SFBG Blogs

Alice Russell has our ears ringing

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By Todd Lavoie

My ears might still be ringing, but it’s totally worth it, I tell you: checked out English quadruple-lunged soul powerhouse Alice Russell’s white-hot-and-beyond groove-a-thon last night, March 11, at Mojito, and it was the best decision I’ve made all month.

Girl could sing the ass clean off everybody in that room, honestly, and so that’s exactly what she did – two explosive 45-minute sets and an encore later, she’d leveled that place. Best part of all? Russell pulled it all off with buckets of charm, quipping and chuckling and getting on with the crowd like a house on fire: no diva moments, no attitudinal posturing.

And while I didn’t exactly take a poll afterwards, I’ve got a sneaking feeling most folks in attendance felt the same way I did: we’d witnessed something very, very special. If you didn’t make it to either show (she also slammed the Mojito crowd this past Monday, March 10), you’re free to kick yourselves, but don’t get too carried away: there’s a good chance Russell might be coming back again soon. Most likely, when she does, she’ll be hitting Mojito once more, having played there a few times already and having clearly cultivated a love-love relationship between artist and venue.

Brides of March attack!

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Photojournalists Lisa Pickoff-White and Rhyen Coombs put together this nifty little vid for us of last weekend’s 10th annual wild Brides of March downtown invasion:

Lessons for the U.S. in Bolivia

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LA PAZ, BOLIVIA — I’ve spent a lot of time in recent months pondering people power, both for my article on the fifth anniversary of the Iraq War and in preparing for my trip to Bolivia, where since 2000 popular movements and direct action have ousted two presidents, thwarted water and natural gas privatization efforts, and brought former coca grower Evo Morales and his MAS (Movement Toward Socialism) Party to power.

Here in Bolivia, where everyone down to the poor street vendors are organized into unions and federations, the people can shut down entire cities or critical infrastructure for weeks on end. Solving the myriad problems facing this poor country may still be difficult, particularly with Morales facing a U.S.-backed upper class in revolt over the new proposed constitution, but there is a sense of real empowerment here, of true democracy in action.

In the U.S., we seem to have forgotten that definition of democracy, instead content to define it as what we do in voting booths, choosing between the two parties every couple years, or bitching about the government in conversations or blog posts. Five years ago today, we saw an exception to that approach on the streets of San Francisco.

But what if we didn’t go home? What if it was like Cochabamba, Bolivia in 2000, or El Alto and other departments spilling into La Paz in 2003, and the people stayed in the streets, absorbed the police and military crackdown, and developed into a broad uprising that drew in the middle class and made governing the country — let alone launching an ill-advised war — an untenable position?

It’s tough to imagine that scenario in the U.S., isn’t it? But whereas President Bush has arrogantly condemned Bolivia for what he sees as “a breakdown in democracy,” I think there are important lessons that we gringos can learn from our Bolivian brothers and sisters. Here, with no power beyond direct action, they have fundamentally altered the course of their country. But we in the States, with all our wealth and power, have allowed our government to illegally run amuck in the world, causing irreparable harm. And I think that’s something we should all ponder today and in the months ahead.

p.s. To read a travel journal of my five-week trip through Bolivia and Peru, visit my personal blog.

South By Culture: P.S.

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Culture editor Molly Freedenberg hits SXSW for the first time to explore the festival’s extracurricular aspects. For Music Editor Kimberly Chun’s take on SXSW’s tunes, click here.

I made it onto my new friend Rachel’s blog at KCRW! Check out “Best Non-Musical Moment.” I can assure you, the feeling’s mutual.

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Me and my new SXSW BFF Rachel Reynolds, closing out the weekend with Chromeo.

South By Culture: Highlights

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Culture editor Molly Freedenberg hits SXSW for the first time to explore the festival’s extracurricular aspects. For Music Editor Kimberly Chun’s take on SXSW’s tunes, click here.

Some of my favorite non-musical moments at SXSW:

The “Yard Sale”

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Ironic and slightly racist Texas T-shirt? Priceless.

My first day in town, my host (a friend of the family) and I came across what can only be called a Yard Sale in the most literal definition of the word. What this really was? Entrepreunerial brilliance. Rather than curse the thousands of indie rockers who descend upon his city every year, one Austin resident decided to capitalize on it. Before SXSW, he scoured thrift stores for hipster-friendly items like brightly-colored cowboy boots, ironic T-shirts, snap-front Western shirts, and leather jackets. Then he set up his wares in his front yard for three days during Southby – and priced everything three or four times higher than he paid. It was one-stop Southby-chic shopping. If only those green calf-length boots came in my size …

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If only I wore a 9B.

South By Culture: Home again … and advice for next year

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Culture editor Molly Freedenberg hits SXSW for the first time to explore the festival’s extracurricular aspects. For Music Editor Kimberly Chun’s take on SXSW’s tunes, click here.

I’m finally back from South by Southwest. And by “back” I don’t only mean “in San Francisco.” The latter happened early Sunday morning. But I only recovered, brushed my teeth, got out of bed, and unpacked last night. Yes, it was that much fun, and that exhausting. (Yes, I also have a habit of squeezing every bit of fun out of every moment I can, which often leads to days of bed rest, but that’s another story…)

Now that I have some time to reflect, I can say deciding to go was one of the best ideas I ever had. (Way better than paying $180 to see Buffy the Musical.) First off, Austin’s rad. Now I completely understand why everyone I know is moving there. Rent is cheap. People are interesting. It’s got the politics, art, music, and culture of Portland and San Francisco but without the rain and gloom of either; and it’s got the weather of Los Angeles, but without the smog, the sprawl, or the especially high ratio of douche-bags to cool people our sister to the South has got.

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The unofficial SXSW (female) uniform: summer dresses and cowboy boots.

And second, the festival itself. How do I explain this? It isn’t simply that there’s music everywhere. It’s that everyone is there because they love being there. This is summer camp for music geeks. Or Sturgis. Or (don’t kill me for saying this) Burning Man. Southby isn’t just a big, spread-out Coachella or Bonnaroo – both of which are contained, commercial festivals in the traditional sense. This is more of a temporary culture – where every venue is dedicated to playing music from morning to night, and where every person there is so dedicated to music they want to spend several days immersed in it.

In fact, I found the experience of being at Southby much the same as being at Burning Man: intending to go one place and ending up at another, running into people I never expected to see, leaving the house at 11 a.m. with the intention of coming home for dinner and not seeing my bed until 4 a.m. Drinking early, forgetting to eat, thinking I’d found the most inspiring thing I’d ever seen and then, two blocks later, finding something even more inspiring. Sure, at Burning Man it’s guerrilla art or random performance or the joy of seeing Barbie Death Camp for the first time – at Southby, it’s rock bands that sound like Led Zeppelin (Parlour Mob) or discovering the punk band I’m listening to actually sings one my favorite song on an old, unlabelled mix tape (Meat Men) or finding my way into the Perez Hilton party (not as exciting as it sounds) with a writer friend from L.A. But the fundamental feeling is the same: riding the wave of the unexpected. I bet you could even draw parallels between relationships at Burning Man – how some are formed and how some are ruined – and those at Southby.

And just like Burning Man, Southby isn’t for everyone. The pace is breakneck. The beer is unlimited. And if you don’t like crowds, walking, or loud noise, it could be your biggest nightmare. But for people like me, it’s an absolute fantasy.

Which is to say, yes, of course, I’m going to go again. But I’ll do a few things differently. Here’s my advice for other Southby virgins, based on what I learned this year:

Phosphorescent shimmers with strange beauty

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By Todd Lavoie

Old Weird America, indeed – the spectral-twangin’, gorgeously raggle-taggle ghost-folkster Matthew Houck, a.k.a., Phosphorescent, will be throwing mad shadows upon the walls of the Independent Sunday, March 23, when he takes the stage in support of his October-released spine-tingler Pride (Dead Oceans).

Now on album number three, the Athens, Geo./Brooklyn-based Houck has expanded beyond the largely go-it-alone parameters of Pride to include a backing band for this tour; should be interesting to see how the deep-in-the-earhole intimacy of the almost entirely self-recorded disc translates to the stage in the form of a full-fledged quartet. Not that there’s much cause to worry: if the guy can bring backwoods-gothic to Bed-Stuy, by crikey, I’m sure he’ll find a way to channel onstage the same gossamer-gospel hocus-pocus that makes Pride such a fascinating listen.

It’s an intriguing proposition, fashioning such distinctly rural sounds while surrounded by so much concrete, but Houck has done exactly that, and quite convincingly as well. This is no pard’ner-grabbing, knee-slapping hoedown, however: instead, Pride arrives in misty drifts, sighing and swaying over pine-cloaked hills, across Civil War battlefields and weed-overrun graveyards. If there’s a trace of Brooklyn on this record, I have to hear it – and while we’re at it, most of the time I’m not picking up too much 21st century here, either. (Other than the production, of course, which is goose-pimplingly exquisite.)

Black Lizard — and Blind Beasts and Malformed Men!

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By Matt Sussman

In honor of the inauguration of the new screening series The Revival House, I recently sang the lavender praises of Kinji Fukasaku’s Black Lizard (1968). But when space is limited, you sometimes can’t cram in every tidbit of trivial erratum. That’s what blogs are for, right?

Fukasaku so enjoyed working with Akihiro Miwa that the two teamed up a year later to adapt another Mishima play, Black Rose Mansion (Kuro Bara no Yakata) for the silver screen. Miwa’s talents as a singer — click here to see a clip of her singing in the movie — are more fully utilized in her role as Ryuko, the sultry house chanteuse of the titular posh men’s club.

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Miwa in Black Rose Mansion

Newsom to small business: Drop dead!

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By Bruce B. Brugmann

And so Mayor Newsom, who wants to run for governor when he still hasn’t learned to manage the city as mayor,
has bestowed the ultimate insult to small business in the City and County of San Francisco.

He has named a City Hall lobbyist for PG@E to the Small Business Commission.

Yes, you read correctly, Mayor Gavin Newsom has appointed Darlene Chiu, a PG@E lobbyst in City Hall, to the SBC.

How in the world does a company that has been screwing small business for decades inside and outside City Hall, stealing our cheap Hetch Hetchy public power for decades and forcing small business and residents to buy its expensive private power, yanking upwards of $650 million a year out of the city’s economy with its high rates, corrupting City Hall for decades with its lobbying muscle, qualify as a member of the Small Business Commission?

We put the issue in a diplomatic question and emailed it to the mayor. His press secretary, Nathan Ballard,
issued this statement this afternoon on Chiu’s glowing qualifications:

“Darlene Chiu was appointed to replace Florence Alberts after her term expired. Darlene has first hand knowledge of the challenges facing small businesses in San Francisco. She grew up working in her family’s these retail businesses in Chinatown, managing nine to l5 employees. She will also bring her knowledge of City government and communications to the Commission, which will be important to the successful operations and promotion of the assistance center.” (As one small business leader told me, “I don’t recall in the requirements of being on the commission that growing up as a child of small business owners quite meets the criteria.”)

No, no, no: PG@E is placing Chiu, via Newsom, on the SBC to help PG@E continue to facilitate the “successful operations and promotion” of further PG@E corruption in City Hall to protect its illegal private power utility in San Francisco. The supervisors can and should move quickly to reject the PG@E appointment.

More: Newsom to the Civil Service Commission: Drop dead. He appointed Mary Jung, a PG@E customer services manager, to the Civil Service Commission.

Meanwhile, as he further cemented PG@E power inside City Hall, he whacked three well qualified and conscientious commissioners: Debra Walker, an artist and activist, from heading the Building Iinspection Commission, Theresa Sparks, a transgender woman and community leader, from running the Police Commission, and Robert Haaland, a labor activist and one of the city’s most visible transgender leaders, from serving as vice president of the Board of Appeals.

Newsom is running for higher office and, as our editorial in tomorrow’s Guardian puts it, “almost everythihg he does at City Hall seems to be aimed not at improving San Francisco but at increasing his odds of moving up in the political world…Why would Newsom be doing this–if he didn’t need the support of PG@E and its allies for his next political step.

“Why would he be directing his appointees to keep out of leadership posts anyone with strong progressive credentials if he wasn’t trying to build new bridges to the developers, the big employers, the police unions and the more conservative interest groups he’ll need for a statewide campaign?” B3

Laid off reporters won’t find Cali’s Spitzer

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Ghost Word has a smart take on what newspaper layoffs mean for Bay Area readers:

Thursday, March 13, 2008

Good Old-Fashioned Reporting led to the Eliot Spitzer Story; Too Bad There Won’t Be Enough Bay Area Reporters to Do the Same

The New York Times deconstructs how it uncovered the Eliot Spitzer prostitution ring story. The Times reporters got the information through good old-fashioned beat reporting. The Attorney General’s office had sent out a press release announcing the break-up of a prostitution ring. There was nothing unusual about that. But reporters noticed that the lead prosecutor in court on March 6 was very high up in the Manhattan U.S. Attorney’s office. That got people thinking.

“No one had talked of the escort ring’s inner workings, and certainly no one mentioned the governor’s name,” according to a story in the Times. “Just one fact piqued interest for some in the room: The lead prosecutor on the case was Boyd M. Johnson III, the chief of the public corruption unit of the Manhattan United States attorney’s office.”

“Later that day, reporters at The New York Times learned of the unusual presence of three lawyers from the corruption unit, including the boss of that division and an F.B.I. agent from one of the bureau’s public corruption squads. The public corruption units often look at the conduct of elected officials.”

“Within hours, the reporters were convinced that a significant public figure was involved as a client of the prostitution ring.”

That’s how reporters get stories. By being around and working sources. That’s the kind of gumshoe reporting that will now be missing all around the Bay Area as virtually every paper has slashed its staff to the bone.

Posted by Frances at 5:53 PM
Labels: Bay Area Newspaper Layoffs, Eliot Spitzer, New York Times

Migden: $350,000 fine for campaign finance violations

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By JB Powell

Word has just come down from the Fair Political Practices Commission (FPPC) that State Sen. Carole Migden and her campaign have agreed to pay $350,000 in fines for 89 different campaign finance violations.

Many the violations have to do with failures to itemize credit-card expenditures. Last July, Assemblymember Mark Leno, who is running against Migden, lodged a formal complaint about that spending.

But it appears that FPPC investigators found numerous other violations, above and beyond Leno’s allegations – including several improper transfers from old committees. Exhibit 2, posted on the commission’s website, states that Migden, her campaign aide Eric Potashner, and her volunteer treasurer, Roger Sanders, twice “failed to timely report receipt” of transfers from Migden’s now defunct Leadership Committee.

The violations relating to fund transfers are especially significant because Migden is currently suing the FPPC to free up nearly $1 million in cash the commission says she improperly transferred from an old campaign account. As we report in the upcoming issue, (“Migden sues the FPPC”) commissioners barred Migden from spending that cash last October. In a public statement issued just after Migden filed her suit in federal court, commission chair Ross Johnson asserted that Migden had already spent “nearly $400,000” of that money. That could mean even more penalties for the embattled senator, as the current settlement announced today does not pertain to the cash in question.

In addition to spending hundreds of thousands of dollars on campaign credit cards without itemizing the expenditures, Counts 57-65 of Exhibit 2 show that her campaign has now admitted to failing to account adequately for more than $300,000 spent between 2005 and 2007.

Counts 81-88 might be the most eye-raising – they detail how Migden and her aide Potashner spent large sums of campaign money for “Personal Use.” From the settlement: “Respondents admit, and corresponding records indicate, that expenditures by the 2008 Senate Committee totaling $16,317.91 were neither reasonably nor directly related to a political, legislative, or governmental purpose. Instead, these expenditures conferred a substantial personal benefit on Respondents Migden and Potashner.”

Neither Migden nor her attorney could immediately be reached for comment.

FPPC commissioners will meet Thursday, March 20, in an emergency session to vote on whether to approve the settlement agreement. As for Migden’s lawsuit, a hearing is scheduled for April 1st in the US District Court.

UPDATE: Reached for comment later, Migden’s attorney, James Harrison, told us that “in several instances [Migden and Potashner] took out the wrong credit card” when making personal purchases. He said they both reimbursed the campaign for the misused funds.

Harrison also pointed to passages in the settlement documents that show that Migden herself, not Leno, brought these matters to the attention of regulators last year. Leno has been taking credit in recent weeks for exposing Migden’s credit card violations in a complaint he filed last August. But in the conclusion to Exhibit 2, FPPC staff state that Migden “self-reported” her problems after previous FPPC fines prompted her to conduct an audit of her books.

“This is a textbook example of how we want a public official to act.” Harrison argued. “Sen. Migden identified a problem and she worked diligently with the FPPC to resolve it … She’s standing up and taking responsibility.”

Obama throwback T tosses me back to my high school years

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OK, true confessions: I attended Punahou school in Honolulu, Hawaii – and I hated it. But seriously, Barack Obama is doing more than blowing my mind with his performance as a candidate – I’m also having to rethink my dreaded junior high and high school years at this elite prep institution that essentially catered to the islands’ missionary/colonist spawn and the wealthy. Yeah, yeah, yeah, Obama – and even I – also went there, and our families certainly weren’t soaking in it. (And boy, was I reminded of that all the time by my parents.) Still, can that miserable time actually be considered remotely…cool? Truly, this Neighborhoodies’ ringer T-shirt – oozing nostalgia for a Punahou I’m still ambivalent about – is weirdest fashion item I’ve ever lusted after.

‘Who’s Krazy?’ Rapper Ise Lyfe raises questions with his new one-man play

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By Jamilah King

The definition of blackness is so highly debated that even black folks have a difficult time defining it. Oakland-raised rapper Ise Lyfe looks at blackness and some of these questions associated with the concept in his one-man play, Who’s Krazy? Told through spoken word and monologue and accompanied a ’70s soul and hip-hop sounds, Who’s Krazy? revolves around Victor, a 31-year-old African American man who runs from anything he considers “black.” Victor’s journey takes a staggering detour after he has a mental breakdown and locks himself in his basement. I spoke to Lyfe recently about his work.

SFBG: What have you been up to since the release of your last album?

Ise Lyfe: Mainly I’ve been traveling and performing, teaching a bit. I started an educational company that basically explores the roots causes of violence in our community. It got to a point where I realized that the material being taught in our schools didn’t relate to the realities that a lot of people face at home or in real life. So we created a program that teaches young folks about the history of violence against women, our internal impulses toward violence and the systemic causes of violence in our communities that we may not think about in our daily lives.

I’ve also been working on an album. The project is called Prince Cometh, and it’s probably one of my proudest accomplishments to date. I’m releasing it independently and it should be out in May or June.

SFBG: Now let’s talk about your latest project, Who’s Krazy? Where did the idea come from?

IL:
Since I’ve been traveling a lot, I always encounter interesting people. A while back I was speaking on a panel at Smith College, and the guy sitting next to me was this brotha who was a total tight ass and seemed hella removed from his blackness. It was a trip.

Best Boredoms interview ever: Eye gives up the goods on eve of Fillmore show

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The Boredoms‘ Eye Yamantaka is ordinarily a man of few words, but the Japanese experimental music veteran let the flood gates fly open via my e-mail interview. No snores here – just expect to whet your appetite for the Boredoms‘ Tuesday, March 18, show at the Fillmore. Ex-Black Dice drummer and current Soft Circle impressario Hashim Kotaro Bharoocha provided the translation.

SFBG: The new album is amazing — it sounds like positively symphonic! What was the idea, goal, or focus?

Eye Yamantaka: Recently I have been getting into symphonic progressive rock. I
want to buy music like that, but I don’t know who’s making it. I’m also a fan of progressive heavy metal from Scandinavia. On the album, I am taking a minimalist approach by manipulating sounds on the turntable (I am using church pipe organ music by Jon Gibson).

The sub-patterns from the church organ sounded like human voices to me, so we had that scored, and had an actual choir sing it. We weren’t doing anything on Christmas Eve, so we decided to do a show that day, and the choir fit the night perfectly.

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SFBG: I remember interviewing Eye and Yoshimi years ago in the late ’80s in San Francisco. How would you say the band has evolved since then? What has your muse been telling you? Where have your
interests led you?

EY: The band went through significant changes on SPR and GO!!!!!! We started to take a minimalist approach from SPR, but after this album we took that approach to the extreme. I think that those records were a rebirth point for us. After those records, we got rid of the guitar and bass in the ensemble, and I started to DJ a lot more (I was DJing a lot more than performing with the band). We started to think in terms of performing as if we were a record player, rather than playing as a normal band.

Clubs: Got soul? Succumb to Soul Knockout

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Scenesters go with the soul at Missouri Lounge. Photo by Joshua Rotter.

By Joshua Rotter

If it’s a soul night – be it Memphis, Philly, or Northern – I’m the first on the floor, spinning, flipping, and back-dropping. Still, I’ve never fully understood why white people, myself included, so identify with the genre – and seeing The Commitments several times has done little to clarify this for me.

So like a modern-day Penelope Spheeris, I took an anthropological adventure – to what felt like 20,000 leagues under and across the Bay via BART – to Berkeley’s Missouri Lounge for Soul Knockout to gain a better understanding of this phenomenon.

About to hit its first anniversary, Soul Knockout is hosted by DJ Hot Grits, Sweats the Bed, and seasoned veteran E Da Boss (Slept On Records) at a renovated dive bar that has become a pit stop for hip white kids, while still remaining down-home.

SPORTS: A new Giant’s phenom

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By A.J. Hayes

PHOENIX — Norman Rockwell would hardly recognize today’s big league newbie.

The stereotypical hayseed wearing an ill-fitted suit and aw-shucks grin that Rockwell depicted in his “The Rookie” (1957), is much a thing of the past. If he really ever existed.

Today’s spring phenoms, more often than not have wallets larded with million dollar signing bonuses. They tool around in snazzy sports cars and idle away the hours plugged into their I-Pod thingies.

The kids today!

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On first glance you might think Giants rookie infielder Travis Denker is just another pampered pup – especially when you hear that he inked his first shoe deal at an age when most kids are still trying to coordinate their Granimals.

But don’t jump to conclusions.

Yes, its true Denker did land his first professional sponsorship as a mere four year old – more on that later – but he’s also a bubble gum-snapping, run-out-every-ground-ball 22-year-old whirlwind that makes even the most jaded fans feel gooey inside.

“You can tell just by the way he stands at his position that Denker looks like a ball player. He could be Al Dark or Eddie Stanky,” gushed my 72-year-old friend Joel who’s seen every Giants club dating back to the mid-1940s. “He exudes a certain grittiness. He looks like he’s been in the majors for 15 seasons, not 15 minutes.”

The truth is the 5-foot-9, 193 pound Denker has never played a game in the big leagues yet, and in fact hasn’t played above Single-A ball. There’s no guarantee he will blossom into a big leaguer.

But the way Denker performed late last season for the San Jose Giants – helping the minor league club to the California League Championship – and the way he’s looked in major league camp this month, the scrappy Denker has optimistic San Francisco fans recalling the likes of Robby Thompson, Chris Speier and Dirty Al Gallagher.

“The pitchers are smarter and the game is much faster at the major league level,” said Denker. “But I feel I belong.”

Travis Denker

The Giants are in a rebuilding mode and are loading up on young talent. Other untested players who have looked good in camp include outfielders Clay Timpner and John Bowker and infielders Emmanuel Burriss and Brian Bocock.

Of all of them, the hard-nosed Denker appears closest to the majors.

Making the second baseman’s rise so much more enjoyable is the fact that the Giants have the arch-enemy Los Angles Dodgers to thank for him.

After going more than 20 years between trades, the century old rivals swapped players last August. The Giants sent veteran pinch-hitter Mark Sweeney to Los Angels in exchange for Denker.

Though he was battling some nagging muscle strains at the time, Denker batted a blistering .400 (10-for-25) over the Little Giants final regular season seven games. In seven post-season contests he batted .480, with 3 home runs and 7 RBI.

Denker could have easily mailed it in once joining the Giants organization or sat out for medical reasons, but he quickly assimilated to his new team and practically insisted on playing down the stretch.

“I wanted to be part of a championship club,” he said last week. “I knew I may never get another shot at something like that. I really wanted in.”

After leading all Dodgers minor leaguers in batting (.310), home runs (21) and RBI (68) in 2005, Denker struggled in 2006. But he was batting .294, with 10 homers and 57 RBI for Los Angeles’ Inland Empire club last summer when he was acquired by the Giants.

Despite growing up an hour from Dodger Stadium in Brea, Denker was not heart-broken by the deal to San Francisco.

“As a kid I was more an Angels fan, than a Dodgers fan,” he said. “And I’ve always loved the Giants colors.”

San Francisco orange and black does favor Denker. But it was another bruising color scheme – black and blue – that is most associated with the sport that led to Denker being sponsored by the Vans shoe company as a tyke.

“I was your typical California kid scooting all over on my skateboard, and next thing I knew I was in Florida on a skateboarding tour sponsored by Vans and Bactine – the bug bite stuff.”

Denker stuck with street surfing until scouts started showing up at his high school baseball games. Denker inked a deal with the Dodgers after batting a hearty .425 (34-for-80), with 11 home runs and 22 RBI as a senior at Brea High.

“I might jump on a board to go down to the corner store, but the competitive stuff is over,” Denker said. “It’s all about baseball now.”

SXSW: Playboy bods and yobs, “Body of War,” sniffing a Siltbreeze

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Signage modification – Austin, Texas-style. All photos by Kimberly Chun.

What a weird lil’ South By this is? Can it get any stranger than the evening of March 13, which started out at Stubb’s for a sold-out anti-war concert, “Body of War,” linked to the feature documentary on 25-year-old Tomas Young, who was paralyzed from a bullet to his spine, taken after serving in Iraq for less than a week. System of a Down’s Serj Tankian accompanied himself on piano, Billy Bragg presented a powerful “Farmer Boy,” and Kimya Dawson, Ben Harper, and RX Bandits filled out the bill. (Sightings of the Dawson’s infant being cartered by her partner, abounded throughout the fest).

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Gimme more Ex Cocaine.

Then it was off to the Siltbreeze showcase at Soho Lounge for a hand drum-driven Ex Cocaine from Missoula, Montana, and the stirring guitar-electronics invocations of Blues Control from Brooklyn. Good to see such a sizable crowd out for what many might see as a micro-niche night.

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Outta-hand Blues Control.

Made few pitstops at Friends for the soon-to-be capacity Carbon/Silicon showcase (witness the scores of disappointed Clash fans milling around before their 11:30 p.m. set outside, cordoned off by police tape just so they don’t get raucous). London’s Noah and the Whale plied their rootsy folky harmonies with sweetness and high spirits.

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Swallow this: Noah and the Whale.

More ambitious but definitely more streamlined lineup-wise, was Florence and the Machine, also from London town, over at BBC/Steve Lamacq’s event at the Rio. Like a sweet, over-the-top cross between Kate Bush and a high school musical theater star, Flo mimed drowning, quasi-tap-danced, and threw her gold-sequined jacket to an audience member when she grew encumbered. All accompanied only by ukulele. And with plenty of drama for all.

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The Fantasticks, anyone? Florence and the Machine.

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Time to queue for the Playboy/C3 (presenters of Lollapalooza, et al) ninth annual late-night party. The line wound round the block of the “301” warehouse and the media line (through the back entrance – I felt like I ought to be helping with the dishes!) was just as crazed. Once inside, after watching oodles of would-be media types getting turned away at the list, I spied Perez Hilton all in white, with white shorn locks, got my beverage (check the ample barbecue midnight snack), and studied the Heavy as they cozied up to playmates in sad drooping bunny ears and cotton tails.

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Things got Heavy.

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SXSW: Postcard from Texas – High on Fire, Motorhead, Municipal Waste

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High on Fire @ Stubb’s

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High on Fire @ Stubb’s

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High on Fire @ Stubb’s

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High on Fire @ Stubb’s

SXSW: High on Fire blows away Motorhead; cruising Ms. Bea’s and Typewriter Museum

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Totally high on High on Fire. All photos by Kimberly Chun.

“Purple is the color of sexual frustration,” quips one English SXSW conventioneer to two ladies asking about their wardrobe choice in the elevator. Not so over at Stubb’s and Vice‘s metal showcase yesterday, March 13. I missed Napalm Death, damn it all, but made it to see High on Fire totally kick arse! Lordy, who knew Matt Pike and company had it in ’em? All assembled would have to confess: they totally blew away metal-punk grandpappies Motorhead. (OK, I only stayed for a portion of Motorhead’s set but chances looked slim that they were going to kick up more dust.)

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“This song goes out to all my friends who came here from Oakland!” Pike exclaimed before launching into a brute, pummeling rendition of “Speedwolf.” Holy mother of fuck…

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You can’t envy Lemmy and his weathered road warriors, following that. But you can admire the devil horns getting thrown up front.

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SXSW Interactive: Pirate vs. Consumer

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By Paula Connelly

Panel titled: How Piracy will save the music industry

Jason Schwartz, founder of a digital music label called Robber Baron Music, and Randy Saaf, the founding CEO of an internet piracy prevention technology company called MediaDefender, Inc, discussed the conflicting viewpoints of the record labels and millions of music consumers. Schwartz’ music label acts as an internet marketing outlet that offers free music downloads in conjunction with artist donation options. This is beneficial to the artist because it gets people listening to an artists’ music while cataloging the downloader’s demographics for tour negotiation leverage. This is the future of the music industry. The labels are cut out. They know it. They’re angry.

SXSW: Lightspeed show-going with Kills, Lightspeed Champion, Sons and Daughters, Lindstrom, Naked Raygun, and the Dicks

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Stomp! Scotland’s Sons and Daughters walk all over us at SXSW’s Domino showcase. All photos by Kimberly Chun.

Showcases at SXSW: it’s a strategic sport – which ones can you get into, which ones will be futile endeavors (the Carbon/Silcon show, for instance, last night, on March 13 at the renamed “Clash”/Friends club), which ones will be too far off the Sixth Street beaten path? I hovered round a few joints the first night, Wednesday, March 12, first catching Paper Rad at the Knitting Factory showcase.

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A packed crew of hip kids in bright clothing showed up early for the 8 p.m. set, which started out with a series of videos: Rihanna melted into/mashed up with the Cranberries and Bobby McFerrin’s “Don’t Worry Be Happy” cavorted with happy face snowmen and rainbows, undulating kids in home-made hip-hop dance clips broke down into pixelated Halloween revelers in skull face paint. Eye candy for the DIY-infatuated art-punker and to top it off Paper Radster Jacob Ciocci got behind the mixing board with a drumming/laptop-rocking pal to make some righteous noise after 20 minutes of visuals.

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Way west at Antone’s, I settled into the Domino showcase, missing the buzzed-about New Puritans but catching hot lavendar boy Lightspeed Champion, who unearthed a slew of acoustic guitar-propelled tunes, accompanied only by friends on occasional fiddle and backup vocals.

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PG&E’s Green War Chest?

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Greetings, Californians for a Clean Energy Future! Welcome to the fold of innocuous sounding, pseudo-environmental political front groups. This one is brought to us by our buddies over at Pacific Gas and Electric Co.

The group, which doesn’t seem to have a Web site or any other physical manifestation outside of filings with the California Secretary of State, already has $340,000 ready and waiting for the upcoming election cycle. According to a Secretary of State spokesperson, the group was born on Dec. 21, 2007. The only contact is the law firm Nielsen Merksamer, which has a history of teaming up with PG&E to break the law for political gain.

So far, they haven’t spent a cent — all of which were dumped into the committee by PG&E in three lump sums. Wonder what they’re going to spend all that money on? Since it’s calling itself a “coalition of environmentalists, taxpayers, and Pacific Gas and Electric Company,” it could go for or against nearly anything — including boosting Prop 98 on this June’s ballot. If passed, the measure would kill rent control and make it illegal for governments to use eminent domain to seize utility infrastructure and use it to provide the services themselves, an idea San Francisco has considered in the past and Stockton is currently pursuing.

SXSW: Does It Offend You, Yeah? Yup, it’s the Fortress Fader with Yacht

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UK’s Does It Offend You, Yeah? had the crowd thrusting their fists in the air.

Hid out at the Fader Fortress for a patch on the first full-tilt SXSW convention day, yesterday, March 12. Making up for a lackluster and unimaginative Chikita Violenta, England’s Does It Offend You, Yeah? had a crowd of hipsters quaffing free booze bouncing and throwing their hands up to crunching beats and spectacularly trashy synth sounds – can a live band replicate the heavy dance-pop of Justice et al? The T-shirted everyguy combo sure did – with plenty of stage antics to boot.

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Mean it: Does It Offend You, Yeah?

Yacht closed out the night with their party-starting (or, eh, -ending) dance tracks and move. Someone give this boy a ghostwriting pop songwriting job – or better make him the next Justin Timberlake. It was tough to follow Does It Offend You, but JB managed with a little help from his dance partner.

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Yacht closed the party with a crash.