decent people who were the victims of a city tech official who should not have been hired in the first place,” said attorney Whitney Leigh. “Then the City Attorney made it worse, flatly defying an order disqualifying the City Attorney’s Office and instead driving efforts to run Cobra and Telecon out of business just because Cobra raised the issue of the conflict of interest. I’ve been unable to find any case in which an attorney has so flagrantly ignored a disqualification order.”

Herrera can’t comment on the case, but his office previously told the Guardian, “Immediately upon discovery of Cobra’s role, the office screened Herrera off from further involvement in the investigation and all matters related to it in accordance with a stringent ethical screening policy Herrera established when he took office.”

The-City Controller Ed Harrington, who exerted significant influence over contract awards and debarment proceedings as chair of COIT, conceded in court testimony that internal controls failed to detect Armstrong’s scheme.

“In the case of Marcus Armstrong, the control within the city failed and the control within Cobra failed,” Harrington, now head of the San Francisco Public Utilities Commission, told the court. “We had both controls in place. If they had worked, the city would have been protected. Both failed.”

Cobra is seeking damages for breach of contract (the city’s failure to pay monies owed Cobra), and civil rights due process violations in connection with the city’s apparent conspiracy to bar Cobra from doing further business with the city.

A business valuation expert testified Cobra Solutions was valued between $5.2 million and $8.8 million based on future lost profits from the city’s debarment. With attorney fees and court costs, the city could be on the hook for as much as $10 million.

The city has subsequently established more stringent controls as it relates to the authorization of work assigned to master contractors and sub-contractors. The jury was expected to resume deliberations on Feb. 14 and deliver its verdict by week’s end. Check the SFBG.com Politics blog for the latest.

Saving money on sunshine

9

EDITORIAL We hate to pick on Scott Wiener, who is a polite guy who always takes our calls and takes public policy seriously. He’s got an extensive legislative agenda — good for him — and he’s effective at getting bills passed. We’re with him on nightlife, and even on nudity towels in the Castro.

But he’s been taking on some more disturbing causes of late — he’s managed to tighten the rules for the use of Harvey Milk Plaza and now he’s asking for an audit of the Sunshine Ordinance Task Force that looks at how much each city department spends responding to sunshine requests. We’re not against audits or government efficiency, but this could lead to a lot of mischief.

There are plenty of problems with the task force, which hears complaints against city agencies that are denying the public access to documents. The biggest problem is that the task force has no enforcement authority — when the members find an agency or official to have willfully defied the law, the best they can do is turn those findings over to the Ethics Commission, which simply drops the case. Nobody ever gets charged with anything or gets in any trouble for refusing to follow what every public official in town piously insists is an excellent law.

And yeah, the meetings run long, and sometimes city employees have to sit around for hours waiting for their cases to come up. (Activists who testify before city commissions are used to that, but city employees are on the clock, and Wiener’s worried that it’s running up a large bill.)

But nobody’s talking about the money that the city has saved by those annoying government watchdogs keeping an eye on public spending — through the use of the Sunshine Ordinance. Nor is anyone talking about the immense amount of time activists and journalists have to spend fighting over records that should have been public in the first place — or how much money the Task Force has saved the city by creating a forum for resolving these issues out of court.

We can see the outcome here: The audit will show some large number, some cash amount with a bunch of zeros behind it, and the Chronicle will run a big headline about the high cost of this sunshine bureaucracy — and someone will suggest we find ways to streamline the process by clipping the task force’s wings.

That’s the wrong approach — particularly when there’s a much easier answer. Why not do what sunshine activists have suggested for years — make electronic copies of every document created by any city agency and post them in a database on the web? No more secrecy, no more hassle. It’s easy — if anyone at City Hall is serious about saving money on sunshine requests.

Meet the new supervisor

10

Christina Olague, the newest member of the Board of Supervisors, faces a difficult balancing act. She was appointed by Mayor Ed Lee, whom she supported as co-chair of the controversial “Run Ed Run” campaign, to fill the vacancy in District 5, an ultra-progressive district whose voters rejected Lee in favor of John Avalos by a 2-1 margin.

So now Olague faces the challenge of keeping her district happy while staying on good terms with the Mayor’s Office, all while running in her first campaign for elected office against what could be a large field of challengers scrutinizing her every vote and statement.

Olague has strong progressive activist credentials, from working with the Mission Anti-Displacement Coalition to protect low-income renters during the last dot-com boom to her more recent community organizing for the Senior Action Network. She co-chaired the 2003 campaign that established the city’s minimum wage and has been actively involved in such progressive organizations as the Milk Club, Transit Riders Union, and the short-lived San Francisco People’s Organization.

“One of the reasons many of us are so supportive of Christina is she is grounded in the issues of low-income San Franciscans,” said Gabriel Haaland, who works with SEIU Local 1021 and accompanied Olague to a recent interview at the Guardian office.

She also served two terms on the Planning Commission — appointed by Board of Supervisors then-President Matt Gonzalez in 2004 and reappointed by then-President Aaron Peskin in 2008 — where she was known for doing her homework on complicated land use issues and usually landing on the progressive side of divided votes.

“Coming from the Planning Commission, she can do a lot of good,” said Tom Radulovich, executive director of Livable City and a supporter who has worked with Olague for 15 years. “We lost a lot of collective memory on land use issues,” he said, citing the expertise of Chris Daly and Aaron Peskin. “We do need that on the board. There is so much at stake in land use.”

Olague disappointed many progressives by co-chairing Progress for All, which was created by Chinatown power broker Rose Pak to push the deceptive “Run Ed Run” campaign that was widely criticized for its secrecy and other ethical violations. At the time, Olague told us she appreciated how Lee was willing to consider community input and she thought it was important for progressives to support him to maintain that open door policy.

In announcing his appointment of Olague, Lee said, “This is not about counting votes, it’s about what’s best for San Francisco and her district.” Olague also sounded that post-partisan theme, telling the crowd at her swearing-in, “I think this is an incredible time for our city and a time when we are coming together and moving past old political pigeonholes.”

With some big projects coming to the board and the working class being rapidly driven out of the city, progressives are hoping Olague will be a committed ally. There’s some concern, though, about her connections to Progress For All campaign’s secretive political consultant, Enrique Pearce.

Pearce has become a bit of a pariah in progressive circles for his shady campaign tactics on behalf of powerful players. In 2010, his Left Coast Communications got caught running an independent expenditure campaign partly funded by Willie Brown out of Pearce’s office, even though Sup. Jane Kim was both its beneficiary and his client — and that level of coordination is illegal. Last year, Pearce was hired by Pak to create the “Run Ed Run” campaign and write the hagiographic book, The Ed Lee Story, which also seemed to have some connections with Lee’s campaign. The Ethics Commission hasn’t fined Pearce for either incident, and he didn’t return a Guardian call for comment.

Olague told us not to worry. “He’s a friend…and I think it’s an exaggerated concern,” she said, confirming but minimizing his role so far. Yet she hired one of Pearce’s former employees, Jen Low, as one of her board aide. Olague’s other aides are Chris Durazo from South of Market Community Action Network (SOMCAN) and Dominica Henderson, formerly of the SF Housing Authority.

Debra Walker, a progressive activist who served on the Building Inspection Commission and has worked with Olague for decades, said she’s a reliable ally: “She’s from the progressive community and I have no equivocation about that.”

Olague makes no apologies for her alliances, saying that she is both independent and progressive and that she should be judged by her actions as a supervisor. “People will have to decide who I am based on how I vote,” she said, later adding, “I support the mayor and I’m not going to apologize for that.”

 

OLAGUE’S PRIORITIES

Olague was born in Merced in 1961 to a Mexican immigrant father who fixed farming equipment and a stay-at-home mother. She went to high school in Fresno and moved to the Bay Area in 1982. She attended San Francisco State University but had to drop out to help support her family, working at various stock brokerage firms in the Financial District. She later got a degree in liberal studies from California Institute of Integral Studies.

In 1992, Olague’s mother was in serious car accident that left her a quadriplegic, so Olague spent the next seven years caring for her. After her mother died, Olague left the financial services industry and became a community organizer for the Mission Anti-Displacement Coalition, battling the forces of gentrification and then-Mayor Brown and becoming an active player in the ascendant progressive movement.

But Olague never abided progressive orthodoxy. She backed Mark Leno over the more progressive Harry Britt in their 2002 Assembly race and backed Leno again in 2007 when he ran for state Senate against Carole Migden. She also voted for the Home Depot project on Bayshore Boulevard despite a progressive campaign against the project.

Olague worked with then-Sup. Chris Daly to win more community benefits and other concessions from developers of the Trinity Plaza and Rincon Tower projects, but now she is critical of Daly’s confrontational tactics. “Daly’s style isn’t what I agree with anymore,” Olague said, criticizing the deals that were cut on those projects to approve them with larger than required community benefits packages. “I think we romanticized what we got.”

So how does Olague plan to approach big development proposals, and is she willing to practice the brinksmanship that many progressives believe is necessary to win concessions? While she says her approach will be more conciliatory than Daly’s, she says the answer is still yes. “You push back, you make demands, and if you don’t think it’s going to benefit the city holistically, you just fucking say no,” Olague said.

Walker said Olague has proven she can stand up to pressure. “I think she’ll do as well as she did on the Planning Commission. She served as president and there is an enormous amount of pressure that is applied behind the scenes,” Walker said. “She’s already stood up to mayoral pressure on some issues.”

Yet even some of Olague’s strongest supporters say her dual — and perhaps dueling — loyalties to the Mayor’s Office and her progressive district are likely to be tested this year.

“It’ll be challenging for her to navigate,” Radulovich said. “The Mayor’s Office is going to say I want you to do X and Y, and it won’t always be progressive stuff, so it’ll be interesting to see how that plays out.”

But he said Olague’s land use expertise and progressive background will likely count for more than any bitter pills that she’s asked to swallow. “Sometimes, as a policy maker, you have to push the envelope and say we can get more,” he said. “It helps if you’re willing to say no to things and set boundaries.”

When we asked Olague to lay out her philosophy on dealing with land-use issues, she said that her approach will vary: “I have a very gray approach, project by project and neighborhood by neighborhood.”

Only a couple weeks into her new role, Olague said that she’s still getting a lay of the land: “I’m in information gathering mode, meeting with neighborhood groups to try to figure out what their issues are.”

But Olague said she understands that part of her job is making decisions that will disappoint some groups. For example, after Mayor Lee pledged to install bike lanes on Fell and Oak streets to connect the Panhandle to The Wiggle and lessen the danger to bicyclists, he recently stalled the project after motorists opposed the idea.

“I’m a transit-first person, for sure. I don’t even drive,” Olague said of her approach to that issue, which she has now begun to work on. “We’ll try to craft a solution, but then at some point you have to fall on one side or the other.”

 

THE “JOBS” FOCUS

One issue on which Olague’s core loyalities are likely to be tested is on the so-called “jobs” issue, which both Lee and Olague call their top priority. “Jobs and economic revitalization are very important,” she told us.

Progressives have begun to push back on Lee for valuing private sector job creation over all other priorities, such as workers’ rights, environmental safeguards, and public services. That came to a head on Jan. 26 at the Rules Committee hearing on Lee’s proposed charter amendment to delay legislation that might cost private sector jobs and require extra hearings before the Small Business Commission. Progressives and labor leaders slammed the proposal as unfair, divisive, unnecessary, and reminiscent of right-wing political tactics.

But when we interviewed Olague the next day, she was reluctant to criticize the measure on the record, even though it seemed so dead-on-arrival at the Board of Supervisors that Mayor Lee voluntarily withdrew it the next week.

Olague told us job creation is important, but she said it can’t squeeze out other priorities, such as protecting affordable rental housing.

“We always have to look at how the community will benefit from things. So if we want to incentivize for businesses, how do we also make it work for neighborhoods and for people so that we don’t end up with where we were in the Mission District in the ’90s?” she said.

Olague also said that she didn’t share Lee’s focus on jobs in the technology sector. “There’s a lot of talk of technology, and that’s fine and I’m not against that, and we can see how it works in the city. But at the same time, I’m concerned about folks who aren’t interested necessarily in working in technology. We need other types of jobs, so I think we shouldn’t let go of the small scale manufacturing idea.”

Loveless?

2

SUPER EGO The last time I tried to make out with a cute boy who wasn’t my husband, he actually said, “OK, I’m going to stand over there now. But you’re a great dancer.” Smooth save, Cornelius J. McRejector. I mean, if I had any pride left to be wounded do you think I’d be standing here wearing pink Baby Phat bedazzled cutoff jeans, a sequined visor that reads “Party Bottom,” possum-brown Keds, and some totally offensive, insensitively appropriated Native American item, possibly a dreamcatcher nose ring? I don’t need you! I’m busy re-embracing irony.

Anyway, that whole tackiness is over, and the point is this: dancing. If it seems there are more wild Valentine’s themed parties than ever this year (check out our roundup in this issue), there are also, well, more parties in general, including choice ones such as below. Just like Lana del Ray’s top lip, there’s always enough nightlife to go around. So don’t let some piddly fear of rejection lock you in the closet with zombie Mitt Romney. Be the great dancer you are.

 

LIGHT ASYLUM

Wide-ranging party players Marco de la Vega, Gary Riviera, and Brian Furstman have launched the new Future Perfect weekly at Monarch with the intent to obliterate whatever few genre boundaries remain in dance music — no central feel, “just good, forward thinking, contemporary” music, de la Vega told me. That’s a tough trick: without a definable flavor for a crowd to hold onto, you need to sustain a wholly unique energy (drink specials help!) or rely on big guest names to draw people back. Future Perfect seems to be succeeding at both strategies. The party’s already hosted Cold Cave, Jokers of the Scene, and Nguzunguzu; the latest big name is beguilingly dark live duo Light Asylum, anchored by singer Shannon Funchess’ throaty vocals. Considering Light Asylum’s justifiable reputation as one of the most riveting live acts around, this party’s energy will keep building.

Thu/9, 9 p.m., $10–$15. Monarch, 101 Sixth St., SF. www.monarchsf.com

 

BACK2BACK SEVENTH ANNIVERSARY

SF’s cosmic jam legends Jeno and Garth brought down club Mighty’s roof when they played at their original party Wicked’s 20th anniversary last year. Now they’re celebrating the lucky seventh of the party that sees them both on decks at the same time, finishing each others’ musical sentences. Poetry for your feet, child, and not to be missed for anyone interested in DJ sets that color outside the lines. (I’m so excited, I’m mixing my metaphors.)

Fri/10, 8 p.m.-4 a.m., free before 11 p.m., $7 after. Mighty, 119 Utah, SF. www.mighty119.com

 

NON STOP BHANGRA

Rad dance sounds from India seemed in danger of fading from the SF club scene recently. The lively Bollyhood Cafe in the Mission closed. (The space was taken over by expanding Senegalese restaurant-nightclub Bissap Baobab, so all is not lost worldwise). Forward-thinking global bass collective Surya Dub had faded from local DJ decks, although member Kush Arora continued to release ass-kicking riddim tracks at a furious pace. And when I heard long-running monthly dance extravaganza Non Stop Bhangra was looking for a new home I totally got a Punjab sad. Luckily, Non Stop has now landed on second Saturdays at Public Works — last month’s launch included the return of the Surya Dub crew, even. Whirl away with the expert Dholrhythms dance crew to DJ Jimmy Love’s bhangra bangers and a truly diverse Bay Area crowd, now going afterhours. This month, DJ Rekha of NYCs raucous Basement Bhangra guests. (Check out my interview with her — full of some amazing tunes — here.)

Sat/11 and second Saturdays, 9 p.m.-3 a.m., $10 advance, $15. Public Works, 161 Erie, SF. www.nonstopbhangra.com

OPEL 10-YEAR ANNIVERSARY, PART ONE

A part of our nightlife so huge, its decade celebration had to be split in two. Opel usually blows up the underground with tech house and drum and bass glory — founding member Syd Gris is responsible for the massive Lovevolution festival. But this above-board extravaganza at Mezzanine boasts Opel stalwart DJs Meat Katie, Dylan Rhymes, Syd, and Melyss downstairs, and a “looking back” room upstairs with longtime spinners Kramer, Ethan Miller, Dutch, and Spesh.

Sat/11, 9 p.m.-4 a.m., $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

DROOG

Some tasty undergroundish events have been popping up at 46 Minna lately — raising a few eyebrows, since 46 Minna is otherwise known to the mainstream bottle-service crowd as Harlot. A recent chat with one of my favorite DJs, Adnan Sharif of the Forward SF house collective, cleared up the mystery: the Harlot peeps want to draw a more adventurous crowd to their lovely space on non-weekend days. Rebranding’s fine with me, especially if it brings a four-hour set by Droog, the LA trio of expert house deconstructionists who fill their funky mindtrips with all kinds of electronic Easter eggs. This is the launch of Forward SF’s weekly Forward Sundays Sessions (with a fresh fruit buffet!). Adnan himself is opening up.

Sun/12, $10–$20, 6 p.m.-midnight. 46 Minna, SF. www.forwardsf.com

New year

1

MUSIC Waiting for his coffee at Cafe Divis, Ezra Furman (who performs Sat/11 at Hotel Utah) flips through the latest issue of the Guardian. “I’ve been meaning to do more drugs,” he says, pointing to the cannabis column, Herbwise. The wheels in Furman’s head seem to always be in motion; there’s a constant mischievous look in his eyes. We’ve met here to discuss the most recent product of his overactive imagination — his solo debut, The Year of No Returning, released on Tuesday through Furman’s own Kinetic Family Records.

Making records is by no means unfamiliar territory for this San Francisco-via-Chicago transplant. After Furman’s band Ezra Furman & the Harpoons formed in the dorms of Tufts University in 2006, they released three studio albums and completed several tours throughout the United States and Europe. As the title suggests, however, The Year of No Returning is in many ways a departure for the 25-year-old musician.

Abandoning the comfort of recording live with the band in lieu of endless “tinkering” at Studio Ballistico — which is in a Chicago attic above his old apartment — Furman lovingly assembled these songs piece by piece. “It’s more like a Russian doll,” he explains, “cause you can find the first piece that was there.” Though a guitar remains his primary songwriting instrument, for his solo effort Furman often swapped the Harpoons’ standard rock’n’roll set up for instruments like an upright bass, cello, violin, clarinet, and saxophone.

“Bad Man” features a brooding Furman backed by piano reminiscent of early Tom Waits, and the rollicking chorus on “Sinking Slow” is Beatles-esque. These nods to great songwriters of decades gone by are no coincidence. Some of his first memories are “running around” to the Beatles, and howling along to Warren Zevon’s “Werewolves of London.” Now all grown up, Furman can be heard howling and snarling on the retro power pop track “That’s When It Hit Me.”

Furman began emulating his heroes long before he picked up a guitar. “When I was 10 or 11 I used to just, like, make whole albums,” he says. “I would make [them] up in my head and write on a Microsoft Word document. I knew how they all went and I would go through the lyrics when I was alone with the door closed, and just kind of sing them to myself. They’re all Beatles and Billy Joel rip-offs.”

Although it’s not uncommon to catch glimpses of Bob Dylan or the Violent Femmes’ Gordon Gano in Furman’s songs, he has different tools at his disposal than his predecessors. “I don’t need the Internet / I don’t need TV,” he declares on the sunny album closer “Queen of Hearts,” but in 2009 Furman took full advantage of modern day accessibility for a special project. Each copy of the bootleg Harpoons album Moon Face came with a personalized track for its recipient. “I was just writing so many songs at the time that I didn’t know what to write them about anymore,” he says. “So I asked people what they wanted songs about. And they had some good ideas.”

For Furman, The Year of No Returning isn’t just a title, it’s a way of life. “I’ve been doing a lot of things just ’cause [they] seem risky,” he tells me. “And that just becomes enough reason to do it.” These risks include leaving Chicago behind to make a new home in San Francisco, and taking a solo tour of Europe last November. “[I] was like, I can fucking do this,” he says. “I can just be a force of nature on my own.”

“It gives a feeling, that phrase Year of No Returning, of changing your life,” Furman says. “You know, having a year when you do everything differently. I guess I’ve had a year like that.”

The Year of No Returning is available at www.ezrafurman.com

EZRA FURMAN

With Clouds & Mountains, and Debbie Neigher

Sat/11, 9 p.m., $10

Hotel Utah

500 4th St., SF.

(415) 546-6300

www.hotelutah.com

Right about now

0

THEATER It’s a rare thing, really too rare, to find an audience eagerly erupting into political discussions between acts of a play. But that’s what Little Brother inspires, and in an unaffected way, without pretension or unwelcome goading. It’s too cool, confident, and contemporary for that. After all, the night I saw the play — adapted by director Josh Costello from the 2008 teen novel by Canadian sci-fi author and activist (and co-editor of Boing Boing) Cory Doctorow — was just one night after Occupy Oakland tried to convert a vacant building into a much-needed community center for the needier of the 99 percent. That didn’t go too well. The street clashes with shock-trooping Oakland police forces led to something like 400 arrests before the night was over.

That latest incident, in an ongoing resistance to systemic and overweening injustice, resonated effortlessly with the proceedings onstage at Custom Made Theatre. There, on an intimate thrust stage, three sharp young actors (Daniel Petzold, Marissa Keltie, and Cory Censoprano) smoothly embodied a fleet series of characters in a story pitting a group of Mission District high school teens against the Department of Homeland Security. The battle takes place in the aftermath of a terrorist attack that levels the Bay Bridge and unleashes an all-out totalitarian crackdown by the federal government. It’s a dramatic, humorous, irreverent, and urgent story all at once. While far from a perfect play (dramatic consistency and verisimilitude are stretched a bit thin by the end), Little Brother is probably the most exciting thing on stage just now, alive like few other productions in its response to the present moment.

Behind the dynamic trio onstage stands a patchwork wall-projection screen (courtesy of set designer Sarah Phykitt, video designer Pauline Luppert, and video engineer Darl Andrew Packard) papered over with pages seemingly torn from radical histories and revolutionary tracts (it was easy enough to make out Emma Goldman’s visage among the repeated black-and-white pages), and periodically set aglow with live video feed, scene-setting photo montage, text messages, and hacker scrawl across computer and videogame screens.

While DHS is synonymous with Big Brother throughout, and for good reason — the agency is at the forefront of a total invasion of American private life and the Gitmo’ing of American teens — it can also be understood at times as a synonym for the state at large, from high school vice principals on up. As main character Marcus Yallow (a bright, engaging Petzold) explains in an early address to the audience, he’s a senior at a San Francisco public high school. Even before the Bay Bridge attack, “that makes me one of the most surveilled people in the world.”

Before being transformed into an all-out revolutionary by his violent, extra-constitutional encounter with DHS, Marcus and buddy Darryl (a sharp and versatile Censoprano) are fun-loving rebel hackers and gamers often on the receiving end of unwanted attention by the usual authorities. In an early scene, an inept school administrator interrogates Marcus, believing him, correctly, to be the hacker menace “w1n5t0n” (though, hilariously, pronouncing the handle literally instead of the intended “Winston”). Marcus outwits him, and the administrator loses his grip on the free-roaming online hooligan who, among other things, has handily derailed the “snitch tags” the school plants in library books to track the students.

At this point, Little Brother bears a striking similarity to The North Pool, Rajiv Joseph’s psychological two-hander set in a vice principal’s office after school, which had its premiere last year at Palo Alto’s TheatreWorks. But Joseph’s battle, while resonating with a larger political and historical context, ultimately remains more personal than political. Little Brother moves via the next terrorist attack into the realm of all-out political crisis, as short a distance from here as that may seem, and in this way resists reducing its themes to merely personal terms, highlights a tension with the personal throughout — even as it cleaves to a familiar coming-of-age narrative involving Marcus and girlfriend-coconspirator Ange (played compellingly by Keltie).

Costello shrewdly emphasizes this tension in his staging, which begins with the three principal characters recreating the story for a video cam so that it can be posted online. As Marcus begins a first-person account, his cohorts interrupt him almost immediately. “Dude, you can’t make it all about you,” says Darryl, with good-humored conviction. “It’s too big.”

 

LITTLE BROTHER

Through Feb. 25

Thurs.-Sat., 8 p.m.; Sun., 7 p.m., $25-$32

Gough Street Playhouse

1620 Gough, SF

www.custommade.org

Local control of cops

1

news@sfbg.com

Sup. Jane Kim has introduced legislation to the Board of Supervisors calling for a re-examination of the San Francisco Police Department’s participation in some aspects of the Joint Terrorism Task Force, which was created by the Federal Bureau of Investigations to do domestic surveillance.

The proposed ordinance would prohibit the SFPD from working with the JTTF to collect intelligence on individuals in the absence of criminal wrongdoing, which has been a concern of civil libertarians since last year when a secret memo revealed that local officers were under FBI command and not bound by local and state restrictions on such surveillance (see “Spies in blue,” 4/26/11).

Kim said the ordinance was necessary to ensure the “requirement of reasonable suspicion before we do any type of investigation of criminal activity. And we don’t base it on ethnic identification or religious practice as some of the members of the community have been experiencing the last couple of years.

“Our office is sponsoring this because many members of the Arab, Asian and the Muslim community worship in the district and own many small businesses,” she said.

Critics of the relationship between local and federal law enforcement agencies, facilitated through participation in the JTTF, have long raised concerns about racial profiling and unnecessary spying ordered at the federal level, and carried out by SFPD inspectors assigned full time to the task force.

Federal regulations governing FBI intelligence gathering are weaker than standards set by San Francisco and California’s Constitution. In 1990, the San Francisco Police Commission established rules requiring that intelligence-gathering involving any First Amendment activity be based on reasonable suspicion of significant criminal activity. Those rules reflect the California Constitutional requirement of an “articulable criminal predicate” before law enforcement agencies engage in intelligence-gathering activity.

However, because the SFPD inspectors assigned to the JTTF work under the direction of the FBI, the local regulation and control of law enforcement is effectively limited in JTTF investigations.

“It’s important that a clear prohibition against policing based on race, ethnicity, national origin, or religion applies to all of our officers, all of the time,” said John Crew, police practices expert for the Northern California chapter of the American Civil Liberties Union. The ACLU is one of more than 30 civil rights and community organizations participating in the Coalition for Safe SF, which helped develop the proposed ordinance.

According to the coalition, current rules prevent the SFPD from barring its inspectors assigned to the JTTF from joining FBI agents in collecting intelligence on San Franciscans without any “particular factual predication.”

“The purpose of this legislation is to restore local control, civilian oversight, and transparency over the SFPD’s participation in FBI intelligence-gathering,” stated attorney Nasrina Bargzie of the Asian Law Caucus, which is part of the coalition.

The coalition was a major participant in the San Francisco Human Rights Commission hearing in 2010 on the issue of baseless spying and racial profiling in JTTF investigations. The result was a comprehensive report, endorsed by the Board of Supervisors last spring.

But in 2011, the ACLU and Asian Law Caucus learned that key protections for civil liberties — including civilian oversight of intelligence activity and safeguards to limit intrusive tactics — were thrown out the window and replaced by a secret Memorandum of Understanding with federal law enforcement in 2007.

Under the MOU, SFPD paid officers work out of the local FBI office. The secure nature of their work means they must seek federal permission to even talk to their superiors in the SFPD about their work, effectively removing them from the local chain of command. Despite mandated requirements on local law enforcement, the MOU does not allow for any civilian oversight of the work of officers assigned to the JTTF.

San Francisco Chief of Police Greg Suhr said he believes that the concerns have already been addressed. In his first days in office, Chief Suhr issued a binding Bureau Order #2011-07 setting forth the requirement that officers comply with local standards.

An excerpt of the order reads, “SFPD officers shall work with the JTTF only on investigations of suspected terrorism that have a criminal nexus. In situations where the statutory law of California is more restrictive of law enforcement than comparable federal law, the investigative methods employed by SFPD officers working on JTTF investigations shall conform to the requirements of such California statutes.”

“With this Bureau Order, the language of the 2007 Memorandum of Understanding no longer applies and SFPD personnel are bound by the provisions of the 2011 Order,” SFPD Public Information Officer Albie Esparza told the Guardian.

But Crew said that as long as the MOU between the SFPD and federal law enforcement remains in place, Suhr’s order at best creates contradictory policy. “The Memorandum of Understanding is a binding legal contact with the federal government. Which do you think will take legal precedence when it comes up against a local police chief’s departmental order?” said Crew, who urged the department to clarify the matter by withdrawing from the MOU, a step the SFPD has thus far been unwilling to take.

A letter from Sept. 28 of last year to Coalition for Safe SF from FBI Special Agent Stephanie Douglas regarding the contradiction clarifies the matter. “I do retain the right to assign FBI JTTF cases,” states Douglas, who goes on to assert it is she who makes the confidential judgment of which cases fall afoul of the state and city rules and which do not.

After years of intelligence-gathering authorized under a secret memorandum, public mistrust in the SFPD’s relationship to federal law enforcement persists. Kim says she believes the proposed ordinance will still help make San Francisco safer. “It increases the trust of the community members that are working with public safety in reporting, and in cooperating around many of the actual criminal activities that might be going on in the city,” she said.

The proposed legislative approach of regulating the scope of local participation in federal JTTF work is not unprecedented. The city has the option of terminating the MOU with 30 days notice, a step that the city of Portland, Oregon has taken to prevent its police force from spying on citizens in violation of local and state law.

In December, the city of Berkeley suspended its agreement with the Northern California Regional Intelligence Center (an arm of the Joint Terrorism Task Force) as part of a broad review of that city’s relationship to other local and federal law enforcement agencies (see “Policing the police,” 12/13/11).

“What this is about is maintaining local control of law enforcement and ensuring the civil liberties of the people of San Francisco,” Crew said. “Don’t San Franciscans deserve the same protection of their civil liberties as the people of Portland?”

Kim was joined by Sups. David Compos and John Avalos in sponsoring the ordinance. Supervisors are expected to vote on the whether to adopt the ordinance this spring after the measure is heard by the city’s Public Safety Committee following the normal 30-day hold. The measure seems to have the support it needs to pass the Board of Supervisors, but it remains unclear whether Mayor Ed Lee, who did not answer our inquiries, will sign it.

The sex worker struggle

3

yael@sfbg.com

Google has come under fire in the past year for everything from privacy policies to censorship. But in December, some Bay Area residents were protesting the tech giant for a very different reason. The group that marched in front of the company’s San Francisco office was angry over the company’s donation to organizations fighting human trafficking.

The flyers declared, “Google: Please fund non-judgmental services for sex workers, NOT the morality crusaders that dehumanize us!”

Google had donated a whopping $11.5 million to organizations that “fight slavery” last December, including the anti-sex trafficking groups International Justice Mission, Polaris Project, and Not For Sale.

But the activists said that these are religious organizations that ignored the rights of consensual sex workers.

According to a press release from Sex Worker Activists, Allies, and You (SWAAY), “As frontline sex-worker support services struggle for funding to serve their communities, it is offensive to watch Google shower money upon a wealthy faith-based group like the International Justice Mission, which took in nearly $22 million in 2009 alone.”

“I appreciate what they’re trying to do, but I wish that they had done more research,” Kitty Stryker, a local performer, sex worker and activist, of Google’s choice to fund the organizations.

In a society where the term “sex worker” — coined to describe those who consensually engage in commercial sex and consider it legitimate labor — is still new to most people, this sex workers rights struggle can be an uphill battle. But it rages on, and San Francisco remains one of its most important front lines.

 

FREE SEX FOR HIRE

The heart of the struggle is, and or years has been, fighting the prohibition of prostitution, and the ultimate goal of the sex workers movement is the repeal of the laws that criminalize sex for hire. Decriminalization would be a vital safety measure for escorts, people working on the street, phone-sex operators, exotic dancers, porn actors, and other occupations that fall under the umbrella category of sex work.

Sex workers held worldwide conferences in the 1980s, meeting in Amsterdam and Brussels. Sex work was legalized and decriminalized in several countries around the world, including New Zealand, the Netherlands and Germany. The Sex Workers Outreach Project (SWOP) became one of the most important organizations fighting for the cause, with chapters around the world.

Here in San Francisco, the city remains a hub for sex-workers rights advocates, who raise awareness about issues ranging from STD prevention to consent in BDSM contexts. The Saint James Infirmary supports and treats sex workers when they need medical assistance, and the Center for Sex and Culture is a resource and community center that embraces all San Franciscan’s with their minds in the gutter, sex industry workers included.

San Francisco’s sex workers rights history includes two unions. Workers at the North Beach strip club the Lusty Lady formed the Exotic Dancers Union in 1997. The union became part of the Service Employees International Union, and the Lusty Lady remains the only collectively run, sex-worker-owned strip club in the United States.

Maxine Doogan founded the Erotic Service Providers Union (ESPU) in 2004 as an umbrella organization for sex workers in various industries. The ESPU has been active in opposing regulations of the massage industry and sponsoring Proposition K, a 2008 ballot measure that would have decriminalized sex work in San Francisco.

I spoke to a handful of Bay Area sex-workers rights activists to get a sense of the major issues and priorities for the next year.

NO VISAS

Activists are currently planning for the July, 2012 International AIDS Conference in Washington, D.C.

Many international sex workers rights advocates have been denied visas to get to the conference. The U.S. typically bars convicted felons — but there’s a special exception for people guilty of misdemeanor prostitution charges.

“SWOP has an idea of getting in touch with some of the people denied entrance and asking them what they were going to present on and to try and present their papers in their place, to make sure these organizers voices are heard,” said SWOP-Bay Area spokesperson Shannon Williams.

But that’s not where the government’s weird exclusion of sex workers from its efforts to fight AIDS ends.

The Presidents Emergency Plan for AIDS Relief (PEPFAR) fund allocates $48 billion to organizations around the world engaged in AIDS treatment and prevention. But thanks to the religious right, the law, approved in 2003, includes a stipulation that all recipient groups must make a pledge decrying prostitution. It’s known as the “anti-prostitution loyalty oath.”

A court ruling July 6, 2011 declared the oath a violation of the free-speech rights of organizations in the United States, but the U.S. still blocks PEPFAR funding for international organizations based on the “loyalty oath.”

“Sex worker activists are going to converge in D.C. for the AIDS conference and talk about the loyalty oath. The US is exporting its ideology through this funding requirement” said Carol Leigh, a longtime activist who curates the annual San Francisco Sex Worker Film and Art Festival.

 

EMPHASIZING CONSENT

Sex workers rights activists continue to be engaged in their complex, decades-long struggle with anti-sex trafficking organizations.

People who want safer working conditions say that decriminalization would make it easier for police to distinguish between coerced and consensual prostitution and encourage those with knowledge of crimes perpetuated against sex workers to come forward without risking prosecution for their own illegal work.

But many anti-trafficking advocates dismiss the distinction between forced and consensual prostitution in their efforts. According to a document called “Ten reasons for not legalizing prostitution,” on the website of the Coalition Against Trafficking in Women, “There is no doubt that a small number of women say they choose to be in prostitution, especially in public contexts orchestrated by the sex industry… In this situation, it is harm to the person, not the consent of the person that is the governing standard (emphasis theirs).”

It’s this refusal to acknowledge the importance of consent that really pisses off advocates —and has a powerful effect on the policy that governs them.

The federal definition of sex trafficking includes consensual prostitution, and defines coerced prostitution as “severe sex trafficking.” “Law enforcement agencies can use anti-trafficking funds to arrest sex workers in prostitution, on the grounds that the feds define all prostitution as trafficking, even though the government distinguishes between trafficking and severe trafficking,” said one sex workers rights activist.

According to Leigh, anti-trafficking organizations are not all bad; she named the Global Alliance Against Traffic in Women as an organization that “has been allied with sex workers rights movement and takes rights-based approach.”

But organizations that conflate consensual and coerced commercial sex are often big-time recipients of public and private funding.

Doogan is wary of any attempt to further regulate or criminalize sex work. She says that often, laws meant to deter prostitution trap people who may want to change occupations.  “Women have to continue working in the industry because no one else will take them for work when they have those convictions on their record,” said Doogan.

That may be the case with Lola, an occasional Erotic Service Providers Union volunteer who was arrested on prostitution-related charges outside California earlier this year. She moved to the Bay Area and is looking for a job, but after a promising interview last week, she’s nervous that a background check will reveal her arrest.

“I’m waiting to hear whether that’s going to be an issue or not. They could tell my landlord, and then I could lose my house too…all I’m trying to do is get a job,” Lola told the Guardian.

 

THE WORK GOES ON

For most sex-workers rights activists, the long-term goal remains decriminalization. For now education, creative projects, and protest in service of that goal continue.

Members of SWOP-Bay Area have a program called Whorespeak that does outreach at colleges, and “we’ve also been speaking in classes for therapists about how to work with current and former sex workers and not pathologize them,” said Williams.

According to Stryker, one of the most exciting projects happening now is Karma Pervs. The website, run by local queer porn star Jiz Lee, sells unique sex-positive porn and donates the proceeds to organizations like the Saint James Infirmary.

Then, of course, there’s the International Day to End Violence Against Sex Workers, when sex workers and allies gather to commemorate sex workers who have been assaulted and killed.

Sex workers often can’t go to police to report crimes for fear of being locked up themselves, society retains a huge stigma surrounding sex work, and there is an insidious cultural myth that “you can’t rape a prostitute.” These all add up to put sex workers at high risk for assault and murder; serial killers, such as the Green River Killer in Seattle and a murdered in Long Island-area this past summer, are disproportionately likely to target prostitutes.

That’s why, for Williams, “Our long-term goal is to decriminalize prostitution. But the real goal is to end violence against sex workers.”