SFBG Blogs

Mirkarimi files court petition challenging his suspension

31

Suspended Sheriff Ross Mirkarimi and his new attorney, David Waggoner, today turned to the courts for help, alleging in a petition that Mayor Ed Lee abused his discretion in suspending Mirkarimi without pay, deprived him of due process rights, and relied on untested language in the City Charter that they say is unconstitutionally vague.

They are asking the court to reinstatement Mirkarimi pending official misconduct hearings that would take months, or to at least allow his family to continue to receive his $199,000 salary. “It makes it more difficult for the sheriff to fight these charges when he’s suspended without pay or due process,” Waggoner told us, adding that he expects a hearing to be scheduled in two to three weeks.

Mayor Lee brought official misconduct charges against Mirkarimi a week ago and since then has refused to answer questions about the issues his action raises (which we explore in this week’s Guardian). Among those issues is whether Mirkarimi’s plea to a misdemeanor count of false imprisonment, involving a conflict with his wife, relates to his official duties and rises to the level of official misconduct.

The city’s last official misconduct proceedings, brought in the 1970s against Airport Commissioner Joe Mazzola, was overturned by the state Court of Appeal, which found that Mazzola’s actions (refusing to order striking plumbers in his union back to work) weren’t related to his official duties. Waggoner relies on that ruling in arguing Lee abused his discretion.

“The official misconduct must occur while the official is in office and be directly related to that office,” the brief contends, noting that the alleged domestic violence incident occurred before Mirkarimi was sworn in a sheriff.

In suspending Mirkarimi, Lee relies on new official misconduct language since the Mazzola incident, during the last charter overhaul in 1995, when catch-all language was added banning, “conduct that falls below the standard of decency, good faith and right action impliedly required of all public officers.”

Waggoner says that is unconstitutionally vague and he is seeking to have the court invalidate it. “Ultimately, it’s a legal issue at this point,” Waggoner told us. “Is what the mayor accused Ross Mirkarimi of official misconduct or not?”

6 Easter treats for adults

0

Trust us, this holiday can be fun — and not just in the annual Hunky Jesus contest sense (although that’s pretty adult-entertaining as well). Here are some suggestions for grown-up hoppin’ around as April 8 approaches. 

>>Boozy Easter chocolates 

Why eat a hollow rabbit when you could nosh on white chocolate ganache infused with fresh lime and anejo tequila? Why chew on a tasteless Peep when you could have brown sugar-caramel laced with Kentucky bourbon? Why would you ever eat a plain chocolate egg when you could have Moet and Chandon Champagne blended with dark chocolate into a creamy, velvety dream? This conversation is over, check out Christopher Elbow’s local chocolate offerings for your snuggle-bunny (before last call.)  

Christopher Elbow Artisanal Chocolates, 401 Hayes, SF. (415) 355-1105, www.elbowchocolates.com. Open Mon.-Sat. noon-6 p.m.; Sun., noon-7:30 p.m.

>>Easter champagne brunch cruise 

Get away from the urban bunny hop this Easter and enjoy the mainland from a different viewpoint. Get on board Hornblower’s two-hour yacht cruise where you can savor a brunch buffet, a plethora of free-flowing champagne and fresh-squeezed orange juice (combine the two for something those crazy kids are calling “a mimosa”), and live entertainment. 

Sun/8, 11 a.m., $73. Hornblower Cruises and Events, Pier 3, SF. (415) 788-7020, www.hornblower.com

>>Traditional Italian Easter cuisine at Farina Restaurant 

Traditionally, Easter marks the end of Lent. Whether you’ve gone without or not, tonight is a great time to indulge. Farina offers a delectable menu of traditional Easter plates, like an oven-baked crepe filled with greens and Parmesan-Reggiano and Marjoram-infused pasta in a sauce of artichokes, garlic, and Piagato white wine. Don’t forget to indulge yourself with a Pan di Spagna cake filled with hazelnuts and chocolate pastry cream. 

Sun/8, 11 a.m.-10 p.m. Farina, 3560 18th St., SF. (415) 565-0360, www.farina-foods.com

>>Sunday picnic and egg hunt 

Bring your blanket, sandwiches, and friends, and Cline Cellars will provide the wine. Lay out and frolick in the sun or meander over to the egg hunt. 100 percent refunds will be made if rain decides to rear its ugly head, so don’t worry Hopsy.

Sun/8, 11 a.m.-3 p.m., $40 per picnic of 8. Cline Cellars, 24737 Arnold Drive, Sonoma. (707) 940-4000, www.clinecellars.com

>>Egg akimbo sculpture and chocolate egg raffle 

Chocolatiers Adam Becker and Pat Rebro have made all of our Easter dreams come true. On display at Recchiuti Confections is a five-foot high chocolate egg sculpture, a staggering candied masterpiece made of handmade chocolate eggs stacked on top of one another. While you are there be sure to check out the towering chocolaty goodness, enter a drawing to win your own decorated chocolate egg. 

Through Sun/8, chocolatier hours Mon.-Fri., 10 a.m.-7 p.m.; Sat., 8 a.m.-6 p.m.; Sun., 10 a.m.-5 p.m. Recchiuti Confections, 1 Ferry Building, SF. (415) 834-9494, www.recchiuti.com

>>Rabbit stew 

Being an adult means enduring holidays knowing that Santa is not real, there is no gold at the end of the rainbow, and the giant Easter rabbit is just your weird neighbor in a costume. Get extra-literal this Easter and put an end to all childhood fantasies by pairing a rabbit stew with a glass of wine.  

Beast and The Hare, 1001 Guerrero, SF. (415) 821-1001, www.beastandtheharesf.com. Restaurant hours Tue.-Sat., 6 p.m.-10 p.m.; Sun., 10 a.m.- 3 p.m.

 

Pop-Up Magazine is back with issue six

0

There are so many creative concepts and winning events every week in San Francisco, it can sometimes feel overwhelming. Let me make this easy for your muddled brain waves: you should go to Pop-Up Magazine. The organizers just now tweeted the date of the sixth issue – April 25, at Davies Symphony Hall – and the date tickets go on sale, which is next Tuesday, April 3.

For those who’ve yet to attend, it’s a live format feature magazine that pops up for one night and includes different writers and artists presenting totally new ideas and concepts in creative presentations. And it was a Best of the Bay winner in 2010, an Editor’s Pick for “Best Gazette Refresher.”

The event – which happens a couple of times a year in San Francisco – is a must for anyone interested in media, arts, writing, film, photography, and/or radio. It features a rotating, shifting mix of contributors to The New Yorker, This American LifeAll Things Considered, Mother Jones, Wired, and National Geographic, and more.

With so much documentation going on in our everyday lives, and in particular at large Bay Area events, it’s a refreshing change of pace (especially for me) – there are no audience cameras allowed inside, you may not record, do not press play. Just sit back and enjoy.

Over the course of several of the events I’ve learned weird new facts and been enthralled with earnest stories about turkey vultures, crazed sports fanatics, mapping infographics, sign spinners, ping-pong, surfers, Asian fetishists, fake bellies for expectant pops, and a teenage message in a bottle (love you, Starlee Kine).

Gay-la time: LGBT Center’s annual ‘Soiree’ gets Frenched

0

Photos by Bowerbird Photography.
 
There couldn’t have been a better way to escape the dramatic, wet downpour the night of Sat/24 than to celebrate the 10th anniversary of the SF LGBT Community Center at the SF Design Center under the twinkling lights of a “gay Pah-ree” inspired party. (Never was “Paris” pronounced the clunky Anglo way, of course.)

There was amazing food, free-flowing booze, but best of all, crowds of beautiful, happy people, dressed in Parisian splendor (including stilt-walking Eiffel Towers a scruffy French poodle).

Everyone looked fabulous. Really fabulous! The entertainment included a song by the super sweet Honey Mahogany, surreal live decorations courtesy of a walking Matisse painting, a gorgeous half-nude contortionist, and, of course, a coterie of supportive politicians (including Mark Leno), raising their bubbly high to toast the Center on its birthday.

The Center eschewed long speeches to devote the evening to great dancing, beautiful drag performances, and those irresistible old school soul beats of DJ Carnita from Hard French, that lasted far into the evening.

The Magnetic Fields play ’69 Love Songs’ and then some at the Fox

0

While the Magnetic Fields’ newest album, Love at the Bottom of the Sea, recaptured the group’s love for synthesizers and electronics, Saturday night’s Fox Theater performance was a testament to the timeless quality of its stripped-down acoustic format.

Using a charming setup of mandolin, acoustic guitar, accordion, piano, and cello, the band burned through 25-plus songs from various points in its two decades-strong career. The first plucks of opener “I Die” quickly established Stephin Merritt’s morose rumble of a voice — which sounded just as drolly beautiful and unbelievably deep as it does on record — and quickly hushed the impressively diverse crowd populated with theater geeks, punk rockers, old-timers, and lovey-dovey hipster couples.

It didn’t take long for the band to begin tackling songs from its landmark 1999 album, 69 Love Songs. Tracks like “A Chicken With Its Head Cut Off” and “Busby Berkeley Dreams” elicited giddy responses amongst the audience and led to more than a few people lightly singing along. An unexpected treat came when Merritt took lead vocals on “Come Back From San Francisco,” a track that was sung by member Shirley Simms on the album.

Speaking of Simms, vocal duties were shared among her, Merritt, and Claudia Gonson all evening, which helped keep things lively and unpredictable. Just as Merritt had taken over for her on “Come Back From San Francisco,” Simms reciprocated with a rousing rendition of his “Fear of Trains,” from the country-influenced The Charm of the Highway Strip.

With such a big catalog to compose a setlist from, nearly every album was represented, from the baroque sounds of Realism (“You Must Be Out of Your Mind), to the noisy Distortion (“Drive On, Driver”) and early favorites like Distant Plastic Trees (“Tar-Heel Boy”). Arrangements of all of these were simple and elegant, and a real testament the talent and attention to detail of each member.

Merritt’s well-documented prickly personality shone through at times in agitated comments to the crowd about flash photography and unnecessary hooting and hollering. And, if basing an opinion strictly off of body language, it really seemed like he’d have rather been anywhere else than on stage all show. None of that took away from what was a wholly fun, engaging and heartwarming show, however, which even at a packed 90 minutes felt all too brief.

Parra’s world gets a wall at SFMOMA, spun at Mighty

2

How about this: for your first museum piece you can take the entryway wall of the second floor of the SFMOMA. It’s a bigger surface than you’ve ever painted on before. Just do whatever. You usually decorate skateboards and coffee mugs with your work, but putting your bird-faced, omni-stilletoed characters in front of some of the world’s most voracious art fans isn’t a big deal.

Oh, and the passers-by aren’t going to know that you’re the artist, so they’ll probably offer some critique. You’re good with criticism, right? Also, don’t upset the children. And then your band can play a show at Mighty (Thu/29).

Dutch artist Pieter Janssen, artist name simply Parra, laughs at the prospect of his fine arts debut in San Francisco. “I had an interview the other day and they asked me if I was nervous about now being reviewed by art critics. I was like, dude you don’t even know. I already have critics all day!” All week long Parra and his helpers had been carefully filling in the lines of his quirky design: an avian-faced Icarus tumbling through the air, bare-breasted females, and the loopy typography he is known for. Snaking across the length of the wall a sentence can be pieced together that speaks to an early musical love of Parra’s: Kate Bush. The piece, he says, is about taking time for yourself, and terminates in the shape of a woman holding back the chaos of the world. 

Which, since its painted on the well-traversed second floor landing of the SFMOMA, has been something he’s had to deal with during its creation. “You get the real-real,” Parra reflects. Teachers walk by with school groups, unsure whether they should subject the young minds in their care to Parra’s vision. “You have to keep in mind who is your audience here,” he tells me. “There are little kids, they might be offended by something. There’s still a bit of nudity, but I think that is allowed. I’m the kind of guy who doesn’t like it when people don’t like it. I mean, when they have a reason to say ‘that’s vulgar.’”

It is true that a Parra design usually has some bite to it. He demurely counsels me to Google Image search “Rustico the Great,” a T-shirt he made that was rejected by the Paris clothing company he created it fro, as an example of a time when he might possibly have taken things too far. He says that some have called his work “unfriendly to women,” which I found surprising, since his work seems stridently feminist when you compare it to other designers in the skateboard and sportswear oeuvre. 

This Parra woman is unfriendly — but just to non-partiers.

Coupled with a cutting sense of humor and some measure of vulgarity when children are not present, Parra’s work has garnered a worldwide fanbase, who can claim a piece of his bizarre universe for itself via his clothing company Rockwell. I particularly kindled to the artist’s girlfriend Nicole Pedder’s gauzy Rockwell blouse from the brand’s current line, its pattern echoing the figures she was helping to fill in on the SFMOMA wall. Parra has also done coffee mugs, bedding, and sneakers for Nike. He’d like to put out a line of moving boxes, he jokes. Or maybe it’s not a joke (ping, U-Haul!)  

Oh yes, and he’s a musician. Parra’s band Lele will indeed be playing a show at Mighty immediately after the exclusive opening reception for his wall. A die-hard skateboarder, he’s a little bummed that it won’t be all ages, but hey, at least it’s free. During the set he’ll be occupying himself by drawing characters and putting them through some sort of magical machine he has that will animate them and project them on the wall of the club, leaving the world with one less surface that has not had Parra designs on it. 

Lele

Thu/29 9 p.m.-midnight, free

Mighty

119 Utah, SF

www.mighty119.com

 

“Parra: Weirded Out” mural exhibit

Opens Sat/31, through July 29

SFMOMA

151 Third St., SF

(415) 357-4000

www.sfmoma.org

 

Parra in conversation

With local graphic designer Victor Moscoso

April 3 noon, free museum admission and entry

SFMOMA

151 Third St., SF

(415) 357-4000

www.sfmoma.org

Heads Up: 6 must-see concerts this week

0

Lots of leading ladies in the music mix this week. These shows boast a punk legend/folk songstress, a female vocalist who inhabits the soul of animals, a girl-fronted ’60s Wall-of-Sound meets modern indie pop act (with a punch) – and yes, maybe even an underground famous dude or two.

There’s also the epic Rap Fest featuring Das Racist, and the Trash Art Bash, which pretty much sounds like the best mashup of all time: trash art, underground music, pizza. I wish I could include a reunited Hot Snakes at Bottom of the Hill, as that’s the show I’m most pumped for, but it sold out months ago, so it just seems cruel to suggest. Good luck with that one. And then there’s…well, you’ll just have to check out the rest. Here are your must-see Bay Area concerts this week/end:

Radiation City
The sprightly Portland, Oreg.-based quintet will be playing cool ’60s girl group inspired jams off last year’s The Hands That Take You and recently released indie pop dream EP, Cool Nightmare.
With Sea of Bees (see the print edition for the Pick on Sea of Bees)
Weds/28, 8 p.m., $10
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=mT8itwSlFx4

Penelope Houston
Avengers singer and longtime solo lyricist in her own right, Penelope Houston returns this week to celebrate the release of seventh studio album, On Market Street, packed with lilting folk gems, and “tales of revenge and forgiveness, of love both sanctified and illicit.”
With Prairiedog, Carletta Sue Kay
Thurs/29, 8:30 p.m., $12
Cafe Du Nord
2170 Market, SF
(415) 861-5016
www.cafedunord.com
http://www.youtube.com/watch?v=WDek4vu2gg8

SF Rap Fest Featuring Das Racist
No doubt about it, this is going to be a good one, a veritable who’s who of wordy Bay Area and beyond hip-hop. Obviously out-of-towners Das Racist will be there to shake things up, but also On the Rise alums Main Attrakionz, along with Friendzone, and Antwon & Shadow Runners, among others.
Fri/30, 9 p.m., $20
103 Harriet, SF
dasracistsf.eventbrite.com
http://www.youtube.com/watch?v=YXmo0zsG3q0

Odessa Chen
In an attempt to inhabit the spirit of different wild animals, Odessa Chen recorded her third album, Archives of the Natural World, in a remote cabin in Oregon’s National Forrest – what better way to get in touch with the mysteries of coexistence? The show is a benefit for NRDC (Natural Resources Defense Council).
With Christopher Smith
Sat/31, 7 p.m., $10-$20
First Unitarian
1187 Franklin, SF
www.odessachen.com
http://www.youtube.com/watch?v=kTDEDyuSjF4

Trash Art Bash
Recycled, repurposed, and scavanged art by the likes of Winston Smith (Dead Kennedy’s collage artist) and more, along with live ukelele music by the gonzo Pineapple Princess, the Skirts, and Mad Mama Lopez, plus trashy rock’n’roll DJs. Get it: all trash, all night. And it’s at a pizza parlor-cum-dive bar.
Sat/31, 7-11 p.m., free
King Kong Bar @ Escape from NY Pizza
333 Bush, SF
Facebook:Trash Art Bash

Chain & the Gang
With a muffled scream here, a tambourine shake there, and a buzzing chainsaw guitar slicing through it all, Chain & the Gang is a testament to Ian Svenonius’s continuity, and his ongoing ability to scrap genres, culling the best bits of the past — Southern blues, working man shuffles, post-punk, and mod — for his own future perfect.
With Neonates, the Smell
Sun/1, 9 p.m., $9-$12
Brick and Mortar Music Hall
1710 Mission, SF
(415) 800-8782
www.brickandmortarmusic.com
http://www.youtube.com/watch?v=0Zx1FjfOMAA

Nite Trax: The fabulous creatures of Gaultier’s opening gala

0

Hyperproductive fashion designer and revered fantasy engineer Jean Paul Gaultier was in town last week for the opening of a (very cool) retrospective of his work at the de Young. His nightlife stops included the Some Thing drag show at the Stud on Friday, a cruisy interlude at the Powerhouse on Saturday — and of course a lavish opening gala celebration at the de Young itself on Friday evening.

The fantastic function included an exposed “backstage” area where models were fitted into Gaultier pret-a-porter, primped, temporary-tattooed, and hairdressed with amazing sculptural headpieces by SF’s Glama-Rama salon, before trotting out onto a makeshift runway. Attendees — not all of them our city’s social page elite, btw — wore their most unusual outfits. (There were a lot of sailor stripes, man-skirts, and Gaultier looks from the past three decades.) Even the servers were decked out in handmade kaleidoscopic Krylon smocks by graffiti gallery 1:AM. Tunes from the gorgeous, killer-bobbed DJ started out retro-cute and fun, including JPG’s own 1990 dancefloor hit, “How To Do That” before devolving into the standard party jams of today, which certainly got the singles (cougars) in the crowd “puttin’ their hands up.” It was a blast.  

Soon the raucous and always riveting Extra Action Marching Band took over, the flowing cocktails kicked in, and we drifted down to the exhibit itself, which includes eerie singing mannequins with projected faces beamed in directly from Uncanny Valley. (There’s even an interactive one of Gaultier himself, which supposedly answers questions, although I think the ambient noise levelof the gala confused it.)

The amassed collection of clothing and concepts, of course, was overwhelming in its creativity and development — although I could have done with a few more iconic items from the “Chic Rabbis” 1993 collection (personal preference!) and some more recent work, and perhaps a wee bit less emphasis on the infamous Madonna-cone bra connection. But I did tear up at the site of Gaultier’s childhood teddy bear preserved in a vitrine wearing, yes, a miniature cone bra prototype.

I think the most touching thing in the show, however, was a Polaroid by Andy Warhol, taken of the young and not quite hatched Gaultier at New York’s Area club in 1986. Gaultier is caught in a stairwell, a bit Joker-like in what looks to be a purple silk suit with a gold lozenge pattern and his trademark bleached blonde hair. It’s accompanied by Warhol’s famous quote, ““I think the way people dress today is a form of artistic expression. Saint Laurent, for instance, has made great art. Art lies in the way the whole outfit is put together. Take Jean Paul Gaultier. What he does is really art.”                

The America’s Cup meltdown

24

The America’s Cup Event Authority — the operation that Oracle CEO Larry Ellison set up to run the business side of his personal yacht race — is melting down, laying off half its staff and scrambling around for new leadership as projected revenues continue to slide and the ultimate size and impact of the event remains in question.

The once-glorious event that was going to be almost as big as the Super Bowl and the World Cup is now shrinking, and the billions of dollars that were going to come in are looking more and more dubious. Doesn’t mean it won’t happen; the races will go on, because Ellison’s pride is involved, but attendance may be lower than expected.

And the net gain to the city could be limited. A new report by Budget Analyst Harvey Rose (pdf) notes that if the America’s Cup Organizing Committee doesn’t raise the $32 million that it’s supposed to dredge up, then the city could wind up losing $11 million on the deal.

Here’s the problem with that scenario: Mark Buell, the head fundraiser for the ACOC, has to go to rich people and ask them for money. But the really rich person behind this event, Mr. Ellison, hasn’t chipped in a penny to that fund — and now it appears that money raised by sponsorships will go to pay Ellison back for the money’s he’s spent on his racing team.

Poor Mark. He has to ask people for money to subsidize the sixth richest person on the planet. And if he can’t pull it off, the city ends up with the tab.

Good luck with that.

Does electrifying Caltrain really help high-speed rail?

36

Mayor Ed Lee and other regional political and transportation officials are celebrating this week’s agreement to take bond money approved by state voters for the California High-Speed Rail Project and apply it to electrifying the Caltrain’s tracks up the peninsula, which has long been a goal for that troubled transit agency. Electrification will lower operating costs, reduce noise, and be better for the environment.

“Electrifying Caltrain as an early investment and extending Caltrain into the heart of downtown San Francisco at the new Transbay Transit Center are essential for the success of high speed rail and the future economic growth of our region,” Lee said in a prepared statement released yesterday.

Yet his office didn’t respond to questions about how the new agreement – which will apply $700 million in high-speed rail bond money from Prop. 1A to the $1.5 million electrification project, arguing it lays the foundation for high-speed trains to come later – will help the Transbay Terminal. That project needs to come up with the more than $2 billion for the 1.2-mile tunnel from the current Caltrain station at 4th and King streets to bring the trains downtown. The mayor’s press release argued only that it would “provide the momentum upon which to build the Downtown Extension to the Transbay Transit Center.”

Transbay Terminal Joint Powers Authority spokesperson Adam Alberti called the latest agreement “a big deal for transportation” and told us, “The MOU agrees that the early investment of Prop 1A funds should be placed on the electrification of Caltrain.” Even though it doesn’t give money directly to Transbay Terminal, Alberti said it advances a project in which that station is the designated terminus and it frees up future transportation funding for the needed tunnel.

But Quentin Kopp, who launched the high-speed rail project as a state legislator in the ’90s and until recently served on the project’s board, said this latest agreement doesn’t help Transbay Terminal (which he has derided as little more than a real-estate deal) and it represents a violation of Prop. 1A and other high-speed rail provisions.

“Here’s a pot of money and everybody wants to steal from it,” said Kopp, who has criticized recent changes in the high-speed rail plan, such as San Francisco-bound passengers having to transfer to Caltrain in San Jose rather than coming directly into San Francisco and how Caltrain’s tracks limit how many trains can run per hour, hurting the overall project’s financials. “It’s hardly the project that was envisioned.”

As we reported in January, the high-speed rail project has been working to overcome doubts and attacks by fiscally conservative politicians here, in Sacramento, and in Washington DC. And this latest agreement helps overcomes Caltrain’s deep fiscal problems and the opposition of many peninsula politicians and neighborhood groups to creating a larger and more robust high-speed rail line up the peninsula.

5 PM UPDATE: Lee Press Secretary Christine Falvey just responded to my inquiry and said, “The region is pursuing funding the $1.5 billion Downtown Extension through a combination of additional sources, including New Starts, and we expect to announce additional good news on this front soon.” It’s unclear why there is a discrepancy between Alberti’s figures and Falvey’s. Lee has pledged to make a priority of ensuring the train extension to Transbay Terminal gets built.

American Idol: The Diddy and Hilfiger edition

0

Two things:

1. You can’t do a whole American Idol with a Billy Joel theme. He didn’t write any good songs, and most of them are really bad. All it does it make the contestants look lame.

2. Diddy’s not much of a song coach. Tommy Hilfiger, this week’s celebrity fashion guru, has no idea how to dress performers for the show. Every suggestion they made was dumb. Every contestant who wore Hilfiger’s picks looked horrible, out of place, ridiculous. Sell some jeans, Tommy.

Actually, three things:

3. The only one who got how stupid all of this was and responded in style was Heejun, who made fun of the whole spectacle, pissed off Steven Tyler (who never gets mad), confused J-Lo and Randy — and had me laughing so hard I almost lost my Bud Light.

On to the show:

J-Lo, as always, looks gorgeous. Steven might as well be wearing pajamas. Randy needs to lose the weird pins on his shirt.

Deandre tries “Only the Good Die Young.” Diddy tells him to look J-Lo right in the eye, because “she’s a Catholic girl and she’ll get it.” He doesn’t. The song is nothing but pop schlock; he does the best he can, but you know, garbage in, garbage out.

Erika. “New York State of Mind.” A painful dirge. Viv’s OK with it. I hate it.

Joshua. “She’s Gone Away.” Whatever.

Skylar. “Shameless.” The best of the night so far; she makes a dumb song sound kinda country. Except that outfit! Tommy! Sell some jeans. Go away.

Elise. “Vienna.” At least she sounds like a smoky lounge singer, and since Billy Joel pretty much defines bad lounge singer, it worked.

Phillip. “Moving’ Out.” Totally different from the original, like a new song, with almost a punk edge to it. Nice. Best interpretation of Billy Joel ever.

Holli. “Honesty.” Terrible song, great singer.

And then Heejun. This guy’s a winner. He made fun of Tommy Hilfiger, made fun of the whole fashion-statement thing, made fun of the piano player — and really, really made fun of Billy Joel. “My Life” is one of the worst BJ songs ever, which is saying something, and Heejun raced around and sang it like he was making a joke on everyone, starting with the songwriter. Amazing. The best and only AI parody in history. Steven was angry from the start — he realized immediately that this was a goof, and at the end he told Heejun that “at some point, you have to take it more seriously.” J-Lo didn’t quite get the joke (or maybe she did), but she did call it “a breath of fresh air.” Ayup.

Jessica. “Everybody Has a Dream.” She’s such a great singer, even this crap can’t hold her down. Colton. Someone had to do “Piano Man,” and he plays the piano, so why not. Viv loved it. J-Lo got the “goosies” again. Me? I love Jennifer’s goosies, but I’ll pass on the Piano Man.

Heejun was in the bottom two, since America clearly has no sense of humor, but he survived and Erika’s gone home, new hairdo and all. Catch you next week.

 

 

Sharon Van Etten at the Indy: comfortable in her own skin

0

Fresh off a slot headlining NPR’s South By Southwest showcase and an appearance on Conan the night before, Sharon Van Etten played an emotionally-charged set to a sold-out and receptive Independent crowd Wednesday night.

I walked in just as Philadelphia’s the War On Drugs was kicking off its set, which proved to be a satisfyingly loud, jammy, and psych-tinged counterpart to Van Etten’s more straightforward sound. Both big fans of the band’s 2011 album, Slave Ambient, my friend and I had expressed some pre-show concerns about how the songs would translate live, seeing as just how vital the hazy production seemed to be to that record. Turns out, there was nothing to worry about. Tracks like “Brothers,” “Come to the City” and “Your Love Is Calling My Name” sounded huge, capturing both the infectious Springsteen-esque melodies of leader Adam Granduciel and the thick layers of foggy synth and guitar effects perfectly.

Apparently unimpressed with the group’s unique hybrid of Americana and druggy shoegaze, a texting audience member right up front was repeatedly called out by Granduciel throughout the set, much to the amusement of the crowd. “Whatcha got on there, you reading the New York Post or something,” he said sarcastically. “Maybe you were looking up tabs for the song we were just playing, while we were playing it? Try learning this next one. I don’t think you can play it.”
At one point, he called for the guy to count off the next song, which he did, quite enthusiastically at that, only to have not a single member of the band hit a note after he’d reached “4.” It was all a bit awkward, but pretty damn funny.

If The War On Drugs’ rapport with the crowd could be defined by those slightly surly exchanges, Sharon Van Etten’s was an entirely different animal. From the first moments, the show took on the feel of a casual conversation between Van Etten, her bandmates, and the audience; it was full of charmingly off-the-cuff moments and storytelling.

Entering the stage solo, she opened the set with an acoustic number before welcoming her band on stage and declaring, “Alright, now for the real shit.” Tracks from Tramp, her recent critically-acclaimed album, dominated much of the set, which, with the backing of her excellent band, sounded tight and as emotionally resonant as fans would have hoped.

Between songs, Van Etten’s personality shone through, conveying a really humbled sense of charm, wit, and affability. Clearly familiar with her New Jersey roots, a number of East Coast transplants in the crowd began shouting out neighborhoods and landmarks, which seemed to catch her off guard at first. Rather than ignore the somewhat banal references, however, this became a running thread throughout the show, as we were treated to bite-sized tidbits about the random places being yelled out, such as the bar where she smoked her first cigarette, the high school where her teenage boyfriend went (“He was really cool, and he had a car”) or the elementary school where her aunt worked as a substitute teacher.

As engaging as the loose back-and-forth banter was throughout the evening, the music was even better. Whether it was drifting by on the sparse “Kevin’s” or ratcheting up a few notches on melancholic rockers such as “Serpents,” Van Etten’s voice was the star of the show.
As I watched her burn through a driving version of “Don’t Do It,” a highlight from her 2010 album, Epic, I was struck by how much more self-assured and professional she sounded than when I’d seen her at Bottom of the Hill just a year prior. In fact, the whole show seemed like a snapshot of a songwriter who is just beginning to feel comfortable in her own skin – which made me even more excited to see where she goes from here.

Meister: It’s not true, what they say about pensions

12

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.dickmeister.com, which includes more than 350 of his columns.

So, what are we going to do about those big fat pensions collected by public employees? You know, those retirement benefits that supposedly are threatening to bankrupt state and local governments everywhere.

What to do? That’s easy. We can make that problem disappear quickly – just like that! We need only realize that the problem simply does not exist, despite the claims by rabid anti-union forces and the many people who they’ve duped.

Here’s the basic situation: Anti-union forces are attempting to weaken the public employee defined pension plans that provide employees a specific monthly payment on retirement. The plans cover about five million older Americans, providing money that many drawing benefits very much need to escape poverty and stay off government assistance.

Those receiving the benefits, many at rates granted originally in lieu of pay raises, in turn create more than $358 billion in economic output nationwide and create more than 2.5 million jobs.

State spending on pensions amounts to no more than 4 percent of the state budget, on average. In most states, employees must contribute up to 8 percent of their wages to their pension fund, a bit more than private employees contribute toward their pensions.

You should also know that, despite what you may have heard, government pension funds are not going broke. They in fact have been growing as Wall Street has been doing better.

Those basic facts and others that are often lost amid the anti-pension clamor from those on the political right who would just as soon do away entirely with pensions, But they were laid out clearly by panelists in a forum earlier this year sponsored by the National Public Pension Coalition.

Panelist Dean Baker, an economist who is  co-director of the Center for Economic and Policy Research, noted the concern that pensions are endangering government services stems from “a crisis that has been invented” by employer groups.

Baker said the make-believe crisis stems largely from the 2008-09 market crash. That caused an estimated $800 billion of the $1 trillion shortfall in pension plans, but he said the plans should be able to recoup their losses.

But what of the public employees supposedly drawing pensions of $100,000 a year, or even more? As panelists pointed out, they’re pretty much make-believe, too.

Then how much do they make? In New York, as another panelist, New York State Controller Thomas DiNapoli reported, the average pension, including those of police and firefighters, is just a little over $19,000 a year. Three-quarters of New York’s pensioners overall get less than $30,000 a year, and less than one-half of 1 percent get more than $100,000.

Panel member Janet Cowell, North Carolina’s state treasurer, said the average pension in her state is a mere $22,000 a year. She said fewer than 300 retirees get $100,000-plus pensions – “and some of those are basketball coaches.”

Rhode Island retiree Dolores Bresette, a voice from the trenches, as it were, told her unfortunately not uncommon story to the panel.

She said “I worked for the State of Rhode Island for 37 years and contributed 9 percent of my salary to my pension fund. Now, after years of saving and preparing for my retirement, so much of what I and thousands of other public workers were promised is being taken away.” That’s because of last November’s enactment of a “Retirement Security Act” which, among other things, suspended cost-of-living adjustments for Rhode Island retirees indefinitely.

“There are real human implications of the current efforts to dismantle public workers’ pension funds”, Bresette declared, “and people in Washington and the country need to see that.”

She and other panelists warned that “in addition to the human implications there are serious social and economic consequences that will develop over the long term if the shift away from defined-benefit pensions continues. Instead of dismantling public employee retirement systems, policymakers should be working to improve retirement security for the private sector workforce.”

Policymakers will soon face another major crisis related to retirement benefits, noted panel member Hank Kim, an expert on public employee retirement systems. He said that overall, pension funds covering privately employed workers now contain more than $8 trillion less than they’ll soon owe retirees.

If pension benefits are denied or reduced as a result, that could very well cause a significant segment of the 75 million baby boomers to delay retirement. Which would put them in competition for jobs with 80 million younger workers, the so-called millennials, over the next 10 to 15 years.

That could also cost taxpayers. For, as panelist DiNapoli said, if needy retirees couldn’t find jobs that would provide them enough to live on, the government would ultimately have to provide them welfare grants.

The pension opponents wouldn’t be left with much of a choice. They’d have to abandon their anti-pension position or agree to tax increases which, as you might imagine, they don’t much care for.

Either way, we’d be winners.

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.dickmeister.com, which includes more than 350 of his columns.

 

 

I

 

Parents in San Francisco: we want justice for Trayvon Martin

66

“If I had a son, he’d look like Trayvon,” President Obama reflected today. In the wake of Trayvon Martin’s death, said Obama, “I can only imagine what these parents are going through.”

Martin, a black 17-year-old walking back to a family friend’s home in a gated community in Sanford, Florida was killed Feb. 26. His killer shot him after pursuing him in his car, and then on foot. 911 tapes and a confession from the killer, George Zimmerman, confirm his guilt. But no jury has had the chance to decide the case, as police have refused to so much as arrest him.

This remains true, even after Sanford police chief Bill Lee Jr stepped down temporarily in response to a nationwide outcry.

Police say that, at the scene, Zimmerman told them he was acting in self-defense. 

“Mr. Zimmerman provided a statement claiming he acted in self defense which at the time was supported by physical evidence and testimony. By Florida Statute, law enforcement was PROHIBITED from making an arrest based on the facts and circumstances they had at the time,” (emphasis theirs) said the chief in a statement yesterday. 

The killing, which has been called a case of “walking while black,” has ignited a call for justice throughout the country.

This call was made March 21 in San Francisco, when hundreds gathered downtown after a protest organized just two days earlier.

At  6 p.m. in Justin Herman Plaza, 500 held candles and listened as parents of black sons murdered in the Bay Area spoke.

Cephus “Uncle Bobby” Johnson, whose nephew, Oscar Grant, was killed by BART police officer Johannes Mehserle in 2009, expressed his support to Martin’s family.

“He was only 17. His life was taken away from him. This murder of Trayvon is very personal to me,” said Johnson. “It’s another baby gone.”

He added that, if Zimmerman is not arrested by Sunday, he plans to fly to Florida. 

“My wife and I will be on a plane to support the community.”

“It’s our kids who are going through this thing. If we don’t stand up for them, who will,” said Denika Chatman. Her son, Kenneth Harding Jr, was killed by police in July 2011. He was 19 years old.

The parents of James Rivera, Jr, who was 16 when he was killed by police in July 2010 in Stockton, also spoke to the crowd. 

“The pain still feels like it was yesterday,” said Rivera’s mother, Dionne Smith-Downs. “It’s been almost two years and we’ve received nothing. They didn’t even tell us why they shot our son.”

Many speakers asserted that, had the races been switched in the Martin case, law enforcement would likely have immediately arrested the perpetrator and he would likely be charged by now. Both first degree murder and felony murder are punishable by death in Florida.

In the United States, persons convicted of killing whites are four times more likely to be sentenced to death than persons convicted of killing African Americans. 

Hundreds then marched up Market Street. Many held signs reading “In loving memory, Trayvon Martin: 1995-2012.” Many wore hoodies, the garment that apparently made Martin appear “suspicious” to Zimmerman. 

Chants included “we are all Trayvon Martin,” “protect and serve, that’s a lie, they don’t care when black kids die,” and ‘Zimmerman: guilty. The system: guilty.”

The group then marched to UN Plaza, gaining supporters, including handfuls of passers-by and shoppers on every block. By Sixth Street the group was 700-strong.

Mourners then created a memorial for Martin at the foot of a pillar in UN plaza inscribed with the Universal Declaration of Human Rights. Thousands in New York City also marched to the UN March 21, and the national call coincides with the UN’s International Day to End Racial Discrimination.

At the memorial, silence fell over the crowd when organizers called for participants to speak the name of anyone killed by the racism. In a chilling ceremony, many spoke, naming Sean Bell, Emmett Till, Nat Turner, Ramarley Graham, Fred Hampton, Troy Davis, Tookie Williams, and dozens of other black men killed in the United States spanning slavery, Jim Crow, the civil rights era and today.

Speakers demanded the immediate arrest of Zimmerman. But many maintained that arresting the killer in this case may not prevent “the next Trayvon Martin.”

“When Oscar was killed we said, we must work, because we cannot have another Oscar Grant. Now, we have another Oscar Grant. And there will be another one,” said Johnson.

Several mothers, many of whom did not give their names, spoke of the fear they feel for their children when they walk the streets, not knowing whether they will be the next victim of a racist crime.

“They don’t care when people kill our babies. We have to fight and stand up for our own people and for our children,” said one mother. 

Impertinent question: Will Mayor Lee take on the Bank of America for unethical behavior?

16

Mayor Ed Lee moved with lightning speed to suspend Sheriff Ross Mirkarimi without pay on misconduct charges and unethical behavior  in a spousal abuse case and continue the costly, distracting, divisive  media and City Hall circus.

Meanwhile, the Bank of America, an institution called “Too Crooked to Fail” by Rolling Stone,  is responsible for 10 per cent of all foreclosures in San Francisco and the city keeps its lucrative multi-million dollar short term investment portfolio in the B of A.  Matt Taibbi, the Rolling Stone investigative reporter on the story, said in a lengthy interview  on the Democracy Now radio program Thursday morning that bailouts and fraud are the secrets to the B of A success. The B of A, he said,  has defrauded “everyone from investors and insurers to homeowners and the unemployed.”  He said “most people think of the mortgage crisis as some airy abstraction–you know, bankers ripping off bankers. That’s not what it is.  It’s bankers stealing from old ladies and retirees.”

Impertinent question: So will Lee apply his new found standard of ethics to the Bank of America? See the Democracy Now clip on the Taibbi interview for specifics on B of A behavior:

http://www.democracynow.org/2012/3/22/too_crooked_to_fail_matt_taibbi

Get ‘Wilde’: Al Pacino’s new doc receives red carpet opening at Castro

0

All my amigo Morlock E. wants to know is where Frank Chu is, since Frank Chu is still a fairly good indicator of being at the most happening event of the evening — or at any rate the one with the most television cameras. But instead of Frank, all we see is a crush of autograph seekers pressed against the velvet rope separating them from the red carpet unfurled outside the Castro Theatre. They’re not here to see Frank Chu, and in truth, neither are we. We’re here to get a photo of Al Pacino and maybe touch the hem of his cloak, at the US premiere of his latest project, a documentary entitled Wilde Salome.

Since it’s not every day San Francisco gets to play host to a big premiere, the Wed/21 turnout is robust, convivial. Also a fundraiser for the GLBT Historical Society — there are some quite dapper dandies in attendance, an element one feels certain Wilde would have approved of. But one gets the impression that the autograph-hounds are less enamored with the Wildean aspect of the event rather than the chance to shake the hand of Scarface, but Wilde, with his penchant for “rough trade” might well have approved of that too.


Morlock perks up when a gigantic luxury mobile pulls up and disgorges a gaggle of socialites onto the red carpet. “Are they escorts?” he demands to know. He indicates the license plate, ESCORT1 as proof, but attempting to explain custom business plates to contrarians is really a wasted effort, so I let it go as the ladies line up against a somewhat unimpressive backdrop of sponsorship logos and dimple cutely for the cameras. In truth, it’s the mechanics of events like these that interest me most, everyone doggedly intent on playing their respective roles, from the principles to the sycophants.

Morlock’s base improv is a small wrench in the smoothly-rehearsed order of things, but fortunately we don’t have much longer to wait. Another sleek black vehicle rolls up and Pacino rolls out. And like the red sea caving back in on top of the Egyptians, the orderly crowd becomes a desperate, notebook-waving mob. Expertly hustled through the throng, Pacino poses quickly against the backdrop before being swept inside by security. And there, in his scattered wake, we finally spot Frank Chu. It’s always good to see a familiar face.

It’s been 130 years since Oscar Wilde was himself in San Francisco — March 26, 1882 to be precise — and close to 30 years since Pacino played The Curran Theatre as Teach in David Mamet’s “American Buffalo,” but in Pacino’s good-humored introductory speech, he expressed his fondness for his San Francisco days, appropriately framed against a similarly complimentary Oscar Wilde quote about our torrid Babylon.

In the vein of Looking for Richard, Wilde Salome began as a personal project of Pacino’s, who admits to having made several such documentaries in the past, though Richard is the only one that he’s ever released—until now. Tracing the circuitous path of a method actor in search of not just his character but also the motivations of that character’s creator, Wilde Salome is partly an exploration of Oscar Wilde’s most controversial play “Salome,” and partly an exploration of the man himself. Filmed in part during a run of Oscar Wilde’s “Salome,” at the Wadsworth theatre in LA, in which Pacino played King Herod, and in part in the company of “experts,” (Gore Vidal, Tom Stoppard, Tony Kushner, and Bono to name a few) fleshing out the historical details of Oscar Wilde’s life, the action unfolds in a series of non-chronological scenes with Pacino as the thread connecting them together.

Opening with the line “this is a story about an obsession” the film proceeds to delve into about a dozen: Pacino’s obsession with both his portrayal of Herod and Wilde, Wilde’s obsession with his boorish lover “Bosie” (Lord Alfred Douglas), Herod’s obsession with his step-daughter Salome, Salome’s obsession with the prophet Jokanaan, Film Producer Barry Navidi’s obsession with their tight shooting schedule, and even each individual actor’s quirky backstage rituals. In one scene, Pacino throws a party, in order to instill the impression of a raucous banquet gone too far in the actors, and especially in Jessica Chastain, whose intoxicatingly toxic portrayal as Salome speaks volumes on “the destructive power of sexuality,” a Wildean parallel.

In fact, if the movie has a sleeper star it is certainly Chastain, whose actor’s instincts appear as sharply honed as those of any of her older co-stars, and her wrathful dance of the seven veils reads as practically a throwdown challenge to the old guard. Herod’s certainly. And maybe even Pacino’s. Though seeing Pacino graciously holding court at the Castro did give the impression that he’s got a few years in him before he’ll have to worry about being summarily dethroned.

Making burrata cheese with the Milk Maid

0

As a little girl, I used to walk by a cheese shop in the neighborhood, flare my nostrils and exclaim “One day I want to work in a cheese shop.” That funky, musty fragrance has an intoxicating draw for me and always will. My one-month stint as a vegan in college failed only because I missed cheese too much. I still haven’t worked in a cheese shop, but when I heard about the cheese making classes with the Milk Maid, I just knew I had to go!


The Milk Maid, aka Louella Hill, is brimming with information and love for cheese. She has studied cheese making in Italy and across the East Coast and is currently working on a book about cheese making in her San Francisco home, which is jam-packed with all things moldy and milky.

The cheese class was held at an outdoor kitchen in the Ferry Building. We learned how to make burrata, a fresh, Italian-style cheese made of mozzarella and stuffed with a variety of creams, from thick cultured cream to sweet mascarpone. The process of making burrata involves melting fresh curd, forming a ball and then quickly stuffing it with cream. Sounds pretty simple, but it actually requires a lot of attention, speed, and probably years of practice. Luckily, everyone was just having too much fun to care about getting it perfect. When “mistakes” happened, they usually just ended up getting eaten. No great loss there.

After an hour of melting, pulling and stuffing, the Milk Maid sent us on a our way, but not without a slice of a gigantic moldy block of cheese that she was trying to get off her hands, and fixings to make more burrata in our own kitchens. On the very crowded bus ride home, I could smell the essence of gym-socks and super funk wafting up from my bag of goodies. I’m sure my commuter buddies were loving it. I sure was!

Live Shots: Bonaparte at Public Works

0

I felt a little bad about leaving one of my friends by himself, while I squeezed around snapping photos of Berlin’s Bonaparte last night at Public Works. He lives in Concord, works in a meat department, likes hunting and riding dirtbikes. Which is to say, our interests don’t necessarily overlap. He refers to the last show I took him to – Bear in Heaven at Rickshaw Stop – as “the Ron Burgandy band,” for obvious reasons that continue to elude me.

Bringing him to Bonaparte was partly a joke, in the same way we went to that vegan soul food restaurant (Ed. note – Souley Vegan) but I didn’t tell him until the last minute. Just to get a reaction. After Bonaparte’s first few songs I found him in the center of the crowd and checked in. “It’s kind of weird,” he said.

As far as understatements go, that one was adorably charming. While Bonaparte’s music is relatively straightforward, its performance is not. To start the show, Tobias Jundt ambled around the crowd in Public Works, wearing a faux-tribal pygmy* headdress straight off a SBTRKT album cover, eventually picking up his guitar as if it were a Coca-Cola bottle that fell from the sky or some other entirely foreign object.

When it came time to speak, he yelled one of the band’s catch phrases into the mic: “Are you ready to party with the Bone-a-party!” The crowd cheered, but not loud enough, and he gave it a few more shots. There was no real warm up band, so the cliche “I can’t hear you!” routine was probably appropriate, but in any case, that was the only contrivance of the night, as the band proceeded to follow surprise with shock throughout its set, supported by a revolving cast of characters including…well…that’s what pictures are for (see above gallery).

But don’t be misled, the theatrics weren’t there to distract from subpar music. These punks create eclectic, danceable rock that’s immediately catchy, particularly because Jundt has an ability to fuse familiar concepts with a fresh edge. “I wanna shoot my ego down,” he sang, and I copied those lyrics on paper, followed by the word “cover,” assuming it to be just that. But as far as I can tell (and I may be wrong,) the familiarity is just liberal bits of Hendrix and Wingfield, with some Freud slipped in to make an original classic.

The insane eye candy on stage (popping marshmallows, lollipops, and fruit into audience members’ mouths, stage diving unannounced, and inventing all sorts of new fetishes) during the show was mostly an extremely appreciated bonus.

On “Fly a Plane Into Me” – a desperately romantic kamikaze come-on of a song – the band kept the energy level way, way up, unaccompanied by the additional clowning, vamping circus members. Although, there probably wasn’t anything special or austere about that tune; it’s more likely that was an opportune time for rest of the crew to switch costumes, get the electrical tape pasties just right, and refill their mouths with fake blood.

*It wasn’t until after the show, seeing the diminutive rocker off stage, that the Napoleon connection – at least height-wise – made sense.

The performant: Lucky buggers

0

Fortunate forays into entomophagy and Éire

In the estimable 1885 tome Why Not Eat Insects? (charmingly reprinted by Pryor Publications) Vincent M. Holt puts forth a simple culinary challenge, not in the contrarian vein of Jonathan Swift’s “Modest Proposal,” but apparently in earnest. Pointing out a few certain truths about bugs and arachnids often overlooked by the squeamish (their undeniable resemblance to crustaceans, their clean eating habits, and ready availability), Holt goes on to describe with epicurean delight the taste of butter- sautéed locusts and an equally buttery wood-louse sauce.
Entomophagy expert Daniella Martin whose well-documented fascination with creepy-crawly cuisine began with an encounter with “The Eat-A-Bug Cookbook,” by David George Gordon, gave a cooking demonstration of tempura-battered bugs rather appropriately in front of the Ripley’s Believe it or Not Museum. Fisherman’s Wharf may not be a place especially known for enterprising culinary effort, but there certainly was foot traffic aplenty, and surprisingly, no shortage of volunteers to nosh from Martin’s unique “menu.”

Martin, a disarmingly charming hostess with a well-practiced patter gave a brief primer on prep (burning the hair off the tarantula with Bacardi 151, for instance) as she dunked her crispy critters in a pocket-sized fryer. The more intimidating insects were devoured first, since downing a scorpion tail imparts more bragging rights than a comparatively tame cockroach, and certainly there’s more meat on ‘em. In fact, from my vantage point, the pristine flesh of an Emperor scorpion looked very much like the other other white meat—and if Martin has her way, that might be exactly what we’ll be calling it in a few years.

There was no bug-eating in evidence at Amnesia on St. Pat’s, but plenty of lucky buggers milling about all the same. Just missed Sean Hayes by a whisker, but grabbed a front row spot just in time for Kelly McFarling. Accompanied by Tim Marcus on guitar and her own banjo, she shimmered effervescent through a short set of songs off of her debut album “Distractible Child,” including a lovely rendition of her hometown lament, “Atlanta,” which she performed as a duet with Megan Keely. After a tip of the hat to the old sod with a well-received cover of U2’s “One,” she surrendered the stage to The Barbary Ghosts, who sang a rollicking set of sea chanteys and drinking songs—both traditional and originals. Eminently danceable gems such as “I’se the B’y,” rubbed elbows with “Whiskey You’re the Devil,” and “Danny Boy” evoking a proper Irish spirit, though the Ghosts, whose ranks include Amnesia owner Shawn Magee, all actually hail from various corners of the US.

Speaking of evoked spirits, Shameless Seamus and the Aimless Amos’s managed to channel both the raucous unpredictability of a mid-’80s Shane McGowan gig and a Hobo junkyard band just tumbled from a rattling boxcar with a stage full of musicians including a Bouzouki, not enough microphones, some onstage moshing, and a well-timed stage dive or two. A leave no-blarney-stone-unturned setlist included Pogues’ classics (“Sally Maclennane,” “Dirty Old Town”), Irish folk tunes (“The Rattlin’ Bog”), and crowd-pleasing sing-alongs (“All For Me Grog”). One part Éire, one part alt-Americana, one part pure San Franciscan, the rollicking rowdies proved the perfect antidote to the panicked desperation that so often characterizes the dregs of “amateur night”, for which we were all lucky. Slàinte.

Bachelorette’s computer folk lands in Oakland this weekend

0

Ask the initially shy New Zealander Bachelorette how she makes music, and you’ll get a fascinating mouthful.

“Some of the stuff I make, it’s almost psychedelic disco, other times I think the music is quite folky,” she begins, “in that kind of computer-based way.” Pausing she then adds, “Lately people have asked me to describe the style and I describe it as computer folk. The computer is my folk instrument. It’s just me on stage and I have a couple of computers and samples and a guitar, a lot of sampling and looping live – I construct the songs differently every time I play, so there’s an element of improvisation.”

Recorded, at least on her self-titled LP released in 2011 on Drag City, the songs are at once soothing and eerie – Bachelorette (aka Annabel Alpers) lets her voice echo over pulsating synth just long enough to create alien unknowns, light-years beyond the realms of modern folk. In songs such as “Polarity Party” she could have slipped in the Drive soundtrack undetected, yet the very next track “Sugarbug,” which begins with the tinkling of a toy piano, would never have worked with all that ’80s-cool smoothness. Her voice subtly hits emotional high notes here, and the slowed-down-to-a-crawl procession of keys and solitary drum beats build to a shimmering crescendo. Then the album takes another turn with Velvet Undergroundian “The Last Boat’s Leaving.”

http://www.youtube.com/watch?v=cU_lh7ZZKjM

This casual variety should be of no real surprise once Bachelorette’s background is examined. She grew up in NZ adoring the Beatles, then as a teenager began exploring the local underground scene, discovering bands on the Flying Nun label like Tall Dwarfs, also finding a lifelong love of atmospheric 1980s act Cocteau Twins and ’60s psychedelic music, Syd Barrett, and the Kinks. She joined a teen band called Hawaii 5-0 that was “very unambitious psychedelic surf pop.”

Then came a shift in theory. She earned a bachelor of music, majoring in composition and focused mainly on computer-based composition. “I enrolled so I could use computers because I had ideas I wanted to make using multitasking before I knew how to use them.” She then spent an honors year studying in Auckland.

“That’s where I started making music for Bachelorette,” she explains. “I got distracted when I was studying composition because we had to make this art music, I probably would’ve failed if I made pop music – I spent four years having to make pretentious academic art music.”  Though she notes, “it was good training because it broke me out of my songwriting habits from bands before university. I ended up getting waylayed for four years then started making pop music again.” Bachelorette is slightly experimental but still has that pop sensibility, she says. Agreed.

She chose the name “Bachelorette” because of its simplicity and gender indication. And she just liked the way it looked when she it written on a piece of paper. “I thought the word written down suited the minimalist aesthetic [of my music] and of course it’s fitting because I’m a woman making music on my own.”

http://www.youtube.com/watch?v=CE_2bJuSKbY

Lately, she’s been listening to a lot of folk music from China and parts of Africa. “I’ve never been any good at trying to replicate other sounds, I try to filter and turn it into my own thing. I imagine that listening to indigenous folk music would somehow influence my own music but it’s hard to say how.”

Now based out of New York when not out playing shows (though she still goes back to NZ every year), Bachelorette has been touring the U.S. since the start of 2010, with a brief touchdown in Baltimore last week to help a friend mix his own album. After that she’ll pick back up on tour with Magnetic Fields, which brings her to Oakland this Saturday.

“It’s really great playing to their audience because they’re a really great band with a great following. And it’s nice to play to new audiences.“

Bachelorette
With Magnetic Fields
Sat/24, 8 p.m., $35
Fox Theater
1807 Telegraph, Oakl.
(510) 548-3010
www.thefoxoakland.com

Street Threads: Look of the Day

0

Today’s look: Lexi, Dolores Park

Tell us about your look: “Your graffiti is tight as fuck.”

Get to know: Kishi Bashi

0

If you’re planning to hit the Fillmore tonight, I can only guess tickets were carefully debated then purchased mainly in order to see fantastical live sets by the magic indie sprites of Deerhoof and/or headliners of Montreal. But might I suggest getting there early for opener Kishi Bashi?

I caught his act last night at Slim’s (it was the same lineup as tonight — the three acts are on tour together) and was glad I did. Others in the crowd were pleased as well, yelling “I love you!” during the few quiet moments in between full blown song attacks.

If you’re not already turned on to his charms, the solo multi-instrumentalist and of Montreal touring member is basically (and I mean basically, as in reality there’s always more to the story) a male tUnE-yArDs looping violin instead of drums. He’s got the same frenzied charm, the same echoing tribal holler, and the same endless loops climaxing in a dizzying fashion. Unrelated but equally notable, he had snazzy bow-tie on last night, and told the crowd he’d just learned to tie it that night, though that was likely a fib as I see he’s wearing it on tour. No matter, more girly sighs and hoots. 

Here’s Kishi Bashi recorded:
http://www.youtube.com/watch?v=-JqDgrnaMC4

And here he is live, performing “Manchester”:
http://www.youtube.com/watch?v=A-IJbaNZc9I

And here he is just one week ago in Texas:
http://www.youtube.com/watch?v=I-0vJIYc_cQ

Enjoy.

Kishi Bash
With Deerhoof, of Montreal
Thurs/22, 8 p.m., $22
Fillmore
1805 Geary, SF
www.thefillmore.com

Lee’s charges against Mirkarimi leave questions unaddressed

159

UPDATED BELOW WITH “RESPONSE” FROM LEE’S OFFICE: Sheriff Ross Mirkarimi was formally suspended today and served with “Written Charges of Official Misconduct” that for the first time outline why Mayor Ed Lee believes Mirkarimi should be removed from office, although they leave unaddressed many questions that Lee has been so far been avoiding answering.

The eight-page legal document prepared for Lee by the City Attorney’s Office briefly lays out the process (a hearing before the Ethics Commission, its recommendation, then action by the Board of Supervisors within 30 days thereafter) and the definition of official misconduct, focusing on this phrase: “conduct that falls below the standard of decency, good faith and right action impliedly required of all public officers.”

That vague language is fairly new and has never been considered or interpreted by any court, and the city acknowledges there are at least “two reasonable interpretations” of its meaning: “This phrase could be either (a) an example of misconduct that, by definition, relates to the duties of all public officers, or (b) an independent, alternative category of official misconduct that does not require a connection to an officer’s official.”

Lee’s attorneys argue that they don’t think a direct connection to an official’s duties is required, but they acknowledge that’s how it could be interpreted, so they try to make that connection as well, often by relying on evidence and testimony that hasn’t been vetted by the courts or by making connections likely to be challenged by Mirkarimi’s new attorney, David Waggoner.

The document recounts the “Wrongful Conduct by Sheriff Mirkarimi,” starting with his “acts of verbal and physical abuse against his wife, Eliana Lopez” on New Year’s Eve, continuing through the criminal charges filed against him on Jan. 13 with a focus on allegations that he dissuaded witnesses and “encouraged them to destroy evidence” and with his March 19 sentencing for false imprisonment, concluding the section with a reference to the newspaper quote from Don Wilson, president of the San Francisco Deputy Sheriff’s Association, that the plea had hurt morale in the department.

The DSA actively opposed Mirkarimi’s election, just as it did his predecessor and mentor, Michael Hennessey, in every contested election in the legendary progressive sheriff’s 32-year career, so it seems a little strange to rely on such a self-serving assessment. But that isn’t the only point that raises questions and potential challenges, particularly as they try to argue that Mirkarimi’s actions related to his official duties.

Part of Mirkarimi’s sentence included one day in jail, for which the judge said his booking qualified, meaning that he never actually was inside a cell. But Lee’s attorneys argue without explanation that, “Sheriff Mirkarimi’s one-day sentence to county jail undermines his ability to receive inmates and to supervise the County jails.” It certainly didn’t seem to for former Sheriff Dick Hongisto, who was jailed for several days after being held in contempt of court for refusing to carry out the International Hotel evictions, but who never faced sanctions from the mayor.

The first and seemingly strongest connection it makes between his actions and official duties listed was, “Sheriff Mirkarimi misused his office, and the status and authority it carries, for personal advantage when he stated to Ms. Lopez that he could win custody of their child because he was very powerful,” a charge taken from the videotaped testimony that Lopez gave to his neighbor Ivory Madison.

Lopez’s attorneys have noted that she made the video to paint Mirkarimi as abusive in case there was a custody battle, as she says on tape, and that she was seeking confidential legal help from Madison and never intended for it to be released. But her and Mirkarimi’s attempts to retrieve it are labeled in the charges as efforts to “encourage the destruction of evidence regarding criminal activity,” which they argue also relates to his duties as a law enforcement officer. This issue is likely to be a matter of serious debate during the Ethics Commission hearing.

Finally, the document argues that because the Sheriff’s Department can enforce protective orders in domestic violence cases and funds programs for domestic violence perpetrators – and because it sometimes interacts with the Adult Probation Department, given Mirkarimi’s three-year probation – that the charges directly relate to his official duties.

Clearly, these are complicated issues that raise a variety of questions, which is why it was disconcerting yesterday when Lee announced the charges to a room packed with journalists and refused to take any of our questions. City Attorney Dennis Herrera didn’t speak at all, simply standing behind Lee looking stone-faced and perhaps a bit uncomfortable.

Earlier today, I sent Lee and his Office of Communications a list of questions that I think he has a public obligation to address given the drastic action that he’s just taken against an elected official. I haven’t received a reply yet, but I’m including my comments here for you to consider as well:

 

I was disappointed that Mayor Lee took no questions during yesterday’s press conference, because I had several that I’m hoping you can address for a long story we’re writing on the Mirkarimi affair for our next issue. I’m hoping to get answers by the end of the workday on Friday.
– Will Mayor Lee release the memo he received from the City Attorney’s Office on Ross Mirkarimi and whether his crime rises to the level of official misconduct? [Note to reader: That advice memo is different than the charges I discuss above.] It is solely under Lee’s authority to waive attorney-client privilege and release the memo, as even Willie Brown urged him to do in his Chronicle column on Sunday. And if he won’t release it, can he explain why?
– Lee told reporters last week that he would explain why Mirkarimi’s action rise to the level of official misconduct if concluded they did, but Lee didn’t offer that explanation yesterday. Why does Lee believe actions that Mirkarimi took before assuming office, which were unconnected to his official duties, warrant his removal from office? Is Lee basing his decision primarily on the crime Mirkarimi committed on New Year’s Eve or his actions and statements since then? What specific actions or statements by Mirkarimi does the mayor believe rise to official misconduct?
– Why didn’t Lee consult with Eliana Lopez or her attorney before making this decision? None of the purported evidence in this case has been scrutinized by the courts as to its veracity or completeness (that would have happened at the trial). The only two people who know for sure what happened that night are Ross and Eliana, so why hasn’t Lee asked either of them what happened?
– Why did Lee set a 24-hour deadline for Mirkarimi to resign or be removed? Did Lee offer Mirkarimi anything in exchange for his resignation, such as another city job?
– Who did the mayor consult with about whether Mirkarimi should be removed before making this decision? Were any members of the DSA or SFPOA consulted? How about Rose Pak or other members of the business community? How about Michael Hennessey? Did he seek input and advice from John St. Croix or anyone from the Ethics Commission?
– It’s my understanding that the mayor wasn’t required to remove Mirkarimi from office without pay pending his official misconduct hearings, that Mirkarimi could have either remained in the job or been suspended with pay. Why did Lee feel a need to place this additional financial pressure on Mirkarimi to abandon the office that voters elected him to? Is he concerned about the impact of his decision on Eliana Lopez and Theo?
– Mayor Lee has prided himself on being someone focused on “getting things done” without creating unnecessary political distractions. So why does he want to drag out this distracting political drama for another few months? Why does he believe that it’s a good use of the city’s time and resources to be a forum for airing details of a sordid conflict that has proven to be a divisive issue? Is he worried about exposing the city to liability in a civil lawsuit if his charges against Mirkarimi are later found to be without merit?
– Does Lee intend for Vicki Hennessy to be the permanent replacement for Mirkarimi if the official misconduct charges are upheld? Will he take into account the will of the voters in electing Mirkarimi, someone who had pledged to uphold and continue the legacy of progressive leadership of the Sheriff’s Department as embodied by the long career of Michael Hennessey? Given that the DSA consistently opposed Hennessey at election time, and that in this election voters rejected the DSA’s choices, why is Lee substituting his own judgment and political preferences for those of San Francisco’s voters? Why did Lee feel a need to take preemptive action against Mirkarimi rather than simply allowing voters to launch a recall campaign, which is the typical remedy for removing politicians who have gone through some kind of public scandal?

UPDATE 3/26: Mayoral Press Secretary Christine Falvey told the Guardian that we would have answers to these questions by Friday, but then sent the following message as a response late Friday afternoon: “Steve, After looking at your questions, it seems Mayor Lee addressed much of this in his comments on Tuesday. After Sheriff Mirkarimi pleaded guilty to a crime of false imprisonment, Mayor Lee made a thorough review of the facts, reviewed his duties under the Charter and gave the Sheriff an opportunity to resign. When that did not happen, he moved to suspend the Sheriff. For any information regarding what is in the charges, I will refer you to the City Attorney’s office and their website that has all of the public documents posted.”

For the record, Lee has not addressed these questions nor made any public statements on whether he will release the advice memo (as even Willie Brown publicly urged him to do) or explained why he’s keeping that document secret. And we haven’t even had the opportunity to ask the mayor these questions directly because he hasn’t held any public events since announcing his decision to remove Mirkarimi.

SXSW Music Highlights: Photographer Brittany Powell’s snaps

0

In addition to our other coverage of the SXSW music festival, the Guardian also had photographer Brittany Powell pounding Austin’s pavement in search of great music. Here are some of her photos and impressions from the week.

BRITTANY’S SXSW DIARY

Day One: 3/13/12

Checked out Star and Dagger and High on Fire at Emo’s East. The show was packed, free, and had a mini ramp that was going off all night. Quite the scene. Lindsey Kuhn, makes beautiful silk screened posters for Emo’s Austin that date back twenty years. The show was all ages, so even the youngsters were out!

Star and Dagger was pretty fun and rocking… their guitarist Sean Yseult used to be in White Zombie.  Lastly, High on Fire’s first show of seven at SXSW was as heavy as ever.

Day Two: 3/14/12

Everything was chaotic. I saw lines that stretched for blocks to see bands like Built to Spill and even the Bay Area’s Trash Talk. I ended up at a metal show at Dirty Dog bar and saw Oakland’s Saviours, San Francisco’s Black Cobra, and North Carolina’s legendary Corrosions of Conformity.  

Streets were crowded in Austin, reminding me of Mardi Gras… but the weather was great and it really seemed that everyone was in great spirits enjoying the music.

Day Three: 3/15/12

Thursday night I checked out SF booking agency Leafy Green’s showcase at the Bat Bar. Sleepy Sun played an excellent blend of dreamy psych rock. Singer Bret Constantino has a sexy, almost Jim Morrison-like presence. 

My favorite of the night was Long Beach based Crystal Antlers, who were previously signed with the now defunct Touch and Go records. They had a super trippy dancer join them on stage while they rocked out with incredible force. This band is not to be missed (and apparently they now need a new label)!

Day Four: 3/16/12 

I stopped by the Knitting Factory’s showcase at Rusty’s. There I heard the Atlanta, GA four piece punk band The Biters. They were awesome and let’s just say their lead singer Matt has really dirty mouth!  Worth giving a listen if you’re a Johnny Thunders or a Sex Pistols fan…

Following Rusty’s I headed over to Bar 96, where I managed to push my way into the packed Dinosaur Jr show.  This show was probably the best show I saw all week.  They were amazing, playing nostalgic songs like “Feel the Pain.”  It was a thick, heavy, stoner rock show and I have to say: Bassist Lou Barlow came pretty close to stealing the show from guitarist J Mascis. Felt pretty lucky on this one!

On the way home from the Bat Bar, we overheard the melody from “Just Like Honey…” my personal favorite tune from the Jesus and Mary Chain, who were playing a packed show at the Belmont. Slyly using my photo pass to sneak in the back door, we caught the last five songs of their set.  Such a sweet surprise!

Day Five: 3/17/12

I spent the day at the MOG showcase. What a day!  Things kicked off with Southern CA based band Silent Comedy, who put on quite a show and then it was killer blues musician Gary Walker Jr.

Other bands I loved were Portland’s Blitzen Trapper and Oakland-based Howlin Rain…and definitely headliner The Roots!