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Appetite: Tasting spirits

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Appetite: Tasting spirits

An array of new liquor tastes, and a Whiskyfest recap

NAVY STRENGTH GIN REACHES US SHORES

Unforgettable: my journey to the south of England town of Plymouth and its legendary distillery with Master Distiller Sean Harrison. Possibly the most beautiful distillery I’ve yet visited. I relished drinking Plymouth Navy Strength ($34.99) while in the UK, a bracing version of their classic gin at 57% ABV/114 proof, the preferred gin of the British Royal Navy.

Though still smooth like Plymouth gin, Navy Strength packs a greater botanical punch, enlivening cocktails. The good news is it finally arrived to the US merely weeks ago in September so drink up.

It’s radiant in a classic Pink Gin (2 parts Plymouth Navy Strength, 3-4 dashes of Angostura bitters, lemon twist to garnish), which I enjoyed in the hills above Plymouth made by Harrison using fresh drops of reservoir water from the reservoir we enjoyed tea alongside.

www.plymouthgin.com

RECAPPING WHISKYFEST 2012

This year’s WhiskyFest was another memorable one. The hilarious Martin Daraz of Highland Park and the uber cool Beer Chicks, Christina Perozzi and Hallie Beaune (their book, The Naked Brewer, just released), killed it with their laughter-packed seminar. There wasn’t enough room for all who wanted to attend their tasting pairing Highland Park whiskies, all the way up to the glorious 30 year, with well-chosen craft beers selected by the Beer Chicks – a number of pairings went shockingly well together. This seminar should definitely return next year, giving all those who missed it a chance to partake of the joys.

Digging further into the independent distillery line of BenRiach whiskies with international Brand Ambassador Stewart Buchanan was a highlight, whether the affordable steal of 10 year Curiositas, a robust, elegant 1995 Pedro Ximenez Cask #7165 (at cask strength, 52.3%) or the otherworldly, perfectly balanced 25 yr. The BenRiach line is a nuanced alternative to an Islay Scotch. Though peaty, these whiskies corner balance, letting the peat shine alongside other layers.

On the American side, the standout was St. George’s 30th Anniversary XXX Single Malt Blend, a layered blend of whiskies from three generations of St. George distillers, Jörg Rupf, Lance Winters, Dave Smith. This new release (only 715 bottles) is a rare blend of whiskies: Winters’ first single malt distillation, his 1999 single malt aged in Rupf’s pear brandy barrels, a small portion of Lot 12 whiskey, and a whiskey distilled in 2007, aged in a port cask made of French oak. Pear notes shine in this bright whiskey as does ginger, butter, banana, hazelnut and orange peel.

Another Scotch standout was Classic Malts’ Glen Spey 21 year, a limited edition whisky maintaining a lively profile in spite of age from bourbon casks with notes of coconut, caramel, toffee.

THE FIRST SF CRAFT SPIRITS CARNIVAL

Held this past weekend in the massive Fort Mason, the first SF Craft Spirits Carnival was yet another opportunity for the consumer and industry to sample a wide range of international spirits. Though burlesque felt off in the middle of the vast space, acrobatics were more in line as we explored a US craft spirits-heavy selection with a good mix of Scotch, tequila, rum and the like from around the globe surrounded by gorgeous Bay and Golden Gate Bridge views.

While a number of my usual favorites were there (Highland Park, St. George, Old World Spirits, Charbay, Rhum Clement), there were quite a few new releases to taste. Charbay started importing beloved Tapatio tequila earlier this year, one of the best values out there for quality tequila, and at the Carnival, poured Tapatio’s just-imported Reposado and Anejo tequilas. Finally in the States, both are green, bright beauties thankfully allowing the agave to dominate over barrel wood.

Local distiller Don Pilar just released a refined Extra Anejo (aged a minimum of three years). Though I am typically not a big Extra Anejo – or sometimes even Anejo – fan when it masks agave properties with too much oak, Don Pilar manages complexity with agave liveliness.

Greenbar Collective’s http://www.greenbar.biz/ (aka Modern Spirits) spiced rum ($30) from downtown Los Angeles could have been too sweet – as their fruit liqueurs were for me – but the spiced rum is subtle, nearly dry, aromatic with allspice, clove, cinnamon, vanilla, and orange zest, redolent of fall.

Michter’s from Kentucky (I’ve long appreciated their 10 year bourbon and their rye) poured their two brand new releases out this month, a decent Sour Mash (86.6%) aged over 4 years, mixable more than sippable, and a robust, cask strength (114.2%) 20 year single barrel bourbon, aged over 20 years with a definite rye spice, although they can’t disclose any information whatsoever on the grain make-up or distilling location.

The tasting highlight of the weekend belonged to Rhum Clément. Already a fan of their elegant rhum agricoles from Martinique, I was pleased to see they just released a fresh, smoky 6 year old ($56), and a cinnamon, wood, vanilla-inflected 10 year old ($73), both aged in virgin and re-charred oak.

In addition, Rhum Cément Cuvee Homere is aged in French Limousin barriques and re-charred bourbon barrels, smooth with tastes of biscuits, almond butter, hazelnut, chocolate, black pepper, while the stately, pricey Clément XO Rhum, is a Cognac-reminiscent treat blending rhums from highly regarded vintages, like 1952, 1970, 1976, complex with fruitcake, toffee, tobacco, leather. My favorite ended up being a cask strength (though still reasonable under 100 proof) 10 year old Rhum J.M. Millesime 1997, unfolding with toasted nut, lemon, sage, passion fruit, white pepper, cinnamon.

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Live Shots: David Byrne and St. Vincent at the Orpheum

Tony Robles
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David Byrne opened his show with St. Vincent on Monday night by thanking the Orpheum for breaking its run of The Lion King for their performance. The David Byrne-St. Vincent show wasn’t too far off from the theater’s regular selection though. The eight piece brass band doing choreographed marching behind the duo had a theatrical effect, feeling somewhere between a Stop Making Sense-themed halftime show and an instrument-bearing ensemble in West Side Story.

The 60-year-old musical giant and 30-year-old indie star brought out a diverse crowd. Byrne was carrying on the legacy of art-school punk-turned-pop band, the Talking Heads, but some in the crowd seemed to be wondering “who is this pretty young talent helping espouse his eccentric philosophies?” The scalpers outside were only selling Byrne’s name on the tickets and there was an overabundant amount of “we love you David” cries from the audience.


You’d figure, though, that St. Vincent’s three studio albums of incredibly independent and experimental style, projects with diverse artists including Andrew Bird and Kid Cudi, and wide eyes on the cover of Spin magazine might have tipped these guys off as to who she is. Though St. Vincent did call Byrne at one point, “the resident preacher of the evening,” it was clear they were in equal limelight.

The two took turns performing songs from their collaboration, Love This Giant, as well as their own numbers, occasionally fitting their voices in for the harmony. The songs they picked from their respective catalogs carried themes from their joint album, including Byrne’s dilemma of trying to be human in modern America and St. Vincent’s struggles for freedom.

Though at times incredibly personal, the show had a broader message to its audience; one about people coming together despite their differences to figure out the strangeness of life. This was clearly illuminated in Byrne’s lines, “maybe someday we can stand together/ not afraid of what our eyes may see/ maybe someday I’ll understand it better/weird things inside of me.” Byrne even mimed some of these lyrics from “I Should Watch TV” so you couldn’t miss the point.

http://www.youtube.com/watch?v=DWZpX5dQYkA

Everything about the show fit together like the perfect duet: each one had a distinct personality when you tried to focus on them but usually they flowed together seamlessly. When St. Vincent dropped her voice to fit with Byrne on the album and they gave it the egocentric sounding title, Love This Giant, (a reference to Byrne) a lot of the indie fans might have panicked that she would be overshadowed, but in fact this created really great tension.

It allowed St. Vincent to show off her tough core, like when she stood alone, legs apart, rocking on guitar and belting a cry for help in the song “Marrow” from her album Actor. Meanwhile, the band kept the energy up by standing behind her in two opposing lines, bobbing like the Sharks and Jets preparing to rumble.

Surprisingly, the two didn’t use their collaboration to develop from each other musically in the experimental way that Byrne has worked with others, like with Brian Eno. Aside from the brass band, which functioned more as a fun, symbolic decision, we saw the two employing a lot of styles from their previous work. It seemed like they knew already what they wanted their relationship to be: two people standing together despite their differences. And they pulled it off well (thankfully, without a hint of sexual tension).

In this nature, the two swapped soul-sharing moments throughout the show. It began with St. Vincent’s cries for support among flashing lights and dramatic staging while Byrne’s numbers were much more casual, with the musicians lounging around the stage.

As St. Vincent stepped into a more confident role later in the evening, Byrne began to open up with his self-mocking, “Lazy.” By the end though, both performers emerged from their calls to action and got the house on its feet for a small dance party to a few Talking Heads and St. Vincent solo hits, a rare treat in the formal theater setting.

 

All photos by Bennett Cox.

Macklemore’s hip-hop for thrifters is on

Andrew Lam
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At the absolute risk of sounding like a f***in’ hipster, we swoon for Seattle hip-hop team Macklemore and Ryan Lewis‘ track “Thrift Shop.” Because if you haven’t worn a new score to the club that smelled like piss ‘cuz you forgot to wash it, you’re probably getting fleeced by corporate clothing America. Try to avoid sadness while comparing our Goodwill bins to those of the Northwest shown in the video. The Bay’s got ups on those to the north in other ways… just not used clothing stores. They win on that. Macklemore’s on fire right now with The Heist, his new release that’s been fueling a string of sold-out tour dates — including a gig on Sun/21 at the Fillmore. 

The Performant: Boxed in at Boxwars

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Putting the glad into Gladiator

You are a warrior. Sheathed in armor of the finest corrugated paper pulp and armed with the righteousness of a hundred possible causes (pick one, any one), you grab your war hammer, fashioned perhaps from a couple of paper towel tubes and an empty case of 21st Amendment Brew Free or Die, and hie thyself to Dolores Park for the grand melee.

The last-gasp October sun beats down hot on the sloping hills of the park, which are covered in defiantly bared flesh and picnic supplies, while blimps slowly drift across the impossible blue of the afternoon sky. A gladiatorial spirit vibrates through the giddy ether, doubtlessly carried over from the Giants and 49ers games being played just a couple of miles away. It’s a good day to do battle. It’s a good day for Boxwars.


Entering the park you start sizing up the competitors, an assortment of deceptively nonchalant combat geeks nursing Tecates and sporting bulky breastplates, cumbersome helmets, cardboard shinguards, and Samurai-inspired shoulderplates. One calamity-courting individual has what appears to be a target centered on his chest, another, dressed like Captain America, pronounces himself “Middle Class America,” perhaps in honor of the ass-kicking he will soon receive at the hands of his fellow combatants. A creative array of medieval weaponry bristles from the hands of each box-warrior: lances, maces, battle-axes, and swords. Some people carry shields. Some have left no holes for arms and therefore carry nothing at all.
“That’s a poor choice,” observes one sage spectator near me.

Entering the battlefield is a man perhaps too congenial to be taken seriously as an uncontrolled berserker, holding a megaphone. This is Mat Kladney, co-creator of the UK version of Boxwars (which originated in Australia), and driving force behind the San Francisco edition. One by one, he introduces the combatants by their *noms de guerre*: the aforementioned Middle Class America, Robox, Tower of Power, I love Microwaves. Five year-old Ben Michaels captures the “aww cute” vote in his self-decorated cardboard cube, while Dapper Ehren (Tye) and Awesome Ashley (Raj) capture the “hell’s yes” award with a pre-battle marriage proposal and acceptance of same—moments before all assembled box-warriors are given the go-ahead to clobber the snot out of each other.

After a countdown from the crowd, the cardboard-clad foot soldiers rush into the mostly unstructured fray, pummeling whoever happens to be nearby. Alliances are forged and broken almost immediately, an armless Gameboy is beaten down and set upon by a mob. Awesome Ashley, recovered from her beau’s surprise announcement, swings her cardboard war hammer with experienced vigor, while a pair of disarmed legionnaires start wrestling each other instead. Just fifteen minutes after it begins, the battle is effectively over, a growing pile of destroyed armor and discarded weaponry left in the middle of the field. There is no clear winner of a Boxwar, which Kladney (whose fight philosophy is simply “have fun”) emphasizes as the point.

“Everyone wins at Boxwars,” he asserts. “When winning…comes into play, people start to take things way too seriously.

Live Shots: ABADA-Capoeira’s “The Spirit of Brazil”

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Sparking machetes. Lots of them, clanking against each other, as the dancers holding them ran in circles.

I’ll be honest, sitting in the front row was slightly intimidating, and also rather exhilarating! The ABADÁ-Capoeira dance troupe, plus special guests from as far Switzerland, filled the stage with pure energy, in rehearsal for the troupe’s “Spirit of Brazil” show, running Thu/18-Sun/20. 

One of the dances tells the story of an ancient church in Brazil, where people of all religions went to be blessed. It was a moody and beautiful piece. There’s live music, soulful singing by the musicians and the dancers, and, yes, seriously speedy dance moves involving very large, sharp knives. It’s primal, wild, and filled with history. Go see it — just make sure your eyebrows don’t get shaved off!

ABADÁ-Capoeira San Francisco’s “The Spirit of Brazil”
Thur/18-Sat/20, 7pm, $23
Sun, October 21, 3pm
ODC Theater
3153 17th St., SF
www.odcdance.org

Tiny hats and Trannyshack: this year’s Masquerotica has something for everyone

Andrew Lam
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Tiny hats and Trannyshack: this year’s Masquerotica has something for everyone

What of the the sex expo? Hundreds of new pairs of fishnet stockings await this weekend’s Masquerotica at the Concourse Exhibition on Sat/13. They languish in their packages, yearning for the convention center-sized strut between rooms of Kink.com performers, contortionists, fetish wear booths, Trannyshack vamps, and Hard French DJs. For months now, we at the Guardian have been receiving tidings of the second annual Masquerotica’s impending onslaught, which, event PR folk assured us, was to be a true representative of SF sex culture. 

To fully prepare ouselves for the scantily-clad melees, we turned to event co-organizer Scott Levkoff for answers. Levkoff is the founded of Mission Control, that pansexual playground here in the city that hosts such swinger’s balls as Kinky Salon with his partner, Polly Pandemonium. He gave us an idea of what to expect, and unexpectedly extolled the virtues of tiny top hats and sexy nurse costumes.

SFBG: After Exotic Erotic went down in financial flames, why do you think it’s important to have these large scale sex events?

SL: Its one thing to explore freedom behind closed doors, to express and explore in small circles or at invite only events- but if you have ever participated with any of the larger events such as Folsom Fair and Pride, there is a feeling that you are amongst a majority and no longer a minority. 

The first time I went to events such as Folsom Fair, and even the now-defunct Exotic Erotic Ball, I marvelled at the sense of freedom and elation that I experienced. There is a weird sense of belonging that I feel at these large scale events, a sense of rightness regarding your choice to live and love the way you wish that is amplified by the sheer numbers present. In a practical sense, large scale events can model the behaviors necessary for the adoption and acceptance of progressive attitudes if done right.

SFBG: How do you think Masquerotica would be as an entry point for someone who is looking to explore their kinkyness?

SL: Masquerotica has been intentionally curated as a sort of smorgasbord of SF’s sexiest and most creative communities — think of the party like a sampler buffet of many sensual delights and treats. Guests newer and perhaps a bit timid in exploring these worlds will also find the party a great introduction. They’ll be welcomed by our trained event hosts courtesy of Mission Control, dubbed Masqueteers. They will greet guests at the front gate, present our basic house rules, such as: Be nice! Consent is sexy! No aggressive cruising — even if they are really cute! Please ask before touching! Etc.

SFBG: Can you tell me about some of the fashion that will be at the expo? 

SL: One will see a lot of Dark Garden corsets, Burning Man fashions, the ever perennial ‘tiny top hat’, animal costumes, and clothing from SF establishments such as Costume on Haight, Distractions, Piedmont Boutique, Fantasy Makers, Mr. S Leather, New York Apparel, Idol Vintage, Multi-Kulti and one of my faves-Decades of Fashion. We’re encouraging guests to put on what makes them feel sexy and playful, whether it’s Venetian carnival couture, leather, shiny latex, lingerie, corsets, uniforms, gothic Lolita, steampunk, high Victorian, Phantom of The Opera tuxedos, lace masks, see-through fabrics, bubble wrap — get creative! As always, I predict Legs Avenue costumes will make a strong showing as well. You can never have enough sexy cats, sexy nurses, and sexy witches at a party.

SFBG: I’ve gotten a lot of emails from the organization promoting Masquerotica as a sex-positive event, as compared to other massive sex expos that the city hosts. What about Masquerotica is different from XO Expo, etc.?

SL: There really is a science to creating sexy creative events where everyone feels safe and free to express themselves. Empowering guests to ‘step up their game,’ and following through with them when they don’t, is hugely important. Just saying that you support freedom and self-expression can unleash a Mardi Gras, free-for-all mentality. Foster creative community engagement, participation, and hearty dialogue with your brand. Also important: choosing good music, erotic art, and playful visuals that brings a good vibe. Embrace true diversity whenever possible and communicate your vision to your public constantly. And make sure your space smells good! Nothing says sexy like the scent of cow dung and wet asphalt! [editor’s note: sarcasm and the Internet have few happy meetings]

Masquerotica

Sat/20 8:30pm-3am, $55–$125

Concourse Exhibition Center

635 Eighth St., SF

www.masquerotica.com

 

The most shameless campaign mailer of the year

Zelda Bronstein
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The most shameless campaign mailer of the year

This is out-of-control shameless: David Lee — the pro-landlord, pro-downtown, pro-any-form-of-development candidate who is running against Sup. Eric Mar in District 1, is trying to hit Mar for supporting 8 Washington.

Here’s the headline: “Housing for the rich … or housing for everyone?” There’s even a picture of the proposed project. The flip side says that Mar “opposed the construction of 19,148 units of middle-class housing” while he “supported multimillion dollar condominiums on the waterfront at 8 Washington Street.”

The middle-class housing at issue here is, of course, ParkMerced, where Mar joined tenant groups in opposing a deal that could wind up costing the city thousands of rent-controlled units. It’s likely Lee would have supported that deal; fair enough.

The 8 Washington discussion is far more interesting — because David Lee was far from a critic of the project and certainly not among the large group of opponents. “He never said a word against the project,” Brad Paul, who helped organize the opposition, told me. “And the people who are backing him were in favor of it. This sounds like shameless political opportunism.”

So would David Lee have done anything different from Mar on this issue? We can’t know for sure, since Lee has announced a policy that until the election is over, he isn’t going to talk to reporters. (That alone is pretty odd, but it seems to be in synch with his really expensive campaign of misleading information that there’s no easy way to correct.)

But I know this: Among the most vocal propoponents of 8 Washington was the SF Building and Construction Trades Council, which is strongly endorsing and spending money on getting Lee elected. Same for the Alliance for Jobs and Sustainable Growth, a downtown front group. Let’s be serious: No way Lee would ever have opposed this project.

So he’s blasting his opponent for something he would have done, too — probably with more vigor and less concern for community benefits.

Meanwhile, Mar is getting screwed here. The main reason he voted for 8 Washington, as far as I can tell, was that labor leaders (and not just the Building Trades) told him it was important to them. The idea, I’m told, was that Mar would get an early, united, and strong endorsement from labor if he went along. Not pretty, and not a great recommendation for Mar — but that was the deal.

And almost immediately, the Building Trades went with Lee, stabbing in the back the guy who had crossed his progressive base for them.

Nice. Really nice.

UPDATE: I missed a point. In his role as a Rec-Park commissioner, Lee actually voted in favor of 8 Washington. Rec-Park had to grant an exemption to the law barring buildings from casting shadows on city parks, and 8 Washington would have shaded part of Sue Bierman Park. So he’s on the record as a supporter.

 

Burner-built Peralta Junction brings a West Oakland lot to life

Sasha Cuttler
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Burner-built Peralta Junction brings a West Oakland lot to life

Bay Area artists and other creative types have been building cities from scratch in the Nevada’s Black Rock Desert for two decades now, forming their culture and honing their ability to fill blank spaces with unique and wondrous offerings. In recent years, they have increasingly turned their energy and vision toward their own backyard, with the latest manifestation being Peralta Junction.

The long-vacant triangular lot near the corner of Mandela Parkway and Grand Avenue in West Oakland (2012 Peralta St.) has now blossomed into an old-timey midway, where visitors can play twisted adaptions of carnival games, check out cool sculptures, shop at artisan craft boutiques, paint personal artworks on a central wall, take in free live entertainment or the weekly movie night (they’re showing Men in Black this Thursday), or just hang out and enjoy the time-warp feel of this communal space.

And, like much that burners build, this temporary installation will enliven this sleepy corner of West Oakland and then disappear into dust in mid-December. The project is produced by Commonplace Productions and One Hat One Hand and sponsored by The Burning Man Project (the nonprofit offshoot of the LLC that stages Burning Man), the Crucible, Stageworks Productions, CASS Recycling, and American Steel Studios – all vaguely burner-related crews.

In fact, Peralta Junction is sort of an annex to its neighbor across the street, American Steel Studios, the behemoth workspace that has birthed some of the biggest projects ever built for Burning Man, from 2007’s Crude Awakening (whose worshipful figures are now bound for a permanent home in Brazil) to this year’s Zoa by the Flux Foundation. Many of the artists involved in Peralta Junction work out of American Steel, which has been developing an increasingly public face with cool, semi-permanent installations like the Brothel and Front Porch projects originally developed for the playa.

Peralta Junction aims at the local West Oakland neighborhood as much as the larger community of burners, and so far it’s been well-received by both. “I think people are responding really well and positively,” Leslie Pritchett, with Commonspace Productions, told us. “The response we’re getting from the people who have been there is just fantastic.”

But after a strong initial surge of people in the week after its Oct. 4 opening, Pritchett is concerned that the lack of foot and car traffic past this low-key spot will make it challenging to support the vendors, food trucks, and other offerings she’s bringing in. That would be shame, because I thought it was super cool when I checked it out last weekend. So get on down there, support the local artist community, and have a great time.

Frog killers in the heat: San Juan’s first street art festival

Andrew Lam
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Sego painted a coqui. That makes sense because the soft-spoken Mexican mural artist dabbles luminously in the animal kingdom, improbably creating detailed scenes of magical realism with little more than aerosol cans.

The coqui is Puerto Rico’s mascot, the tranquil frog that defines the nighttime soundscape, and plagues tourists unused to the noise with its chirps. Sego’s wall, part of the first street art festival in San Juan history Los Muros Hablan, was an “aww” moment for the passing cars (and there are a lot of them. Sweltering San Juan lives and dies by the air-conditioned automobile.)

Less than a mile away, Roa is working on an iguana that, despite its vampy, lounging posture, holds a dead coqui in one languid claw. Roa is Belgium, and generally acknowledged to have popularized animal drawings in this brave new world of gallery-approved street artists. Delayed by the theft of his lift’s batteries and a few dehabilitating hangovers, he’s probably still working on the piece in San Juan’s 90 degree humid swampiness.

He left the frog death and pertaining iguana paw for the end of the piece. While I lounged in the shade of an orange road safety buoy last week, I watched cars stop, belching young men whose only desire was to take a picture with Roa. All the better if he was holding his baseball cap over his face (he always is.) Later these images would pop up on Instagram, appropriately hashtagged so that we could review them easily.

I wonder how San Juan will like the crushed coqui. “You can see a lot of things in it,” Roa told me on a late-night ride out to said jungle with some other Los Muros artists and attaches. The long-ago Spanish rule of Puerto Rico, the right-now United States colonization of the island. “There’s a lot of ways to interpret it,” he told me. 

Though one will note a preponderance of animal renderings in the Los Muros Hablan renderings, it wasn’t all frogs and frog-killers in the Santurce streets. Local legend Sofia Maldonado threw up a warning about the 709 women who have been murdered in Puerto Rico between 2000 and 2011. Though Maldonado was the only female muralist at the fest, La Repuesta — the spectacular, grungy club that gave over a back room to serve as Los Muros’ nerve center and gathering spot for the Escuela Central de Artes Visuales (Center High for the Visual Arts) students that assisted, and generally mooned around the artists in the festival — did host a Los Muros ladies night, featuring an all-female cast of live painters and DJs. Women made up the bulk of the audience at an artist panel discussion at San Juan’s Museo de Arte Contemporáneo (Museum of Contemporary Art), looked up at the scenes being sprayed on their city’s walls.

Argentina’s Jaz labored over a mural so layered it came off looking like an illustration from an Illuminati-made children’s book.

Mexico’s Nuezz painted a folkloric, horizontal man in a hat along the side of La Respuesta.

Ever from Buenos Aires is working (again, altitude delays) on a six-story naked woman shooting colorful shapes from her eyes who may or may not bear a resemblance to your humble writer, whose labia may or may have been seen by a substancial segment of San Juan commuters.

Spain’s Aryz (you’ll remember him from that Aesop Rock album cover) gave birth to a mermaid-toned skeleton man on a condo building. 

Juan Fernandez, one half of the La Pandilla duo that along with mosaic artist Celso helped to organize the entire affair, drew endless loops that eventually formed a song bird. Alexis Diaz, the other half, had barely gotten started by the time I left Puerto Rico, so busy was he shuttling fellow artists from hotel to breakfast to wall and replacing stolen lift batteries. I’m sure whatever he’s working on will turn out great though. 

Painting big murals is not, for most of even its stars, a money-making proposition. Los Muros Hablan paid its visiting artists airfare to the island, kitted them out with supplies, and occasionally-late lifts to access the dizzying heights of their canvases in exchange for their services in bringing attention to the often-overlooked Santurce neighborhood.

Santurce’s blocks, though they stand a 10-minute bike ride from the city’s white sand Ocean Park, are largely vacant by night. Flashy new condo developments dot the area, betting that new inhabitants will warm to a walkable ‘hood. One wonders how they feel about dead coquis. 

In the case of its international visitors, the fest took charge of feeding the beasts, a source of consternation among the local painters. Making murals like these is generally just a way to make one’s impression on the streets, and of course the many bajillions of street art fans addicted to RSS feeds around the world.

Generally at these festivals, the artists wear their painted-ass shorts and sneakers 24 hours a day, and sleep three to a room until they’re off on the next flight — to Australia, to New York, back to Barcelona. They get paid in new tans and Instagram followers, aim for the interest of art collectors. Such is street life, even if you’re in charge of scenery. 

Check next week’s paper for the debut of my new column Street Seen, featuring my interview of all-around Puerto Rican badass — and only female muralist at Los Muros Hablan — Sofia Maldonado

Okay, this is funny

Zelda Bronstein
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Okay, this is funny

It only works once; if everyone all over the web starts using this gag, I’ll get totally sick of it. But right now, it’s worth a laugh.

NY cops misuse Tasers; would it be different here?

Zelda Bronstein
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NY cops misuse Tasers; would it be different here?

In New York State, cops are routinely misusing Tasers, zapping suspects who are laready handcuffed, zapping people in the chest, zapping people who aren’t menacing or carrying any weapon … pretty much, it seems, zapping away at will.

This is the problem with so-called non-lethal weapons, and it’s why I get worried when SFPD Chief Greg Suhr talks about how he’d love to have the little zappers in his armory.  See, in theory, you can stun someone who has, say, a box cutter — which is, yeah, a lethal weapon, in theory, but maybe the person holding it didn’t have to die. So Suhr thinks if the officer had a stun gun, she could have zapped him and he’d still be alive.  (Actually, I wasn’t there, but I would think a professional law-enforcement officer with a nightstick and even basic self-defense training might have been able to keep the box-cutter guy at bay until backup arrived.)

I get it, the cops would rather not have to kill people — but it turns out, at least according the the NY ACLU, that once there’s another less-lethal alternative, it just gets used in a lot of situations where there was no need to shoot anyone with anything. Turns out, according the the ACLU, that if you give a cop a Taser and say it’s a weapon that won’t kill anyone, there’s less reason to use discretion.

So Tasers in SF are on hold for a while, but Suhr ought to take heed: If he wants Tasers, their use should be limited to the same situations where firearms are authorized, that is, to protect the life of an officer or another person — and not, for example, to subdue someone who’s resisting arrest. 

Live Shots: Treasure Island Music Festival 2012

Tony Robles
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Music nerds talk lineups the way sports fans manage fantasy teams, particularly with festivals, where suddenly strategy becomes a part of catching a show. Treasure Island Music Festival, is sort of an exception, since in theory you can catch every single act, given the two alternating stages. At the same time, this means that unless you head to the silent disco or take a nap, one of those geeks will be standing behind you during a set, obsessively talking about how the lineup should be slotted differently.

Day 1
SF’s Dirty Ghosts had the challenging task of being a rock band opening the festival on the traditional hip-hop/electronic day. K. Flay followed, and told the crowd “I know it’s early, but we can still party,” and the local MC proceeded to give a hair tossing performance that had her drummer breaking a snare. It was a decent lead in for Oakland’s the Coup. Boots Riley has been off my radar for a bit, but it appears our ambassador of P-funked rap has been keeping more than his afro tight – pulling from now-more-appropriate-than-ever classics like “5 Million Ways to Kill a C.E.O” and the upcoming Sorry to Bother You.

At 2:31pm, a guy in a tie-dye Quicksilver shirt was vomiting near where Grimes was playing: the festival had started. Like Matthew Dear and Porter Robinson, Grimes is a returning acts from this year’s Noise Pop. Maybe it was just her bandmate’s flowing iridescent ponchos, but Grimes’ sound seemed lighter than at the Rickshaw Stop. I decided I preferred this side of Grimes, but the Euro bubblegum quality of the creepily infantile “Phone Sex” was pushing it. Matthew Dear seemed out of place in full sun on the Bridge Stage, fog machines pumping. His set was similar to what I heard at Public Works, but progressed slowly. Nearing the end of his set the band got into a groove with “You Put a Smell on Me” but it’ was a little late.

Toro y Moi sounded just like when I saw it a couple years back, but would probably have fit in better somewhere on Sunday. Near the end you could hear a DJ on the other stage playing snippets and raising the crowd, partly using soundcheck to hype for Public Enemy. When actually starting, Chuck D arrived on stage, introducing the whole support crew but saved Flavor Flav for last.

The hyperbolic performance took me back to a time before reality TV. Chuck D was outspoken (Fuck BET. Fuck urban radio. Fuck Viacom.) but used time well. Flavor was Flavor, and rambled for five minutes after his time is up. AraabMusik, waiting on the Tunnel Stage didn’t seem to mind: he gave an impressive, sample stuttering finger drumming MPC performance, after having a smoke with his crew.

At 6:01 I saw the guy who’d been throwing up earlier, walking arm in arm with a girl, both smiling and probably holding each other up.

Things started to blur, the time between switching stages seemed to decrease. Porter Robinson left no impression on me. Tycho sounded like a person making slow, thoughtful love to a synthesizer, but whereas it could have been a great lead-in to the xx, suffered from being between Robinson and a high energy performance from the Presets.

Speaking of which, I’ve had an aversion to the Presets (largely stemming from issues I have with Australian pop), but their performance, particularly “If I Know You” won me over. An awkward soundcheck delay for the following band, SBTRKT, meant the worst thing I could say about it is that it felt too short. Producer Aaron Jerome and singer Sampha played to their strengths, closing with “Wildfire” and having what seemed like the whole crowd leaning back and strutting like they were the sexiest, smoothest motherfuckers on the field.

Girl Talk opened with the awesome (and oft utilized) “International Player’s Anthem” by UGK before quickly triggering “Dancin’ in the Dark.” I hear the Boss at least once more before I leave twenty minutes later. I’m sure there was confetti.  

Day 2

Between openers Imperial Teen and Joanna Newsom, things were rather low-key, just all around relaxing, emotional, sunny music (including my returning favorites, Hospitality.) The crowd trickled in steadily and the field fills up with blankets faster than the day before. It’s a rather sedate afternoon, aside from one thing.

Who scheduled Ty Segall – noted garage thrasher, guitar mangler, and kick drum stomper – in that mid-afternoon slot? Love the dude, he sounded great, but he was not much appreciated outside the pit. The blanket crowd? It didn’t dig that. Particularly right between Youth Lagoon’s indie emo Bob Dylan and Gavin’s second cousin. That’s prime time nap time, especially when the first half of Joanna Newsom’s performance can’t be heard past the soundbooth. (Seriously, can Nap Time with Joanna Newsom be a real thing? On Nick Jr. after Yo Gabba Gabba?) The collective bombast of Los Campesinos picked things up – back to back with Segall would have been a hell of a way to wake up.

And bake up. Because Best Coast was playing with the sun going down. When this festival is at its best, the music and the environment seem to play into one another, and from there out, it basically went perfect. I haven’t seen the band since a sloppy show at Regency Ballroom with Wavves a few years back. The basic sound is still the same – beachy guitar pop with a stony edge – but has developed since then. Part of it’s lineup changes, as the new drummer is a lot tighter than before (and has easily the loudest snare of the weekend), part of it’s just improvement. Bethany Consentino apologized for singing a slow song, but there’ was no reason. She can definitely carry a ballad now.

Anticipation iwas high for Divine Fits, the “supergroup” featuring Dan Boeckner, Britt Daniels, and Sam Brown. Mainly I’m sure because a lot of fans were there for the Bay Area debut, but also because of the glorious, Hollywood matte painting skyline waiting for them behind the Tunnel Stage. As soon as they hit the chorus of “Baby Get Worse,” complete with the ’80s throwback keyboard, I was sold. Halfway through the set someone up front was apparently amped enough for Boeckner to ask, “Dude, are you on PCP?” Elsewhere in the crowd people pleasantly remarked, “Hey, this sounds like Spoon.”

Previously I’d thought the crowd seemed thicker due to all the blankets, but when I walked back towards the Bridge Stage, I realizes that simply way more people turned out for some combination of the last three bands.

M83 – returning to the Bay for the first time since their sold out Fillmore shows in the spring – opened with an alien, had lots of lasers, and played that one song. One thing I now know for sure: it is possible to play percussion while doing the running man.

The last act on the Tunnel Stage, Gossip was one of the only real surprises for me this festival. Punk diva Beth Ditto opened by welcoming the audience to comedy night, later commenting that the band hadn’t toured the US in three years, because the Euro is stronger. Crowded at the front of the stage were possibly the most intense fans I saw all weekend, clearly attached not only to Ditto’s vocal talent, but also her empowering, Aretha Franklin-esque sense of Pride. Pointing to the already crowded photo pit, Ditto said cruelly, “I wish there was a lot less space. And a lot more photographers.”

You couldn’t really have more photographers than there were in the pit at the end of the night for the xx, stopping in the Bay Area for the last festival date on their current tour, supporting the sophomore album Coexist.

It was clear that in their live performance the xx tries to capture the same sort of intimacy as their albums, with a stark and stripped down stage and singers Romy Madley Croft and Oliver Sim in the front. Either singer could do well alone, but together there’s an undeniable chemistry, like lovers in dialogue.

In their live show they definitely play into that, while producer Jamie XX stays literally more in the shadows; Sunday night he was up a level behind the pair, manning a series of controllers, cymbals, and drum pads to creates the fundamental beats that the guitars wash over. The resulting music takes its time – I’d call it shoegaze dance if that weren’t such an idiotic concept – and the xx did as well, opening with the enrapturing “Angels,” setting a sensual mood that stayed till then end.

Earlier Ditto had called them, obviously, the Sex Sex. Anyone who really felt that way – or just wanted to get to John Talabot and Jamie XX at Public Works – hopefully caught a cab, as the wait for shuttles off the island at the end of the night were upwards of an hour and a half. Note to self: work that factor into the TIMF strategy next year.

Davis needs to drop out

Zelda Bronstein
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Davis needs to drop out

EDITORIAL Kay Vasilyeva, a member of the San Francisco Women’s Political Caucus, has come forward with the allegation that District Five candidate Julian Davis grabbed her and put his hand down her pants at a political bar crawl in 2006. That was six years ago, but it’s still important — and more than the incident itself, the response we’ve seen from Davis is highly disturbing. He’s utterly denying that it ever happened, and retained a lawyer to send Vasilyeva a letter threatening her with legal action if she continues to talk.

While we endorsed Davis for supervisor, we take these charges very, very seriously — particularly coming at a time when relations between men and women in the progressive movement are badly strained.

Since the SF Weekly, which broke the story, suggested that we knew something about Davis’s behavior, we need to state, for the record: When we endorsed Davis, we had heard nothing even remotely close to this type of allegation. Yes, we knew that in his 20s he was a bit of an arrogant ass. We knew that at one point, he actually got into a tugging match with another person over the ridiculous question of who got to hold a campaign sign. We’d heard that, in the past, at somewhat debauched parties, he’d made advances toward women who weren’t interested in his affections.

Those could be the acts of an immature man who has since grown up. And since, on a level of policy, knowledge, and positions, he was by far the best and strongest progressive in the race in District 5, we — along with much of the local progressive leadership — thought he was demonstrating enough maturity that he was worthy of our support.

But this new information, and his response to it, is alarming.

We don’t take last-minute allegations about a front-running candidate lightly; people have been known to dump all sorts of charges into heated races. When we learned about Vasilyeva’s allegations on Oct. 13, we did our own research. We spent two hours with Davis and his supporter and advisor, former D5 Supervisor Matt Gonzalez. We realized that allegations without corroboration are just charges, so we tracked down everyone we could find who might know anything about this incident — and, as we discovered, other similar events. And we have to say: Vasilyeva’s account rings true. Davis’s categorical denial does not.

More than that, we were offended that he in effect threatened with a lawsuit a woman who, at some peril to herself, came forward to tell the public information about someone who is running for elected office. What was the point of that, if not to intimidate her? It’s highly unlikely he’s going to sue (and drag this whole mess into court). He says he was just trying to send a message that he has a legal right to respond to defamation, but this is a political campaign; if he didn’t want to deal publicly with what he must have known were these sorts of potential allegations, he shouldn’t have run for office.

This is a bad time for progressives in San Francisco. The Mirkarimi case has brought to the fore some deep and painful rifts; a lot of women feel that (mostly male) progressive leaders have pushed their issues to the side. For the future of the movement and the city, the left has to come together and try to heal. This situation isn’t helping a bit.

Davis needs to face facts: Supervisors John Avalos and David Campos have withdrawn their endorsements. Assembly member Tom Ammiano is almost certain to do the same. With his inability to handle the very credible charge that he not only groped a woman but lied about it, Davis no longer has a viable campaign in the most progressive district in the city, and we can’t continue to support him.

We have said it many times before: People on the left need to be able to put their own ambitions aside sometimes and do what’s right for the cause. Davis can’t win. He’s embarrassing his former allies. He needs to focus on coming to terms with his past and rebuilding his life. And for the good of the progressive movement, he needs to announce that he’s ending his campaign, withdrawing from the race, and urging his supporters to vote for another candidate.

Judges consider whether the feds have ignored medical evidence on marijuana

Sasha Cuttler
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Judges consider whether the feds have ignored medical evidence on marijuana

Tomorrow (Tues/16), for the first time in more than 20 years, a court will consider whether the federal government has improperly ignored evidence of marijuana’s medical value in continuing to classify it as a Schedule 1 narcotic, the category of dangerous drugs with no medicinal value.

“This is a very big deal,” said David Goldman, a San Francisco representative of Americans for Safe Access, part of the coalition that brought the lawsuit that will be heard by the US Court of Appeals in Washington DC. “I am personally optimistic given the three judges [that will hear the case] are Clinton appointees.”

The federal government has consistently maintained a hardline on marijuana, through both Republican and Democratic administrations, rejecting various efforts to get it rescheduled in the face of a growing body of research that it has a wide range of medical benefits, from simple alleviation of anxiety to treatment for diseases such as cancer, AIDS, and glaucoma.

In fact, Goldman said federal officials who doubt marijuana’s medical affects should come to “Cannabis in Medicine: A Primer for Health Care Professionals,” a training session for medical professionals that the University of California at San Francisco is hosting Oct. 24-25. It will feature doctors discussing their research on the “endocannabinoid system” and using marijuana to treat cancer and pain, among other sessions.

Tomorrow’s court hearing and subsequent ruling could undermine the Obama Administration’s current crackdown on medical marijuana dispensaries in California and other states that have legalized it for medical use, giving patients the right to bring a medical necessity defense in federal courts and possibly raising medical marijuana as an issue in the presidential campaign.

As we reported in August, local and state officials have been strongly resisting the federal crackdown, which has shuttered a third of San Francisco’s two dozen licensed clubs. More recently, the city of Oakland has intervened on behalf of Harborside Health Center – one of the country’s biggest and highest profile marijuana dispensaries – which was raided by the feds earlier this year. Among other defenses is Oakland’s citing of a court ruling that the federal government can’t turn a blind eye to something for more than five years and then suddenly swoop in, bust people, and seize assets.

California was the first of 17 states that have legalized marijuana for medical use, allowing localities to set up system for regulating its distribution and giving patients the cite that right in court. But on the federal level, the war on drugs has continued unabated, something that this hearing could begin to change.

The Julian Davis allegations

Zelda Bronstein
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Obviously the allegations in SF Weekly that Julian  Davis groped a woman are serious stuff. For the record, nobody at the Guardian knew anything about this; we didn’t know anything even remotely close. The worst we’d ever heard about Julian was that he was kind of an entitled jerk in his 20s who thought he was God’s gift to women and sometimes came on a little strong. Groping? This is very serious business. Yes, we are reconsidering our endorsement. Yes, we take this about as seriously as you can take anything.

We of course have to talk to all sides, but we’ll be making a recommendation by tomorrow.

Heads Up: 8 must-see concerts this week

Tony Robles
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As the seasons change – whatever casual seasonal changes we get here in the Bay – the interminable cycle of music, of bands, of life, spins on. Men of a certain age keep playing (Bob Dylan at the Bill Graham, Iron Lung at the Knockout), local legends fall apart (Uzi Rash is splitting up) and newer sounds enter our consciousness: Coo Coo Birds, Allah-Las. Don’t grow too maudlin, there’s always another block party around the corner (Clarion Alley Block Party).

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

Bob Dylan
“What does one need to know in order to decide whether or not to go to one of the upcoming Bay Area Bob Dylan concerts? Well, what can one say about the legendary singer-songwriter that has left an indelible mark on the fabric of American culture for 50 years now — the man who earlier this year was given the Presidential Medal of Freedom for his contributions to this country via his more than 600 songs, including “The Times They Are A Changin’” and “Blowin’ In The Wind?” All you need to know is that Dylan is in town, there are still tickets available, and you will never forgive yourself if you miss the opportunity to see this one of a kind icon.” — Sean McCourt
With Mark Knopfler.
Wed/17-Thu/18, 7:30pm, $59.50-$125
Bill Graham Civic Auditorium
99 Grove St., SF
www.apeconcerts.com
http://www.youtube.com/watch?v=lnY18LRYRhQ

Iron Lung
Iron Lung is minimalist – just two members epically battling it out in rapid, growling powerviolence jams that usually last around two minutes or less. The two musicians, Jensen Ward and Jon Kortland, have been doing the Iron Lung beat-down since ’99 and briefly lived in Oakland during that time. Welcome their return this week.
With the Process, Effluxus, Hunting Party
Thu/18, 9:30pm, $8
Knockout
3223 Mission, SF
(415) 550-6994
www.theknockoutsf.com
http://www.youtube.com/watch?v=-vD_59dDfH8

Coo Coo Birds
San Francisco rock’n’rollers Coo Coo Birds – self-described “natural enem[ies] to human mothers and boyfriends” – put out a tambourine-shaken party rock album this summer with song titles like “Sake Baby,” “Come into My Cave” and “I’ve Got a Feeling,” the latter of which includes a saxophone track by Steve McKay of the Stooges, just so you know what you’re dealing with here.
With Electric Shepherd, Electric Magpie
Fri/19, 9pm, $7
Thee Parkside
1600 17th St., Sf
(415) 252-1330
www.theeparkside.com
https://www.youtube.com/watch?v=xT6srRZcEiE

Nick Waterhouse and Allah-Lahs
Both great artists in their respective fields, both retro-tinged modern music makers, LA via SF solo crooner Nick Waterhouse and la-la-land psychedelic surf rockers Allah-Las channel everyone from Frank Sinatra to the Zombies, respectively. This joint tour is a match made in rock‘n’roll heaven.
Sat/20, 9pm, $18
Bimbo’s
1025 Columbus, SF
(415) 474-0365
www.bimbos365.com
http://www.youtube.com/watch?v=qrrA9Lb3sMs

SF Reggae Festival
Open your mind and process the thought that there is reggae of all distinctions, as with any loosely organized genre. The free, second annual SF Reggae Festival will includes live music by Ancestree, Ceasar Myles, Creation, and a whole lot of DJs. Along with performances, there will be Jamaican food, vendors, and perusable arts and crafts stations. Here’s hoping it’s sunny.
Sat/10, noon-6pm, free
Fillmore at O’Farrell, SF
www.sfreggaefest.com

Clarion Alley Block Party
If you’ve never been to the Clarion Alley Block Party, then you’re not yet a true San Franciscan. That’s an exaggeration, but it seems like a true right of passage for SF folk. The ever-evolving walls will boast new, brightly saturated murals, and in between them, a robust showcase of local musical talent on two stages: Future Twin, Moira Scar, Apogee Sound Club, Brass Liberation Orchestra, Afrolicious, Grandma’s Boyfriend, and more. Who doesn’t love an alley party?
Sat/20, parade at noon (led by Brass Liberation Orchestra), noon-8:30pm
Clarion Alley Mural Project
Between 17th and 18th Streets, Mission and Valencia, SF
http://www.youtube.com/watch?v=xVSQlBu8NUs

Wax Idols
“Wax Idols’ badass frontperson Heather Fedewa (who goes by the moniker “Hether Fortune”) has dubbed her refreshingly unique garage pop-punk-death rock genre “morbid classics” and cites Christian Death as a prominent artistic influence. Fortune’s songs focus on morbidity, love, and defiance, and the band’s sound oscillates between the sunny, upbeat punk of “Gold Sneakers” and the dark and raw introspection of “The Last Drop.” — Mia Sullivan
With Wymond Miles, Evil Eyes
Sat/20, 8pm, $10
Brick and Mortar
1710 Mission, SF
(415) 800-8782
www.brickandmortarmusic.com
http://www.youtube.com/watch?v=wPc2EnJSi1g

Uzi Rash
It’s the end of an era. Bay Area supergroup Uzi Rash is soon calling it quits. And, with the leaves dropping from a few city park trees and the chillier winds howling in, this will be the last outdoor Indie Mart of 2012. Celebrate with both, and while you’re at it, shop for vintage and DIY treasures, imbibe, nosh Chairman Bao and All Good Pizza street food, and take in the sounds of White Mystery, SF Rock Project (with surprise guests), Greg Ashley and Cracked Ice (featuring Brian Glaze from Brian Jonestown Massacre)
Sun/21, noon, $3 donation
Thee Parkside
1600 17th St., SF
(415) 252-1330
www.indie-mart.com

Was Realtor-financed attack ad illegally coordinated with Lee?

Sasha Cuttler
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Was Realtor-financed attack ad illegally coordinated with Lee?

District 1 supervisorial candidate David Lee might have violated election laws prohibiting candidates from coordinating with groups doing independent expenditures after being featured in a pricey attack ad blasting his opponent, incumbent Sup. Eric Mar.

The San Francisco League of Pissed Off Voters yesterday filed a complaint with the Ethics Commission requesting an investigation into illegal coordination between Lee and the Association of Realtors, which produced an ad entitled “Send Mar Back to Mars,” in which Lee appears to have participated in the filming.

“Our concern is that Lee’s campaign has collaborated with the San Francisco Realtors Association in providing footage,” says Fabiana Ochoa, a member of the steering committee for the League.  “That’s really a violation of the law.  It’s a concern this year because we see how national super PACs have an influence on campaigns.”

Lee’s direct fundraising and the allegedly independent expenditures on his behalf this week topped $557,486 – more than any other San Francisco supervisorial campaign in history — prompting the Ethics Commission to again raise the expenditure cap on the public financing in Mar’s race. Lee and his campaign have refused to answer questions about this or other issues. 

“No one has ever seen that kind of spending here in San Francisco.  It’s turned into a challenging and nasty campaign,” Ochoa said.  “It’s a small district but the game has changed.”

Progressive groups — including the League, San Francisco Tenants Union, and Harvey Milk LGBT Democratic Club — are fighting back with a rally scheduled for this Monday at 5pm outside the Realtors Association office at 301 Grove Street. They’re urging participants to bring pots and pans, reminiscent of the group of scowling children who were smeared with dirt and banging pots and pans in the video.   

In an email to the Guardian, the Ethics Commission’s Executive Director John St. Croix said, “The Ethics Commission can not confirm, deny or discuss complaints.” If the Ethics Commission does investigate and finds that Lee knowingly participated in this advertisement, it is unclear what exactly the penalty will be and the District Attorney’s office is not jumping to any conclusions yet. “For now it’s still with the Ethics Commission so we can’t comment on it,” says Stephanie Ong Stillman, press secretary for the D.A.’s office.

In a time when corporations are considered people and wealthy interests have unprecedented political influence in elections, all eyes are on the candidates and how honestly they run their campaigns.  Current San Francisco law prohibits candidates from organizing with independent expenditures like this one.

The ad, which cost $50,000 to make, mocks Mar’s efforts to remove toys from McDonald’s Happy Meals by featuring kids protesting his policies.  The glossy 3 ½ minute commercial is high-quality with Hollywood production value, leaving skeptical viewers wondering if Lee’s cameo was staged and his participation deliberate.   If it was, then Lee also violated laws that ban candidates from accepting campaign contributions exceeding $500.

The Association of Realtors clearly has an interest in David Lee, considering Mar supports tenant rights, and the Tenants Union has make its rally and campaign an effort to “save rent control” and called it a “march on the 1 percent” that is trying to buy the Board of Supervisors and remake San Francisco.

Realtors Association President Jeffery Woo would not discuss the issue when reached by phone.  In an emailed press statement to the Guardian, the Association of Realtors wrote, “ We stand by the facts, and humor, of the video we produced on the election in District 1 and do not plan to remove it from YouTube as it has achieved success in raising important issues in San Francisco.”

The Guardian also reached out to the political media expert who produced the film, Fred Davis, but he did not return our calls. 

Davis, who served as chief media strategist for John McCain’s 2008 presidential campaign, is a Hollywood-based veteran of campaign marketing and has produced some of the most notorious political ads in recent history including the Demon Sheep video for Carly Fiorina’s 2010 GOP senate campaign.  He also created the highly lampooned 2010 ad featuring Delware Senate candidate Christine O’Donnell, who assured viewers that she was “not a witch.” 

Judge for yourself whether Lee participated in the making of this video:

 

End of days for Uzi Rash

Tony Robles
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Finito. Doneski. Kaput. Well, that may be putting it harshly, but Uzi Rash’s five years of fame is just about up. So says frontman Max Nordile who is winding down this East Bay band with two last hurrahs.  They’ll simultaneously release one last LP, Coreless Roll Can-Liner (1234 Go! Records) as they kick off “Uzi Rash (2007-2012) End Days Last Tour” on Oct. 28. There is also word that a final, final cassette release, The Garbageman’s Uniform is near completion.

In the meantime you should go bananas and watch this Dan Shaw-directed, lo-fi video shot on a giant, grainy, camcorder that actually records using full-size VHS tapes (full disclosure: I make a cameo appearance — my music video debut right around the 1:30 mark).

Trust me, it wasn’t always sunshine and lollipops between the two of us. Nordile once stared me down and confronted me at a show after I had ignorantly mislabeled his band as a side project. I wised up. Still, he should be ashamed of himself for picking on a pipsqueak like me. But what else would you expect from a Neanderthal? Surely not good music. Here’s hoping for another day and a new dawn for him and any of his associate’s musical endeavors.

Only a few more chances to see Uzi Rash live in the Bay Area:

October 21st Indie Mart at Thee Parkside with White Mystery, Greg Ashley (formerly of Gris Gris) and Cracked Ice

October 26th Total Trash Halloween Bash pre-party at the New Parish in Oakland (Uzi Rash performs as The Fall) with Nobunny, Shannon and the Clams and Audacity

October 28th at 1234 Go! Records with Unnatural Helpers, Stillsuit and Synthetic ID

November 29th (Last show ever!) at Sugar Mountain in Oakland with Terry Malts, Apogee Sound Club, Yogurt Brain and Karen 

 

 

Homes Not Jails protesters released

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This article has been updated

Nineteen Homes Not Jails protesters who were arrested last night and held on felony charges of vandalism, conspiracy and burglary, many on bail as high as $325,000, have been released.

Their charges have not been dropped. Instead, those arrested have been “discharged pending further investigation,” according to District Attorney spokesperson Stephanie Ong Stillman.

Friends and supporters say that they spent the day calling the office of District Attorney George Gascón, asking him to release the demonstrators.

The arrests were made during a protest marking World Homeless Day. It involved opening and entering a vacant building at 535 Castro St. The building, a commercial ground floor space and second floor apartments, has been vacant seven years. It’s owned by Les Natali, who also owns the vacant Patio Cafe next door as well as several other neighborhood properties.

Homes Not Jails has been protesting landlords who let properties lie vacant since it was founded in 1992. Many in the group were surprised with the charges leveled against those arrested last night,

“My understanding is that after 2008, these actions usually resulted in misdemeanor charges,” said longtime housing rights advocate and Castro resident Tommi Avicolli Mecca.

Mecca said he was surprised at the police response to the protest. At least 80 police officers gathered outside Dolores Park and observed a rally that took place yesterday. They then escorted the march and closed the street, lining up in riot gear, as protesters entered the building. 

“Homes Not Jails has absolutely no history of violence,” said Mecca.

Stillman said that the DA’s office could not go into details about the reasoning for the charges and bail amount, as they cases are under ongoing investigation.

The Performant: Surrealistic mellow

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Doing the Lobster Quadrille at The Mad Hatter’s Ball

A singular bit of whimsy, Lewis Carroll’s Wonderland may be one of the only childhood fantasias to be embraced equally by linguists, logicians, and users of psychedelic drugs. The setting of an unlikely hero’s quest undertaken by a pedantically logic-bound child, Wonderland’s curiously ordered chaos seems designed specifically to undermine any rote adherence to convention, even to those of storytelling.

In fact, one of the defining qualities of Alice in Wonderland and Through the Looking-Glass is that exactly none of the characters, including the protagonist, are particularly sympathetic, and Wonderland itself, unlike Oz, say, doesn’t have a lot to recommend it as a vacation spot save the prevalence of the aforementioned psychedelics. But as a cultural touchstone, Wonderland has proven to have some serious staying power, and continues to baffle and inspire children and adults who remember what it is to be a child, alike.


At Saturday’s Mad Hatter’s Ball—an offshoot of the Bay Area’s annual homage to Lewis Carroll and his strange creations, The Cheshire Rock Opera—a colorful array of musicians and masqueraders sauntered around the perimeter of Oakland’s 410 Ballroom, a weird little Wonderland all its own, tucked innocuously just off of Broadway. Including Red Queens, White Rabbits, Black Cards, and almost every color and character in between, their raucous cacophony appeared slightly muted, as if tinged with aural sepia. In fact, everything about the event emerged gently sepia-toned, serving as it did as a precursor to Sunday’s Steamstock festival, billed as a steampunk’d “Woodstock from an alternate past,” and featuring many of the bands playing the Ball.

The brainchild of Sean Lee aka One Man Banjo, the Ball opened with a brief set by the Mummy Dummies, one of Lee’s many side projects, setting the alt-Americana tone for the evening which included bursts of swamp rock (The Slow Poisoner), puckish honky-tonk piano-playing (Victoria Victrola), gypsy caravan cabaret (Vagabondage) and a healthy dose of ukulele-infused skiffle (5 Cent Coffee). In between guests, the anchoring group, Lee’s “Hatter’s Band” played selections of Carroll’s own nonsensical lyrics, including the aforementioned lobster quadrille and the inevitable sing-along “Soup of the Evening,” a Mock Turtle original set to an enticingly jaunty tune, inspiring even the timid to at least sway in time. Unlike the Cheshire Rock Opera, no jousting Jabberwocks appeared on the scene to do fearsome battle, but as herald to January’s event, the ball whetted our appetites for wonder, with a tantalizing amuse-bouche of crustacean ballet, (Mock) turtle soup, and jug (band) wine.

Gascón’s challenge to Mirkarimi belies his own official shortcomings

Sasha Cuttler
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Gascón’s challenge to Mirkarimi belies his own official shortcomings

The backlash against Sheriff Ross Mirkarimi’s reinstatement by those who oppose him has often been biting and bitter – an indicator that coming together around real solutions to domestic violence, something most supervisors pledged, could still be difficult – but the most hypocritical reaction came yesterday from District Attorney George Gascón.

“Ross is now reinstated as our Sheriff and I accept that. What I will not accept is any compromise of public safety as a result of his reinstatement. Ross Mirkarimi is on probation in this county for a crime of domestic violence. He is, at a minimum, incapable of adequately performing the functions of his office that relate to crimes of domestic violence,” Gascón said in a public statement, calling for Mirkarimi to “wall himself off” from all domestic violence programs and inmates and hire an independent special administrator to oversee them.

Gascón didn’t explain why he believes Mirkarimi can’t oversee these functions, although that’s been a common refrain among Mirkarimi’s critics, almost an article of faith that to them needs no explanation. I understand the sentiment, but as a practical matter, it still doesn’t make sense to me (I’d welcome comments that could offer insights or explanation). I’ve also posed that and other questions to both Gascón and his spokesperson, Stephanie Ong Stillman, and I’ll include an update when I hear back.

Maybe the issue is a conflict of interest, the belief that Mirkarimi will either be too easy or too hard on domestic violence inmates or programs, which seems to be stretch. But if that’s the case, Gascón should get off his high horse. Gascón was the police chief when then-Mayor Gavin Newsom appointed him as DA, and there were many voices in the community who questioned such an unconventional move, one that raised obvious questions about whether Gascón could be objective about cases of police abuse, evidence tampering, or assorted other cases in which he would be called upon to make tough judgments about the SFPD. There were calls for Gascón to wall himself off from such cases, which he refused to do, even though that was arguably a more serious and direct conflict of interest than Mirkarimi overseeing the jail.

Also, let’s not forget that it was Gascón who started this whole ordeal by deciding to charge Mirkarimi with domestic violence crimes, accept the plea bargain to misdemeanor false imprisonment, and recommend the punishment that the court accepted – which included the highly unusual requirement that Mirkarimi issue a public apology to his neighbor, Ivory Madison, who went to police against the wishes of Mirkarimi’s wife. At the time, Mirkarimi was serving as sheriff and overseeing all the department’s functions – and he wasn’t letting the batterers run free or battering them himself – and Gascón didn’t raise this issue of then or make it a condition of Mirkarimi’s plea, which he certainly could have.

Finally, there was this sanctimonious statement by Gascón: “As the chief law enforcement official in this City and County, I will stand unapologetically with the victims. I will work tirelessly to be sure both victims and witnesses know this city does not tolerate domestic violence.” Yet the record of his office indicates something that falls far short of tireless efforts to combat domestic violence.

As a San Francisco Public Press investigation revealed last month, San Francisco has by far the lowest rate of domestic violation prosecutions of any Bay Area jurisdiction, a terrible record that has gotten even worse since Gascón took over. Whether judged by the number of domestic violence cases filed per capita (29.5 per 10,000 residents, compared with 58.5 in the region) or the number cases it received that it declined to prosecute (it dropped 6,200 of the 8,600 cases that it received from police), Gascón has no business claiming to show zero tolerance for domestic violence. His prosecution of Mirkarimi was more aberration than rule.

We’ve been trying to get a comment out of the DA’s Office on this issue for weeks, and they still haven’t replied (Stillman told me today that “we’re still working on it”). Gascón was also asked about his office’s poor record on domestic violence recently on KQED’s Forum and gave only a deflective non-answer. Perhaps he’d be better off figuring out how his office could so consistently fail the victims of domestic violence rather than worrying so much about the too-few of them that he’s managed to send to jail.

We all understand what an emotional and important issue domestic violence is, and even how unsettling it may be to many to have Mirkarimi as sheriff. But the members of the Domestic Violence Consortium and La Casa de las Madres – those who have led the campaign to oust Mirkarimi – aren’t the only people who care about this issue.

During the public comment portion of Tuesday’s Board of Supervisors meeting, there were many domestic violence victims who expressed more outrage over the failure of these domestic violence groups or the DA’s office to support them than they were about Mirkarimi continuing to be the sheriff. The city just spent $1.3 million trying to remove Mirkarimi and another [[CORRECTED FIGURE: $140,000]] paying his interim replacement, Vicky Hennessy – money that could have been better spent directly responding to domestic violence than this fruitless symbolic stand.

But that’s over now, just like their efforts to remove Mirkarimi, and we all need to move on instead of trying to re-fight this difficult battle over and over again. People can still disagree with what happened and vent and be angry – and from what we’re hearing from City Hall, many of the messages have been quite savage, some even threatening violence. They can even work on a recall campaign or take other political actions.

Yet we all still share a city – a wonderfully diverse city with a wide range of perspectives and opinions – and we’re all forced to accept things about it that we don’t like. Gascón doesn’t get to decide who the sheriff is or how he plays that role any more than Mirkarimi got to tell Gascón how to do his job – despite suffering far more direct impacts.

We each have our roles to play, and we’ll all be better off if we do them well and accept that we live in a rainbow city, not a black-and-white world.

Guess who pornographers are voting for in November

Andrew Lam
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Surprise! It’s Obama, by a whopping 55 percentage point differential.

Porn PR conglomerator Xbiz conducted the poll of adult filmmakers (details are hazy regarding when and by what method the poll was administered), whose results says that only 13 percent of the XXX-ers asked would be voting for Mitt Romney, compared to Obama’s 68 percent.

The news here being that 13 percent of pornographers would vote for a guy who signed an anti-porn pledge and appears to be deadset on curtailing access to adult material by the “promotion of parental software controls” and “strict enforcement of our nation’s obscenity laws.”

Said Morality in the Media president Patrick Trueman in a press release, “the porn industry is flourishing because the Obama Administration has given it a green light to distribute hardcore porn to every man, woman, and child in America.

[h/t Morality in the Media (scary ones!)]

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