Volume 46 [2011–12]

Delta delight

1

arts@sfbg.com

FILM In the annual hothouse atmosphere of Sundance, even mediocre or bad new American narrative features are cocooned in an atmosphere of self-congratulation — at least until the reviews come out a few hours later. Movies that are actually pretty good invariably become “great” for the duration of the festival; with everyone searching for something to hyperventilate about, one need only light a birthday candle to set off a roman candle of hyperbole. Most of these movies come out a few months, waving their festival awards, only to look significantly diminished in the sober light of day (and decreased altitude). Suddenly they’re, well, just pretty good.

With the occasional exception, of course. Six months after winning the Grand Jury Prize at Sundance (and a Cannes Camera d’Or), Beasts of the Southern Wild proves capable of enduring a second or third viewing with its originality and strangeness fully intact. Magical realism is a primarily literary device that isn’t attempted very often in U.S. cinema, and succeeds very rarely. But this intersection between Faulkner and fairy tale, a fable about — improbably — Hurricane Katrina, is mysterious and unruly and enchanting, an imaginative leap of unusual ambition and accomplishment for a first feature.

Ostensibly based on a stage play — co-scenarist Lucy Alibar’s Juicy and Delicious, said to be a bluegrass musical — Benh Zeitlin’s film is wildly cinematic from the outset, as voiceover narration from six-year-old Hushpuppy (Quvenzhané Wallis) offers simple commentary on her rather fantastical life. She abides in the Bathtub, an imaginary chunk of bayou country south of New Orleans whose residents live closer to nature, amid the detritus of civilization. Seemingly everything is some alchemical combination of scrap heap, flesh, and soil. What might look like an unhygienic, frightening, child-abusive nightmare to any Social Services authority is to Hushpuppy a constant playground, and to her elders a sort of pagan-libertarian utopia.

http://www.youtube.com/watch?v=Wqt5m0OBkjE

Before the story has gotten properly started there’s a community celebration with fireworks, music, guns fired into the air, babies crawling everywhere — a celebration of nothing in particular, at least that we can tell. But as our heroine says, “The Bathtub has more holidays than the rest of the world.” It is clear that, for that and many other reasons, its citizens have no use for the rest of the world.

She lives with her father Wink (Dwight Henry) — albeit in separate ramshackle trailers on stilts — a fierce, erratic man with unknown demons who’s seldom outright unkind but acts less like a father than an Outward Bound coach, teaching his charge the tools to survive on her own. (In addition to slopping the livestock and pets, she can already make dinner for herself, lighting the stove with a blowtorch.) But one day he disappears, leaving Hushpuppy without human company beyond the memory of a long-absent mother she nonetheless frequently talks to. When Wink returns, it’s in a hospital gown and bracelet; whatever happened, he doesn’t want to discuss it.

Soon they have bigger things to worry about, anyway, as “the storm” is coming — prompting all but a few stubborn holdouts (well-fortified by alcohol) to evacuate the Bathtub. Wink and child aren’t going anywhere, waiting it out instead in a shack then floating to safety in their boat (a decapitated truck bed).

The area is fully flooded, however, and an illegal breach of a remaining levee drains it but can’t repair the devastation wrought on plants, animals, and homes. The holdouts are forced at federal gunpoint to evacuate at last, sequestered in a relief shelter-hospital whose sterility and order is as alien to them as the surface of Mars. Worse, this exile hastens the serious illness Wink was able to keep (mostly) at bay in the Bathtub — as the wary say, hospitals are where sick people go to die.

With its elements of magic (or at least the illustration of a child’s belief in such), mythological exodus, and evolutionary biology — Gina Montana’s Amazonian schoolmarm Miss Bathsheeba defines her eat-or-be-eaten perspective with “Everything is part of the buffet of the universe” — Beasts goes way out on a conceptual limb. Particularly for a low-budget movie with non-professional actors; you could argue it achieves many (if not more) of the same goals Terrence Malick’s 2011 The Tree of Life did at a fraction of that film’s cost and length. Its messiness is an organic virtue, with grainy imagery whose hand-held spastic camerawork (by Ben Richardson) is for once much more than a trendy stylistic choice; the instability feels in synch with Hushpuppy’s world, in vibrates with the slightest clue provided by glance, weather, or instinct.

The frenetic yet amorphous atmosphere might on a first viewing make you question whether there’s really much story beneath the busy aesthetic surface, but in fact for all its freely digressive air Beasts is pretty tightly constructed. (Nonetheless, you can imagine the editors scratching their heads initially over how this footage might possibly cut together, unless they were in on the project from the start.) Adding to that spectral, hyperreal effect is a score by Dan Zomer and Zeitlin that combines keening or plucked strings with the ethereal chime of a glockenspiel, at times sounding like a Sufjan Stevens instrumental.

There are moments of real enchantment, like an all-girls’ side trip to a floating bordello whose bosomy ladies surrender to their maternal instincts, or the recurrent glimpses that see Hushpuppy’s hog gradually morph into a thundering pack of tusked, primeval wild boars. (Toward the end especially, this latter effect underlines the notion that the film’s closest recent antecedent is Spike Jonze’s 2009 Where the Wind Things Are, another child’s feral fantasy.)

Through it all the pint-sized Wallis (who was just five when she was chosen from some 4000 auditioning kids) strides with astonishing alertness and confidence, a vulnerable minor one minute, as regally self-possessed as Pam Grier in Coffy (1973) the next.

It would almost be a shame if she did anything else — this performance would be best preserved as a mysterious lone bolt from the blue, just as the movie itself seems to capture unrepeatable lightning in a bottle.

 

BEASTS OF THE SOUTHERN WILD opens Fri/6 in San Francisco.

Under oath

19

steve@sfbg.com

Mayor Ed Lee and suspended Sheriff Ross Mirkarimi each took some lumps on June 29 as they were cross-examined by opposing attorneys in front the Ethics Commission, which is conducting the official misconduct case that Lee brought against Mirkarimi over a Dec. 31 domestic violence incident. But the hearings proved unexpectedly dramatic when the room was suddenly cleared for an undisclosed security threat — following testimony by Lee that a city commissioner alleges included perjury.

The incident raises a number of issues that officials hadn’t yet answered by Guardian press time. Was the security threat real? If so, why wasn’t the room or the rest of City Hall properly secured after the mayor was whisked away? If not, who ordered the room cleared and why?

Undersheriff Paul Miyamoto, who ran against Mirkarimi last year, told the Guardian that the San Francisco Police Department notified his office that a caller claimed to have planted bombs outside of City Hall and on the Golden Gate Bridge. Deputies conducted a search and found nothing, and his office didn’t order the recess of the hearing. “We did not evacuate anyone,” he told us.

Speculation about the incident was heightened during the break when Debra Walker, a Mirkarimi supporter and longtime member of the city’s Building Inspection Commission, told the Guardian that Lee committed perjury when he denied speaking with any members of the Board of Supervisors before filing official misconduct charges. Lee was responding to a direct and pointed question from Mirkarimi attorney Shepherd Kopp — one that that Lee’s attorneys had unsuccessfully objected to.

Specifically, Walker said that her longtime friend and political ally Sup. Christina Olague — who Lee appointed to serve the last year of Mirkarimi’s term for the District 5 seat — had told her repeatedly that Lee had asked her advice before filing the charges against Mirkarimi, and that Olague’s advice was that Lee should ask for Mirkarimi’s resignation but drop the matter if he refused.

That allegation, which was first reported on the Guardian’s Politics blog shortly after the commission went into recess (Olague had not yet returned a call from the Guardian asking whether she had spoken to Lee about Mirkarimi), prompted reporters to confront Olague in the hallway outside her supervisorial office, where she tersely denied the allegation and then took refuge behind closed doors.

When the reporters lingered and persisted, waiting for a more complete answer, Olague finally emerged, reiterated her denial, refused to speculate about why her friend Walker would make that claim, and said, “We’re not allowed to discuss this matter with anyone before it comes to the board…I may have to recuse myself from voting on this.”

It was unclear why she thought recusal might be necessary, but if she does disqualify herself from voting on Mirkarimi’s removal later this summer after Ethics completes its investigation and makes its recommendations to the board, that would hurt Lee’s effort to get the nine votes needed to remove Mirkarimi.

When the Ethics Commission hearing resumed after a couple hours, Lee was again placed in a position of denying specific factual allegations that others have made, again raising the possibility that he committed perjury in his sworn testimony, which could expose him to felony criminal charges while undercutting his moral authority to remove Mirkarimi over the single misdemeanor count of false imprisonment that he pleaded guilty to in March.

The second instance was when Kopp asked Lee, “Did you ever extend any offer through third parties that you would find him another job if he resigned?”

“I don’t recall offering Sheriff Mirkarimi any job,” Lee replied.

Kopp specifically asked whether that job offer had been extended on Lee’s behalf by permit expediter Walter Wong or by San Francisco Democratic Party Chair Aaron Peskin, to which Lee replied, “Absolutely not.”

Mirkarimi supporters have told the Guardian that Peskin had made that offer, which Mirkarimi refused, shortly before the party chair publicly called for Mirkarimi’s resignation. The outgoing message on Peskin’s cell phone said he was unavailable and wouldn’t be checking his messages until July 5. Mirkarimi’s attorneys said they’re still figuring out how to respond to the developments and had no comment, but Walker said she’s willing to testify under oath.

But the dramas underscore the treacherous grounds opened up by these unprecedented proceedings, the first involving the Ethics Commission and the broadened definition of official misconduct placed into the City Charter in 1996. As baseball great Barry Bonds and former President Bill Clinton learned, being forced to testify under oath about sensitive topics can be a tough trap to negotiate.

 

MIRKARIMI TESTIMONY

Deputy City Attorney Peter Keith also seemed to be trying to spring that perjury trap on Mirkarimi as he took the stand on the morning of June 29 following an hour on the stand at the previous night’s hearing. Keith reminded Mirkarimi that he was advised not to discuss his testimony with anyone and asked, “Who have you spoken to since last night?”

“My attorneys,” Mirkarimi answered.

“What did you say to them?” Keith asked, drawing objections about attorney-client privilege that Commission Chair Benedict Hur sustained.

“Did you stop for coffee?” Keith then asked, seemingly concerned that Mirkarimi may have discussed his testimony with someone at the coffee shop that morning, which Mirkarimi denied. Keith let the allegation go but maintained an accusatory, hectoring tone throughout the next three hours that he had Mirkarimi on the stand, two more hours than he had told the commission he would need.

Much of the time was spent trying to establish support for the allegation that Mirkarimi had dissuaded witnesses and sought to thwart the police investigation, which was triggered by a call from Ivory Madison, a neighbor to whom Mirkarimi’s wife, Eliana Lopez, had confided. But the testimony yielded little more than the city’s unsupported inference that Mirkarimi must have directed Lopez and his campaign manager, Linnette Peralta Haynes, to contact Madison after she had called the police and urged her to stop cooperating with them.

Mirkarimi has maintained that he did nothing to dissuade Madison or anyone from talking to police, and that he wasn’t aware of the investigation or that Madison had made a videotape of Lopez showing a bruise on her arm until hours after the police were involved. He even sent a text to Lopez saying there was nothing he could do, as he noted.

“It was after 4pm on January 4 when I first learned of any of this,” Mirkarimi testified, later adding, “I was very clear to her in saying you can’t unring the bell, we have to follow through with this.”

Yet Lee and the deputy city attorneys who are representing him also maintain that they needn’t prove witness dissuasion or other allegations they have made, and that the Dec. 31 incident and Mirkarimi’s guilty plea to a single misdemeanor count of false imprisonment are enough to constitute official misconduct and warrant his removal, an interpretation that Mirkarimi’s attorneys dispute.

Keith sought to hammer home how Mirkarimi should have admitted to and publicly atoned for his crime right away rather than telling reporters it was a “private family matters” (which Mirkarimi admitted was a mistake) or fighting the charges by trying to discredit Madison publicly, an allegation he denies.

After unsuccessfully trying to get Mirkarimi to admit to directing efforts to question Madison’s credibility in local media accounts, Keith asked, “Did you ever direct anyone not to attack Ivory Madison?”

“I never directed anyone to attack or not attack,” Mirkarimi replied.

Keith also clarified that Mirkarimi denies the allegation Madison made that the physical abuse on Dec. 31 went beyond grabbing Lopez’s arm once in the car, as the couple has maintained. “It’s your testimony there was no punching, pulling, or grabbing in the house?” Keith asked, which Mirkarimi confirmed.

Yet Keith said that given the totality of what happened, Mirkarimi should have known he couldn’t continue on as sheriff. “Under those circumstances, wouldn’t resigning be the honorable thing to do?” Keith said, to which Mirkarimi replied that it’s a hard question and that he’s doing what he thinks is right.

Faced with friendlier questions from his own attorney, David Waggoner, Mirkarimi apologized for his actions, saying “I feel horrible and ashamed,” but that he was “sad and scared” to have his family torn apart against their will. He also said that he believes he can still be effective as sheriff because “what makes San Francisco special is our forward-thinking approach to criminal justice.”

Longtime Sheriff Michael Hennessey — who endorsed Mirkarimi and continues to support him — established a variety of programs emphasizing redemption and rehabilitation, hiring former convicts into top jobs in the department to emphasize a belief in restorative justice that Mirkarimi ran a campaign promising to continue.

“Never in my wildest dreams did I think I would be an example of what this redemption process looks like,” Mirkarimi said, choking back tears.

But Keith had the last word before Mirkarimi left the stand, belittling the idea that Mirkarimi offers an example to follow by noting how much probation time and court-ordered counseling he still has to undergo and asking, “The process of redemption doesn’t happen overnight, right?”

 

LEE ON THE STAND

Under questioning by Kopp, Mayor Lee admitted that he doesn’t have a written policy on what constitutes official misconduct, that his decisions are made on “a case by case basis,” and that he’s not sure whether conviction of a crime would always constitute official misconduct “because I’ve never confronted this before.”

“Were you aware that many members of the Sheriff Department have criminal convictions?” Kopp asked. Lee said he was not aware. Asked whether he was aware that Sheriff Hennessey had hired a convicted murderer into a top command staff position (see “The unlikely sheriff,” 12/21/11), Lee said he wasn’t.

Lee’s insistence that Mirkarimi’s crime makes him unable to deal effectively with other officials was also attacked by Kopp, who asked, “Isn’t it true that people get elected who have disagreements with other city officials?” He pointed out that City Attorney Dennis Herrera had nasty conflicts with Lee when they ran against each other for mayor last year, but that they’re working well together now.

Kopp also drilled into Lee about his decision to bring official misconduct charges before conducting an investigation or speaking with any witnesses besides Madison — an answer Lee blurted out just as city attorneys objected to the question. Much of Madison’s written testimony has been rejected by the commission as prejudicial hearsay evidence (see “Mayor vs. Mirkarimi,” July 27).

But the public’s perception of this case, if not it’s outcome, could turn on whether Lee is holding Mirkarimi to standards that he himself — as someone appointed mayor on a later-broken promise not to run for a full term — couldn’t meet. It was what Kopp seemed to be driving at before the bomb scare.

“You have asserted in your written charges that Sheriff Mirkarimi’s conduct fell below the standard of decency, good faith, and right action that is impliedly required of all public officials, correct?” Kopp asked.

“Yes,” Lee replied.

“We expect certain things of our elected officials, right?” Kopp asked.

After a long pause, in which Lee appeared to be thinking through his answer, he replied, “That’s generally true, yes.”

“And when the charter speaks of official misconduct, it doesn’t say we expect a certain standard for the sheriff, a different standard for the mayor, a different standard for the DA, a separate standard for the assessor, it just speaks in general terms about official misconduct for public officials, right?” Kopp asked.

Kaiser objected to the question on three counts, sustained on the grounds that it calls for a legal conclusion.

“Do you yourself believe there’s a separate standard for sheriff than for other elected officials?” Kopp asked, and this time the city’s objection was overruled and Lee replied, “It should be the same standard.”

“And would you agree with me that one of the things that is expected of elected officials is for them to be honest and forthright when dealing not only with their constituents, but with other elected officials?” Kopp asked, his final question before Chair Benedict Hur announced that the hearing would be suspended and the room would need to be cleared.

After the hearing reconvened, Kopp drew parallels to other city officials who remained on job after scandals, including former Mayor Gavin Newsom (who had an affair with a subordinate who was married to his campaign manager), former Sheriff Dick Hongisto (who was jailed for refusing to carry out a court’s eviction order), and current Fire Chief Joanne Hayes White (whose husband reported that she hit him in the head with a pint glass).

Asked about the latter case, Lee responded, “I don’t know all the circumstances around that and I don’t believe I was mayor at the time.”

 

The People’s School

0

yael@sfbg.com

Oakland elementary schools that were packed with kids until a few weeks ago are now closed for the summer — and five are closed for good. In October the school board voted to close them in a move that would save about $2 million per year.

But many Oakland Unified School District (OUSD) residents are not pleased. At the Oct. 26 meeting where the vote was cast, 500 protested. Concerned parents and teachers have been petitioning and meeting with school board members and Superintendent Tony Smith for months, trying to reverse the decision.

“No one wants to close schools, but the OUSD made this difficult decision because it’s in the best long-term interest of students,” reads a June 22 press release.

Resistance to that decision now continues at one school that was supposed to close June 18. To the dismay of the district, it remains open. Lakeview Elementary is the site of a sit-in and free school, orchestrated by parents and teachers.

“Lakeview has strengths,” the June 22 press release goes on to say. “It has shown improved academic performance in recent years and, boasts a strong sense of community and close alignment with its afterschool programs.” But low rankings in attendance and test scores overshadowed those strengths in the decision to close the school.

Yet it seems that “strong sense of community” seems to be more powerful than the school board thought.

SENSE OF COMMUNITY

Joel Velasquez, a parent of three and PTA member who has had children at Lakeview for 10 years, didn’t think it would come to this.

“I’ve watched everything that went on as a parent here for 10 years,” Velasquez said. When the school was threatened, “I probably spent 20 hours a week meeting, talking, emailing, researching, sending, forwarding — I mean, this is something that has been ongoing.”

“I met with Tony Smith for an hour,” Velasquez said. “I sat with board members.”

But as the end of the school year approached, he was growing more desperate, so he ended up making an announcement: “On the last day of school, I’m not going to leave. And I hope that people join me.”

They did. Lakeview’s building is slated to be turned into administrative offices, and that process was scheduled to begin two weeks ago.

Now, the school that should be filling up with district employees’ office supplies still has children running around its grounds. Organizers opened the People’s School for Public Education, and classes, taught by an army of credentialed teachers and qualified volunteers, run from 9am to 3pm, Monday through Friday.

At a June 27 visit, I toured the school and sat in during a Social Justice class. In the People’s School’s organic garden, a smiling gardening teacher had to stop an overzealous six-year-old from drowning the kale. “They love watering!” he shrugged. Another child, still mesmerized 30 minutes after the official end of music class, improvised on the djembe along with the drumming teacher. From a balcony, a volunteer called to him: “There’s ice cream!” he looked up, considered, and then kept drumming.

The group of kids has grown since the school opened June 15, as parents hear about the summer school and come see it for themselves. The Lakeview sit-in is unlike other recent occupations in the careful vetting process each visitor gets. After all, protecting the kids and their education is the most important goal of the project. But during school hours, parents are permitted to come inside and stay with their children as long as they want, seeing what the school is like.

Still, getting parents to send their children to a summer camp that isn’t technically legal isn’t always easy. “I think our society, not just parents, are really reluctant to do something like this,” Velasquez said. “But I see it as a positive service to the community. We’re using the building for what it’s intended to be used for.”

Julia Fernandez, a high school math teacher, got involved with the effort to save the schools through the Occupy Oakland Education Committee, and her two children, ages 2 and 4, are enrolled in the summer school.

As a nine-year resident of Oakland, Fernandez says, the cuts affect her and her family. She’s taking part in the demonstration partly “for my own kids,” Fernandez said. She said the cuts “affect the school where my kids would go. It’s likely that it’s going to be closed or turned into a charter school.”

“But the thing that motivates me the most is all these attacks that are happening against people,” Fernandez said. She guessed that it was adversity of many kinds, not just school closures, that motivated many parents to join the protest and send their kids to the People’s School.

“People are really upset about all the attacks that are being done on regular working class people. People are losing their homes, they’re getting laid off, and now their schools are closing. It just seems like all these services, all these rights people should have, are being taken away”

MORE THAN MONEY

Organizers emphasize that the money saved seems paltry, just $2 million for five functioning schools.

“Think about it, this is not very much,” Velasquez said. “And they’re wasting almost $4 million to do these transitions to close the schools. They’re spending more than the savings.”

OUSD spokesperson Troy Flint confirmed that the savings will be “in the $2 million range,” and that the total cost of the transition is about $3.7 million.

These expenses include about $117,000 one-time moving related costs and about $200,000 in staffing, including paying a transition director.

They also include $95,000 in transportation costs, which may not be one-time expenditures; they may “as needed for an additional year or more,” Flint said in an email.

Meanwhile, about 1,000 students will be displaced by the move. Many will move to Grass Valley and Burckhalter, and these school’s capacities will be expanded with portable classrooms.

“The promise that we made to students was that we would guarantee students at the closing school a place at a school that was higher performing than the one we were leaving. We were able to live up to that promise,” Flint said.

However, there was a problem: “Most of the schools that perform in the top tier are already subscribed to capacity, so we had to expand the capacity using portables.”

Will these high performing schools remain high-performing as an influx of new students show up at their doors in the fall? After all, Oakland has many more elementary schools than comparable districts, a result of the small schools movement, a policy adopted in 2000 that led to the closure of some larger schools, which were replaced by smaller ones. According to a study conducted by Brown University’s Annenburg Institute for Education Reform, Oakland small schools are “safer, calmer, and more welcoming to families” than the schools they replaced.

But as private donations from those excited about small schools, notably the Bill and Melinda Gates Foundation, run out — along with federal and state money — Oakland may be reverting to larger institutions.

And as the OUSD sees it, that may not be a bad thing.

“To build toward the day when every OUSD school is a high-quality school, we need to concentrate our time, attention and resources in a manageable number of sites instead of spreading ourselves too thin,” he said in an email. “Quality over quantity is the goal when we can’t do both and the current financial environment prevents us from properly caring for 101 schools.

THE NEIGHBORHOOD PROBLEM

One of the reasons for the stated school closure is that it ranked in “the bottom quarter of elementary schools in terms of the number of children living within a half-mile of the school or within the attendance area” and the “lowest percentage of neighborhood students attending the school (30 percent).”

The school is also 99 percent children of color.

As Oakland Tribune education reporter Katy Murphy has written, about half of students in Oakland attend schools outside their district. As a statement from the group Decolonize Oakland points out, “We have to question why the families of black and brown students who live outside of Adams Point have chosen Lakeview.”

Maybe it’s that strong sense of community? All of the other schools slated for closure are also in the flatlands and serve mostly African American and Latino students.

Root, formerly Occupy the Hood Oakland, has played a big part in the organizing. So has Education for the 99 Percent, Occupy Oakland’s education working group, and other Occupy Oakland volunteers.

“A lot of people from Occupy have been extremely supportive and we wouldn’t be able to do this action without that support,” Velasquez said. “For example, the food, they have come every single day to feed, not just breakfast, lunch and dinner, but snacks and drinks.”

The sit-in has also received support from labor groups. A letter signed by more than 50 teachers’ union leaders and local school employees declares, “An injury to one is an injury to all. Let’s seize this opportunity to fight alongside parents, students, and community. We will mobilize our members to support this struggle.”

LEADERSHIP?

The demonstration has not, however, received support from the city of Oakland. Officers from the OUSD Police Service has visited the school several times (and Velasquez says they have done so without warning, despite agreeing to call first to avoid scaring children). Oakland police have been on site as well, and the protesters have received warnings to leave.

“I still remain hopeful that the protesters will see that the most forward-looking resolution to the standoff is to disperse peacefully and to concentrate their efforts on improving the school district for the year 2012/2013 and beyond,” Flint told me. “Right now we still believe that if there’s a relatively prompt resolution to the standoff, we’ll be able to meet our targets to get the facilities ready.”

“It’s not clear why they’re doing this sit-in in Oakland, an overwhelmingly Democratic district where Republicans can’t get elected,” Flint said. “The fundamental problem with this issue is all the Republicans have taken a no taxes pledge.”

Velasquez agrees. “It’s criminal what the state of California is doing right now,” he said. “But we’re focusing our attention on Tony Smith and the board because they’re accepting these conditions, and they shouldn’t…So if they feel that way, why are they not doing something about it, instead of accepting the conditions, and hurting the families and the students? Most importantly the kids.” Flint said the board would be willing to work with the group, but that the sit-in is pointless. “I don’t view this current action as something that is providing us any additional leverage,” he said, though he noted that his office had not attempted to use the sit-in to pressure the state. “We’ve coordinated people across the state, sending in postcards and petitions,” he explained. But when asked what worked best, he said nothing has. “I can’t name a time we’ve been successful,” he said, “because I don’t think we’ve been successful.” As budget cuts sweep the country many governments are feeling this kind of defeatism. The Peoples School for Public Education may not last forever. But they’ve taught 30 kids for free for more than two weeks now, and despite limited time and resources, show no sign of stopping.

Cash your bowl

0

caitlin@sfbg.com

HERBWISE It’s time to get a Discover card. As of July 1, you can no longer use your Visa or Mastercard credit or debit card to buy medical marijuana. And of course, American Express cards have been out of the question since spring 2011. Electronic Merchant Systems, which handles card processing for most of the nation, sent out an announcement last month to its vendors, raising the stakes for dispensaries across the country that seem to be coming under a coordinated federal attack. Cash-only cannabis? That’s pretty bad, maybe just as bad as the next thing I have to tell you about…

MORE BAD NEWS

The Vapor Room is closing. Yes, the perennial Best of the Bay-winning, nine-year old Lower Haight dispensary-lounge (607 Haight, SF. www.vaporroom.com) will be closing its doors as of July 31, according to the nonprofit’s executive director Martin Olive. Olive told the Guardian in a phone interview that the dispensary learned an undisclosed amount of time ago that its landlord had received one of the doom-bearing letters now so familiar to San Francisco dispensaries from US Attorney Melinda Haag declaring that the dispensary was within 1,000 feet of Duboce Park. The city’s permitting laws, Olive told us, are concerned with how far cannabis clubs are from playgrounds, not park grounds. Vapor Room has a long-standing relationship with the Harvey Milk Rec Center that anchors the park — the nonprofit actually sponsors free yoga classes and health counseling that take place in the center itself. Olive wouldn’t confirm rumors that Vapor Room’s stock will continue to be available for delivery, but that’s the word on the street.

PLEASE NO MUNCHIES JOKES

The “bath salts” face-eater didn’t have any bath salts in his system. In fact, the only drug authorities uncovered through post-humous tests was cannabis.

UNDISCLOSED THING

As an events editor, organizations that don’t send us the vital information we need to cover their event are the bane of my existence. It is another thing entirely, however, when an organization requests that vital information be kept out of the newspaper. A sign of the times when it comes to cannabis journalism, I’m afraid. And as such: check out a happy hour benefit at El Rio for “an organization supporting low-income, AIDS-HIV, and cancer patients with free medicine.” Sigh. It’ll be running semi-concurrently with pop-up Mugsy Wine Bar’s hat-tip to Bastille Day (5:30pm-8:30pm). Drown your frustrations with some nice sparkling Blanc de Noir Cremant de Bourgnone, why don’t you.

Fri/13 4pm-6pm, free. El Rio, 3158 Mission, SF. www.elriosf.com

AND FINALLY

Search YouTube for “Conan O’Brien and Martha Stewart Get Crafty with Pot.” Discussion question: for all the weirdness that you just read, is marijuana becoming more or less accepted in mainstream culture?

Real swell year

0

emilysavage@sfbg.com

MUSIC In Jimmie Rodgers’ 1930s-era song “The One Rose,” the country music pioneer wistfully croons “So blue, so lonesome too, but still true/Rosie haunts me, makes me think of you/You’re the one rose that’s left in my heart.”

Midway through Mornin’ Old Sport’s surreptitiously upbeat, plucky country-folk ditty “Katie” — off the contemporary band’s debut self-titled full-length, released July 10 on Misery Loves Co. — singer-guitarist Scott Nanos harmonizes with fiance-bandmate Kate Smeal about their complex love story. “The shadows are calling my number/I know I’m just waiting in line/but I’ll sing my vows as I’m pulled underground/I’m Katie’s and Katie is mine.”

Complicated love, it seems, is universal. While the song is toe-tapping fun, like a candlelit county fair square dance with checkered tablecloths and corked bottles of homemade moonshine at the ready, the message is a bit deeper: I’m in burning love, but eternal commitment could drag me to an untimely death of spirits.

And yet, “It is very loving,” Nanos insists over a pitcher of beer near Embarcadero, mere weeks before the band’s summer tour. “It doesn’t really sound that happy to me,” Smeal laughs after repeating the hook. “Fatalism and love are the same,” Nanos returns.

“It’s just a really sad love song,” Smeal concedes.

Mornin’ Old Sport is not solely based on this core romantic relationship, there are other types of connections in the now-Oakland based band, those of the blood-brother variety. Like the one between Nanos and fellow Berklee College of Music classmate Jeff Price — the band’s drummer who helped produce the album, which Price’s real brother mastered in their parent’s Colorado recording studio. The Price family runs the small Misery Loves Co. record label (the father was a session musician beginning in the 1960s).

Nanos and Price have been making music together since the first day of college in Boston in 2006, and have been living together just as long. There, at the Massachusetts music school, the band began in earnest — but with a twist. While it started with a few more members, the name Wiffle Bat, and a wholly different sound (Smeal describes it as “circus indie rock”), it eventually whittled to the Mornin’ Old Sport trio.

The three say they organically fell into the music they make now, which is reminiscent of pre-war Americana, early country, jazzy standards, the vaudevillian spirit of Tin Pan Alley, and twangy folk, with influences like Gene Autry, June Carter and Johnny Cash, Lefty Frizzell, Doris Day, the aforementioned Jimmie Rodgers, and Hank Williams. But have they wedged themselves into a vintage corner?

“I was thinking about this the other day, because it is something that mentally I’ve confronted within myself,” says Nanos. “But everything that’s coming out right now is derivative; it’s derivative of the ’80s, or chillwave is slightly derivative of the late ’70s psychedelia, and late ’60s. It’s just a matter of what you’re using as a jumping-off point.”

Nanos’ major at Berklee — music therapy — was one factor leading to these earlier eras as jumping points.

“My field work in music therapy stirred up a romance with 1930s, ’40s, and even ’50s music because I was doing a lot of work with older adults, ages 60 to 90. So I’d do Tin Pan Alley songs, and maybe some Hank Williams, Patsy Cline, Ella Fitzgerald,” says Nanos. “I really started to fall in love with those styles, of which Kate was already a huge, avid fan.”

Adds Smeal, “My parents always sang to me, and then I started studying jazz in early high school — that lead the way for me because I really enjoy old throwback country music that has jazz elements to it.”

“I think our relationship and also music therapy made me enamored with vintage music,” Nanos concludes.

Now there’s yet another relationship to take into consideration: Mornin’ Old Sports’ new connection with the Bay Area. Nanos, Smeal, and Price moved out West this February and fell in love with Oakland. “We moved for romantic reasons…” Nanos says. Smeal smiles, “and now we’re staying for the same.” They tend to do that, finish each other thoughts. Price often laughs, nodding along.

In playing Oakland and Berkeley co-ops, house parties, and warehouses, they’ve just begun absorbing the local scene, and through the shows recently added two new members to the group — bassist Jack Kodros and guitarist Mike Schlenoff. Currently, the five musicians are out on the road for their first big tour, lugging those brand new vinyl records in the hot van. The debut was officially released this week, while the band makes its way through the Midwest.

Recorded mostly live in Price’s family studio just north of Aspen last year, the record is a promising and pleasurable debut, straddling vintage genres, and mixing up vocal duties. Nanos often leads, but Smeal shines on jazzy torch songs, “Over the Moon” and “My Lips,” along with swooshing if maudlin country track “Clementine.”

Standout track, “When the Bomb” boasts some icky lyrical imagery “when the bomb finally drops/I’ll splatter on the wall/But when that bomb finally drops/It won’t hurt me at all,” yet musically remains sticky-lemonade-sweet and cheery.

There’s a timelessness to all this. “When the Bomb” has such a nostalgic tug, it’s difficult to believe it’s not a cover. But that’s part of the charm in these songs, the reverence to the past and the relative simplicity of those feisty chords.

“If you took a Beach House song or something and wrote out chord changes for it, melody line, someone would [still] have a really tough time recreating it,” says Nanos. “Whereas I feel like the kind of song we’re aiming to write, we can write a chart for someone and be like, ‘here you go, just go play it.’ I like the social values of that.”

As for band hopes of that nature, Smeal has a lofty one: “The ultimate goal of the band is to make art that will stay alive years and years after we’re dead.”

“And that will most likely never happen,” Nanos interjects as Price chuckles, “but that’s the goal.” *

Stop ‘stop and frisk’

4

EDITORIAL If the San Francisco Police Department put up checkpoints and metal detectors all along lower Market Street and stopped and searched every person who walked by, they’d find some contraband. No question — a certain percentage of people on the city’s main downtown artery are carrying drugs or weapons. Some have warrants out. There would be multiple arrests and criminals taken off the streets.

And it’s hard to imagine that anyone would consider that a good idea.

So how about moving those checkpoints to the Mission and Bayview-Hunters Point? You might get even more weapons and drugs. And it would still be a profound violation of the civil liberties of every San Franciscan.

But what Mayor Ed Lee is now talking about — instituting some version of the notorious New York City “stop and frisk” law — isn’t much different. Under New York Mayor Michael Bloomberg, the police have been given the authority to search, without cause or a warrant, anyone who looks suspicious. The goal is to get guns off the street.

The result: The vast majority of people stopped are African American or Latino — and 88 percent are totally innocent.

It is, in other words, a huge waste of police resources as well as a systematic program or racial profiling and harassment.

Lee told the San Francisco’ Chronicle’s editorial board that he realized the problems with the New York system and wants a better model. And he said, correctly, that there are serious problems with gun violence, particularly in Bayview-Hunters Point. “I think we have to get to the guns,” Lee said. “I know we have to find a different way to get to these weapons, and I’m very willing to consider what other cities are doing.”

But San Francisco has spent huge amounts of time and resources trying (not always successfully) to build a community policing program that would increase trust between the police and communities of color — and any version of “stop and frisk” would instantly undermine that effort. It’s a terrible idea, and Lee should make it clear that he is dropping any discussion or consideration of it.

The mayor and his supporters insist that they’ll only pursue this approach if it can be done without profiling. But that’s almost impossible and it’s a fantasy to think the San Francisco cops, once empowered to stop anyone for any reason, would target white people the same way they do blacks and Latinos. There’s never been an example anywhere in the country where this kind of law was anything but a case study in racial profiling. Even Police Chief Greg Suhr sounds dubious.

The fact that Lee would even suggest this is a sign of how far he’s moved from his progressive roots. Moving even a step further toward this sort of wholesale civil-liberties violation would be a disaster for San Francisco.

Show trial

0

arts@sfbg.com

THEATER The set (by Beowulf Boritt) is almost unassuming in its simplicity: just a trio of receding frames arching over the stage, each progressively more askew, and beneath them a jumble of aluminum chairs piled to one side. Still, such simplicity also hints at, and soon delivers, rich complexity.

The chairs become many things over the course of the evening but first of all a bus stop, where an African American woman (C. Kelly Wright) in 1950s dress waits and remembers. This mute opening scene then gives way to a reverie and nightmare — a memory and history that take the form of a highly fraught “entertainment” — as a man in a white suit and a black string bow tie (Hal Linden), invariably recalling the Old South if only via the emblem of a certain fast-food chicken franchise, comes onto the stage and pronounces the start of the show.

That would be a minstrel show, a notorious artifact of 19th and 20th century American popular culture, which returns with subversive vengeance in The Scottsboro Boys — the iridescent 2010 Broadway musical by the famed song-making team of John Kander and the late Fred Ebb, in collaboration with equally-no-slouch associates David Thompson (book) and Susan Stroman (director and choreographer). Making an impressive Bay Area debut at American Conservatory Theater, The Scottsboro Boys revisits the trials and the international cause célèbre sparked by the false accusation of rape leveled by two white women at nine freight-train–hopping African American youths (all teenagers ranging in age from 13 to 19) in Depression-era Alabama.

If this seems a heavy subject for a musical, that hardly prevents The Scottsboro Boys from being exquisitely well wrought and enthralling, thanks to an excellent score (channeled wonderfully by Eric Ebbenga’s pit orchestra), Stroman’s devilishly potent staging and choreography, and a strikingly multifaceted, charismatic cast that includes a memorable Clifton Duncan as Haywood Patterson, upon whose memoir, Scottsboro Boy, the narrative partly draws (David Bazemore, Cornelius Bethea, Nile Bullock, Christopher James Culberson, Eric Jackson, Jared Joseph, James T. Lane, JC Montgomery, Clifton Oliver, and Clinton Roane make up the rest of the outstanding ensemble).

At the same time, it’s precisely the mesh-clash of form and content —recalling similar canny deployments of popular theatrical forms Kander and Ebb’s Cabaret and Chicago — that makes Scottsboro a vigorous, if sometimes simplified excavation of the case, as well as this country’s ongoing convolutions over race, sex, ethnicity, and class. A productive tension arises between the show’s exquisite spectacle and the often uncomfortable, even macabre content of the storyline. In just one example, a winning tap number erupts in the young men’s shared jail cell, inspired by the terrifying proximity of the electric chair. So charged a number generates as much thought as emotion, as the audience shifts uneasily in a place where popular entertainment mingles pleasure and complicity, truth and artifice.

The subversive appropriation of minstrelsy is not unique to Scottsboro —there’s the San Francisco Mime Troupe’s 1965 production of Minstrel Show, Or Civil Rights in a Cracker Barrel, Suzan-Lori Parks’ use of minstrel tropes in Topdog/Underdog and The America Play, and Spike Lee’s 2000 film Bamboozled, for instance — but the musical deploys it with its own intent, humanizing the young men whose lives were permanently altered by their arrest and the subsequent trials, which became international news when the Communist-led International Labor Defense got involved, sending in celebrated New York attorney Samuel Liebowitz as the new defense counsel. That the trials were themselves the lesser evil in a white Southern regime of lynching and mob justice (waiting, essentially, just outside the walls of the jailhouse) is never lost on the audience either.

Thompson’s admirable book, meanwhile, in the figure of the woman at the bus stop (an unnamed Rosa Parks) bearing witness to the events of the past, draws a line from the Scottsboro case to the later Civil Rights Movement. But, ironically, the use of Rosa Parks obscures as much as it reveals if we think of her as a lone actor who sparks a revolt against an unjust system. She too was a member of a movement culture, one that had built on the activism of the 1930s that first brought the Scottsboro case to light. *

THE SCOTTSBORO BOYS

Extended through July 22, $20-$95

American Conservatory Theater

415 Geary, SF

www.act-sf.org

The economies of desire

0

THEATER Since 2010, This Is What I Want has hitched its program to the National Queer Arts Festival to explore the artistic and social ground between intimacy and performance. Privileging the immediate, even confused elaborations of desire over the canny or slickly theorized, TIWIW (produced by THEOFFCENTER in association with SOMArts, the Center for Sex and Culture, and the Queer Cultural Center) challenges adept, professional performance makers to risk forgoing the usual control or cohesion in the hope of finding new avenues for creation and participation.

TIWIW’s free-ranging curatorial approach, which includes artists operating outside queer or identity-based practices, gets a further boost this year with the inclusion of several Los Angeles–based artists and a symposium at the Center for Sex and Culture moderated by Carol Queen.

San Francisco–based performance artist and choreographer Tessa Wills took over as artistic director this year at the invitation of TIWIW’s founder, choreographer Jesse Hewit. Wills’s own piece caps the five-day program with a “participatory experience” at the Center for Sex and Culture, and in general she brings a particular stamp to this year’s festival, even as TIWIW stretches out within and beyond the Bay Area via a curatorial team that includes Hewit, Rachael Dichter, and Los Angeles–based artists Anna Martine Whitehead and Doran George.

Wills, a thirtysomething whose relaxed mien belies a probing stare, is an internationally produced performance maker who grew up studying music, ballet, and contemporary dance in England before relocating to the Bay Area. She’s one of those artists always worth going out of your way for. In fact, she was behind one of the more memorable contributions to last year’s TIWIW program (more on that below). Wearing a sleeveless T-shirt that nonchalantly compliments the shorn sides of her sandy brown bob, Wills sat down at a Mission café last week to discuss her directorial vision for TIWIW and the economies of desire.

San Francisco Bay Guardian Can you describe briefly the curatorial process this year?

Tessa Wills We asked people to apply, either people whose work we like or with a specific piece in mind, like Sara Kraft’s — Rachael [Dichter] knew exactly what the piece was. [Multimedia artist Sara Kraft’s The Truth employs a pair of dueling narratives in what the artist describes as a desperate search for objectivity, “fueled by the deeply subjective madness of desire, loss and the chaos of experience.” It premiered at Yerba Buena Center for the Arts in 2007.]

I had the curatorial statement underway, and the other curators added to it, enriched it or changed parts, and we invited people from there. About half of them are new commissions from people we are just excited by, like Dia [Dear] and Mica [Sigourney], and half of them are pieces that already exist. There are loads of people coming up from LA this time because two of the curators are down there.

SFBG One of those is British artist Doran George. How did he become involved?

TW I followed his work in England but never met him. Then he came to San Francisco, and we made very fast, intense connections around work and politics, and also a friendship. So we were looking for a way to work with each other.

When Jesse asked me to direct TIWIW and invite in curators, it seemed like that was really where Doran was at. A lot of his work is about somatics as it relates to gender. Because he was [in Los Angeles], it seemed sensible to think about other people that could support him and his choices down there. Anna Martine [Whitehead] is also down there working, and obviously she has this strong history with the festival, and her voice is clear, rich and powerful.

SFBG Can you explain the emphasis on desire and economy in your work and in your directorial approach overall?

TW Broadly, people in this festival [in the last two years] have looked at desire through the lens of sexuality — but they also have not. My artistic direction has put it very specifically; I really wanted to bring in that question of how money and desire weave together, and where the places of empowerment and disempowerment are around that. I’ve brought sex work to the fore in that. Doran also is interested in that. But we were very careful in the curating to broaden that out a lot. The pieces are not all about sex; but the pieces are all about desire. So there is breadth, but also that very specific thing that I’ve brought in.

In my piece, at Center for Sex and Culture on Saturday, there are nine people who are “charging,” they’re doing one-on-one performances with audiences. Basically, they’re facilitating you talking about your desire. But it’s not like straight sex work. It’s not like they’re going to meet your desire. They’re going to interrogate it with you and charge it up.

SFBG So “charge up” has a double entendre.

TW It’s got a double entendre, exactly. All of the chargers are sex workers. I identify as a sex-worker ally, and I identify in the space between performance and sex work. Those are my two communities. So this theme, the value of desire, somehow has those two together.

SFBG Where do you see subversive or radical points of departure in the intersections of desire and economy? 

TW People will take money and then use it for their subversive practices. So there’s that. Then there’s the fact that everybody is working for free to put this festival on. I think that adds a really interesting perspective to the conversation about how desire and money relate. Because the thing that’s really driven this festival is this passionate desire to put it on for its own sake. It defies any economic logic that any of us are working this hard. I mean, it’s ridiculous. I feel stupid how hard I’m working on this.

SFBG That’s the position of a lot of art-making in this society. But then, ridiculousness is a tried-and-true strategy of subversion too. I’m reminded of the argument in Judith Halberstam’s book, The Queer Art of Failure, where a willingness to “fail” — in the terms set by the dominant social and economic order — may offer a way out from under that order, and suggest alternatives beyond its reach or ken.

TW There are all these other economies that come to light when you look at that disconnect or failure [vis-à-vis the dominant economic model]—then it’s like, ok, that’s obviously not working, so what else can be motivating? There are just so many diverse economies at work. Like DavEnds piece, for example. She was really motivated by wanting to have close, intimate exchanges and make more friends. The people she’s brought into her piece, she’s very clear about it, are people that she wants to be friends with.

SFBG There’s a social impulse mixed in there. I also like the idea that desire could be tied to giving away or losing, as opposed to taking, receiving, gaining or possessing. Does that resonate with some of the pieces this year? 

TW Yes, I think that’s right. Mica Sigourney’s piece is one that I was very keen to curate. He’s the only one who’s been in all the iterations of the festival, and I think each time he’s done [TIWIW], it’s gotten a little closer to actually managing to stage desire, in motion, on the stage. His piece is kind of a secret, but there’s a way in which he is working directly with money. He’s trying to figure out his erotic value in the moment, with the audience. There’s a way in which his work always gets right to the heart of the theme for me.

SFBG Back to your piece: Does it build on previous work?

TW Yes. Last year, when I was at the festival, I did this piece with electric butt plugs. [Note: In this piece, Wills and co-performer Harold Burns were naked inside (what looked like) giant pink bath scrunchies (designed by Honey McMoney), wearing electric butt-plugs attached to a microphone set low before a pillow at the front of the stage. Individual audience members could come kneel and whisper their fantasies, their words registering solely in the physical responses and expressions of the performers.]

When they asked me to be in the festival, I identified that what I’m really excited about is the process of saying what you want, the somatic experience of saying what you want — especially if it feels transgressive inside of you. I don’t really care what the content of the thing is. And I don’t care whether society thinks it’s ok or not. I’m not really interested in any of that. I’m just interested in the physical, somatic experience of saying what you want. That seems like the most valuable thing for me.

So what I did in the butt-plug piece was to get the audience to come up and say things, to say what they wanted, and they couldn’t really be heard, and then we would just get the sensation — we would get the quality of how they were talking but we wouldn’t get the content. And we’d experience that in a very intimate, deep way. That’s what I wanted to try and develop a bit further this year. So after this week of people watching other people struggle and interrogate and stage their desire, [in this piece] they get to have all of that research land in their own body. They have their own process of saying what they desire, and they have their own somatic experience.

SFBG So it’s very individual and private, there’s no larger audience, there’s no documentation of the whole thing.

TW Exactly. It’s kind of rough for me as an artist, because I’ve put so much work into it, and it’s a very generous piece in terms of the amount — like we talked about the economic worth and the amount of one-on-one time with the audience. So it’s very sad for me to never get an audience response, actually.

SFBG No payoff?

TW Yeah, I’ll never get that.

 

THIS IS WHAT I WANT

Performances Wed/27-Fri/29, 8pm, $20

SOMArts Cultural Center

934 Brannan, SF

“Slow Sex Symposium” Sat/30, noon-4pm, free

“This Is What You Want — Experiential” Sat/30, 5-11pm, $15-$25

Center for Sex and Culture

1349 Mission, SF

thisiswhatiwant.eventbrite.com

Garage Days re-revisited

0

MUSIC In 2003, at Moses Music in East Oakland, I stumbled across a CD labeled “Numskull of the Luniz Presents…Hittaz on tha Payroll, Ghetto Storm” (Hitta Records). I bought it and was blown away, not simply by the rappers — one of whom, Eddi Projex, has gone on to be a Bay hitmaker — but also by the cinematic expressiveness of the music, with its moody, minor-key atmospheres and rapid counterpunctual basslines, courtesy of the Mekanix: Dotrix 4000 and Kenny Tweed.

Who were they? I found out in ’04, when I met Dot at a Digital Underground show. Turned out, he’d been the group’s late ’90s tour DJ, but left to pursue production, forming the Mekanix with Tweed in 2001. They invited me to their High Street studio, the Garage, to meet J-Stalin, a rapper they were developing who’d debuted as a teen on Richie Rich’s Nixon Pryor Roundtree (Ten-Six, 2002).

Soon after, the yet-unnamed hyphy movement began to foment and I got a gig covering rap for a great metropolitan alt-weekly….

I’d say the rest is history but nothing in Bay Area rap is ever that simple. On the one hand, the prolific Stalin is among the most popular local rappers — currently second biggest seller after E-40, according to Rasputin rap buyer Saeed Crumpler — with Dot and Tweed producing his entire solo debut, On Behalf of the Streets (Zoo Ent., 2006) and a chunk of his sophomore effort, The Pre-Nuptial Agreement (SMC, 2010).

Besides Stalin and Eddi, the duo helped launch former Delinquent G-Stack’s solo career, as well as newer artists like Shady Nate, DB the General, and Philthy Rich. Last year, they even landed a track on the deluxe version of E-40’s Revenue Retrievin (Heavy on Da Grind), and 40 declares his intention to continue working with them.

“The Mekanix are pure talent,” 40 enthuses over the phone. “Even though they make mob music, you can tell they grew up listening to soul music from the R&B days; they could make a killer cry!”

On the other hand, in the digital age, when anyone can slap a beat together, the question is, how do you get paid for production in a region like the Bay, whose rap suffers the twin neglect of corporate radio and major labels? With the decline in album sales, rappers out here derive their music income chiefly from live performances, an option unavailable to producers.

Despite their undeniable artistic impact, the Mekanix today find themselves in a tiny East Oakland studio not far from the Garage where it all began.

“We can’t go outside without somebody playing our music,” Dot says. “That’s cool, but it’s not that fly if your rent ain’t paid.”

“We sell beats but it’s never consistent enough to feed our families and pay our bills,” Tweed admits. “That’s why we’re putting out albums now.”

Thus the duo have made 2012 the year of the Mekanix, beginning with February’s The Chop Shop (Zoo Ent.), a digitally-released compilation of Youtube and street hits they’ve produced for various artists, with a handful of new cuts like the Yukmouth-driven title song.

They followed in April with the Go Boyz, Everything Must Go (Zoo Ent.), a “lost” supergroup project from the hyphy era (ca. ’05), featuring Kaz Kyzah (the Team), Stalin and Shady (Livewire), and Dot himself on vocals in addition to producing with Tweed. Almost released half-a-dozen times, in deals that collapsed at the last minute, the darkly comedic, Ecstasy-themed Everything destroys most Bay albums of that period and remains fresh, even if Shady especially is a far greater beast on the mic today.

Both releases, however, are merely set-up for an album “coming all the way new,” according to Tweed: The Chop Shop 2 (Zoo Ent.), due late July. With a pair of monster lead singles — “Bay Area Perspective” teaming 40, Stalin, Keak Da Sneak, and Turf Talk, and “Money” featuring a vintage verse by Mac Dre recorded at the Garage, alongside fresh contributions from Stalin, Keak, and Bay R&B phenom R.O.D. — Chop 2 is the most ambitious Mekanix project to date, its judiciously matched voices sewn together by the gradual emergence of Dot’s rapping alter ego, 4rax.

Oddly enough, 4rax has had airplay outside the Bay, largely from DJ Premier, who’s spun several tracks on his SiriusXM show, Live from Headqcourterz, over the past two years. But Dot’s only begun sprinkling the conscious thug persona into the mix locally, dropping a very Oakland video, “Kerosene,” in January.

“4rax always been there,” Dot says. “I just ain’t focused on him. But it’s at the point where, shit, we done focused on everyone in the Bay, so either I do it now or not at all.”

“We’ve laid the groundwork, but people gotta pay for it this time,” he laughs. “But we made it; we’re still here.”

Besting a star

1

le.chicken.farmer@gmail.com

CHEAP EATS Hedgehog goes and goes and goes to New York. For work — so they fly her and put her up in a nice hotel. This is what’s called (I believe) a business trip. But there’s more than that, of course, to it.

Examples include eating at WD-50 on my birthday (without me), and being at that Mets game (without me) when Johan Santana pitched the first no-hitter in team history, lucky duck. By which I mean Hedgehog. Santana’s a pretty good pitcher.

Me, I’m not a Mets fan or a foofy restaurant fan but, in a word, still… I like baseball. I like food. These are documented facts. Well, I must have whined and complained enough, because this time she said, “Wanna come with me?”

“No thanks,” I said. “I’d rather whine and complain.”

“Suit yourself,” she said, adding that there was a fitness center in the hotel, that she would take me to WD50 after work, and a Mets game the next night. Romanticness was insinuated. That, and hot dogs.

I thought and thought. And thought and thought. There was no guarantee that my new friend Shaya (from last week’s review) would be on this flight too. But Hedgehog would hold my hand real hard during takeoff and landing, she said, and sing my favorite songs into my ear.

I thought about how hot it was in New Orleans in June, how lonely it was in the air-conditioning without her, and I decided to go to New York.

She bought all the necessary tickets, made the necessary reservations, drove us to the necessary airport, and when I emerged from my necessary Valium haze I found myself in a nice, cozy room on Times Square, staring out the window at those scoreboardy ticker tape thingies with all the stupid stock statistics flying by. One of the most dizzyingly annoying events I have ever found outside of any window, anywhere…

Until early next morning, this morning, when I awoke abruptly to “Blister in the Sun” by Violent Femmes over a PA system in the street below. That’s a great song, but at 6:30am in the morning I think I might rather sleep, thank you.

At 7:30am in the morning it was yoga — loud, microphone yoga. This was the annual Mind over Madness yoga event, Solstice on Times Square, idea being “to find tranquility and transcendence in the midst of the world’s most commercial and frenetic place.” At an hour when sane, peaceful people are trying to sleep.

At least all the colorful mats and yogawear made a pretty picture when I finally got out of bed and opened the curtains to see what the flying fuck all the noise was about.

I need a nap.

Tonight, if all goes as planned, the normally entirely hittable Dillon Gee is going to pitch a no-hitter for the Mets! And I’ll be there, with Hedgehog and hot dogs.

Last night was more of a lobster roe duck egg chicken confit veal brisket crab toast lamb sweetbreads kind of a night, but even I know not to compare a Michelin-starred restaurant to stadium hot dogs. No. I’m going to compare it to a tiny takeout sushi place on Solano Avenue in Berkeley, where once I went with a Chunk de la Cooter and her dad to bring home the hamachi, as the saying goes, for the whole wide family.

Except there wasn’t much hamachi, as I recall. A lot of cucumber and avocado rolls, that sort of thing…

Mostly people get prepackaged sushi from the display case, which might explain the de la Cooter family’s preference for sushi-less sushi, but you can also order made-to-order items, and I got a lot of those.

All of them were awesome! I especially liked the unagi bowl and the nigiri saba.

Saba is my favorite sushi. Thus was I delighted to see something very much like it leading off the 13-thing tasting menu at WD-50 last night: nigiri’d mackerel on salsify, instead of rice, with seaweed and sesame. Many of the later dishes, especially the yuzu milk ice dessert, did indeed blow my mind. But this, the nigiri, wasn’t one of them. Ha! It’s better at:

KYOTO SUSHI

Mon-Fri 11am-7:30pm; Sat-Sun 11am-6:30pm

1599 Solano Ave., Berk.

(510) 527-3288

Cash only

No alcohol

 

Walk this way

2

arts@sfbg.com

DANCE If you’ve ever had to create a multi-course meal from random fridge contents, or pulled together a smashing outfit moments before a big party, you are well familiar with the fine art of making do.

ODC Theater Director Christy Bolingbroke might have been thinking along these lines as she put together the Walking Distance Dance Festival — SF, a three-day marathon of 12 companies both local and national, with one from Singapore thrown in for good measure. These are the ingredients that she had to work with; the occasion is that Dance/USA, the national service organization for dance, is in town. That’s a big opportunity to show the rest of the country who we are and what we do.

The ten-year-old but little-known Scuba, a multi-city initiative between San Francisco, Seattle, Minneapolis, and Philadelphia, offers touring opportunities to mid-career artists to and from participating cities. ODC has a long tradition of offering developmental residencies to local choreographers. And last, but not least, ODC has an elegant multi-venue “campus,” as they call it, suitable for simultaneously showcasing performances both intimate and large. For Walking Distance, Bolingbroke curated a mix of Scuba and former ODC resident artists performing in three ODC venues.

But she also had something else in mind. Walking Distance presents most works in shared line-ups. “We know that audiences follow individual artists,” she explains. “We wanted to create opportunities for them to see different artists in one sitting to get a taste of a variety of choreographies.”

It’s a model that has been the norm in other performing arts, such as symphony orchestras. Dance companies, however, have for the most part stuck to one-artist programs, though Robert Moses’ Kin Dance Company’s recent “The BY Series” and Amy Seiwert and Imagery’s upcoming “Sketch 2” may be indications of change to come.

One of Walking Distance’s most intriguing pairings just might be ODC Dance with Maya Dance. Maya is a five-year-old contemporary ensemble from Singapore that bases its work on Asian esthetics and traditional dance forms. In May, ODC and Maya performed in a shared program in Singapore. Both groups performed Brenda Way’s 2008 Unintended Consequences: A Meditation; KT Nelson set a work on Maya, and Kavitha Krishnan set one on ODC. The repeat will be Maya’s first US appearance.

Making their first appearance in San Francisco are three Scuba artists; it’s impossible not to be impressed with the sheer variety of dance being created outside the Eastern corridor. A colleague from Seattle described Alice Gosti’s Spaghetti Co — Are you Still Hungry? as “basically a food fight with kinetically interesting things happening.” For her Halo, Gabrielle Revlock is bringing one prop — a hoop — from Philly. And then there is the German-born Minneapolis choreographer Angharad Davies, who in Security examines the effect of tedious shift work on relationships.

Of the work by former ODC Theater residents, only the excerpt of Catherine Galasso’s Fall of the Rebel Angels is new. Perhaps that’s not what festivals traditionally do, but for Bolingbroke this one is an opportunity to gather works that have proven themselves.

Walking Distance also reflects the theatrical strengths among former ODC resident artists. There is no pure dance, and no ballet unless you count the revival of Kunst-Stoff’s deliciously deconstructed Less Sylphide. The festival’s choreographers — Ben Levy, Monique Jenkinson, Ryan Smith and Wendy Rein, and Shinichi Iova Koga — have extraordinarily broad perspectives on how dance communicates.

“It’s a taster, a sampler of many different things,” Bolingbroke says of Walking Distance, which was inspired by a 2011 version held in the Mendocino County town of Willits. At that festival, several theaters in close proximity to each other collaborated to present BARE Dance (from Los Angeles), AXIS Dance Company, and Na Lei Hulu I Ka Wekiu; it focused local attention on California dance in an informal, easily accessible manner. This approach just might work in San Francisco as well — now and at future incarnations of the fest.

WALKING DISTANCE DANCE FESTIVAL — SF

Fri/29-Sat/30, 6:30pm; Sun/1, 2pm, $20-$75

ODC Theater

3153 17th St., SF

www.odctheater.org

Rio Grande

0

virginia@sfbg.com

APPETITE Who needs menus when the bartenders are this good? The granddaddy of the speakeasy resurgence, New York’s Milk and Honey, has been doing the menu-less thing since 2000, while places like LA’s Library Bar get their inspiration from daily changing, farmers market produce. Two fascinating new SF bars are serving custom cocktails their own way, only able to go sans menu because of strong talent behind the bar. Reviewed online on the Guardian’s Pixel Vision blog is the intimate, amusingly named Big; here is my take on the other menu-less charmer, Rio Grande.

I’ve written about Bon Vivants (cocktail designers Scott Baird and Josh Harris, operations specialist and behind-the-scenes mover Jason Henton) numerous times over the years, from early days at 15 Romolo to recent cocktail menu creation at Berkeley’s new Comal. Anticipating their long-awaited Mission bar Trick Dog, I’ve been having fun in the meantime with multiple visits to Rio Grande, a bar they just launched as part of ATO (A Temporary Offering) in the Kor Group’s Renoir Hotel, a genius pop-up project where local entrepreneurs can test concepts, from FoodLab restaurants to shops and art events.

Using the hotel’s vacant, three-room space, revolving projects invigorate the stretch of Market near Seventh Street. Rio Grande is unlike any other bar in town. Evoking a South of the Border cantina, or what the Vivants dub “Tarantino and Once Upon a Time in Mexico meet border town roadhouse,” here funky kitsch glitz marries laidback ease, as tequila, mezcal, whiskey, and canned beer flow.

Under the gaze of Wild Turkey bourbon and Espolon tequila logos emphasizing the bar’s whiskey-tequila union, the ceiling sports a Virgin of Guadalupe shrine in front of a painting of 1970s adult film actress Vanessa del Rio, a Baird crush after whom he named the Del Rio cocktail (reposado tequila, fino sherry, St. Germain elderflower, orange bitters). The Del Rio will soon be served on tap, while the current on-tap cocktail is an Old Fashioned.

The bar was initially launched as a pop-up, in keeping with ATO’s rotating offerings, but the Renoir folks like it enough to try and find a way for it to stay. If it can’t, the Vivants will move it to various locales as a gypsy bar. Here’s hoping it remains while they launch other nomadic bars — a fine concept.

Rio Grande was, impressively, built out in three weeks: Henton says there were days they’d still be wielding power saws at 5:30am, building high-top tables or implementing one of Harris’ many estate sale-flea market finds. (He stalks local sales for vintage pieces like the bar’s fascinating ceiling fans and the cowhide splayed in the entrance. Harris even gathered Mexican national newspapers from 1945-’47 to became the wallpaper behind the bar.) The bar itself boasts a pole on either end for whatever shenanigans might ensue, while a mini-stage is set for live music. Even without bands, tunes are perfection: a little hard rock, a lot of classic country — think Waylon, Hank I and II, your general outlaw cowboy musicians.)

To exist sans menu, it’s crucial that bartenders be talented, knowledgeable and versatile. Rio Grande couldn’t be more on the right path with hand-chosen barkeeps Morgan Shick and Russell Davis, assisted by Trick Dog chef Chester Watson. Shick is one half of Jupiter Olympus, a bar-restaurant consulting company that throws some crazy, imaginative parties. I’ve judged a number of cocktail contests where Shick (who’s worked at bars from Marzano to Michael Mina) was an entrant: his sense of balance and ingenuity stand out every time. Davis, besides being named Nightclub and Bar’s 2012 Bartender of the Year, recently crafted a brilliant soda fountain menu at Ice Cream Bar and can be found actually igniting flames at Rio Grande for special cocktails.

According to Harris, the Vivants wanted “to take all the pretentiousness out of the bar scene and make it fun”, which is why Tecate and Dos Equis flow just as freely as Del Maguey. During my visits, I’ve sipped a mezcal and yellow chartreuse winner and a bitter amaro beauty on crushed ice (Julep snow cone-style). Speaking of ice, it’s hand-cut here, a pleasure to watch. During one visit, Shick made a mezcal, grapefruit soda drink accented with crème de cassis (black currant liqueur), lime, Luxardo Maraschino liqueur, and salt: smoky, salty and citrusy. Spiced fall notes shine in his mixture of Siete Leguas anejo tequila, made with Averna for a tinge of bitter balance, Angostura orange bitters, sweet vermouth and apple brandy. I’m in love with a finish of Old Bardstown bourbon, Nocino walnut liqueur, Balcones’ rum-like Rumble (made from Texas wildflower honey, Mission figs, turbinado sugar), plus dry vermouth and triple sec. Dry, sweet, full, it’s still bracing enough to put hair on your chest.

“Watch for some potentially interesting surprises musically,” says Harris of the tiny stage, and for Tarantino Tuesdays, when Tarantino films and soundtracks accompany your pour.

RIO GRANDE

1108 Market, SF

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

 

Midnight in Woodyland

0

arts@sfbg.com

FILM Woody Allen’s film legacy is not like anybody else’s — his imitators don’t count — and is likely to grow ever more interesting in retrospect, as it becomes clear how even his (by now many) bad or indifferent movies still provided some idiosyncratic diversity in American comedy. (For the most part his few straight dramas are, face it, only really interesting as digressions from his strengths.)

At present, however, he suffers from a sense that he’s been too prolific for too long. It’s been nearly two decades since a new Woody Allen was any kind of “event,” and the 19 features since Bullets Over Broadway (1994) have been hit and-miss — the “hits” just nice rather than truly memorable, the misses landing with a soft, listless thud. Every few films there’s a heralded “return to form,” whether it’s Melinda and Melinda (2004), Match Point (2005), Vicky Christina Barcelona (2008), or last year’s Midnight in Paris. But they’re just pretty good, and no one should be surprised anymore when something as dismal as Cassandra’s Dream (2007) or Anything Else (2003) pops up between them.

Still, there’s the hope that Allen is still capable of really surprising us — or that his audience might, as they did by somewhat inexplicably going nuts for Midnight in Paris. That mild, harmless amusement had a half-developed clever concept and a snugly-fitting lead in Owen Wilson, one of few actors who’ve held on to their own personality while playing Allen’s surrogate. It was Allen’s most popular film in eons, if not ever, probably helped by the fact that he wasn’t in it — for reasons beyond the real-life distaste some have felt toward him ever since the Mia/Soon-Yi fracas. With increasing age, he’s become an onscreen liability to his own movies.

http://www.youtube.com/watch?v=dZcip9HY1Pw

Unfortunately, he’s up there again in the new To Rome With Love, familiar mannerisms not hiding the fact that Woody Allen the Nebbish has become just another Grumpy Old Man. He has trouble making eye contact with other actors, and his fussbudgeting is now a long way from cute, well into annoying. He’s meant to annoy the other characters in his scenes, but still, there’s a doddering quality that isn’t intended, and is no longer within his control.

But then To Rome With Love is a doddering picture — a postcard-pretty set of pictures with little more than “Have a nice day” scribbled on the back in script terms. Viewers expecting more of the travelogue pleasantness of Midnight in Paris may be forgiving, especially since it looks like a vacation, with Darius Khondji’s photography laying on the golden Italian light and making all the other colors confectionary as well. But if Paris at least had the kernel of a good idea, Rome has only several inexplicably bad ones; it’s a quartet of interwoven stories that have no substance, point, credibility, or even endearing wackiness. The shiny package can only distract so much from the fact that there’s absolutely nothing inside, not even Styrofill.

Allen’s segment has him as Jerry, a retired opera director married to Judy Davis (wasted, which could be said of everyone here), reaching the Eternal City to meet the fiancé (Flavio Parenti) of his daughter (Alison Pill). He’s distracted by discovering the latter’s father (tenor Fabio Armiliato) is a superb singer — albeit only in the shower. The joke is that Jerry gets him to sing publicly … in showers. Yep, that’s the whole joke.

The other threads are, if anything, even feebler. Through inane mix-ups a honeymooning couple (Alessandro Tiberi, Alessandra Mastronardi) end up separated, paired respectively with a prostitute (Penélope Cruz) and veteran movie star (Antonio Albanese).

The relationship between study-abroad students Jack (Jesse Eisenberg) and Sally (Greta Gerwig) is complicated when her seductive actress friend (Ellen Page) shows up; Alec Baldwin plays a visiting architect who, for no apparent reason, acts as their omnipresent adviser à la the Bogart ghost in 1972’s Play It Again, Sam.

Worst of all is an utterly stupid non-story in which Roberto Benigni — who doesn’t need to imitate Woody because he’s already annoyingly mannered enough — plays an ordinary family man suddenly treated, and paparazzi-hounded, as a celebrity. There’s no explanation for this, and the presumably intended spoof of meaningless media fascinations famous-for-being-famous folk is so cluelessly handled you wonder if Allen was having a senior moment while writing it.

At the beginning a stereotypical traffic-directing polizia tells the camera directly that he sees all of Rome pass by and knows all their stories. At the end, he tells us there are plenty more where the ones we’ve just seen came from. Pretty as it’s been to look at, after 112 barely chuckle-prodding minutes of To Rome With Love that sounds very much like a threat.

 

TO ROME WITH LOVE opens Fri/29 in San Francisco.

Public teacher in a public hospital

7

By Sasha Cuttler

OPINION San Francisco Unified School District teachers and Department of Public Health nurses are going through difficult times. Despite years of service reductions, layoffs, and ceaseless budget pressures, teachers continue to educate San Francisco’s young people while nurses care for the sick and injured.

One week before the end of this school year, Balboa High School math teacher Ruth Radetsky was found unconscious after flying over the handlebars of her bicycle. She was brought to San Francisco General Hospital and Trauma Center, where she was treated for broken ribs, scapula, and cracked vertebrae. Although she suffered a concussion, she avoided a more severe head injury because she wore her bicycle helmet.

After being stabilized in intensive care unit and transferred to the step-down unit, Ruth was instructed by nurses to call for help before trying to get up. She was afraid of the pain but understood the importance of regaining mobility. Her injuries and the side effects of the pain medication put her at high risk for falling. Noting how busy the nurses were, however, Ruth felt badly about having to “bother” the staff.

Ruth and the nurses at SFGH who cared for her have a lot in common. Both education and health care rely upon appropriate ratios: teachers to students and nurses to patients. Students and patients alike benefit from these ratios. Despite the need for enough human resources, adequate staffing depends on other factors as well.

Ruth explained how a reduced class size is not enough. In one of her classes, nearly half of the students had learning needs that required preferential seating. Not everyone can sit in the front seat. Nurses with a floor full of patients who need close observation because they are experiencing delirium tremens, traumatic brain injury, or even a mass casualty event have to do similar triage. In both cases, maintaining the minimum staffing may be inadequate — which is why nurses and teachers need support to achieve quality education and healthcare. And UCLA researchers have demonstrated that lower nursing staffing in hospital wards is associated with increased patient mortality.

While researchers argue about the effect of increased class size and nurse-patient ratios, teachers and nurses in the public sector struggle to maintain professional standards of education and care. Ruth is worried about the effects of teacher layoffs on her students. At the same time, the nurses who cared for her at San Francisco General Hospital are being told that layoffs could result if wages and benefits and staffing aren’t reduced. In both professions, staff is concerned about maintaining adequate services with fewer resources.

Teachers and nurses in the public sector continue to be predominately female. Perhaps because of traditional gender roles, teachers and nurses tend to be apologetic about taking a stand for their own working conditions. Unlike an assembly line worker, a teacher or nurse’s profession is all about people, not things. It is only logical that too many students make it difficult for each to receive the amount of support needed. It’s dangerous for nurses to not have enough time for patient assessment and care.

Teachers such as Ruth Radetsky and the nurses who cared for her embody the very best of public education and health. San Francisco Unified teachers and Department of Public Health nurses should not have to apologize for upholding high standards and demanding a professional environment to teach the young and care for all of San Francisco.

Sasha Cuttler, RN Ph.D, is a nurse and activist in the SEIU Local 1021 RN chapter. He has been friends with Ruth Radetsky for more than 25 years.

Out of the paincave

0

arts@sfbg.com

MUSIC Apocalypse doesn’t exactly identify what Brooklyn-born producer and rapper El-P conjures in his music. Sure, furtive sirens blare out almost immediately in his new record Cancer 4 Cure (Fat Possum). Synthetic melodies disfigure themselves while break beats rumble with the intensity of the Bomb Squad, all drowned out through a wash of distorted noise. The lyrics are just as unsettling too: an overpowering technological violence brought to bear on soft human bodies, whose voices are fractured, rendered nearly schizophrenic.

El-P’s satire has here become more cutting, discordant — refining the unrest signature to his former group Company Flow, a host of solo and production credits, and his recently disbanded indie label Definitive Jux. But apocalyptic? Just another blockbuster word that conceals far more than it reveals.

“I’m not writing about an insane apocalyptic world,” says El-P, whose official documents give him the name Jaime Meline. “This is reality. I’m not writing sci-fi; I’m writing about Brooklyn. Yes, there’s an obvious sense of dread in my records. There’s a part of me that is fucking terrified of the world right now, and has been for a long time, and maybe always will be.”

From this fear, even an overwhelming paranoia, El-P gathers fuel for both incendiary attacks and self-abjection. So if there’s any rubble left by an apocalyptic catastrophe in his music, its value is that in showing us our world reduced to ash, it also gives us a chance to see what it is that we’re running from.

El-P’s protest finds a kindred spirit in William S. Burroughs, who introduces “Request Denied” amidst a haze of electric signals: “Prisoners of the earth, come out — Storm the studio,” he roars. Translating this incitement as a call to arms, El-P unleashes an onslaught of modulated rhythms and rapid-fire wordplay that jars you out of your sleeping flesh. “I want these records to be a blast of truth,” he says. “When you’re dealing with music and dealing with what’s real, screaming and crying and kicking and punching has something of the truth — in its reaction.”

Another way of putting it is that El-P’s music is not a diagnosis but a symptom. Rather than devising some sort of sonic therapy that would allegedly purify us of the systematic disease, he sets out to immerse himself as fully and desperately as possible into its cancerous cells in order to explode them from within. Words themselves come to suffer in this exaggerated space.

In “Drones Over Brooklyn,” El-P growls, “I’m a holy fuck what did he just utter marksman/Orphan, a whore born war torn, life for the harvest.” And in the concluding elegy, “$4 Vic” he navigates the threshold of a language stretched to its limits: “That Paincave Kid talk, at the end of the painbow/ The permanent stain bop/Maligning my name will holy ark up your squad’s face/ Viewers of the divine rage learn to worship the hard way/You get it? I don’t fade, just float where the poem slays.”

For El-P, the poem also struggles to survive, fighting against a syntax that embodies societal pressures of normalization, and an absolute pain on the horizon that ultimately spells death. He calls this jokingly the paincave: “the most horrible psychological place that you could possibly inhabit.” The word stems from the comedic yet admittedly still horrifying experience of when smoking excessively turns on you — when getting too high brings about a fall into madness.

But it’s within this naked fall that El-P finds an unexpected promise, even a chance for renewal. “I’m operating from a point of confusion and despair, but I don’t see it as pessimism. Maybe there’s an optimism to admit it: to stop running, to work through your own fear,” he says. “I want to make music that is the signifier of fighting to live, fighting for sanity, recognizing that it ain’t what it should be. So I’m going to scream. I’m going to run into the middle of the street, and take my clothes off, and scream.”

EL-P

With Killer Mike, Mr. Muthafuckin’ eXquire, Despot

Fri/29, 8pm, $25

Regency Ballroom

1290 Sutter, SF

(415) 673-5716

www.theregencyballroom.com

Queen bee

0

arts@sfbg.com

MUSIC “You wanna be this Queen Bee, but ya can’t be. That’s why you’re mad at me.” That was one of many audacious lines delivered by a much younger Lil Kim in her beautiful, black, Brooklyn accent on Hardcore, her raunchy debut album from 1996.

Now coming up on her 38th birthday, she just returned to the stage at San Francisco’s Mezzanine earlier this month; her performance not only had hip-hop fans who missed out asking, “How was the show?,” but also, “How did she look?”

Followers of the Geneva Diva’s career know these past 16 years since her debut LP dropped haven’t been easy. Sure, she’s released three more albums and got a Grammy for the Lady Marmalade remake, but rougher times saw her spend about 12 months in the slammer on perjury charges, and she’s been widely criticized for accusations of having undergone plastic surgery (photos may prove that point, and BET credits her as being one of the first hip-hop stars to have work done to their face).

Still, the fact remains, Kim loves her fans in SF, and the feeling is mutual. Appearing more youthful compared to some of the recent botched looking photos, Kim wore a crispy-looking blonde wig — perhaps extensions, whatever — and not surprisingly donned a skimpy sequined black and red ensemble that accompanied her backup dancers’ (I guess I’ll call them militant) looks. Think Rhythm Nation Janet, but scantily clad. Somehow she still had it goin’ on.

Four opening acts wore on the patience of a large number of feisty ladies in the audience. My photographer was even shoved for allegedly stepping “all over” the shoes of one particularly pushy woman’s sister. It was after midnight when Kim finally took the stage for a set that lasted little more than an hour. There she did her thing, delivering a rapid fire, foul- language trip down memory lane from rap’s pre-Auto-Tune era.

She always had a way with words and while they did grab our attention through shock value, I’ve always felt she didn’t receive enough credit for lyrical merit. Instead we focused attention on looks and her beefs with fellow female rappers (although that often made for great subject matter). To this day, these are still the kind of lyrics that can make you cringe.

Take for instance these slickly-delivered rhymes from “Queen Bitch” and “Not Tonight”, both deserving of gold medals: “Got buffoons eatin’ my pussy while I watch cartoons.” Now there’s a visual. And who can blame her for wanting to speak out for fed up ladies who were unsatisfied in the sack? “I don’t want dick tonight. Eat my pussy right.” Well said.

Back in the day a friend of mine once reduced her to being nothing more than a prostitute with a microphone, but let’s not sell her short. In “Big Momma Thang,” when Kim lets us know exactly how many times she wants to cum, (21, for those of you not in the know) she’s spreading her own original brand of sex ed.

“We Don’t Need It” is physiologically forthcoming in its call and response about what to lick, suck, and stroke, even advising to “work the shaft”. Elsewhere on the album she may be acting pseudo-psychological when she wonders: “What’s on ya mind?”, while that certain someone goes downtown.

Because hip-hop’s golden age had previously been male dominated, the timing was right for someone like Kim to pave the way, bringing in some say from the female perspective, especially with how she pointed out there’d be no such thing as a free fuck anymore.

It’s true the Biggies, the Puffies, and the Jay-Zs were all instrumental in Lil Kim’s success, but now it’d be tit for tat, so to speak, and it couldn’t have been pulled off without a pioneer like her — who was willing to take sexually charged content to a new, and quite frankly ridiculous, level of filth.

Pipe dreams and nightmares

3

LIT In the early pages of his new memoir, Steven Martin admits he’s obsessive. This is not uncommon, he explains, for collectors — not to be confused with the dilettantes he calls “gatherers.” Serious hobbyists hunt down highly specific items, fervently scrutinize them, and then evangelize to whoever’ll listen about their findings.

This kind of behavior can manifest around just about anything that people collect: Civil War artifacts, Depression glass, Beanie Babies. San Diego-born Martin became fascinated with Asian culture at a young age; after a stint in the military, he ended up living in Bangkok. A few decades later, he’s chronicled his adventures thereabouts in Opium Fiend: A 21st Century Slave to a 19th Century Addiction (Ballantine, 396 pp., $26).

Yep: as unlikely as it sounds, he became hooked on opium. If you thought what Martin calls the cause of “the world’s first real drug epidemic” vanished along with the Model T — well, you’d mostly be right. Opium Fiend, which is crammed with plenty of historical information as well as Martin’s first-hand experiences with the drug, explores how an obsessive interest in antique opium-smoking paraphernalia — a formerly obscure thing to collect, at least until Martin’s own photo book, The Art of Opium Antiques, came out in 2007 — led to, perhaps inevitably, a full-blown dependence on opium itself.

He’s clean now; in the first chapter, he discusses the gruesome agony of detoxing. Later, one of his close friends, a fellow addict, doesn’t survive the experience. It’s a sobering moment in a book that, though clearly a cautionary tale, propels forward with the particular energy of someone who’s really, really stoked to share his story.

“Some people watch movies or sports, but my favorite past time is seeking out and studying whatever I happen to be collecting at the moment,” Martin says. “When I got serious about collecting opium-smoking paraphernalia, around 2001, I realized there was just nothing really out there about it. I took it as a challenge to collect as much as I could, and learn as much as I could about it.

“It had this outlaw chic about it that was interesting. But it also seemed to have this really odd juxtaposition — you have these beautiful, finely-crafted pieces of art, made from the best materials a century or so ago: jade, silver, or ivory. Really, really strikingly beautiful. But in actuality these things were instruments of self-destruction. It’s a bit dark, but I found that appealing.”

Though he’d dabbled in smoking even before he began building his trove of implements, he did not expect to become a raging addict — mostly because he didn’t think becoming an opium addict was even physically possible.

“Most of the research that I did was coming from Victorian-era accounts of what opium smoking was like. I was very skeptical of what these books said. The tone was often very shrill, almost like a Reefer Madness kind of thing, so I didn’t take it as seriously as I should,” he says. “But opium’s not like these modern drugs we hear about, a one-hit-and-you’re-hooked-for-life sort of thing. It can take months — or in my case, years — to develop a serious addiction.”

And “opium tends to rebuff the amateur,” Martin says. “People often try it once and never try it again. But I happened to be in a place where it was possible to get opium that was processed specifically for smoking, which is actually a misnomer. The paraphernalia that’s used is designed to vaporize the drug, not burn it.”

For the curious, Opium Fiend describes the actual experience of smoking, including the specific feelings associated with the high (tranquil, but “it turns you inward,” says Martin; he took detailed notes daily, even at the height of his addiction) and the preparation required to achieve the highest-quality result. It’s a delicate, time-consuming process, but for Martin that was part of the thrill.

“For me, that was the best part. I was really hooked on the ritual. Once I’d actually learned to prepare the pipes myself, that became my favorite source of entertainment: lying there next to the opium layout, within the glow of the opium lamp, watching myself prepare pipe after pipe. It was just mesmerizing,” he says.

“I’d be lying if I didn’t say I miss it very much. Sometimes I’ll have these very vivid dreams about smoking, and I’ll wake up in the morning, lying on my left side, in the same position I used to smoke in. It’s crazy — even though I’ve quit, it won’t leave me alone. I think about it all the time.”

Mayor vs. Mirkarimi

58

steve@sfbg.com

For all the lawyers, investigators, witnesses, politicians, and political appointees involved in Mayor Ed Lee’s official misconduct case against suspended Sheriff Ross Mirkarimi, this case is ultimately a battle between these two politicians, who come from rival ideological camps — and have a lot riding on the outcome of their clash.

And this week, both Mirkarimi and Lee are expected to take the witness stand and face tough questioning from each other’s attorneys.

These first two rounds of live testimony before the Ethics Commission — which has been painstakingly setting up procedures for its inquiry, defining its scope, and making myriad rulings on what evidence and witnesses to allow — could be the emotional high point of hearings likely to drag on throughout the summer.

On June 28, after the commission finishes ruling on the admissibility of evidence — dealing mostly with the controversial testimony of Lee’s star witness, Ivory Madison, the neighbor who triggered the police investigation that found Mirkarimi had grabbed his wife’s arm during a Dec. 31 argument — Mirkarimi is expected to take the stand.

Given the tacks taken by each side so far, the deputy city attorneys representing Lee will likely try to ask Mirkarimi a broad array of questions about his actions and their wider implications, while his attorneys will seek to limit the line of inquiry to what they see as the narrow question of whether he committed specific acts of official misconduct.

“They’re going to want to blast him with every single issue they can conjure up,” said Mirkarimi attorney Shepherd Kopp. But he thinks the Ethics Commission “will limit it consistent with how they’ve been ruling on our objections,” which has already greatly limited the case that Lee sought to present.

The next day, Lee is scheduled to take the stand, with Mirkarimi’s attorneys planning to question the mayor about why he didn’t conduct an investigation or seek more input from witnesses or former mayors before demanding Mirkarimi’s resignation and suspending him without pay in March.

“The suspension was not done carefully with the best interests of the city at heart. It was a rash political decision that had little to do with the facts,” Mirkarimi’s other attorney, David Waggoner, told us.

Indeed, the city didn’t begin gathering evidence until after the charges had been filed, and since then Lee and his team haven’t been able to unearth much evidence in support of his most damning allegations that Mirkarimi tried to dissuade witnesses and thwart the police investigation, something that Mirkarimi and his attorneys have adamantly denied. In the absence of that evidence, Waggoner said Lee has stepped up his efforts to defame Mirkarimi publicly.

Lee told reporters on June 19 that he suspended Mirkarimi because he was “beating his wife,” seeming to escalate the characterization of a single arm-grabbing incident. The city has also released the video that Madison made of Mirkarimi’s wife tearfully recounting the incident and the couple’s text messages, which made Mirkarimi look bad but don’t offer much new information or evidence.

“He’s panicking. The ship is going down and he’s beginning to flail,” Waggoner said of Lee’s recent statements and actions. “The more the mayor uses that kind of rhetoric, the less credibility he has.”

We sought responses and comments from the press secretaries for Lee and the City Attorney’s Office, but both refused to comment for the record.

Ethics Commission Chair Benedict Hur has taken an increasingly strong role in running the hearings and limiting the ability of either side’s attorney to control them. At the June 19 hearing, he cut off Deputy City Attorney Sherri Kaiser at least twice when she tried to offer unsolicited comments, at one point causing her to get visibly agitated and declare, “I’m objecting to the procedures for objecting to evidence.”

But Hur didn’t relent or modify his approach, telling her, “We are trying to conduct these proceedings in a fair and expeditious way.” Waggoner praised the way Hur has run the hearings so far: “I think he’s been fair in his rulings and how he’s conducted the process.”

After this week’s pair of hearings, the Ethics Commission is scheduled to reconvene its inquiry on July 18 and 19, when it will likely hear from Madison, whose testimony could make or break the case. But first, attorneys for each side are meeting this week to decide where they can agree to limit Madison’s testimony, with the commission making rulings on realms where the two sides differ. Deputy City Attorney Peter Keith has previously said he expects Madison to face tough questioning in which her credibility will be attacked, but the commission itself has already criticized her written declaration and greatly limited her hearsay accounts of life in the Mirkarimi household (see “Ethics Commission undercuts the main witness against Mirkarimi,” June 20, SFBG.com Politics blog). And Kopp told us, “If I get most of my objections sustained, I may not need to cross examine her, as fun as that might be.”

Seeking local control

0

news@sfbg.com

As a potentially troublesome court decision threatens the existence of cannabis dispensaries in cities throughout California, San Francisco City Attorney Dennis Herrera submitted an amicus brief last week urging the California Supreme Court to reverse the decision.

In October, the state Court of Appeal ruled in the case of Pack v. City of Long Beach that city ordinances regulating medical cannabis dispensaries are preempted by federal law. Local jurisdictions across the state have adopted discretionary rules for permitting cannabis dispensaries that vary by jurisdiction. The court decision throws out local ordinances, making it illegal for cities and counties to develop regulations.

“The Court of Appeal’s decision strips cities of an essential tool for protecting public health and welfare,” reads Herrera’s amicus brief, which is joined by Santa Cruz Counsel Dana McRae. An amicus brief is commonly filed in an appeal concerning broad public interest by parties not directly involved the court proceedings.

The ruling could have drastic consequences for cannabis dispensaries and the clients they serve. Most cities in the state, including San Francisco, rely on local ordinances to regulate the medical marijuana industry. Herrera says cities will be forced to choose between banning cannabis dispensaries altogether or allowing their operation without local controls, such as San Francisco’s extensive regulations on where and how dispensaries can operate.

In the absence of local regulations, he argues that ” dispensaries and cultivation sites have the potential to generate serious impacts on surrounding communities, including electrical fires, criminal activity, hazards to children’s safety, pollution, harm to wildlife, traffic, noise and odors.”

The appellate court ruled local ordinances go beyond Prop. 215, the California voter-approved decriminalization of medical marijuana, and cross into the realm of actually legalizing it, conflicts with the federal Controlled Substance Act.

In the wake of the court’s decision, the impact was felt immediately. Across the state, cities suspended all new permit activity.

Since the decision was sent to the state Supreme Court in January, where it is currently under review, San Francisco resumed its permitting process. Not all cities resumed. Herrera noted that as many as 12 jurisdictions continue to suspend or severely limit new cannabis dispensary permits, including Santa Cruz.

Rory Bartle, a lawyer at Pier 5 law offices and medical marijuana advocate, says that if the decision isn’t overturned, the entire industry could be upended. However, Bartle says the ruling isn’t widely supported, many counties have filed amicus briefs, and in his opinion the ruling will be overturned.

It is hard to imagine Ryan Pack and Anthony Gale, plaintiffs in the Pack v. City of Long Beach case and members of a cannabis collective that was shut down because of local ordinances, realized the implication of challenging such regulations. Long Beach required a $14,000 non-refundable application fee and annual $10,000 fee.

“Long Beach has some crazy regulations designed to pull as much money as they can out of the medical marijuana industry,” says Bartle. “It’s stupid and unfair.”

In San Francisco, the fees for an application permit are $8,656 and another $4,019 for a license and re-inspection.

The Feds are watching — badly

9

yael@sfbg.com

So, you’re a law enforcement officer in training for participation on a local Joint Terrorism Task Force. Or a student at the United States Military Academy at West Point, involved in the counterterrorism training program developed in partnership with the FBI. Or you’re an FBI agent training up to deal with terrorist threats.

Get ready for FBI training in dealing with Arab and Muslim populations.

Take note that “Western cultural values” include “rational, straight line thinking” and a tendency to “identify problems and solve them through logical decision-making process” — while “Arab cultural values” are “emotional based” and “facts are colored by emotion and subjectivity.”

Be advised that Arabs have “no concept of privacy” and “no concept of ‘constructive criticism'” and that in Arab culture it is “acceptable to interrupt conversations to convey information or make requests.”

“Westerners think, act, then feel,” an FBI powerpoint briefing notes, while “Arabs feel, act, then think.”

Those are some of the most dramatic examples of racial profiling and outright racist stereotyping revealed in thousands of pages of documents obtained under the Freedom of Information Act by the Bay Guardian, the ACLU of Northern California and the Asian Law Caucus.

The documents show a pattern of cultural insensitivity, sometimes bordering on the ridiculous, not only tolerated by promoted as official instructions by the FBI. The records also show a broad pattern of surveillance of people who have engaged in no criminal activity and aren’t even suspected of crimes, but have been targeted because of their race or religion.

Pieces of this story have come out over the past year as the ACLU has charged the FBI with racial profiling and Attorney General Eric Holder has insisted it’s not happening. And some of the documents — which are not always properly dated — may be a few years old.

But none of it is ancient history: All of the material has been used by the FBI in the past few years, under the Obama administration.

This is the first complete report with the full details on a pattern of behavior that is, at the very least, disturbing — and in some parts, reminiscent of the notorious (and widely discredited) COINTELPRO program that sought to undermine and disrupt political groups in the 1960s.

The information suggests that the federal government is using methods that are not only imprecise and xenophobic but utterly ineffective in protecting the American public.

“This is the worst way to pursue security,” Hatem Bazian, professor of Near East Studies at UC Berkeley, told us.

CULTURAL STEREOTYPES

Dozens of documents attempt to describe “Arabs and Muslims” but other groups aren’t left out of the sweeping stereotyping and blatant racism and xenophobia that the FBI has used in its training guides. One training presentation is titled “The Chinese.” The materials give such tips as “informality is perceived as disrespectful.” The presentation warns “expect your gift (money) to be refused” but advises to give “a simple gift with significant meaning- tangerines or oranges (with stems/leaves.)” But “never give a clock as a gift! (death!)”

And if those in the training on “The Chinese” find themselves in “interactions with the opposite sex,” then “touching, too many compliments, may imply a romantic liaison is desired — be careful!”

The vast majority of the “cultural awareness” training materials imply that the authors believe that the law enforcement personnel receiving the training will never be female or interact with female members of the groups they describe. Some warn repeatedly to never ask Arabs how “females in their family” are doing in polite conversation.

A presentation on “Arab and Muslim culture” compares the western thought process with that of all Arabs. According to the FBI, westerners are “rational” thinkers; Arabs, on the other hand, are “emotion based.” A slideshow on cross-cultural interrogation techniques says, “It is characteristic of the Arabic mind to be swayed more by words than ideas and more by ideas than facts.”

Bazian said the FBI’s generalizations about the Arab intellect are “ideological constructs reflective of the orientalist discourse.”

“Many of these individuals have not done any primary sociological, psychological, or historical work in the Arab/Muslim world,” said Bazian, who works on UC Berkeley’s Islamophobia Research & Documentation Project. “What they basically do is take a text from a particular historical period and pick these points and put it as reflective of contemporary Muslim society. Most of these statements have no basis in any critical analysis. They’re not rooted in any type of research.”

Included in the FBI’s recommended reading list for counterterrorism agents-in-training is the “Politically Incorrect Guide to Islam,” in which “Islam expert Robert Spencer reveals Islam’s ongoing, unshakeable quest for global conquest and why the West today faces the same threat as the Crusaders did.”

It’s not exactly an academically sound piece of work, Bazian told us. Spencer and his cohorts are “political hacks,” the professor said. “They come from neo-con backgrounds. Even saying ‘extreme right wing’ is giving them credit; they’re way down below the cliff. They create this contrast between western society and the rest of the world based on a nostalgic idea of western society.”

Arab culture is often the target these days, but the rhetoric recalls that used during the Chinese Exclusionary Act era, and toward Latinos in the United States today, Bazian said.

“They pick on the weakest, most vulnerable people in western society at a particular time and lay blame on them,” he said.

The FBI’s xenophobic approach to interrogation training—which involves warning new agents that “If an Arab is scared, he will often lie to try to avoid trouble”—is not even productive, Bazian said.

“If you go to people with professional training in interrogation and investigation, they’ll say none of this gives them access to security. If anything, it creates a greater global misunderstanding.”

RACIAL MAPPING

And the creation of misunderstanding doesn’t stop there. The FBI is also involved in an intelligence-gathering method known as racial mapping. Racial mapping involves local FBI offices tracking groups in their “domains” based on race and ethnicity.

In blog post, the ACLU writes, “Empirical data show that terrorists and criminals do not fit neat racial, ethnic, nation-origin or religious stereotypes, and using such flawed profiles is a recipe for failure.” In the Counterterrorism Textbook read by all trainees the FBI seems to agree, warning multiple times that there is no such thing as a typical terrorist and that making assumptions based on stereotypes is dangerous and unproductive.

Yet the FBI files we’ve acquired reveal that the bureau consistently does just that. Though the Department of Justice prohibited race from being “used to any degree” in law enforcement investigations in 2003, a convenient and potentially unconstitutional exception allows racial profiling in national security matters.

When the FBI created its Domestic Investigation and Operations Guide in 2008, it used that loophole to permit the mapping of racial and ethnic demographic information and to keep tabs on “behavioral characteristics reasonably associated with a particular criminal or terrorist element of an ethnic community,” the ACLU reported.

Communities in San Francisco have been the victims of this prejudicial loophole more than once. In 2009, the ACLU reported that the FBI justified mapping and investigating the Chinese American population in the city because “within this community there has been organized crime for generations.” Likewise, the bureau collected demographic data on the Russian population because of the “Russian criminal enterprises” known to exist in San Francisco.

The loophole, however, may not even apply to these investigations in the first place.

According to Michael German, a 16-year veteran of the FBI and senior analyst with the ACLU, these investigations don’t fit the national security description. “In intelligence notes on Chinese and Russian organized crime, those are not national security issues,” German told us. “Those are all clearly criminal investigations.”

German has brought attention to another troubling use of racial mapping — documents revealing that the FBI’s Atlanta bureau tracks Georgia’s African American population.

The stated reason is a threat of black separatist groups; the documents name the New Black Panther Party and the Black Hebrew Israelites as the black separatist groups that pose a threat.

German wrote about this problematic practice in a May 29 article on the website Firedoglake.

“The problem with these documents,” German told us, “is that it’s not black separatists or alleged black separatists who are being tracked — it’s the entire black community in Georgia.”

“Those individuals and those communities are being targeted only for their race,” German said. “Were it not for their race they wouldn’t be part of that assessment. There is no reason to do that, accept to treat that community differently than the way it treats other communities. It’s problematic from a constitutional standpoint.”

The New Black Panther Party was founded in Dallas and has mostly East Coast chapters. According to the Southern Poverty Law Center, which tracks hate United States hate groups, “The group portrays itself as a militant, modern-day expression of the black power movement (it frequently engages in armed protests of alleged police brutality and the like), but principals of the original Black Panther Party of the 1960s and 1970s— a militant, but non-racist, left-wing organization — have rejected the new Panthers as a ‘black racist hate group’ and contested their hijacking of the Panther name and symbol.” The Black Hebrew Israelites is another fringe group, an apocalyptic group whose ideology holds that black Americans are God’s chosen people.

Both groups have written and spoken record of racist and violent rhetoric, but record of violent or criminal acts are hard to find.

“I’d say they’re a fairly small part of the radical right, and generally quite small. As far as we know, there is virtually no connection between these groups and criminal activity,” Mark Potok, a senior fellow with the SPLC, told the Guardian.

According to Potok, the center’s list of hate groups in operation in 2011 includes four organizations classified as black separatist, which, between them, have 140 chapters. Those chapters are counted as 140 of the list’s 1,018 groups.

“Most of the rest of the list are white supremacist groups,” Potok notes. “There are some exceptions — anti-gay groups and anti-Muslim groups.” After a quick count, Potok found 688 groups to be “straight-up white supremacist.”

The majority of these hate groups may be white supremacist — but the FBI is not involved in tracking white populations.

Last October, the FBI’s press office responded to the ACLU’s concerns with racial mapping. “These efforts are intended to address specific threats, not particular communities,” the agency’s statement reads.

“These domain management efforts seek to use existing, available government data to locate and better understand the communities that are potential victims of the threats. There must be an understanding of the communities we protect in order to focus our limited human and financial resources in the areas where those resources are most needed.”

With that defense, resources continue to pour into racial mapping efforts.

Black separatist organizations are not the only groups to be targeted for political beliefs. Groups such as “anarchist extremists” and “animal rights/environmental extremists” are also, according to the FBI, groups to watch out for.

A training presentation for the Bay Area’s Joint Terrorism Task Force includes a list of those groups: “animal rights/eco terrorism, anarchists, white separatists, black separatists, militia/sovereign citizens, and ‘lone offender’.”

How do you spot a potential “animal rights extremist”? According to the documents, “ideology and concepts” found among this group includes a “complete vegan lifestyle,” and activities include the promotion of “anti-capitalist literature.” In other words, your roommate is probably a terrorist.

SPYING ON MUSLIMS

Racial mapping is not the only FBI practice that targets people just for being members of groups “associated with crimes.” The FBI routinely gathers information on Muslims through deceptive “community outreach” programs.

Memoranda we’ve obtained reveal that FBI agents, operating under the guise of community outreach, attended various events hosted by local Muslim organizations in order to gather intelligence between 2007 and 2009.

When agents attended Ramadan Iftar dinners in San Francisco, they wrote down participants’ contact information and documented their conversations and opinions. At an alleged outreach event at CSU Chico, they recorded a conversation with a student about the Saudi Student Association’s activities and even took the student’s picture. That information was sent to the FBI in Washington, DC, the ACLU reported.

Writing down information on individuals’ First Amendment activities—in this case without any evidence that they were notified or asked—violates the federal Privacy Act, the ACLU says. Using access to community events to gather personal information undermines the FBI’s stated effort to form relationships with Muslim leaders and community members.

And covert surveillance can also have an immediate and hazardous impact on the unwitting subjects.

“It’s becoming more of a public discourse that these FBI background checks are affecting immigration status, the ability to send money back home, and generally creating an environment of fear,” said Miriam Zouvounis, membership coordinator with San Francisco’s Arab Resource and Organizing Center.

The organization has helped clients who have been detained for months because their names were mistakenly placed on a no-fly list, and others whose immigration processes have taken up to ten years because they were erroneously perceived as threatening, Zouvounis said.

“The process of information collecting on covert and overt levels is accelerating, and definitely a present reality in San Francisco. People don’t want to be civically engaged if that material’s being used against them,” she said.

ONLINE SPYING

“Extremism online is the most serious international terrorist threat in the world.” Or so says FBI training materials in a presentation entitled “Extremism online,” meant for those training to be online covert employees. The documents teach OCEs to scan through comment threads and enter chat rooms, searching for people whose speech may be “operational.”

This surveillance has led to investigations.

Some of the documents are individual files and summaries of individual files, and many note that the person (often someone who was convicted, so the name isn’t redacted in the documents) was “detected via the Internet.” Some examples: “Mohamad Osman Mohamud, detected via the Internet, discussing Jihad plans” and “Hosam Smadi, detected via the Internet: online chats.” Both men were 19 when they were convicted of crimes.

These men — and the many more who have not been accused of any criminal activity but are likely under surveillance or investigation by OCEs — could have been “detected via the Internet” in a variety of ways, according to German.

“It could be that the chats were open source, or that an informant was in the chat room, or a person participating simply turned them over to the FBI, none of which would require any legal process,” German explained.

“It could also be monitored under FISA [ the Foreign Intelligence Surveillance Act] or traditional criminal wiretaps, which would require court warrants (secret ones under FISA). Finally, the stored chat logs retained on third party servers could have been obtained with Patriot Act Section 215 orders, or what’s called a “D” order under the Stored Communications Act (if held for over 180 days),” German detailed in an email.

So what kind of speech are OCEs looking out for to peg potential terrorist threats? The Extremism Online presentation has a list of “major themes and language used in online extremist writings,” which includes Islam-related terms such as “Caliphate, Al-Ansar, Al-Rafidah, Mushrik, and Munafiq” as well as the Arabic words “Akhi, Uhkti, Ameen, Du’aa, Shari’ah, and Iman” (brother, sister, amen, prayer, Islamic law, and faith.) Other words the agents are told to look out for: “crusaders, hypocrites, dogs and pigs,” and any discussion of “occupation of Muslim lands.”

The FBI can really get into your business if agents confiscate your possessions. Personal computers, cell phones, and other electronic devices, according to the documents, are routinely checked out at Regional Computer Forensics Labs.

The nearest one to San Francisco is in Menlo Park, where employees brag of having investigated thousands of pieces of data.

Law enforcement routinely confiscates property after arrests, and if local cops are involved with the FBI through the Joint Terrorism Task Forces or other partnerships, they may very well send the belongings of those arrested to be checked out at a local RCFL. But there are other ways the FBI can obtain your electronics.

“Certainly the FBI has the authority to obtain computers and other devices with search warrants, either traditional search warrants where the individual is given notice or expedited warrants where the person isn’t aware,” German told the Guardian, noting that the second type of warrant is the preferred method, for obvious reasons, when the Feds plan to search a confiscated computer.

“The FBI also works with immigrations and customs enforcement, so laptops and other devices seized at the border the FBI can gain access to. There are myriad ways they can get them.”

“DISRUPTION”

A 2009 FBI memorandum on investigating suspected terrorists reveals that the Bureau encourages its agents to implement a “disruption strategy” that German wrote is “eerily reminiscent” of the COINTELPRO tactics used to stop political organizers in the1960s. “If the risk to public safety is too great, or if all significant intelligence has been collected, and/or the threat is otherwise resolved, investigators may, with substantive desk coordination and concurrence, implement a disruption strategy,” one memo reads. Investigators can conduct interviews, make arrests, or use any number of other undefined “tools” to “effectively disrupt subject’s [sic] activities.” Such disruption strategies have been used in the past to investigate and shut down First Amendment-protected activity, German said. The reintroduction of such tactics could open the door for a major breach of the subjects’ constitutional rights.

A MATTER OF PRIORITIES 

“After September 11th, 2001, the FBI realigned its mission and purpose to reflect the global and domestic threats that face the US,” begins an orientation packet for members of Joint Terrorism Task Forces. “FBI director Robert M. Meuller III defined the following as the top ten priorities (in order of importance) that confront the Bureau today,” Number one on the list: Protect the United States from terrorist attack.

Indeed, after 9/11, the FBI prioritized terrorism investigations, a shift from the previous focus on criminal investigations. Classified as national security threats, these investigations are not subject to the same type of privacy and anti-racial discrimination protections that other criminal investigations might be.

Terrorist threats, apparently, are to be found in mosques, in online conversations that involve criticism of US foreign policy, in entire populations of African Americans or Chinese Americans in given areas. In recent years, simply speaking Arabic online or being black makes a person a suspect and potential target of surveillance.

Look out America, especially members of that celebrated “melting pot.” The feds are watching.

Two for the road

0

arts@sfbg.com

THEATER On a warm evening last week in Williamsburg, Brooklyn, Jason Craig and Jessica Jelliffe were milling around the sidewalk outside the Collapsable Hole, a small warehouse performance venue one subway stop from Manhattan, dressed in dark blue one-piece suits, skull caps, heavy-rimmed glasses, and long beards.

“You wanna see a show?” asks Jelliffe, looking a little like a Hassid at the public pool. It’s a physical fact that passersby can’t always pass by fast enough to escape the sideshow gravity of a woman in a beard, and sure enough one or two wanderers fall in with the rest of the crowd arriving already determined to see Space//Space, the much anticipated new show from the bicoastal company that most recently brought Bay Area audiences (with co-producers the Shotgun Players) Beardo and Beowulf: A Thousand Years of Baggage.

The audience comes through the front door and slips passed a silvery space ship set snuggly inside the painted brick garage, a combination that carries the vague threat of an aluminum container shoved in the microwave, only you’re inside with it. Some airy, oxygenated house music thrumming the room like a zither adds nicely to this anticipatory pre-show mood. Soon the lights go down leaving only a clip lamp on a sidewall illuminating the figure of some rambling madman-scientist-grease monkey (Peter Blomquist) who introduces a half-comprehensible “experiment.”

And with that, the stunning space pod — a self-contained octagon with milky translucent glass walls, an old-school turntable for a control console, and a series of small bare speakers clinging magnetically to its aluminum framework — comes to life, rumbling and flickering like a miniature nightclub, a plush DJ booth, or an industrial-sized hi-fi egg chair. Its passengers, wearing furry suits with ear hoodies, are the bearded pair of brothers seen outside a few minutes earlier. Penryn (Jelliffee) is waking up confused from a deep sleep. Lumus (Craig) cautiously explains to his addled brother that he’s been asleep for the better part of three years. In that time their mission has been going forward: they’re still bound for some unknown destination as representatives of earth civilization, a madcap message in a half-corked bottle recording their words and deeds for some future audience.

But like a latter-day Gregor Samsa, Penryn has awakened to find himself metamorphosed, still hairy as a Harry but sporting the “girl bits” of a Henrietta. This change will propel the mission in an unanticipated direction. Penryn reborn is full of questions and challenges for his/her brother and their gender blender of a mission inside this increasingly stuffy intergalactic studio apartment.

Meanwhile, it seems Lumus, when not studying his brother’s transmogrifying bod, has spent the last few years working out a comedy routine, bits of which wend their way through the narrative as an alternately hilarious and eerie metanarrative of sorts, inviting a Henny Youngman–grade hermeneutics of the patriarchal social construct left back on earth. “I’m dying up here,” Lumus likes to say in an increasingly ominous showbiz metaphor, hitting a button for canned laughter as his inept struggle with off-color bar jokes and Rat Pack–era machismo gives way to a darker prophesy of his own demise.

Too much more plot will spoil the surprises in store for venturers to Brooklyn or those awaiting the production’s hoped-for (but not yet scheduled) future landing in the Bay Area. But let’s just say this oeuvre Lumus is making — a summation of a life, the echo of a civilization now reduced to two — is up for grabs, and Penryn may be the person to grab it. The outcome of their space//space odyssey contains the seed of a new world and an old one, both slouching toward Alpha Centauri to be born.

Composer and BB&B regular Dave Malloy’s wonderfully vital music-sound scape brings a deep, dark, low creep under this or that moment, as the exquisitely Dada-esque space program and its thornier implications come to light in playwright Craig’s inimitably arch dialogue, and Craig and Jelliffe’s masterfully subtle performances. Directed with cool precision by Mallory Catlett, Space//Space features another incredible BB&B low-or-no–budget set (conceived by Craig and Jelliffe with choice video, lighting, and sound designs by Zbigniew Bzymek, Miranda k Hardy, and Brandon Wolcott, respectively). While less epic than recent shows past, this cosmic two-hander is also more romantic, thematically complex and moodily resonant in its half-haunted, half-blissful reflection on the intimate universe between one human being and another.

bananabagandbodice.org

 

LGBT Pride: the good, the bad and the ugly

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OPINION No doubt about it, LGBT Pride is a mixed bag.

Long gone are the days when Gay Freedom Day, later Gay Pride, was a one-day affair, a protest march and celebration to commemorate the Stonewall Riots in New York City in June, 1969.

These days, it’s a month-long, corporate-sponsored, $1.8 million-dollar, glitzy affair with events at fancy hotels and a “parade” (not a march) that remains totally out of touch with the radical, grassroots activism that first created it. Not only are contingents charged to participate, but curbside barricades make it impossible for onlookers to jump in, and participants are asked to “donate” to enter the festival after the parade. Even if the pride committee waives the fee for small groups, why does anyone have to pay to be part of pride?

Especially given that it has corporate sponsors with very deep pockets. Some of those sponsors are strange — and ugly — bedfellows indeed. They include Wells Fargo and B of A, two banking institutions that have been foreclosing queer and other people out of their homes. Their motto might well be, “We take Pride in evicting you.” What does it say about our community that we allow these institutions to use our events to buy good PR? Banks don’t deserve good PR, especially when the government is not holding them accountable in any real way for what they continue to do to us.

Fortunately, there are pride events that remain true to the fiery, uncompromising spirit that was demonstrated by those queens who refused to go quietly into the paddy wagons 43 years ago. Including the Faetopia “pop-up queer arts, ecology, theater and community center” at the old Tower Records space at Market and Noe, with lots of great events continuing through June 22 (www.faetopia.com); and the Vito Russo documentary, Vito, at the Frameline Film Festival last week. Vito’s life of gay and AIDS activism is a reminder of why Pride month exists. It’s just a shame that Wells Fargo is a sponsor of the festival.

You won’t find banks sponsoring the Trans and the Dyke marches (Friday, June 22 and Saturday, 23 respectively). Nothing in Pride month comes closer to being like the 1970s gay Pride marches (that I miss so much) than these two grassroots efforts.

Finally, a coalition calling itself OccuPride plans to protest the “increasingly commercialized” Pride parade that caters “only to those of us with money to spend.” According to a press statement, it will also “honor our radical roots for full liberation for women, people of color, immigrants, the disabled, all the oppressed and marginalized.” Sounds like a Gay Liberation Front manifesto I helped write 42 years ago. Join up with OccuPride on June 24 at 10 AM at Mission and Main, or at Taylor and Turk at 2:30 PM for a rally on the site of the former Compton’s Cafeteria where, three years before Stonewall, drag queens rioted.

Like Vito a reminder of where we came from.

A longtime queer and tenants rights activist, Tommi Avicolli Mecca was involved with organizing Philly’s first pride march in 1972. He is editor of Smash the Church, Smash the State: the Early Years of Gay Liberation (City Lights).