SFBG Blogs

Skrillex vs Stevie Wonder at Outside Lands

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Surveying the rabid Skrillex crowd, I felt old for one of the first times in my life. Like, John McCain, “get off my lawn” old. Who the hell was this mall punk with a Miley Cyrus haircut, anyway? What, in God’s name, has he inflicted upon the music world? And why, oh why, did this hoard of tweens, bros, and “cool-dads” choose to undergo Skrillex’s sonic weedwacking, instead of running into the arms of living-legend Stevie Wonder?

Having committed the cardinal sin of leaving the main stage as Stevie ripped through “Signed Sealed Delivered,” I guess I was setting myself up for a repellant EDM experience. Seriously, how could a brostep-practitioner (let alone a DJ) compete with a 14-piece band, diving into one of the greatest back-catalogues in pop history? However, as I approached the Twin Peaks stage, and the barrage of twisted noise and splintered video-projections came into focus, I found myself not just underwhelmed, but vaguely, viscerally offended as well.

As Skrillex’s formulaic dynamics ran their course (laborious, heavy-handed tension, building up to the inevitable “beat drop”), and the rigidly brimmed bro-hats in the audience bobbed up and down with militaristic synchronization, it dawned on me: the guy’s music is doomed by a perfect storm of chaos and joylessness. Say what you will about Metallica’s brand of contrived assault: their set was fun; Skrillex’s audience was enraptured, alright, but in a much more fascistic sense. Let’s just say that the image of Apple’s famous 1984 superbowl ad was a difficult one to shake.

http://www.youtube.com/watch?v=-zxLkNgYPDs

I’d try to describe the Skrillex aesthetic, but is there anything that hasn’t already been said? Yes, there were lots of “womp-womps,” crashy noises, and syncopated Michael Bay sound effects piled atop the simplistic chord progressions. Factor in the predictable buildups and payoffs, and the seizure-inducing visuals, and you have a concertgoing experience with all the warmth and charm of a monster truck rally. Which isn’t to say that noise and chaos can’t be used compellingly. Hype Williams, Death Grips, and Black Dice are all capable of wringing anarchic perversity from their shards of noise, without sacrificing any sense of joy or wonderment.

Okay: I’ll concede that Skrillex’s music possesses an experimental edge. Also, it’s somewhat refreshing to see Middle America being turned on to the possibilities of dissonance in music. But, whereas even a quasi-countercultural figure like Trent Reznor would look out of place in front of a Bud Light logo, Skrillex looks perfectly at home. Unlike true boundary-pushers like Throbbing Gristle, Skrillex’s product is the dream-material of hair-gelling Viacom executives: an endlessly commodifiable brand of pseudo-punk rebellion, perfectly calibrated to sell energy drinks, college football, and the military-industrial complex, all while the bro-hats nod away.

After 10 minutes of Skrillex’s sonic cheese-grating, I was more than ready to head back into Stevie’s sunny embrace. As I heard the clavinet riff from “Superstition” fade in gradually on the walk over, I knew I had made the right decision. Maneuvering through the main stage crowd to make my way towards the action, the mood reversed completely, as Stevie made up for Skrillex’s joy-deficit, and then some. With three drummers, a brass section, an army of keyboardists and guitarists, and a few beautiful backup singers in tow, the pop master sported the swagger of 100 Skrillexes, without any of the gnarled, meatheaded machismo.

Therein lies the genius of Stevie Wonder: his ability to radiate joy, groove relentlessly, and even get political, with stunning cohesiveness. Just because “Higher Ground” and “Living for the City” possess sober lyrical content doesn’t mean you can’t dance your ass off to them. Elsewhere, “Sir Duke,” “I Wish,” and “Happy Birthday,” had the diverse crowd in a frenzy, dancing and singing along to some of the most infectious choruses ever written.

http://www.youtube.com/watch?v=n11ExBK-hCo

After initially taking the stage, armed with a Keytar to cover Marvin Gaye’s “How Sweet It Is,” Stevie jumped restlessly between a handful of instruments, displaying his virtuosity on the clavinet, piano, harmonica, and lap steel guitar. It was a welcome reminder (and a great introduction, for the uninitiated) of Stevie’s extraordinary musical talent; after all, he’s the visionary who recorded Talking Book (1972) completely on his own, drums and all.

Shuffling through a wide range of covers (Smokey Robinson’s “My Girl,” The Beatles’ “She Loves You,” and most memorably, Michael Jackson’s “The Way You Make Me Feel), as well as a hit parade of original material, Stevie’s set was an exuberant, poignant trip through a lifetime of pop brilliance. Young and old, black and white, no one could resist Stevie’s charm. Whereas Skrillex was signed on to appease a fixed set of demographics, Stevie came to play for everyone.

Hey SF, RZA is coming

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The Wu-Tang Clan’s RZA, and his highly influential production sound, are much too easily taken for granted. You’ve got his Minnie-Ripperton-on-helium tape speeding methods, to which Kanye will forever be indebted; the filthy, resinous 36 Chambers aesthetic that’s informed everyone from MF Doom to Portishead; his prophetic, narrative skits that have irreversibly shaped the dynamics of the hip-hop album.

Even after 20 years in the biz, the Staten Island icon and famed kung-fu fetishist continues to shepherd the hip-hop form in bold, new directions. Expect RZA to reinforce his prestige when he takes the Mezzanine stage this Thursday, with a full live band in tow.

https://www.youtube.com/watch?v=CE3hb__ylG4

It’s worth noting that, despite his prolificacy, RZA has just one proper solo record under his belt. This makes the prospect of a live show all the more compelling, as his discography offers a seemingly endless diversity of material to cherrypick from. Of course, there’s the Wu-Tang archive, and his productions for colleagues like Raekwon, Ghostface Killah, and Method Man; his recordings under the Bobby Digital moniker; his wide-ranging collaborative efforts, including work with Nas and System of a Down; his kung-fu-centric soundtrack contributions for the likes of Quentin Tarantino (with whom he also worked on his own upcoming film, The Man With The Iron Fist, directed by RZA and co-written by RZA and Eli Roth) and Jim Jarmusch.

https://www.youtube.com/watch?v=MavHcZOOKzc

Adding to the mystique, is the relative lack of publicity surrounding the lineup of RZA’s band, and its plans to approach his almost entirely electronic production sound. How will a live drummer approximate the precarious, lo-fi thud of his synthetic beats? How will the melodies and samples be replicated, and on what instrumentation? And, perhaps most intriguingly of all, what effect will live, human interplay have on the loop-based foundations of his recorded output? The addition of a live band to RZA’s domain raises an abundance of tantalizingly unanswerable questions. For those fascinated by musicians pushing themselves into exploratory situations, this live appearance ought to be nothing short of essential.

RZA
9pm, $25 advance
Mezzanine
444 Jessie, SF
(415) 625-8880
www.mezzaninesf.com

Sweet: Berkeley Playhouse’s ‘Wonka’

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Sometimes when the going gets rough, it’s time for a pinch of sweet nostalgia. Or, in this case, a metric ton of sweet nostalgia: through Aug. 19, the Berkeley Playhouse presents Willy Wonka and the Chocolate Factory, a hilarious, heartwarming, and lively take on Roald Dahl’s Charlie and the Chocolate Factory.

As the title suggests, Willy Wonka (music and lyrics by Anthony Newley and Leslie Bricusse; adapted for stage by Leslie Bricusse and Tim McDonald) stays true to the 1971 movie starring Gene Wilder (begone, Burton), with its familiar warnings about spoiled children and themes emphasizing the importance of family over materialistic obsessions. Plus, plenty of dark humor — some of which may go above younger viewers’ heads, but is not wasted on older fans of this twisted tale.
http://www.youtube.com/watch?v=vMzzwzKKSY8&feature=bf_next&list=UU7jmsPkv0HHeZtax3i4v3WA

That said, the children in the audience seemed delighted by the production — Nina Ball’s set is quite impressive and not compromised due to limitations of stage compared to film, and the ensemble of teenage performers, fantastic dancers all, kept each scene engaging. The professional actors — particularly Vernon Bush as Willy Wonka — have great comic timing, with just enough sentiment to keep the story balanced between funny and touching.

Although some songs such as “Think Positive” are a bit cheesy, this production, directed by Elizabeth McKoy, also included downright funky numbers. The classic “The Candy Man Can” got everyone rocking in their seats. Bush’s performance retains the mysterious aura of the original character, while adding a more hip element to the fatherly yet obviously mad version Wilder portrayed in the film.

Bush — a featured vocalist at Glide Memorial Church; he also starred in Whitney Houston’s first-ever music video! — is a veteran performer, but he hasn’t done musical theater for over a decade. Though he did seem a bit rusty on line delivery, he more than made up for it in his superb songs and how light he was on his feet.

His Wonka tops off an enthusiastic cast, all of whom did an outstanding job bringing this uplifting story of underdogs (and candy … flowing chocolate rivers ahoy!) to life. Totally worth the price of a “golden ticket” ($17-$35 in this case) for you and a favorite young ‘un.

Roald Dahl’s Willy Wonka and the Chocolate Factory

Thu/16 and Sat/18, 7pm (also Sat/18, 2pm); Sun/19, noon and 5pm, $17-$35
Julia Morgan Theatre
2640 College, Berk
www.berkeleyplayhouse.org

Oh no they didn’t! Hilarious horror stories at Mortified

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Why is it that I like myself most when looking back on my years as a college freshman, drunkenly spooning peanut butter into my mouth amid the squalor of my dirty kitchen? Why is it that I appreciate a boyfriend most when I see his elementary school photos and realize he used to look like a well-fed lizard in glasses?

I’m going to wager that it isn’t my own affinity for the less-than-socially acceptable and is actually a testament to the fact that humans often love that which is most, well, human. And humanity has the tendency to do some painfully embarrassing stuff.
 
This is the concept that drives Mortified, a collection of short readings and performances of the sometimes brilliant, sometimes artistic, sometimes sad, and always humiliating personal musings its performers created as children and teens. The brainchild of creators and producers Dave Nadelberg and Neil Katcher, Mortified has a constantly changing cast, mainly consisting of adults who have, fortunately, left most of their adolescent angst behind — but still have plenty of stories to tell about it.

The DNA Lounge is surprisingly conducive to theater, with its upper balcony offering unobscured views of the performers. On Aug. 10, the night’s first performance was by Orlando, Fla. native Jessica Wassil, reading from her teenage diaries. There isn’t much to do in Orlando, the edgy-looking brunette explained in her introduction, and thus her 14-year-old self saw no other alternative to the cultural void than to eat Butterfingers by the truckload and obsess over football players who didn’t know she existed.
 
Wassil’s excerpts treaded not-so-lightly on the line between funny and cringe-inducing, with her bellowing laments of insecurity and unrequited love making the audience members guffaw, but also tempting them to crawl under their seats. Her powerhouse opening excerpt, describing what indeed seemed to be the “worst Valentine’s day ever” (eating Snickers for breakfast and then soiling herself at school) had tears of ambiguous varieties streaming from the audience’s eyes.
 
But it’s okay, because now she’s totally cute. And kind of a hipster. And probably pretty awesome, given her confidence to stand alone on a stage and read almost grotesque confessions from her youth.
 
However, Heather Aronson’s accounts of a being an underage metalhead were anything but sad. Her diary entries read more like an epistolary novel addressed to the guitarist of Def Leppard, to whom a young Aronson’s commitment resembled a nun’s devotion to God. Kinda freaky. And such was the collective opinion of Aronson’s classmates in her first year at a new high school.
 
And yet, the admittedly girly but nonetheless badass actions of the head-banging teen were wholly awesome. She backed boys into corners, scored concert tickets, got drunk, made at least one friend, and — as the piece’s climax and finale went — cussed out the haughty girls at her school, kicked in her science classroom’s door, and ends her high school year of hell in appropriately metal fashion.
 
The “Worst Teen Poetry Slam,” for which Mortified creator Dave Nadelberg traveled from Los Angeles to San Francisco, offered some variety in the evening. The first contestant was businesswoman Lisa Ratner, who read adolescent love poetry directed toward one particular (and, it seemed, totally undeserving) young man.

Imagine any lovesick and slightly pathetic tween’s poetry, then add in a strong penchant for metaphors about kings, queens, stardust, and chariots, and you’ve got the general aesthetic of Ratner’s collection. Nadelberg was the night’s second contestant, and eventual winner, thanks to some awkwardly erotic poetry about “world music” just bizarre enough to offer a refreshing reminder that teens aren’t only pitiful … they’re also weird as hell.

“What’s in the bag, Mr. Pips?” began Nadelberg’s ode to bagpipes. He had me at that.
 
Lily Sloane’s confessions of a boy-crazy, coffee-shop working, rock’n’roll loving, and prematurely cynical teen girl were perhaps an unspoken dedication to all those 15-year-old girls who know they’re cool but, goddamn it, why doesn’t anyone else realize it? Covering her insecurities with swearwords yet always admitting to her own faults and adorably neurotic self-awareness, Sloane shared oodles of unwittingly fantastic one liners. (“That little fucker better call me” ended one entry about the boyfriend for whom she incessantly pined.)
 
Her piece, however, was best punctuated by the live performance of her fifth and sixth grade musical stylings, with which she angrily serenaded her parents: “I have to be cute when we have guests/I don’t want to wear my little pink dress.”
 
San Francisco show producers Scott Lifton and Heather Van Atta programmed wisely by choosing to end the night’s series of confessionals with Ezra Horne. His diary of an overweight, closeted Mormon boy read like a Daniel Pinkwater coming-of-age novel, with daily accounts of the number of times he looked at porn (which he coded as “P”) or masturbated (creatively delineated by the letter “M”).
 
He thought he was a fat, lazy, slob. He was jealous of his friends. He made secretly-self hating speeches at church. He knew he would never get into the celestial kingdom. And yet, by the end, there was some hope in Horne’s brash yet somehow whimsical musings. He ended his piece with an epilogue: his eventual coming-out was a well-supported, smooth transition by his family and community. Currently happy and in love, Horne said: “I was always hoping God would fix me. But God can’t fix me because I’m not broken.”
 
And that could be the moral for all the of night’s performers: despite horror-story, silly-stupid childhoods, they’d all moved on nicely.
 
Mortified officially began in 2002, and this is by no means the first Mortified SF installation. Speaking with audience members, it’s evident that every show is different. According to the unnamed gentleman on my right, this show “wasn’t even as funny” as the last.
 
And that may prove my thesis: the concept behind Mortified is brilliant to the point where I’m not quite sure where any Mortified show could go wrong, with its ability to lovingly yet bluntly look at personal and painful topics.
 
The series returns to the DNA Lounge Sept. 14; the group will also make a special performance at the SF Improv Festival Sat/18.

Bounce castle: Nicky Da B makes his SF debut

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I met New Orleans bounce artist Nicky Da B in a Mardi Gras beer bust at a Nola leather bar. His manager Rusty Lazer (check out my interview with  from the same trip) introduced us, shortly before the two ventured to the DJ booth upstairs where people started shedding clothes fast on the dancefloor.

And not (just!) for your run of the mill nightlife encounters that can be found at Eagles across the country — they were doing fast, sweaty DJ and the hella diverse crowd was losing it, including the leathermen who were down to give the scene a try, or at least continue their standard bar-time activities while a bunch of twenty-somethings flung themselves around them. Asses were popping so fast you didn’t know their owners’ hip sockets were going to be okay, it was that kind of party. Come to think of it, New Orleans tends to be that kind of party.

Seven months later, Nicky is riding high on the ace “Express Yourself” bounce track he put together with Diplo. He’s toured the country and beyond. He played the Sydney Opera House, for chrissakes. He’s also part of a queer hip-hop renaissance best epitomized by Frank Ocean’s coming-out, fellow Nola bounce queen Big Freedia, a whole mess of New York artists who are gaining ground, and locally by the glitter-gunned duo Double Duchess and female emcee Micah Tron.

But bounce artists are special, Nicky says. “We’re like the hypemen of hip-hop, kinda sorta,” he told me last week during a sweet little phone interview. 

He’s making his SF debut Thu/16 at Public Works, finally. The Future Perfect and Stay Gold crews have the honor of welcoming the cardigan-ed wonder to town, where he told me he plans to ride a cable car. “We have street cars in New Orleans but I haven’t been on anyone else’s yet,” he said. He’s great. And really soft-spoken for a guy who has no trouble directing crowds in real grimy (in a good way) dancing at his live shows, where he rapid-fires bend-over instructions on top of driving bounce beats.

Nicky’s new track, video created by the Court 13, the same crew behind The Beasts of the Southern Wild and Big Freedia’s “Y’All Get Back Now” imagery

Nicky’s earliest memory of bounce was from back when a small thing in New Orleans, listening to sissy bounce progenitor Katy Red and Vockah Redu. And dancing. He says he was dancing, even then, all the time. “That’s a rule,” he said. “You have to know how to dance in New Orleans or you get whacked. If you walk up to anybody and they’re originally from New Orleans and they grew up in New Orleans they know how to dance.” He started performing when he graduated from high school.

Now he’s making it happen, currently working on the “Express Yourself”/”Hot Potato Style” (his new single, see great video above) follow-up, a mixtape tenatively called Legend in the Making that he says will incorporate other genres — more hip-hop, more house, more techno. 

And if you didn’t start machine-gunning your hips to bounce at age eight like Nicky, he wants you to know there’s no call to get shy. “If you’re having fun doing it, then you’re doing it right,” he told me. “There’s more advanced moves that some people can’t just get, but they’ll get over time. There’s no right or wrong way.”

Heard?

Nicky Da B

Thu/16 9pm, $8-10 advance tickets

Public Works

161 Erie, SF

www.publicsf.com

Newsom will vote on campaign donors’ projects

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On the front page of the Chronicle Aug. 12, California Watch reported that Lieutenant Governor Gavin Newsom has been promoting the interests of campaign donors in San Diego and San Bernardino. It’s nothing criminal, but it looks bad – and it’s just the start.

Newsom, who sits on the state Lands Commission (one of the few critical duties of the Lite Guv) has received thousands of dollars in donations from interested parties looking to exploit San Francisco’s waterfront, public records show. And he will be voting on the future of their projects.

Newsom received $2,000 for his 2014 campaign from two lawyers, Neil Sekhri and Mary Murphy. Both attorneys are at the law firm Gibson, Dunn and Crutcher, and are involved with the controversial 8 Washington project – which comes before the Lands Commission Aug. 14. Since part of the site of the most expensive condos in San Francisco history is state Tidelands Trust property, the state has to approve the deal. Newsom will be one of three members voting.

The future site for the Golden State Warriors arena is along the waterfront. The decision to turn over that land to private investors will come before Newsom’s panel, too – and Newsom has received more than $6,000 from interested parties.
The Strada Investment Group, which is representing the Warriors as a development consultant, gave Newsom $5,000, records on file with the Secretary of State show. Jesse Blout, real estate investor for the group contributed $750. Scott Stafford, principal, contributed $750. Marty Glide, chief executive officer of the Warriors, contributed $2,000 Newsom’s campaign.

Aaron Peskin, former supervisor and a foe of 8 Washington, issued a press release Aug. 13 calling on Newsom to recuse himself from voting on that project. Newsom’s office hasn’t responded to us, but it’s a safe bet that’s not going to happen. Newsom didn’t get where he is by stiffing campaign donors when they need him on a big vote.

There’s another  problem with the Lands Commission vote on 8 Washington. According to former City Attorney Louise Renne, the commission can’t vote on a project that doesn’t actually exist.

Her argument, laid out in an Aug. 7 letter to the commission, is simple: More than 31,000 San Francisco voters signed a petition demanding a vote on the project – and the Department of Elections has certified the referendum for a citywide vote. That can’t happen until November 2013. “Under these circumstances,” Renne wrote, “you do not have a currently valid 8 Washington Street/Seawall Lot 351 project before you for consideration. Approvals of the project are suspended by law.”

Does the commission even care if what it’s doing is legal? Anyone placing bets?

UPDATE: We just got a statement from Newsom’s chief of staff, Chris Garland, who told us that the Attorney General’s Office and the Lands Commission legal staff agreed that none of the panel members have a conflict of interest.  “The lieutenant governor has enjoyed the support of parties on both sides of this issue and is capable of looking at the item impartially and doing what is right for the state,” he said. “This isn’t a matter of contributions; it’s matter of calling balls and strikes on an important project.”

Okay then.

Heads Up: 7 must-see concerts this week

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The global spectacle of the Olympics is through for now (see you in Russia 2014!); the local frenzy of Outside Lands 2012 has passed. So what’s there to do and see this week? Well, there’s Twin Shadow, Sam Flax, Three Mile Pilot, Midnight Magic, and two free shows: Flosstradamus with Riff Raff and Floating Points, and afternoon with the San Francisco Opera (separate outings).

Here are your must-see Bay Area concerts this week/end:

Sam Flax
Sam Flax has a visionary vibe – out of the noisy norm, beyond genre, new, colorful, and electric. It’s a quality shared with the other acts on this bill. The event – dubbed “An Anthology of Savage illusions,” and hosted by Mashi Mashi – also includes Maus Haus, Seventeen Evergreen, Michael Stasis, Mohani, Warm Leatherette DJs and art (instillations, illustrations, and sculptures) by Carlos A. Etcheverry, Edmundo de Marchena, Slenna DaFonseca.
Thu/16, 7pm, $7-$15
CELLspace
2050 Bryant, SF
Facebook: Mashi Mashi presents
http://www.youtube.com/watch?v=DTVY9K3NkFo

Twin Shadow
Stylish 1980s-repping R&B/dark new wave crooner Twin Shadow returns to the Great American for a set of headlining shows, this time on the heels of sophomore album, Confess, which saw a proper release July 10 on 4AD. He’s basically Prince in Purple Rain during the video for “Confess,” the titular first single off the album.
Thu/16-Fri/17, 9pm, $21
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.slimspresents.com
http://www.youtube.com/watch?v=HiC9XNQSxFQ

Flosstradamus, Riff Raff, Floating Points
This is like the Internet IRL. British electronic musician Floating Points programs the quality background, Chicago DJ duo Flosstradamus brings the flash, and reality celebrity/royal mess rapper Riff Raff uses MS Paint to spray-paint dicks, dollar signs, and marijuana leafs all over the site. Plus it’s free, and there’ll be opening sets by DJs and producers Ghosts on Tape, Debase vs. Popscene, Dibiase, Groundislava, Elephant & Castle, Richie Panic, Marco De La Vega, DJ Dials, KM/FM, Moziac, D33J, and Tyrell Williams. That’s a lot of pages to bookmark.
Fri/17, 10pm, free
1015 Folsom, SF
www.1015folsom.com
do415.com/event/2012/08/17/scene-unseen

Three Mile Pilot
More than 20 years after its influential San Diego inception, Three Mile Pilot (the emotional lo-fi indie band that spawned Pinback and Black Heart Procession, among others) still knows how to make a guts-pummeling album. 3MP proved this with 2010’s The Inevitable Past Is The Future Forgotten, the first release after 13 years of radio silence, and again this summer with new EP, Maps.
Sat/18, 10pm, $20
Bottom of the Hill
1233 17th St., SF
(415) 621-4455
www.bottomofthehill.com
http://www.youtube.com/watch?v=v7UeBxHFhK4

Midnight Magic
“It’s become apparent that the PR agents have discovered the trick to getting my attention: listing the name of a band next to the words “ex-mems of LCD Soundsystem,” thereby exploiting the hole left in one of my bodily organs by that now defunct group. The connection here is a bit tenuous, referring to former members of Hercules and Love Affair (quite a good name drop on its own) enlisted to play backup at LCD’s last shows. Moving beyond the past, the nine piece disco outfit’s releases so far — “Drop Me a Line” and “Beam Me Up” — have a promising, lively romanticism that’s doing all the influences justice.” — Ryan Prendiville
With Tron Jeremy, Brother Sister, hosted by Ava Berlin and Andy Vague
Sat/18, 10pm, $10-$15
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=8EaYwmv7hcA

San Francisco Opera
A grand yearly tradition that gives us peons (a.k.a those of us who cannot afford top-shelf liquor or a fancy night out) a shot of upper-crust culture. The program, with conductor Giuseppe Finzi, features soprano Leah Crocetto, tenor Michael Fabiano, and more soloists performing “a selection of operatic favorites.” Pack some cheese and wine, something classy. 
Sun/19, 2pm, free
Stern Grove
19th Avenue at Sloat, SF
(415) 252-6252
www.sterngrove.org
http://www.youtube.com/watch?v=ew3nJW5GzB8

Nashville Pussy
Deep-fried Southern rock meets heavy metal band Nashville Pussy stops by Oakland in between slots on a much higher priced ZZ Top tour.
With Fang, Turbonegra
Sun/19, 8pm, $12-$15
Uptown
1928 Telegraph, Oakl.
www.uptownnightclub.com
http://www.youtube.com/watch?v=gPyd8pO1Lfc

Rafael Mandelman enters City College board race

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After the really bad news that Community College Board member Milton Marks died, there’s some good news: Rafael Mandelman, an energetic, smart, progressive lawyer and member of the DCCC, has decided to run for that board.

City College badly needs the help. There’s a real chance that a state monitor could be placed over the district, robbing the board of much of its ability to set policy and spend money. And even if that doesn’t happen, the state — which disagrees with San Francisco on how community colleges should be run — is going to keep tyring to mess with CCSF.

So it would be nice to have someone like Mandelman, who has political experience but also works for a law firm that does a lot of public-sector work, around to help.

Marks’s untimely and tragic death leaves an open seat and he hadn’t filed to run for re-election. So the mayor has the ability to appoint someone to serve out Marks’s term — and if he does it before Aug. 15, that person can file and run as an incumbent. But for those of us who are getting sick of having so much of our government appointed for us, it would be nice if Mayor Lee would wait until after the filing deadline then name a real caretaker — Mandelman suggests former trustee Tim Wolford, who is now in the business of helping troubled nonprofits. The board will need help in the next four months, and someone qualified — and skilled in dealing with fiscal and political problems — would be an immense help.

But appointing a political hack who is pals with the mayor’s inner circle and sees a shot at running as an incumbent would be a big mistake.

Of course, Lee hasn’t done too well in the “caretaker” department. We’ll see what happens.

Unhinged eccentricity: Outside Lands night shows

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Last week saw two alternative rock favorites headlining local venues thanks to Outside Lands night shows: San Francisco punk-Americana duo Two Gallants, and master whistler-violinist Andrew Bird. Two Gallants rocked hard as hard as always, while Bird spun fantastical sounds and tales.

Two Gallants are most well known for their song “Despite What You’ve Been Told” (What the Toll Tells, 2006), which hit big as their career began to take off, leading to years of worldwide tours and a loyal following outside the Bay Area. Since then, shows in their home city have been even more appreciated and sought out by local fans.

Singer and guitarist Adam Stephens and drummer Tyson Vogel – best friends since childhood – are both strongly influenced by the blues. And its clear they give their all to every word sung and note played: be it a growling punk-inflected tune or a slower building, lovesick, blues-tinged ballad.

Their fifth studio album The Bloom and the Blight will be released Sept. 4, and the album cover features the duo goofing around as children. Vogel and Stephens are two of the most earnest musicians I have encountered; it’s always gratifying to hear them thank their home city for coming out to a show. And last Wednesday at the Rickshaw Stop, Two Gallants played with a fervor that was completely contagious. Everyone around me sang and danced their hearts out.

 

Two Gallants at Rickshaw Shop. Photo by Shauna C. Keddy

You can always count on the audience at a Two Gallants show to sing along at the top of their lungs to their hit “Steady Rollin” – “I shot my wife today, dropped her body in the ‘Frisco Bay…Death’s coming, I’m still running. Well I come from the old time baby, too late for you to save me. If I remain, then I’m to blame.” I felt so thankful for the Bay Area music scene while I rocked out with everyone else to this song, and for Vogel’s heavy drumming, and Stephens’ skilled guitar picking and harmonica playing. I even felt grateful during the opening set, for another local band: Future Twin, an act with hard-rocking, synth-filled songs and a great female lead singer.

The Rickshaw Stop was a classically humble choice for powerhouse Two Gallants duo. The red velvet curtains and comfortably small size always makes the venue feel welcoming, and the band played in front of a beautiful banner. True to their detailed album artwork in the past, the banner featured Tarot card-like artwork, depicting a person inside a sun, a snake wrapped around the sun, and a bird emerging from the center, with drops of water falling all around.

The huge crowd that packed into the Rickshaw left looking enlivened and delighted.

The following night brought Andrew Bird to the Independent, with Kelly Hogan opening. Bird has performed on more than 15 albums, with nine solo releases under his own name. His music only becomes more enchanting with each release.

His latest, Break it Yourself (Mom + Pop Music) was released this spring, and he is on a world tour with his band in support of this gorgeous album. Joining them is his sock monkey (adorned in a suit, button up shirt, tie and converse sneakers, no less), who can also be spotted in their appearance on Colbert Report, and all his late night TV spots. This is why Bird is so undeniably lovable – he embraces childlike whimsy, but it’s all rooted in musicianship. While some of Bird’s lyrics could fit in a childrens’ lullaby, each song explores things on a deeply philosophical level, with a sound that carries these explorations perfectly.

He embodies the creative force of an artist who is just brimming with ideas: unless he’s busy whipping up beautiful violin notes, his arms and hands are in almost constant motion as he narrates his tales. I pictured him as a wild conductor, conjuring the sounds around him as he closes his eyes and pictures it all taking form.

Bird and his band played each song last Thursday night with impeccable timing.

That’s something the Outside Lands night show acts had in common. Both Bird and Two Gallants can be counted on for precision in sound, yet both also employ just the right amount of unhinged eccentricity. Two Gallants music brings to mind traveling alone on a country road, and then finally finding your loved ones gathered around a fire by the rivers edge. Bird’s music could provide the soundtrack to a journey through an enchanted forest, complete with Dr. Seuss-like creatures. Conversely, While Two Gallants’ sound can often be stripped down, translating raw emotion, Bird is known for featuring rich instrumental layers of sound.

For his newest album Bird took time away from his home-city of Chicago and recorded in his barn in Western Illinois, self-producing his album there. His whistling talents are also featured in last year’s The Muppets (2011).

The stage at the Independent was adorned with Bird’s spinning two-headed contraption– which at first appears like an old gramophone. After some research, I discovered this is known as a Janus Horn (leave it to Bird to employ such an rare contraption), which spins in reaction to sound and creates a change in the sound pitch that it picks up.

Additionally, beautiful paper and wooden twisted conical shapes hung from either side of the stage and above the crowd, which turned slowly in time to the music as the lights shone through the sheer paper. Bird’s attention to detail and craft created an altogether stunning night.

Local parking permits — and fees

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So the city’s going to take a look at the neighborhood parking program. Good. Here’s my first question: Why do the car owners get away so cheap?

It costs $64 a month to buy a Muni Fast Pass. It costs at least $300 a month to rent a garage. But if you’re in the neighborhood parking program, you get essentially a guaranteed parking space on a city street — public property — for $104 a YEAR, or about 28 cents a day.

That’s crazy.

I’m not for eliminating the neighborhood parking stickers; the program keeps out-of-town commuters from driving into SF and using residential areas as free parking lots. But let’s make the car owners — who, by the way, are still reaping the Schwarzenegger VLF windfall — pay their fair share. 

Double the fee and you get another $6.5 million. And the parking permits would still be the bargain of the decade.

And then maybe we can get God out of the parking system.

 

 

 

Shall we dance? Our review of Naked Sword’s SF sex party

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“At this San Francisco sex party, service comes with a smile”

I watched his engorged, throbbing penis emerge at the opening of the glory hole. Staring felt awkward, but I couldn’t peel my eyes away. Men were all over the room, some casually looking on, some men lounging naked on the couch. One guy was doing a nude figure drawing of his next conquest.  

I hit pause on the video stream to cool down. Oh! I should mention I was watching Naked Sword’s newest release Private Party — the local production company’s stab at recreating a SF sex party. And as a queer local who has actually attended a SF sex party or two, I have to say Private Party is more of a fantasy of what an SF sex party would be like than a true-to-life recreation. 

Don’t get me wrong, you’ll definitely get off. Private Party all but guarantees it in its tagline: “At this San Francisco sex party, service comes with a smile.”And true enough, the shoot is chock-full of muscle-clad gay male porn stars with well-developed members in twosomes and threesomes, all happily ending.

The series welcomes you  into a home where sexual escapades are happening around every corner. The title sequence of each episode sets the scene. You have just arrived at the sex party — cut to scenes of men on top of hot men. This is unfortunately were the sex party motif ends. 

Because at this point, the episodes breaks off into more intimate scenes — a twosome in Episode One, a threesome in Episode Two. 

In my opinion, a more realistic tale would have included men in all the various combinations having sex together in the same room. The camera would be panning across their naked, sweat-drenched bodies, and you wouldn’t be able to tell which limbs belong to who. I guess you would call that an orgy. Where’s the orgy scene, Naked Sword? 

Perhaps Private Party is holding out for future episodes to give us the big “O” scene. One more thing I have to call foul on: there was a dance party at the last sex party I went to. Where’s the dance party? 

If you’re looking for a porn with built and attractive gay male porn stars in pretty intimate — I would almost call them romantic — scenes with great lighting and artistic cinematography Private Party may be the porn series for you. Just don’t expect a dance party.

 

The good, the bad, and the delicious at Outside Lands

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Recovered yet? We’re almost there. It was a frenzied, foggy, dusty and memorable weekend at Outside Lands in Golden Gate Park. There were sonic high points that brought us to tears, and bathroom lines that did the same. Here are our favorite moments, a photo slideshow of awesome performances — and the niggling things that got under our skin.

THE GOOD

The powerful, still-relevant punch of a perfectly orchestrated Metallica performance; the band still slays in 2012. It was everything a show of that magnitude should be, with legendary metal sing-alongs, wailing guitars, James Hetfield’s signature growl, bass solos, and fan favorites “Master of Puppets,” “One,” and “Blackened,” along with a barrage of even more headbanging hits, pyrotechnics (shooting fireballs on cranes that actually seemed to warm the freezing crowd below), and timed lasers, colorfully slicing through the fog.

Whimsical Father John Misty‘s sexy, subdued tummy-revealing dance moves on the Panhandle Stage; also his opening song “Funtimes in Babylon” (which has him drawling “Look out Hollywood, here I come”) along with the moment when the crowd thought that song had ended, so it applauded, and he replied “shut up!” and finished out the tune.

Neil Young switching to acoustic guitar to play heartbreaking classic “The Needle and the Damage Done,” after 10 minutes of slow, harsh guitar-beating noise (as one fan eloquently put it, “masterbating with his guitar”).

Following his comedy set, David Cross (in Tobias Funke facial hair, as he’s thankfully currently back shooting the revived Arrested Development) and fiance/Joan of Arcadia actress Amber Tamblyn in a traditional festival floppy hat, taking in Neil Young together.

Neil Young & Crazy Horse playing  “Hey Hey, My My.”  Specifically the line: “It’s better to burn out than to fade away and stuttering the “f-f-f-f-f-fade” dramatically.

The spicy, peanut-sauced vegan Malaysian nachos with braised tofu and pickled vegetables from the Azalina’s booth paired with a Hobo Wine Co. Pinot from Wine Lands, eaten cross-legged in the wet grass among thousand of hungry revelers.

The Nerdist (a.k.a Chris Hardwick) curated comedy lineup in the beautiful circular red Barbary tent, including gut-bustingly awesome comedienne-podcast host Michelle Buteau; in particular, Buteau’s subtle knock on the white dude with dreads, and her impressions of her new Dutch husband.

Stevie Wonder, telling the crowd that he loved all his seven children – and all of their mothers – the same. Especially since one of his daughters was there as a backup singer.

The moment when it seemed like every red-blooded ticket-holder was there to see the great Alabama Shakes, filling in the the grassy bowl of the Sutro Stage more so than any other act on that stage. Pure mayhem.

Charming British soul singer Michael Kiwanuka (a one-time tour opener for Adele) answering fan questions in the All Access tent (full disclosure: SFBG’s Caitlin Donohue hosted the interviews).

Pacific Brewing Laboratory’s subtly fruity hibiscus saison at Beer Lands – a standout among a wide variety of unique Beer Lands offerings.

Ninja from Die Antwoord’s bouncy pelvic thrusts – wearing nothing but Pink Floyd Dark Side of the Moon boxers – singing about “rubbing his dick” on “XP€N$IV $H1T.” (The bass-thumping point basically being: screw fancy stuff.) Followed by tiny bleached firecracker Yo-Landi popping back out on stage in gold lame tights and a huge gold jacket to shake her ass singing that she’s a “Rich Bitch.”

Santigold thanking the bananas in goggles.

Portugal.The Man‘s reverberating rendition of “Ain’t No Sunshine.”

Sincere and personable singer-songwriter Sharon Van Etten telling the crowd a heartfelt story about making mistakes and how they influenced her to write the next song, then supposedly messing up a guitar part during said song (“All I Can” with lyrics “we all mistakes”). But no one caring, because she was so endearing.

Chocolate Lands, with strawberry and apple skulls covered in chocolate hanging from the trees. And the moment when when the Inspector Gadje brass orchestra and red sequined cheerleaders performed among a thoroughfare crowd munching those sweet chocolatey treats sold below the skulls.

Jack White and Tom Morello performing seemingly impromptu concerts in that same wooded area.

Beck giving the antsy masses what they wanted early: “Devils Haircut” the second song in, followed immediately by “Loser.” Letting those who overbooked start making their way to the next act. 

Andrew Bird‘s rotating phonograph-ish stage-craft (edit: we now know it was a Janus Horn) and his soaring whistle, cutting through the rolling fog.

The mathy, intricate instrumental bliss and swelling peaks, tension and release, of Explosions in the Sky on the main stage, as hippies slowly hula-hooped along.

All the offerings from San Francisco’s Pica Pica Maize Kitchen: the gluten-free maize’wich, fried plantains, and crispy yuca fries  –  the best handheld foods for proper band-watching stance.

All the bands and comedians – every single one, regardless of age, gender, background, or genre distinctions  – commenting on the chilly San Francisco weather, seeing as how it’s summertime, people! Not getting sunburned.

THE BAD

Crowds seemed epic this year, though there might not be any getting around that. The park felt stuffed, almost (but not quite) suffocating, with swarms of people funneling out every wooded orifice.

That girl whose wine we accidentally knocked over during Metallica’s set; it’s Metallica, put down the wine, or at least get over it and quit with the non-verbal shaming, Ms. Stink Eye.

So much corporate sponsorship, ads and booths for cell phones and cars and all kinds of technology one needn’t think about during a music festival.

There just has got to be a way around the Porta-Potty, right? Isn’t there a company out there that can make a more suitable moveable toilet, something with a smidge more dignity? That’s corporate sponsorship we could um, get behind. 

Big week ahead as City College classes start

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Classes at City College of San Francisco start for the fall on August 15. That makes this a big week for the coalition of students, staff, and community working on its future. 

As the college welcomes students back, this coalition will set up on the Ocean campus in Ram Plaza and at the Valencia entrance of the Mission Campus. With litterature from community groups, music and speakers, they hope to let incoming students get the chance to learn about the efforts to save the college- making sure it continues to exist, as well as maintaining its academic standards, accessibility, and other core values. The celebration will include music and speakers.

There’s also plenty happening before Wednesday. Today, a student organizing meeting will take place at the student union at the CCSF Ocean Campus. Then, at 6pm, CCSF will be the focus of the weekly Occupy Forum, an open space to discuss issues of importance to the occupy movement. William Walker, CCSF student trustee, will speak at this week’s forum, called “Education Under Attack: Austerity, Privatization and Profit.”

On Tuesday, the CCSF Board of Trustees will hold a special meeting at CCSF’s Ocean Campus. They are scheduled to discuss the progress of the working groups that have been set up to work towards meeting accreditation requirements. The meeting is public, and stakeholders and community members will definitely be making an appearance. The meeting is at 4pm in multi-use building room 140.

“There are a lot of people that have opinions on how we need to move forward,” said Walker. “It’s the job of students to come together to figure out what austerity is actually going to mean for city college, and what our must-have demands.”

Creating activist scholars: extended interview with Andrej Grubacic

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For this week’s paper, we talked with with Andrej Grubacic, the new head of the anthropology department at the California Institute for Integral Studies. Here’s the extended interview with Grubacic, where he talks more about the new Anthropology and Social Change program, as well as the history of anarchist schools, how his grandmother influenced his politics growing up in Yugoslavia, and the state of the occupy movement.

San Francisco Bay Guardian: What’s the structure of the new program going to look like?

Andrej Grubacic: It’s going to be called Anthropology and Social Change, and we have two levels. One is MA, the other is PhD. Philosophically speaking and politically speaking, in the age of occupy and all of these movements, the great question for me was how to organize a department that’s actually going to be useful for all of these social struggles and that activism that’s happening outside of education. I’ve been in academia as a scholar-activist for a long time. And what I’ve discovered is the most painful thing in my experience is the separation. The fact of actual separation between the grassroots knowledges, produced outside of the academia, and academic knowledge produced within the universities. So the best things, the way that I was thinking about this was that what we should do on both levels, MA and PhD, is to construct a space of translation of different knowledge. So to put these two knowledges, one produced outside of academia and the other produced in the university, in dialogue.

So we have Boots Riley for example, he’s going to be teaching community organizing, or organizing for social justice. Then we’re going to have Sasha Lilley teaching an eminently practical course on how to create and produce radical radio. So you’re going to get activist media skills. Then we’re going to have a few other people teaching also different skills, and knowledge that’s inspired by art, bringing artists in, and knowledge that’s inspired by people who are thinking about social theory and social emancipation. We’re going to create something really exciting. 

SFBG: Do you think the students who attend are going to be the same kind of mix of academics, artists, activists, and people who want to organize within their own communities here in San Francisco?

AG: I think so. That’s the idea. The idea is to make this department work for the students, but also for the people in San Francisco Bay Area. And we can do that by bringing students who are interested in local work, and I think that’s going to be a pretty amazing. If we are of course able to do things right, but I think that we will be. So Chris Carlsson for example, he’s going to be teaching labor and ecological history of San Francisco, so a very local topic. We’re going to be teaching courses on activist ethnography, and activist ethnography is the center for the whole program, which is how can we relate to community– and this is where we’re also using the term integral– in an integral way? Meaning how do we integrate community into every step of the research process? And the traditional anthropology, as you probably know, is all about participant observation. We would like to have instead observant participants. People who are involved with the communities. People who are trying to dissolve the distinction between the researcher, between who’s on the outside, and who’s on the inside. And they’re creating something together. 

SFBG: I saw when you spoke at the University of the Commons launch. You were talking about how there’s a wave of radical activity going on at schools throughout the world.

AG: Oh yeah.

SFBG: This is obviously very different, because this is an institution putting out something radical, but do you think it fits into that trend right now?

AG: I think it does. Because if you know my biography, I’ve been travelling through all of these experiences in schools for many many years now. I had to leave Yugoslavia where I’m from because of my oppositional political activity and, you know, I finally arrived here to work at New College of California which was also a private institution, and I was very inspired by the department of Activism and Social Change, and I completely fell in love with the history of radical schools in San Francisco. Now I don’t know how much you know about them, but they’re, like, great stuff. There was a liberation school, there were Black Panther schools, of course. There is a great history of alternative schools and experiments. So New College was a private institution, but still, many of my activist friends, who became friends later, have actually been through New College and they got their MA s in activism and social change or media studies. So CIIS actually took many of these people, many of the professors from these programs, and invited them here. So in a certain sense, I think what was done in terms of Activism and Social Change, and orientation to social justice and emancipation, was that at New College we are still keeping that spirit alive. But, in communication- and I think this is the crucial thing for our department- we are doing this in communication with radical educational experiments, movement-based experiments from all over the world. Manolo Callahan, who is going to be teaching here next semester, he is one of the people involved in University of the Earth- Universidad de la Tierra in Oaxaca and in Chiapas, so we are creating relationships with them. Which you know are completely radical experiences outside of institutions, they call themselves deprofessionalized intellectuals. We have already relationships with the Activism and Social Change department in Leeds, in England, they have a great school there. With people in Brazil, the landless workers movements. We’re in touch with people from Ecuador and people form Bolivia. So it’s a whole network of educational, tendency of educational experiences that this department is now creating.

SFBG: Do you have economics courses here?

AG: Yeah.

SFBG: So are there classes that are non-capitalist economics?

AG: Yes, it’s called radical political economy. We are trying to understand political economy from a feminist perspective, from an anarchist perspective, from a post-colonialist- so in that sense we are engaging multiple emancipatory frameworks of understanding social reality. So I myself, I come from the anarchist experience in social science, in politics. We have people who are feminists- Roxanne Dunbar-Ortiz for example. She’s sort of a legend in San Francisco Bay Area and she’s teaching three courses. Roxane Dunbar-Ortiz is going to be teaching about Native American struggles. As it pains me to say, that kind of a focus is mostly missing not only in private but also in public universities now. 

SFBG: So could you tell me a little more about the anarchist background you come from?

AG: I became an anarchist fairly early on, I was 13 or something. Because I was living in Yugoslavia. At that time, Yugoslavia was a socialist state. And because it was a socialist state for me it was a very interesting place to grow up, because you see socialism, real existing socialism, and you see many things that are beautiful about socialism. But you also see many things that are not so beautiful. And I was thinking about the alternatives to it. And for me it was really, sounds cheesy, but a conversation with my grandmother that decided it. She was a communist; she was a Yugoslav revolutionary communist. And Yugoslavia was falling apart, Yugoslavia was in a series of really brutal ethnic wars back in the 90s, and my grandmother, this lifelong communist, told me– my question was, are you still a communist? Do you still believe in communism in the context of this country falling apart? And she said yes, I do, I think that we have chosen a path to communism that was wrong. But I think the responsibility of your generation is to find a different path. The ideal is OK, the ideal is good. It’s a different path that you’re generation needs to find, and you have a great responsibility to do so. And the alternative that I discovered that seemed to me, back when I was 13 years old, and it still does, rational– as an alternative to the Marxist-Leninst way of getting from here to there, right– is anarchism. So for me anarchism, or libertarian socialism is another name that people are using, is a way of organizing for social justice and creating an egalitarian system that takes democracy very seriously. It’s like democracy without a state. 

SFBG: What happened that made you leave Yugoslavia?

AG: I was raised a Yugoslav. So I was raised to be a citizen of a country that doesn’t exist anymore. And on one hand, you had people who were Serbian nationalists, and I couldn’t really get along with those. On the other hand you had people who were neoliberal capitalists, who thought that everything coming from Europe and the United States was great and I couldn’t really agree with those either. And being a young academic, I was a historian at the time and working within the university, there was a great deal of pressure to get me out of the university. So it became very unpleasant. So I already had a relationship with Noam Chomsky, and Chomsky was following everything that was happening to me in Yugoslavia. And he told me at some point OK, it’s time for you to go. So he got me out of Yugoslavia, moved me to the United States or helped me move to the United States, introduced me to a man whose name is Immanuel Wallerstein, a great, amazing sociologist, who helped me get to his program at the Center for the Study of Economics, Historical Systems, and Civilization at SUNY-Binghamton to finish my graduate studies. So that was a– it was a long journey. 

Let’s just say that it was an active disagreement with the political class active at that time in Yugoslav-Serbia. It was actually funnily enough still called Yugoslavia. We only had two countries of the former Yugoslavia, Serbia and Montenegro. But the political cultures and political groups in power were either Serbian nationalists or these hyper-capitalists, right. And going after them, because I was publishing and I was doing a lot of things, was– let’s say, not smart career choice. But it made it possible for me to meet people like Chomsky and some other people. And they liked what I was doing and they were concerned that, for health reasons, United States might be a better environment.

SFBG: Even within these more welcoming academic environments, do you feel your activism or anarchism is stifled in some way?

AG: I had a bad experience here at one university, a local university here in San Francisco, and it wasn’t a good experience. That felt unpleasant and it felt very stifling. CIIS is very different. Actually this is the first place where I think that I was hired because I was an anarchist, or I am an anarchist. It’s kind of funny. But in other places, in Yugoslavia and there was another institution here, I had problems because of my politics. Here, that was exactly the reason I was hired. So it gives you an idea that the school is very different than most other universities. 

SFBG: Could there be such a thing as an anarchist school?

AG: I hope University of the Commons can become something like an anarchist school. Anarchist schools actually used to exist. And they still exist. But the really big one was Francisco Ferrer in Spain. It was called Modern School. It was created in 1904. It became so huge– especially after Francisco Ferrer was killed by the Spanish state in 1909- that there were 60 schools only in Spain and there were I don’t know how many schools in the United States but the last one closed only in 1958 in New Jersey. Modern Schools were amazing places. One could also argue that Yasnaya Polyana of Leo Tolstoy was also an anarchist school. It was in many ways. 

But anarchist schools were schools where you had a few elements. Integral education was number one. Education of the whole person. You don’t only educate somebody as an intellectual but you aim at education of the whole person. The other thing was something that anarchists called reality of the encounter. Which means that all the questions in pedagogical practice needs to come from real questions posed by life itself. So you need to do something that’s practical. Another thing was the complementary role of the teacher, which means the teacher needs to be a facilitator who listens and who offers something in return. But the first thing, the first kind of show of interest, comes from the student. So the role of the teacher is complementary. Another huge thing was something Proudhon called démoédie, or self-government of the school. So school becomes a place where you teach students arts of self-government and self-management. Schools are organized in the spirit of direct democracy. Another thing which was Paul Goodman, famous anarchist educator, his idea was to organize decentralized “teeny schools,” as he called them. So to have a small teaching environment. To have students go to the bank to be taught about mathematics, to go to a museum and then to teach them about geography, to do these things. And then the most important thing for anarchist schools on all levels is the idea of natural motivation and natural learning which was first formulated by Tolstoy. The idea is the students have this natural motivation to learn. And what you do is basically you create an environment where that kind of learning becomes possible. And another thing for anarchist schools was the idea of spontaneous order. So there is no imposed order by the teacher, but there is a spontaneous order that the students themselves discover. In other words, discipline is– I think this is Tolstoy’s, the word that he used– discipline is being discovered, not imposed. What would that mean for a university is a different question. I think the one obvious thing would be that everybody, students and professors, there needs to be a horizontal relationship between them. There needs to be an atmosphere of collective production of knowledge in the classroom. There cannot be a curriculum that’s linear. It needs to be dialogical, it needs to be participatory, you need to talk about this and co-create a syllabus. You need to be as horizontal and participatory as possible. You need to be as imaginative as possible in diminishing your own role as a teacher, which is a very tricky thing, without becoming a populist in the classroom, you know. Empowering students, and finding appropriate structure together with students. Again we are coming back to the idea of listening. We need to listen to the students and together with them, create an atmosphere in the classroom that’s going to be genuinely transformative. 

SFBG: I’d love to ask you more about how this will relate to anarchism and occupy.

AG: In terms of anarchism, we are gonna have- this is going to be one of the few places where anarchism is going to be studied. So anarchist social theory, anarchist education, anarchist ideas in general. We are going to study them, seriously, because they need to be recognized seriously. They’re part of- it’s a beautiful history, it’s a beautiful tradition. How important it is, I think, is revealed, by the recent rediscovery or reinvention of anarchism at occupy. So I think that it’s more relevant than ever to create a space where anarchism will be studied. 

In terms of occupy, occupy is going through the process of fragmentation right now, and they are looking for a new political space of conversation I think. So the way that we can relate to occupy, I think, is to have our students participate in whatever different movements occupy helped. Because you know that occupy now how occupy patriarchy, there is decolonize, there are many different groups. So I expect our students to be involved in occupy, and I expect us to be able to offer a space where many of the debates related to occupy can happen. So, and you know there is an actual affinity. When Silvio Federici comes, or John Holloway, or Michael Hardt, or any of these people, these are the people that occupy people read, and these are some of the bibles of the occupy movement. So what are we going to do is, we are going to make them available and accessible to these people who come here, and we are going to bring here,  and we are going to take them to the occupy movements and we are going to invite people from the occupy movements to come here. But we are also going to do more I think. What we can do, and this is now only a plan an idea, is to invite the movement itself, not only occupy but different movements, and say, OK, please come here and tell us what would you like us to do. And one person from our department had this idea and I think it is brilliant. So to have the movement, different movements– is it food, is it the environment, is it one of the occupy-related movements- come here. We provide the space. And they tell us- social theorist, social scientists, people in the academia, they tell us what do they need us to do. It comes back to this idea of listening. So give a movement or movements a real possibility and opportunity to speak. Because usually academics, we are people who speak. Well we would like to see academics become people who actually listen. 

SFBG: I agree that occupy is basically an anarchist movement and a lot of the tenants of anarchism are being used in it. And I think this is a time when, in the mainstream, people are talking about anarchism more. But for a lot of people it has the image of people who wear black and smash stuff. So I’m curious, how does black bloc, or property damage, relate to the anarchism that’s going to be studied in the department?

AG: It doesn’t relate at all. The anarchism that we are going to study is– in Katrina, the Common Ground collective. That for me is a great example. Common Ground collective is a relief group of activists who went there from all over the place, they went to New Orleans, they were all anarchists and they said OK, we don’t believe in charity, we believe in solidarity. And they built a common ground center and they did relief work with the community for a couple of years. And there is a new book about it by a person who actually came here and spoke, one of the New Orleans activists, Scott Crow. And this is the kind of anarchism I am myself inspired by, the constructive side, not the destructive side. So how to build alternatives in the present for people, what sometimes referred to as prefigurative politics. How to think about positive stuff, constructive stuff. Building alternatives that are going to be persuasive enough– not about breaking windows. I don’t see any particular point in breaking windows. And I think it’s an unfortunate thing that people would reduce anarchism to that. If you think about it, the most important public intellectuals in the United States, one of them recently died, Howard Zinn, and Noam Chomsky thankfully is still alive, they’re both anarchists. So this is the kind of anarchism that I subscribe to, and both of them were my mentors. And I studied with Howard. I studied with Noam, he was the chair of my PhD committee. So these are the people whose anarchism I take very seriously, and this is the kind of anarchism that I like. 

SFBG: But it’s hard to ignore organizing tactics.

AG: But even orgnanizing tactics– black bloc as a tactic comes from the autonomen movement in Germany, which was not an anarchist movement. It comes from the 80s. People dressed in black in Germany, you know, doing property destruction thinking that property destruction is going to contribute to the tactical efficiency of a particular action. Then it went through the environmental movement in particular places, in the environmental movement here in the United States. And it’s being used not only by anarchists, it’s being used by people who would call themselves communists, left, anti-state communists, by different varieties, autonomous Marxists. So it’s not only a tactic that anarchists use. And, you know, it’s a tactic. Anarchism is far broader. 

SFBG: Than just tactics.

AG: Yes. If you would ask me what is the most distinguishing, for me, character of anarchism I would say prefigurative politics– creating the new within the shell of the old—the idea of direct democracy, and the idea of direct action. Direct action being producing alternatives within the present, and direct democracy, behaving in the way that general assemblies are being set up. So that is I think the greatest lesson that anarchism can teach, direct democracy and direct action. 

SFBG: Occupy Oakland, they only had their camp for less than two months, but so much happned.

AG: They did great things. I really feel bad when I read mainstream media completely dismissing that experience. I was there, and the amount of work that went into keeping the medical facilities there, to helping homeless, feeding homeless, helping people with medicine, with immediate healthcare, taking care of children, creating children-friendly spaces, I mean it was amazing. Sure there were problems, of course there are going to be problems. But the stuff that people did there was just incredible. And the general strike, and shutting the port, and all of that, these were great things.

SFBG: And part of the reason the city started cracking down on it was when police tried to enter the space, people wouldn’t let them in.

AG: And they shouldn’t let them in, because the way police behave in Oakland was just outrageous.

This interview has been edited for length.

Davis snags a trio of top progressive endorsements

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District 5 supervisorial candidate Julian Davis is emerging as the progressive standard-bearer in that competitive race after today receiving the endorsements of a trio of top progressive politicians: Sups. John Avalos and David Campos and attorney Matt Gonzalez, the former board president, mayoral candidate, and D5 supervisor.

Gonzalez had endorsed appointed incumbent Sup. Christina Olague – who he appointed to the Planning Commission in 2004 – but he withdrew that endorsement last month after being frustrated by a series of actions in which she sided with Mayor Ed Lee, moderates, and developers over her longtime progressive colleagues and constituents.

Avalos and Gonzalez are endorsing just Davis, at least for now, while Campos added to his early endorsement of Olague by today endorsing Davis and John Rizzo, who had earlier snagged the other prized progressive endorsement by winning the support of Assembly member Tom Ammiano.

Davis, who was already endorsed by former supervisor and local Democratic Party chair Aaron Peskin, said he’s thrilled with today’s triple endorsement. While some have questioned his anemic fundraising so far, raising less than $10,000 as of June 30, Davis notes that he had been in the race for less than a month before that deadline and that he expects to have more than $150,000 to get his message out.

“What these endorsements signal is a confidence from San Francisco’s progressive leaders, not only in the vision of this campaign, but in our capacity to win,” Davis told us.

Avalos said that he has confidence in Davis’ values, experience, and his ability to run a strong race that will help to reinvigorate the progressive movement.

“Julian is a solid candidate who has been around for years on a number of progressive causes. Running for mayor, I was impressed with his connection to neighborhood issues ranging from small business development to urban cycling and youth and worker rights. His campaign has a good buzz about it, one that I expect will resonate with District 5 residents,” Avalos told us.

Milton Marks, City College defender, dies at 52

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Milton Marks III, the son of a state senator who for 12 years tried, often against long odds and strong opposition, to clean up the San Francisco Community College District, died Aug. 9 of complications from a brain tumor. The whole city — particularly the college district and its community of teachers and students — should be mourning a genuinely good guy who stood up to corruption and secrecy and was an honest progressive on the College Board back when that was a lonely position.

“Of all the public servants I’ve known, he was the one I really admired most,” his colleague, board member John Rizzo, said. “For all the shit he took, he never wavered. He was the nicest guy in politics, but he never backed down.”

Marks was elected to the board in 2000, when it was a snake pit of sleaze, and he fought valiently — often against the board majority and the administration — to bring accountability and openness to the district.He’s been re-elected twice, and would have been a shoo-in for another term this fall. (Unlike many College Board members, Marks wasn’t constantly running for higher office. He loved City College and saw his role right there on the board.)

With all the problems the college is facing today, Marks and his voice of reason and credibility will be sorely missed.

The mayor will appoint a new member to that seat, and the person will have to run in November.

I don’t know all the details about memorial arrangements; I’m still waiting for the formal statement from City College. The school paper, the Guardsman, has a solid obit you can read here. I’ll fill in more details when I have them.

Meanwhile, we’ll all miss you, Milton. You gave it the good fight.

 

 

 

 

Dick Meister: Obama needs labor–again!

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By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeistersf.com, which includes more than 350 of his columns.

Organized labor, which played a major role in President Obama’s 2008 election campaign, thankfully has launched what seems certain to become an even greater and perhaps decisive effort in behalf of Obama’s re-election this year.

We should all be thankful for that, given the reactionary policies Mitt Romney and his Republican cohorts promise to put in place should they win, and the positive reforms Obama and the Democrats promise.

Four years ago, 250,000 AFL-CIO activists campaigned for Obama’s election. But the AFL-CIO says the number of union volunteers campaigning for Obama and his Democratic allies in Congress this year will reach at least 400,000, and be waged among union and non-union members alike.

 

That’s not an unrealistic expectation, considering what happened in 2008.  One-fifth of all voters that year were union members or in union households, and fully two-thirds of them supported Obama, and the ratio was even higher in so-called battleground states.

The AFL-CIO calculates that union volunteers knocked on some 10 million doors to make their pitch for Obama in 2008, handed out 27 million leaflets and mailed out 57 million more.  The number of union voters alone reached a record high of more than 3 million.

The AFL-CIO claims its campaign “made the difference in critical states.”  Maybe it did, maybe not. But it is clear that organized labor significantly influenced the vote everywhere – and undoubtedly will do so again.

The AFL-CIO is certainly not going to match the billions being spent on the campaigns of Romney and his big business allies. But labor has the ground troops that can and will spread the pro-Democratic and pro-labor message widely, however much unions are outspent.

It’s true enough that labor has been unhappy with Obama’s failure to deliver on many of the promises he made to unions during the 2008 campaign, primarily his failure to overcome Congressional opposition to pro-labor reforms he’s proposed or supported.

 But there’s no doubt Obama’s administration has been a pro-labor administration. Federal agencies dealing with collective bargaining, job safety and other labor matters have been labor-friendly, in sharp contrast to their clearly anti-labor positions under George Bush. What’s more, Obama has spoken out forcefully to the country in behalf of unions, their demands and their needs.

He’s urged passage of virtually every measure advocated by labor in Congress. That includes bills guaranteeing millions of Americans the right to unionization that has long been denied them, prohibiting employers from permanently replacing strikers, raising the minimum wage and indexing it to inflation so it would rise as the cost-of-living rises.  Bush rarely even uttered the word, “union, ” much less voiced any pro-union sentiments or support for such union-backed measures.

People on the political left continue to clamor for more from Obama, and they should. But they must realize he’s the best we can reasonably expect in today’s political and economic climate. Give him four more years and who knows?

Yes, Barack Obama is not Franklin Roosevelt.  But neither is he George Bush – nor Mitt Romney.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeistersf.com, which includes more than 350 of his columns.

“Bourne” again and other new movies!

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Big news this week out of the San Francisco Film Society: the Executive Director post, empty since the January passing of Bingham Ray (himself a replacement for the late Graham Leggat), has been filled. According to the organization’s official press release:

“Ted Hope, one of the film industry’s most respected and prolific figures, has been named executive director of the San Francisco Film Society (SFFS), effective September 1, 2012. In a surprise move, the veteran film producer and one of the most influential individuals in independent film will embark upon a new chapter in his professional life, leaving New York City, where he produced independent films through his companies Good Machine, This is that corporation and Double Hope Films, to lead the Film Society into the future.”

This happy announcement comes on the heels of two pretty depressing ones: longtime SFFS publicity head Hilary Hart, one of the most beloved film PR figures in San Francisco (or any film community, I’d wager), was let go; and the organization opted not to renew its SF Film Society Cinema lease at Japantown’s New People. However, “We’ll still have plenty of one-off screenings and events at various locations, and our Fall Season festival programming is completely unaffected,” says publicity manager Bill Proctor. (Speaking of, hot tip: killer-kid classic Battle Royale is up at SF Film Society Cinema through August 16.)

New movies? We got ’em. One more oldie-but-oh-so-goodie recommendation, plus, yeah, The Bourne Legacy and the rest, after the jump.

The Vortex Room: we love what they do ’cause they do it so well. A new series of Pop-art pictures is underway; check out Dennis Harvey’s take on the series (and some old-school porn posters, for good measure, here.) The unstoppable Mr. Harvey also reviews The Moth Diaries (another SF Film Society Cinema selection) and new French drama Unforgiveable.

Also new: The Campaign, about a smug incumbent (Will Ferrell) and a naïve newcomer (Zach Galifianakis) who battle over a North Carolina congressional seat; Celeste and Jesse Forever, an indie dramedy about a couple (Andy Samberg and co-writer Rashida Jones) who try to stay friends despite their impending divorce; and Nitro Circus the Movie 3D, starring the daredevil antics of the “action sports collective.”

But wait … THERE’S MORE!

http://www.youtube.com/watch?v=paVLyvA5S1g

The Bourne Legacy Settle down, Matt Damon fans — the original Bourne appears in The Bourne Legacy only in dialogue (“Jason Bourne is in New York!”) and photograph form. Stepping in as lead badass is Jeremy Renner, whose twin powers of strength and intelligence come courtesy of an experimental-drug program overseen by sinister government types (including Edward Norton in an utterly generic role) and administered by lab workers doing it “for the science!,” according to Dr. Rachel Weisz. Legacy’s timeline roughly matches up with the last Damon film, The Bourne Ultimatum, which came out five years ago and is referenced here like we’re supposed to be on a first-name basis with its long-forgotten plot twists. Anyway, thanks to ol’  Jason and a few other factors involving Albert Finney and YouTube, the drug program is shut down, and all guinea-pig agents and high-security-clearance doctors are offed. Except guess which two, who manage to flee across the globe to get more WMDs for Renner’s DNA. Essentially one long chase scene, The Bourne Legacy spends way too much of its time either in Norton’s “crisis suite,” watching characters bark orders and stare at computer screens, or trying to explain the genetic tinkering that’s made Renner a super-duper-superspy. Remember when Damon killed that guy with a rolled-up magazine in 2004’s The Bourne Supremacy? Absolutely nothing so rad in this imagination-free enterprise. (2:15) (Cheryl Eddy)

http://www.youtube.com/watch?v=4EYI2ro239s&list=PL96F1FB5F45240219&index=1&feature=plcp

Easy Money A title like that is bound to disprove itself, and it doesn’t take long to figure out that the only payday the lead characters are going to get in this hit 2010 Swedish thriller (from Jens Lapidus’ novel) is the kind measured in bloody catastrophe. Chilean Jorge (Matias Padin Varela), just escaped from prison, returns to Stockholm seeking one last big drug deal before he splits for good; JW (Joel Kinnaman from AMC series The Killing) is a economics student-slash-cabbie desperate for the serious cash needed to support his double life as a pseudo-swell running with the city’s rich young turks. At first reluctantly thrown together, they become friends working for JW’s taxi boss — or to be more specific, for that boss’ cocaine smuggling side business. Their competitors are a Serbian gang whose veteran enforcer Mrado (Dragomir Mrsic) is put in the awkward position of caring for his eight-year-old daughter (by a drug addicted ex-wife) just as “war” heats up between the two factions. But then everyone here has loved ones they want to protect from an escalating cycle of attacks and reprisals from which none are immune. Duly presented here by Martin Scorsese, Daniel Espinosa’s film has the hurtling pace, engrossing characters and complicated (sometimes confusing) plot mechanics of some good movies by that guy, like Casino (1995) or The Departed (2006). Wildly original it’s not, but this crackling good genre entertainment that make you cautiously look forward to its sequel — which is just about to open in Sweden. (1:59) (Dennis Harvey)

Hope Springs Heading into her 32nd year of matrimony with aggressively oblivious Arnold (Tommy Lee Jones), desperate housewife Kay (Meryl Streep) sets aside her entrenched passivity in a last-ditch effort to put flesh back on the skeleton of a marriage. Stumbling upon the guidance of one Dr. Bernard Feld (Steve Carell) in the self-help section of a bookstore, Kay (barely) convinces Arnold to accompany her to a weeklong session at Feld’s Center for Intensive Couples Counseling, in Hope Springs, Maine. The scenes from a marriage leading up to their departure, as well as the incremental advances and crippling setbacks of their therapeutic sojourn, are poignant and distressing and possibly familiar. Some slow drift, long ago set in motion, though we don’t know by what, has settled them in concrete in their separate routines — and bedrooms. It’s the kind of thing that, if it were happening in real life — say, to you — might make you weep. But somehow, through the magic of cinema and the uncomfortable power of witnessing frankly depicted failures of intimacy, we laugh. This is by no means a wackiness-ensues sort of sexual comedy, though. Director David Frankel (2006’s The Devil Wears Prada and, unfortunately, 2008’s Marley & Me) and Jones and Streep, through the finely detailed particularities of their performances, won’t let it be, while Carell resists playing the therapeutic scenes for more than the gentlest pulses of humor. More often, his empathetic silences and carefully timed queries provide a place for these two unhappy, inarticulate, isolated people to fall and fumble and eventually make contact. (1:40) (Lynn Rapoport)

http://www.youtube.com/watch?v=uwPB1I4aB7o

Nuit #1 Montreal director-writer Anne Émond bares more than her actor’s beautiful bodies: she’s eager to uncover their tenderized souls: hurt, unsavory, vulnerable, terrified, nihilistic, compulsive, and desperate. Nikolai (Dimitri Stroroge) and Clara (Catherine de Lean) are just two kids on the crowded dance floor, jumping up and down in slow motion to the tune of a torch song; before long, they’re in Nikolai’s shabby apartment, tearing off their clothes and making love as if their lives depended on it. But when Nikolai, laid out on his mattress on the floor like a grunge Jesus with a bad haircut, catches Clara sneaking out without saying good-bye, he sits her down for an earful of his reality. She returns the favor, revealing an unexpected double life, and the two embark on a psycho-tango that takes all night. It can seem like a long one to those impatient with the young, beautiful, and possibly damned’s doubts and self-flagellation, though Émond’s artful, coolly empathetic eye takes the proceedings to a higher level. She’s attempting to craft a simultaneously romantic and raw-boned song of self for a generation. (1:31) (Kimberly Chun)

360 A massive ensemble sprinkled with big-name stars, a sprawling yet interconnected story, and locations as far-flung as Phoenix and Bratislava: 360 is not achieving anything new with its structure (see also: 2011’s Contagion, 2006’s Babel, and so on). And some pieces of its sectioned-off narrative are less successful than others, as with the exploits of a posh, unfaithful duo played by Rachel Weisz (re-teaming with her Constant Gardener director Fernando Meirelles) and Jude Law. Fortunately, screenwriter Peter Morgan (2006’s The Queen) finds some drama (and a lot of melancholy) in less-familiar relationship scenarios. An airport interlude that interweaves a grieving father (Anthony Hopkins), a newly single Brazilian (Maria Flor), and a maybe-rehabilitated sex offender (Ben Foster) is riveting, as are the unexpectedly sweet and sour endpoints of tales spiraling off a Russian couple (Dinara Drukarova, Vladimir Vdovichenkov) who’ve drifted apart. (1:51) (Cheryl Eddy)

14 excellent establishments for Olympic watching

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The Olympics might have originated as an an ancient Roman display of physical beauty and premier strength, but this is 2012, the point now is the eating, drinking, voyeurism, and generally being inactive that the Games give you an opportunity to enjoy. With the big show taking place in pub-happy London this year, you can pass off your bar tab as the price one pays for cultural authenticity. After all, it might take a pint at the Phoenix to fully appreciate rower Henrik Rummel’s well-endowed disaster. So cheers to the fact that while records are broken and teenagers’ dreams are being dashed in Olympic Park, we can chill with our buddies and crack up at professional divers’ faces. Party like an Olympian — need a drinking game to pass the time? — with this list of fine establishments that showing the games if you ask nicely, satisfying both your appetite and burning need to watch ridiculously fit people sweat in spandex.

Abbey Tavern 4100 Geary, SF. (415) 221-7767 

Bus Stop Bar prime time coverage M-F 8pm-midnight. 1901 Union, SF. (415) 567-6905 

Columbus Cafe 562 Green, SF. (415) 274-2599

Danny Coyle’s 668 Haight, SF. (415) 558-8375

Hard Knox Cafe and Soul Kitchen 6526 Third St., SF. (415) 648-3770

Kennedy’s Irish Pub and Indian Curry House 1040 Columbus, SF. (415) 441-8855

Kezar Pub 770 Stanyan, SF. (415) 386-9292 

King of Thai Noodle House 1268 Grant, SF. (415) 391-8219

Lefty O’Doul’s restaurant and cocktail lounge 333 Geary, SF. (415) 982-8900

The Mucky Duck 1315 Ninth Ave., SF. (415) 661-4340 

The Phoenix Irish Pub 811 Valencia, SF. (415) 695-9811

Portal’s Tavern 179 W. Portal, SF. (415) 731-1208 

The Royal Exchange sports bar and restaurant 301 Sacramento, SF. (415) 956-1710

The Taco Shop @ Underdogs 1824 Irving, SF. (415) 566-8700

In Richmond, is it safe to eat your garden fruits and veggies?

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Questions remain about the safety of eating homegrown fruits and vegetables from gardens in Richmond and other areas affected by a fire at the Chevron refinery August 6.

The official line from Contra Costa County–where residents were told to shelter-in-place during Monday evening’s fire–is to wash the produce in your gardens extra well.

“It’s safe to eat your fruit and vegetables,” said Randy Sawyer, the county’s chief environmenta and hazardous materials officer. “We do recommend that you wash them in a weak soap solution like a dish soap.” If there was harmful residue on the plants, it would be visible, he said. “It wouldn’t be a dust product, it would be sooty.”

But local gardeners and environmentalists beg to differ, and many are anxious about the fire’s potential long-term effect on the area’s urban agriculture. At a tense community meeting on Tuesday night, gardeners from Urban Tilth rolled in wheelbarrows of wilted produce they said was destroyed by the refinery fire, which was contained after a few hours but burned into the night. 

“We have extreme concerns,” Urban Tilth executive director Doria Robinson told the Guardian. “We’re trying to work with soil and air quality scientists to figure out what we need to test and how we can test it to determine what is safe. In the meantime, we can’t stand by the food we have.”

Until we know what chemicals were burning in the fire and what remains in the air, it’s dangerous to assume our garden products are not contamminated, said Robinson, a Richmond resident herself. “If it’s particulate matter or dust, in theory you can wash it off. At the same time, you’re not exactly sure how certain chemicals react. More importantly, if you can wash the plant, what happens to the soil? Heavy metals like mercury are used in some processing. If that stuff was in the plume and it deposited in the soil” there could be lasting detrimental effects on our gardens, she said. 

When a Richmond resident at Tuesday’s community meeting asked what chemicals might be in the air, and Jeff McKay, Deputy Air Pollution Control Officer at Bay Area Air Quality Management District (BAAQMD), listed hydrogen sulfide, benzene, sulfur dioxide, and styrene. All four compounds are either considered poisonous, or suspected to be carcinogens. 

The BAAQMD’ lab analysis report tested for 23 compounds, including Benzene, but not the other three chemicals. Most of the chemicals “have been identified by the state of California as Toxic Air Contaminants,” according to the BAAQMD. And although the same report insists that the air pollution levels were “significantly below federal health standards,” the San Francisco Chronicle reported that 1,700 people ended up in the emergency room with respitory problems during or after the fire. 

Robinson said it is extremely difficult to trace health problems to individual pollutants. 

“The way that companies like Chevron have been able to pollute the air without liability is it’s extremely hard to trace back, and they can point to things like the highways,” she said. “This particular instance was so extreme that if we get a list of what was burning, we might be able to trace it back for the first time.”

Robinson and her team hope to have a plan to test Urban Filth’s produce by Monday, though she said financial barriers will make a comprehensive analysis difficult or impossible. Until the products are deemed safe, the organization is planning on suspending its school programs and refraining from eating from its 11 Richmond gardens, and Robinson urged residents to do the same with their personal plants.

“Before we take someone else’s word for it, we owe it to ourselves and our community” to ensure our food is clean, she said.

Local porn stars in Pussy Riot benefit show

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Change the world one-handed!

Nadezhda Tolokonnikova, Maria Alyokhina, and Yekaterina Samutsevich of the band Pussy Riot have been jailed in Russia for months and face three years in prison for “hooliganism.”  They could be sentenced as soon as August 17, and their legal defense team is working their asses off.

That’s where Bianca Stone and Coral Aorta come in. On Monday, the local performers will do a cam show to benefit the defense team.

Stone said she was inspired by Bikini Kill’s Kathleen Hanna and her fundraising support for Pussy Riot.

“It’s an act of raising awareness and solidarity and getting people involved,” said Stone.

“We need another riot grrrl movement. We need another mass art and cultural movement for young women and girls,” she said. “Imagine if every city had a pussy riot band?”

A hint of what’s to come: strip tease with a riot grrrl soundtrack and panties worn on faces as Pussy Riot-style balaclavas. And the first 30 minutes is free.

“Then, we’re gonna fuck the shit out of each other,” said Stone. You have to pay for that part.

www.skinvideo.com/model/17398/Bianca-Stone

Mon/13 2pm

Appetite: Under the stars in Guerneville

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Amid towering redwoods, summer heat, and parties along the Russian River is the small town of Guerneville, one of Sonoma’s most unique towns, with its vibrant gay community, laid back river culture, and haunting redwood state park. On a recent idyllic summer weekend, barbecues and live, twanging bands added color to the bustling main street.

Foodies have a destination cafe-restaurant in Guerneville’s Big Bottom Market, which was opened last summer by co-owners Michael Volpatt and Crista Luedtke (the latter owns neighboring boon hotel + spa and boon eat + drink restaurant). Big Bottom draws crowds for breakfasts, lunch, and for anytime cups of my favorite Sonoma County coffee, Flying Goat‘s special blend for the cafe. The cafe’s breakfast biscuits ($3-9) are stuffed with a changing array of goodies like bananas, peanut butter, strawberries and white chocolate, or ham, Swiss, and dill pickle (loved the mustard in the latter but lamentably had to hunt for the ham.) Offerings change daily, but the day’s special is easily ascertained — each biscuit is adorned with a bit of its filling.

Big Bottom Cafe’s superlatively-stuffed biscuits. Guardian photo by Virginia Miller

My recent weekend in Guerneville coincided with the launch of Big Bottom’s dinner service (Thursdays-Saturdays only, 5-9pm). Executive chef Tricia Brown cooked at one of my all-time favorite restaurants, Gramercy Tavern in NYC, moving from Brooklyn to Sonoma for a lifestyle change. With that pedigree, it’s no surprise that she’s cooking an elevated style of cafe food. In the rustic, touch-of-farmhouse shop lined with wood floors and wine and gourmet food items for purchase, dinner means comfort food, like a Moroccan chicken tagine ($18), or apricot-studded couscous laden with Castelvetrano olives and toasted almonds, or green-chile-cheddar turkey meatloaf ($17) over chipotle mashed sweet potatoes.

Unexpectedly, sandwiches ruled: pinot pulled pork covered in spicy BBQ sauce ($16) and garlic aioli smeared on a toasted brioche, both with sides of bourbon-bacon baked beans and cilantro-lime coleslaw ($4 individually or 3 for $11.) There was also a sandwich special of wild salmon that was softly pink, almost medium-rare, topped with slaw on buttery brioche. Both were made with care, blessedly robust in flavors and texture. Chilled cucumber soup spiked with mint and yogurt ($6) was a refreshing summer starter. Only a large pile of dry crostini felt out of place on a mezze platter ($9) of roasted red pepper hummus, lentil walnut pate, cucumber red onion yogurt salad, and olives.

Small, local winemakers are featured on the wine menu, including a few of my go-tos like Thomas George Estates and Unti. It also features different winemakers like Sonoma’s Paul Mathew Vineyards, whose vintages are made by winemaker Mat Gustafson. I sampled all three of Gustafon’s featured wines, like a mineral 2010 Weeks Vineyard Chardonnay that held slight citrus notes from its stainless steel aging, rounded out by a hint of oak. I found the 2011 Knight’s Valley Valdigue most interesting (and the most affordable at $7 glass/$33 bottle.) It’s a chilled wine more akin to a Lambrusco or other chilled red with dry, strawberry notes, earthy yet bright.

Certainly when in Guerneville, one can enjoy the retreat-like (though dated) Applewood Inn, but Big Bottom Market hits at a lower price point, though its obviously more casual. For a sleepy small town in the redwoods, nestled between vineyards and ocean, the Market’s casual-gourmet approach feels appropriate.

End the night at Rio Nido Roadhouse dancing under the stars out back to live music (blues, classic rock, etc.) Were it not for the redwoods and that clean, crisp Sonoma air, the crusty older cowboys, families, and dive bar setting would be enough to convince you you’re in a small Texas town, embracing the warm summer night.

Big Bottom Market

16228 Main St., Guerneville

(707) 604-7295

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