Art

THURSDAY

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Film

The Host

The Host is the best monster movie since the height of the Alien series, so director Bong Joon-ho is justified in referring to artist Jang Hee-chul as his H.R. Giger. The biggest domestic box office hit ever in South Korea, The Host is spooky, hilarious, poignant, and a not-too-subtle attack on US imperialism. You can see the movie — and creature effects by SF-based animators the Orphanage — months before its theatrical release thanks to this screening, part of the first annual SF International Animation Showcase. (Johnny Ray Huston)

7 p.m.
SF Museum of Modern Art
151 Third St., SF
$7.50–$11
(415) 561-5000
(415) 947-1292
www.sffs.org

Music

Mobius Band

Unrestrained guitar melodies matched to tepid moods and pop sensibilities — check. An arpeggiator program fluttering in a milieu of dense-sounding rhythms and monotone vocals — check. Though this instrumentation might have influential bands such as Kraftwerk dancing on the tip of your tongue, it’s gracing Mobius Band’s infectious avant-pop this time. The group mixed new-wavish pop with electronic swells on last year’s The Loving Sound of Static (Ghostly International). MB open for the National, indie rockers enjoying their own tidal wave of success. (Chris Sabbath)

With Baby Dayliner

9 p.m.
Great American Music Hall
859 O’Farrell, SF
$15
(415) 885-0750
www.musichallsf.com

Win, lose, or draw

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FESTIVAL Anyone who assumes the San Francisco Film Society hibernates between springtime fests is sorely mistaken. Aside from all the preparations for next year’s landmark 50th SF International Film Festival, much year-round activity has been emanating from the organization’s Presidio headquarters, including a recent outdoor screening of giant-ant classic Them! Next up: the first San Francisco International Animation Showcase, three days of films at the San Francisco Museum of Modern Art. Clear your Oct. 12 calendar, for the only place your butt needs to be is sitting in a theater watching Bong Joon-ho’s The Host, without a doubt the monster movie of this year’s festival circuit. It features F/X by San Francisco’s own the Orphanage — and a giant, hungry, nasty sea creature riddled with political and social subtext. Oct. 14 heralds a pair of shorts programs: “The Kids Are Alright,” with award-winning student films like Sukwon Shin’s Rock the World (George W. Bush, Colin Powell, and … Journey?) and Luis Nieto’s ingeniously seamless live action–animation hybrid Carlitopolis, about a spectacularly resilient lab mouse; and “International Panorama,” with dynamic works from England, Iran, Japan, and beyond. The minifest wraps up with The Incredibles director Brad Bird’s 1999 The Iron Giant, which to everyone but diehard Pacifier fans remains Vin Diesel’s best family-friendly performance to date. (Cheryl Eddy)
www.sffs.org

Deconstructing Destruction

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“The shattering of paradise” is how Kali Yuga director Ellen Sebastian Chang refers to the 2002 bombing in Bali in which 202 people from 22 nations died. A series of attacks in 2005 killed 23 more. A world indeed had crashed, not only for the Balinese people but for the music and dance lovers who have made pilgrimages to that magical isle where art is integrated into the texture of daily life.
Gamelan Sekar Jaya was particularly hard-hit. With both Balinese and American members, the El Cerrito–based music and dance group has had an ongoing, close relationship with Balinese culture. In 2000, during its last tour, the group received a Dharma Kusuma award, Indonesia’s highest artistic recognition, never before given to a foreign company. So Gamelan Sekar Jaya wanted to address the tragedy in artistic terms. Its members also realized, says company director Wayne Vitale, that “what happened in Bali is a worldwide problem.”
The result is Kali Yuga, directed by Sebastian Chang and choreographed by I Wayan Dibia, with music composed by Vitale and Made Arnawa. Two years in the making, the work will receive its world premiere Oct. 14 at Zellerbach Hall. “We want this to be a gift to the Balinese people,” Vitale explains.
Working closely with poet-journalist Goenawan Mohamad, a vocal critic of the Indonesian government, the collaborators found the seed for the 70-minute piece in the Mahabharata: during the Kali Yuga — the age of chaos and destruction — a prince, challenged by his brother, gambles away everything he owns, including his wife. From this story of male testosterone and female humiliation arises a contemporary parable about the gambling we do with Mother Earth.
At a recent rehearsal in a warehouse in West Oakland, one could sense a little of Bali’s community-minded spirit. Kids roamed freely around the periphery of the performance space. One of the dancers had a baby slung over her shoulder; another would periodically step out to gently redirect the energy of a particularly rambunctious little boy. For a sectional rehearsal, Sebastian Chang knelt on the floor, coaxing the required laughs and stories from two six-year-old girls. Minutes earlier, they had exuberantly twirled all over the place; now they focused diligently on the task at hand.
The team has conceived Kali Yuga as a conflict between two parallel universes, one visible, the other not. Even in the piece’s unfinished state, it appeared that the dancers were keeping to the parameters of Balinese drama. The villain — who in the original tale humiliates the woman by attempting to strip her naked — is wonderfully raucous; the heroine is soft and pliant.
However, even traditional forms allow for innovation, as Sebastian Chang knows from experience. A writer as well as a director, she has worked within many genres and often with young people, hip-hop artists and the poets of Youth Speaks among them. In conceiving Kali Yuga, she wondered about the people in that Balinese nightclub. They must have been young. But who were they? What kind of music did they listen to on that fateful night? What were the dance moves that those bombs cut off so fatally?
Rhythmic sophistication, she also knows, is not unique to gamelan music. Rashidi Omari-Byrd is an Oakland-based rap artist and hip-hop dancer with whom Sebastian Chang has worked in the past. He had never heard gamelan music. Nor was he was familiar with Kecak, the percussive chanting originally performed by Balinese male ensembles. But the match was perfect. In Kali Yuga, Omari-Byrd — a tall, lanky performer who towers over everyone in the show — raps Mohamad’s poetry and break-dances to the musicians’ snapping heads and chack-chacking chant. (Rita Felciano)
KALI YUGA
Sat/14, 8 p.m.
Zellerbach Hall
Lower Sproul (near Bancroft and Telegraph), UC Berkeley, Berk.
$20–$32
(510) 642-9988
www.calperfs.berkeley.edu

Subtle and sincere

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› kimberly@sfbg.com
SONIC REDUCER Honestly, is sincerity back? And if not sincerity, then can we expect at least Bruce Springsteen, Thin Lizzy’s Phil Lynott, and that word-drunk, narrative-schwinging, Dylan–damaged breed of songwriter that you associate with a kind of East Coasty, epic rust belt, bar-band earnestness that freedom-rocked our worlds in the early ’80s? I know Bob Seger is back — please don’t make me listen to the new album.
You can be forgiven for assuming a J. Geils Band revival is schlumping right around the corner once you cock your vulnerable hearing aid to the Killers’ new album, Sam’s Town (Island). Am I the only one who thinks that someone at the label misread the memo and got the sponsor, whoops, the title wrong? “Sam’s Club” rolls off the tongue much more naturally. I mean, it’s pretty easy to read these songs — more Freddie Mercury and Bono than Bruce and John Cougar Mellencamp — as dispatches from some sorry rocker stuck deep in the aisles at a big-box discount retailer. “My List” — that’s gotta be about forgetting what you went in there for. “Why Do I Keep Counting?” doubtless involves bulk purchases of those butter horn megapacks. “For Reasons Unknown”: yeah, I also buy too much bargain toilet paper and then give half away to relatives — does anyone actually save money this way? “Bling (Confessions of a King)” — Sam’s Club isn’t just about pepperoni-pizza-flavored Combos, and hulking bottles of Motrin.
I don’t care what the Killers kids think — as ambitious and against type as it plays, Sam’s Town simply sucks. So I urge you, if you are truly in need of barfed-up visions of Dylan (and his more rocking imitators), to check out this year’s underacknowledged Wooden Wand and the Vanishing Voice opus, Second Attention (Kill Rock Stars). There is such a thing as being too prolific. Mr. Wand makes so much music that this one was easy to skip.
Another band of would-be rock gods from the all-boy school of Les Paul essentialism is the Hold Steady. Call me a girl, but I never got their shtick and just assumed they were snarky, annoyingly sarcastic smart-asses with prep-school blazers who were made to listen to too much anthem rock at an impressionable age. That is, until I actually saw them at CBGB’s during last year’s CMJ Music Marathon, playing their hearts out, looking like insurance adjusters taking their favorite Cheap Trick fast songs out for a spin.
Yup, it was one of those moments that make you punch the air with your fist, yell like a middle schooler, and pour beer over the guitarist’s Converse. Instantly, you reverted to the brain-dead, raving, ravaged die-hard rock ’n’ roll fan in full ear-bleed death roll — all you needed was a stingray to whip around and pierce you in the aorta so you could die happily, destroyed by the wilderness you’d always deep-down loved. Like an extremely famous TV crocodile hunter.
That performance — and maybe even the Hold Steady’s new Boys and Girls in America (Vagrant) — may be all that it takes to fluff your flaccid affection for stale Bruce Hornsby–style piano lines. Thus it was heartening to hear HS vocalist Craig Finn sounding so, er, out of it in the touring vehicle last week, stuck in traffic outside Atlanta. “Hopefully, I write about the highs and the hangovers,” he drawled. One KISS anecdote later and he was gone. Next up: Tad Kubler, who writes the band’s music.
Kubler assured me that HS have suffered — suffered Guided by Voices comparisons, thanks to the amount of spilled beer that drenches their stages. “Getting hurt onstage is definitely kind of a drag,” he offered. “I almost knocked myself out in Bowling Green, Ohio. Jumping over a railing, I caught my head on monitors that I didn’t see over the stage. Personal injury onstage is something we avoid, but if it’s for the art …”
SUBTLE TRANSITION The Bay Area geniuses of Subtle know all about personal injury — and they know it’s not worthwhile — despite the blatant excellence of their new full-length, For Hero: For Fool (Astralwerks). It’s “a distinctive blend of television, Monty Python, Galway Kinnell, and comic books,” as vocalist Adam “doseone” Drucker described it, also in Atlanta. The band manages to impress despite the fact that one of its core members, Dax Pierson, was seriously injured and paralyzed when Subtle’s van hit black ice while on tour last year.
Drucker began the band with Pierson and recalls starting the new album when Pierson got out of rehab: “The accident struck like lightning. It was the heaviest of times, so we turned around and worked on the record. One of the major motifs of the record is diving into whatever it is,” although, he adds, “we refrained from putting it on our sleeve and wearing it around all day.”
Pierson contributed some demos to the album but has been unable to tour — in fact, Drucker said last week Pierson returned to the hospital for a major operation to reinstall his medication pump. “It’s the main thing on his plate, to put it frankly,” explained Drucker, who added that Pierson has been making phenomenal music since the accident. As for performance, Pierson wants to be prepared when he returns to the stage, Drucker said, because he was “probably the greatest performer. He was a gangsta at it. When he wants to return to performance, he wants to kill it in the capacity he is in.” SFBG
SUBTLE
Sat/14, 10 p.m.
Bottom of the Hill
1233 17th St., SF
$12
(415) 621-4455
WOODEN WAND AND THE SKY HIGH BAND
Sun/15, 9 p.m.
Hemlock Tavern
1131 Polk, SF
$7
(415) 923-0923
HOLD STEADY
Tues/17, 8 p.m.
Great American Music Hall
859 O’Farrell, SF
$13–$16
(415) 885-0750

Keegan McHargue’s opening in NYC

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By Mirissa Neff

Better late than never right? Way back on September 21st I checked out the opening of Keegan McHargue’s show The Control Group at Metro Pictures Gallery in Chelsea. The hugely successful opening followed on the heels of Keegan being featured on the cover of the Guardian’s Fall Arts Preview. Here’s the artist with his mom and dad:

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It was impossible not to feel SF pride and I think Keegan was happy to see some homefolk in the Big Apple. The entire block was choked with hipsters as several neighboring galleries had openings. Rubbed elbows with Michael Stipe who seemed genuinely interested in the art as opposed to the free wine and cheese.

Back from Berlin…

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By Mirissa Neff

In the midst of excursions to NYC, Reykjavik and Paris I spent last week in Berlin… here are some posts from the experience:

10/3
Generally Berlin reminds me a lot of SF/Oakland… the thrift-store aesthetic, the experimental vibe, people are very willing to go out on artistic limbs here. The city is quite sprawling and real estate is cheap… e.g., anyone with a creative idea can afford to set up a storefront. This doesn’t mean that they will be successful… things seems to be in constant renewal. If a project doesn’t work out people here seem fine with picking up and starting from scratch with something else. Perhaps that attitude has historical roots… the wall coming down, etc? Hmmmm….

Last night we went to an underground party where my host’s friend Manuel was spinning. The party was very literally under ground… once we paid our $4 admission to a burly Austrian who was listening to honky tonk music on a transistor, we descended into the party via a shakey ladder propped up in a hole in the cement. The subterranean scene was very cool… tunnels full of brick arches with stalagtites hanging down, projections, art installations, a dj and a makeshift bar only serving beer, vodka (no mixers) and water. We grabbed a couple of Berliner beers and sat down to hear Manuel’s super eclectic set… he played everything from German soccer anthems to the Aryan equivalent of Frank Zappa.

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The King Kong Klub during a quiet moment…

Manuel was leaving to spin elsewhere and we followed. We ended up at the King Kong Klub… a bar saturated with red walls, hipsters and King Kong imagery. The scene had a full cast of characters…

Poppin’ and popcorn

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Well, this comes as absolutely no surprise. As the Hollywood Reporter noted today, Newmarket Films is running into difficulties with the distribution of Death of a President. The Toronto International Film Festival hit — which imagines the assassination of President George W. Bush, and all the Cheney-led chaos and freedom-crackdowns that follow — will not be playing at the nation’s largest theater chain, Regal Cinemas. Nor will it be opening at any theaters operated by Cinemark USA, the company that just took over the Century chain (including the brand-new SF Centre, so nope, you won’t be slidin’ on their swanky faux-leather seats while you watch the Prez eat a lead sandwich).

doap.jpg

Fortunately, the made-for-British-TV faux-doc will be coming to the Bay Area no matter what — look for Death of a President at one of San Francisco’s Landmark Theatres starting Oct 27. Though I had mixed feelings about the film (loved its shocking concept, ehh on its second-act slowdown) I’m glad to see it’s getting attention (although, come on — like this movie is just gonna casually saunter into theaters?) Too bad this smaller release means it might well end up preaching to the choir — as so many politically-themed docs (or faux-docs, as the case may be) do, tending to open only in cities already rollin’ in art-houses and progressive audiences.

Bad art, no donut

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A lot of the promo CDs that cross the river Styx and wind up at the fiery gates of the Guardian don’t even have cover art. However, a good portion do have art, and a good portion of these have very bad art. Thus, we are blessed with the opportunity to snigger derisively at the poor choices made by everyone from major label mega-acts and their legions of artistic decision-makers down to the smallest DIY indie bands with ironic moustaches long before you lunge across the aisle at Amoeba, thrust a disc in front of your pal, and snort, “Would you look at this shit?” So it is with a sense of solemn duty — and the burn of coffee coming out of our noses from laughing too hard — that we open these storied annals with a double dose of new, bad, adolescent fairyland schlock: Hello Stranger’s self-titled disc (Aeronaut) and Captain Ahab’s After the Rain My Heart Still Dreams (Rave).
The Hello Stranger cover is overwhelming: spandex bodysuits, falconry, wolves, George Harrison holding a crystal ball, a lake of stars, a rain of diamonds, a sunset of blood, and the final nail in my temple — what appears to be Sammy Hagar jamming out in an Angel Flight polyester pantsuit in a crystal fire. To quote the girl in the bad acid trip sequence of Easy Rider: “I’m dead! I’m dead already! I’m dead — do you understand?”
If the original Captain Ahab ever wandered out of the pages of Moby Dick, his embittered, cetacean-obsessed ass wouldn’t have anything to do with After the Rain, which is described as a “conceptual exploration of the rejection of identity.” Ahab certainly wouldn’t be fucking around with faeries, especially ones that look like a bad tattoo on a stoner chick from Hayward — to say nothing of cities in the clouds and unicorns. There was a moment in, say, 1993 when you could pick up a framed Boris Vallejo fantasy art poster at a Clearlake garage sale, put it up in your bathroom, and have it be funny and kitsch. That moment is gone. Slayer would never put a unicorn on one of their CDs. (Duncan Scott Davidson)

Rock till you drop

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› a&eletters@sfbg.com
“They’re the ones that pushed E-40 into hyphy,” says Hamburger Eyes photographer Dave Potes, in reference to his friends the Mall, a San Francisco art punk trio, and the hype that surrounds them.
“Yeah, we’re part of the hyphy movement,” adds Mall guitarist-keyboardist Daniel Tierney, 27, and his bandmates erupt into cacophonous chuckling.
I’ve heard the “h” word dropped incessantly for weeks now and have pretended to be hip to the Bay Area hip-hop phenomenon. As the band continues chatting about the genre and its influence on the new DJ Shadow album, bewilderment washes over me, and I hang my head and admit to having no idea what anyone’s talking about.
“You’ve got to get on the bus then,” bassist-guitarist-vocalist Ellery Samson, 29, demands when someone mentions the “yellow bus.” In unison everyone chants a couple of “da, do, do, do”s as if the composition should strike a chord, like my sister’s favorite New Kids on the Block track. I grin and nod even though I’m still puzzled.
Whether or not the Mall seriously acknowledge an affiliation to the hip-hop movement is questionable. However, while chilling over beers on a bar patio in the Mission District, I get a sense of buoyancy and selflessness from the mild-mannered band members.
“Up until last month, we all lived within three blocks of this bar,” says drummer Adam Cimino, 28, adding that this particular area definitely inspired their recent songs.
Given the languid quiet of this cool, fogless night — punctuated by the occasional crack of a cue ball or the faint sounds from the bar jukebox — it’s hard to imagine this neighborhood spawning a band whose music brims with pissed-off aggression and agitated velocity. But then, the Mall aren’t exactly from this hood. The band’s beginnings trace back to Montgomery High in Santa Rosa, where Samson and Tierney met and became friends. The pair worked on another musical project, called Downers, but soon found themselves seeking an additional element: Cimino.
Samson gave him a call. “I want to do this screamy, art fag, punk rock thing,” jokes Cimino in a mock-Samson accent, re-creating the talk. “I was, like, ‘I get it. That sounds awesome.’”
The three obtained a practice space without ever playing a note of music together and began work on the first few songs that would end up on their EP, First, Before, and Never Again (Mt. St. Mtn., 2006). From there on, the band gelled into what has become an enterprising experience for all involved.
The group’s new debut, Emergency at the Everyday (Secretariat), is an exercise in emphatic pugnacity and loud-as-shit tumult. The 13 songs — clocking in at less than 20 minutes — are punishing in scope yet danceable. Casio-pop melodies ebb and flow along a thunderous foundation of crunching guitars, plodding bass lines, and dynamite-fueled drum pops.
“We get our sound from fucking up the amps, and we don’t use distortion pedals,” Cimino explains. “It’s just little Casio keyboards and an amp turned to 10. That’s what makes it so gritty-sounding.”
Samson’s vocals add to the mélange of fuzzed-out commotion. Imagine the throaty screech of a young Black Francis shattering through an aggro mixture of angular guitar bluster and punk avidity. During the recording of the album, Samson sang through an old rotary telephone hooked up to a PA to match the distortion of the other instruments and capture the intensity of live performance.
“The music was so blown-out it was too awkward to have clean vocals,” adds a smiling Cimino. “It’s a neat trick.”
But even without the aid from the telephone, you can’t deny the hostility of Samson’s vocals. It’s surprising considering his placid demeanor.
“Everybody’s really angry right now, and we’re just as angry as anybody else,” he says.
The band backs up Samson’s statement by discussing the unending Iraq war and their disapproval of the president, and though the Mall’s songs don’t exactly cover those topics, they certainly fuel the fire. “There’s a lot of violence and frustration and boredom going on,” Cimino adds.
“Fuck, I thought it was party music, man,” Tierney chimes in, and the band bursts into another fit of laughter.
After three years together and a national tour on the horizon, including dates opening for the Slits, the Mall’s sound continues to evolve. And who knows? Maybe their direction will cross the border into genuine hyphy. Already back in the studio recording songs for another EP, the Mall aren’t holding back anything: to them, it’s all about having fun and making great music for their friends.
“It’s totally replaced skateboarding for me,” Cimino says. “I’m off work. I don’t want to watch TV. I don’t want to eat dinner. I get to hang out and play music with these guys.” SFBG
THE MALL
With the Plot to Blow Up the Eiffel Tower and Boyskout
Thurs/5, 9:30 p.m.
Bottom of the Hill
1233 17th St., SF
$10
(415) 621-4455
www.bottomofthehill.com

Pop lives

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› johnny@sfbg.com
REVIEW There are different doors through which one can enter dunya dinlemiyor (the world won’t listen), a 2005 video installation by British artist Phil Collins. One can chart the many passages that lead from Collins’s work to the music of the Smiths, whose vocalist Morrissey chose an image from Andy Warhol’s Trash to adorn the cover of the group’s second attempt at creating a proper first album. In turn, those doors lead to Warhol’s earlier screen tests, which Collins deliberately invokes through dunya dinlemiyor’s song-length portraits of Smiths fans in Istanbul. These connections form more than one circuit — in fact, they do more than a figure eight. Even when out of fashion, pop art has a three-degrees-of-Warhol relationship to contemporary art. Is it really so extraordinary?
In this case the answer is yes. Whereas Warhol’s screen tests are powered by the egos of his superstars and other art movers and makers, Collins’s portraits shock through their anonymity and most of all, their unexpected emotional profundity. “15 minutes of shame,” reads the T-shirt of one of the two girls who sing “Panic” at the beginning of dunya dinlemiyor’s karaoke box versions of the songs that make up The World Won’t Listen, a 1987 Rough Trade compilation from the Smiths’ last year of creative life. The time-based phrase plays off both an oft-repeated — and garbled — Warhol quote and an early Morrissey lyric. But most of dunya dinlemiyor bypasses such referentiality to lay bare the perhaps singular universality of Smiths songs.
There are some other knowing nudges early on, as when a young man performs “Ask” in the manner of 1983–84 Morrissey, shirt unbuttoned and flowers sprouting from his ass pocket. Even in this pantomime or imitation, the gender liberation of Smiths songs — the way in which Morrissey-worship has allowed straight and gay men to enact or express unconventional forms of masculinity — is apparent. But this liberation takes an even more revelatory form with some of Collins’s female subjects. Their performances engage with and bloom from the lyrics in a manner quite different from the traditional courtship roles when female fans respond to words written by a man.
The most joyous, spine-tingling example has to be a pair of girls who hold hands while duetting on “There Is a Light That Never Goes Out.” Here, the substitution of someone else in the Morrissey role works wonders. Absent the frontperson’s overbearing persona, the music takes flight in unexpected directions. Using generic vacation-spot photos as a backdrop, Collins separates these Smiths fans from any stereotypes viewers might attach to Turkey. The closest thing to a culturally specific Old World reference is the twist of a woman’s muezzin prayer-wail approach to the finale of “Rubber Ring,” with its “Don’t forget the songs” litany.
The best door through which to enter dunya dinlemiyor is that provided by Collins, a simple passage surrounded by the flypapered advertisements that attracted his collaborators. This show is the absolute opposite of American Idol. Its most haunting and sublime interpretation has to be “Asleep,” sung by a young man with fresh scars on his forehead. His face is framed in extreme close-up in a manner that admires his beauty and aches to reach out to him, as if Carl Theodor Dreyer were lusting for Maria Falconetti. The Smiths have inspired no shortage of books, movies, and music, but this might be the best response to their songbook I’ve encountered.
In “Neopopular Demand,” Atlanta artist Fahamu Pecou takes a rather more acidic view of popular music and Warhol’s pop legacy, specifically the decadent Interview years. His large paintings depicting himself as a magazine cover star were partly inspired by the almost action-figure aspect of 50 Cent’s rise to rap fame. Which is to say, Pecou’s work is both a response to 50’s exaggeration of a hip-hop hypermasculine bravado (a front that toys with and embraces caricature) and a commentary on the enthusiasm with which American culture consumes thug routines. Don’t get it twisted: Pecou loves hip-hop. He just doesn’t worship it.
The presence of imitation Jean-Michel Basquiat chalk scribbles at the edges and sometimes centers of Pecou’s paintings brings recent art history into the equation — in a manner that taunts potentially clueless buyers. Pecou possesses a post-Basquiat dandified flair (as with another compelling artist, Kehinde Wiley, it manifests in self-portraiture) and a skepticism that can only come from viewing the fatal footsteps of such a talent. He is in the process of making a film about his own self-creation as an art and media star, an endeavor that isn’t as revealing about his bright future as the edges of his canvases. That is where handsome paint renderings of magazine photos and fonts give way to shades of white that more than hint there are many other areas that he wants to explore. After painting himself into commercial boxes, Pecou leaves a space open so that he might perform a Harry Houdini–like escape. SFBG
“NEW WORK: PHIL COLLINS: DUNYA DINLEMIYOR (THE WORLD WON’T LISTEN)”
Through Jan. 21, 2007
San Francisco Museum of Modern Art
151 Third St., SF
$7–$12 (free first Tuesdays; half price Thursdays after 6 p.m.)
(415) 357-4000
www.sfmoma.org
“NEOPOPULAR DEMAND: NEW WORKS BY FAHAMU PECOU”
Through Nov. 20
Michael Martin Galleries
101 Townsend, suite 207, SF
Free
(415) 543-1550
www.mmgalerries.com
To read an interview with Fahamu Pecou, go to Pixel Vision at www.sfbg.com/blogs/pixel_vision.

Naughty is nice

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› a&eletters@sfbg.com
Once upon a time, a fair number of people, heartened by the Sexual Revolution and the corresponding collapse of censorship in movies, thought porn was just the preliminary phase to the next obvious step: soon, they assumed, mainstream films would also have real, explicit sex.
The last time anybody thought that was probably 1975 — or if really stoned, 1977. But for a while there, that wild idea seemed not only possible but inevitable. Deep Throat pretty much closed the obscenity conviction book on consenting adults watching adult content in public venues. Hugely successful mainstream films such as Carnal Knowledge and Last Tango in Paris seemed to be tearing down the last “good taste” barriers protecting viewers from having frank discussions about sex and its explicit simulation.
The wide-open ’70s offered a variety of liberated lifestyle choices. Cities had singles bars and sex clubs; the suburbs had hot tubs. Top 40 radio was smirking “Mama’s Got a Squeeze Box” and “More, More, More.” Even network TV had gone raunchy with “jiggle” shows (Charlie’s Angels) and odd one-off leering atrocities like the 1979 Playboy Roller Disco Pajama Party. In the midst of all this sex, sex, sex, it seemed a logical end point would be the total de-shaming of America. Fuck movies would become “real” ones, and “real” movies would include fucking.
Who could imagine how far back the pendulum would swing? Porn would survive, but it and sex would retreat behind closed doors. These days the annual art house succes de scandale, like Brown Bunny and Baise-Moi, is invariably depressing and negative.
Ergo, it is worth all kinds of cheering that somebody has finally made that movie. The one that has talented actors having plot-relevant and unfaked sex, that is beautiful, touching, funny, and artistic enough to be one of the best films of the year. It’s John Cameron Mitchell’s Shortbus, which knows exactly how anomalous it is and where it fits into the current zeitgeist. (The most quotable line occurs when one character surveys an orgiastic scene: “It’s like the ’60s but with less hope.”) Mitchell is defiant enough to create hope, even his own zeitgeist if need be.
Cute New York City gay couple the “two Jamies” (Paul Dawson and PJ DeBoy) are considering spicing up their routine, so they consult sex therapist Sofia (Sook-Yin Lee). In a frazzled moment, she admits she’s never had an orgasm, something she’s never told her husband (Raphael Barker). These questing characters intersect with others at the sex party held regularly at chez Justin Bond (with the performer playing himself).
Shortbus finds narrative room for stalking, attempted suicide, three-ways, and every numeral on the Kinsey Scale. Yet the film never feels cluttered or sensational. In fact, its openhearted seriocomedy (the script is a collaboration between Hedwig and the Angry Inch writer-director Mitchell and the cast) integrates sex so fully into a plaintive, affirmative call for communality that shock value is only intermittent — and deliberately funny when it occurs.
Will Shortbus occasion new local obscenity challenges? Probably not. But 40 years ago, censorship battles were a constant source of news and box-office draw. Before the United States graduated from softcore to hardcore, with many court decisions en route, the hot spot for all things smutty was several thousand safe yet alluring miles away.
This passing rage for cinematic “sin” from parts North will be chronicled by SF-to-Denmark émigré Jack Stevenson at the Yerba Buena Center for the Arts this week. He’ll present three programs (a clip show and features Venom and Without a Stitch) during “Swinging Scandinavia: How Nordic Sex Cinema Conquered the World.”
It really did. This “myth of total sexual freedom” — as put forth in Stevenson’s book Totally Uncensored!, due in 2007 — was particularly seductive to uptight Americans. By and large, Sweden and Denmark enjoyed remarkably progressive social attitudes at the time. After preliminary taboo-nudging efforts, one dam broke with I, a Woman, a notorious tell-all turned into a show-all (by 1966 standards) portrait of the sexually restless “new woman.” It grossed an astonishing $4 million in the United States alone. But that was nothing compared to I Am Curious (Yellow), a Godardian “kaleidoscope” of hard-to-separate documentary, improv, and staged elements encompassing all the era’s sexual, political, and intellectual questionings. Finally allowed to screen in America (over 18 months after its late-1967 Stockholm premiere), it was probably the most-seen and most-loathed crossover hit prior to The Blair Witch Project — similarly drawing audiences who expected familiar genre exploitation but got something much rawer and more challenging.
A whole series of Danish porn comedies and angsty Swedish sex dramas continued to be churned out until the mid-’70s. The Scandis had brought down many original barricades: Torgny Wickman’s 1969 Language of Love (which Robert de Niro takes Cybill Shepherd to see in Taxi Driver) might be the first commercial feature to show unobscured intercourse. But they soon found themselves intellectually bored and pushed aside marketwise by the expanded allowance for soft- and hardcore production elsewhere. The yahoos (us folks) had won by simultaneously commercializing and marginalizing the Sex Rev. SFBG
SHORTBUS
Opens Fri/6 in Bay Area theaters
See Movie Clock at www.sfbg.com for showtimes
www.shortbusthemovie.com
“SWINGING SCANDINAVIA: HOW NORDIC SEX CINEMA CONQUERED THE WORLD”
Thurs/5, 7:30 p.m.; Sat/7, 7 and 9 p.m.
Yerba Buena Center for the Arts
701 Mission, SF
$6–$10
(415) 978-ARTS
www.ybca.org

Mild to wild

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› paulr@sfbg.com
“Mandarin” is a word that suggests a certain grandeur or even haughtiness. Mandarin English is the language of such pompmeisters as William F. Buckley Jr., George F. Will, and all those other East Coast bow-tied toffs with Roman numerals after their names. As for mandarin food: if you are enjoying this style of Chinese cooking, you must sit up straight, keep your napkin in your lap, and not eat with your fingers. Can you see Buckley or Will eating pot stickers with their fingers?
Perhaps that is a needlessly nightmarish image. Mandarin need not mean “chokingly formal.” Even the Mandarin in Ghirardelli Square, despite much plushness and high style, retains an agreeably casual air — and the Mandarin is not the exclusive home of mandarin cooking in the city. Although mandarin cuisine is sometimes known as “the food of the emperors” and is strongly associated with Beijing — China’s imperial city — it can be found in creditable form here in such neighborhood restaurants as Ah Lin, which opened last year on Cathedral Hill in a space left behind when the peripatetic the Window returned to its original home on Valencia.
If you’re looking for cathedrals, Cathedral Hill isn’t a bad place to start your search: at one end of Ah Lin’s Bush Street block stands Trinity Episcopal, an imposing gothic edifice that looks as if it were transplanted from some village in the north of England. If that doesn’t suit, there are plenty of alternative choices just a brief journey down Gough. And at the other end of Ah Lin’s little urban world (to complete our sacred-and-profane cycle) is Wheel Works, a temple of the automotive, whose large, white, mostly windowless garage takes up most of the view through the restaurant’s windows.
Fortunately, it is not necessary to look outside, because the interior of the restaurant is appealing in its modest way: walls done up in a paint scheme of rich blue, with peach accents and some framed art pieces, along with a good-sized light box whose ground-level plantings give it the look of a big (and slightly tippy) terrarium. Linoleum? Didn’t notice any, but then, I wasn’t looking, and one of the reasons I wasn’t looking — apart from the childish hope that if I didn’t notice it, it couldn’t be there — was because I was too engrossed in the food.
As a devotee of spicy food, my Chinese preferences over the years have tended toward Szechuan and Hunan cooking, each of which makes liberal use of chiles — and chilis — to kindle that characteristic blaze on the lips. Mandarin dishes, on the other hand, tend to be milder, but mild does not mean bland, and as the kitchen at Ah Lin proves over and over, even even-tempered dishes can have their own sort of savory intensity.
The restaurant’s chow fun ($6.95), for instance, sounded very Clark Kent–ish to us — wide noodles with a restful choice of chicken, beef, shrimp, or vegetable — but while the array of these last was routine (snow peas, broccoli florets, sliced mushrooms), the noodles themselves tasted as if they had been cooked in some kind of broth. (Chicken, perhaps? Vegetarian sticklers will want to inquire.) This is a very easy and effective way to enliven starches, but just to make sure, the kitchen also added shreds of basil for some freshening perfume.
Another subtly addictive, peppery broth was the basis of the ocean party soup ($5.50 for a small bowl that was more than enough for two people), a mélange of shrimp, bay scallops, water chestnuts, bamboo shoots, mushrooms, and snow peas. Having sampled this soup and the chow fun, we did feel we probably could have passed a pop quiz on what the restaurant’s vegetable bin held.
The menu is full of classic preparations. I fell into a Proustian reverie — memories of long ago and far away on Halsted Street — while engulfing the excellent mu shu pork ($7.50), notable here for its tender pancakes. Even more impressive was a roasted half duck ($8.25). The bird carried a faint and unsurprising whiff of five-spice powder, but its real power lay in the combination of wonderfully crisp, cognac-colored skin and confitlike meat, juicy and tender. At the price, it’s one of the best bargains going.
There is some spice to be had, mainly at lunch. Orange-peel beef ($5.75) is one of those cardiac-arrest dishes you know you shouldn’t have but can’t resist, and there’s a good reason you can’t resist: the knobbly shreds of meat are perfectly crisp and the dark-brown sauce intense with citrus and basil; this is just the kind of thing we might find Homer Simpson gorging on from a big paper bucket, if only it were a little dryer. Hunan fish ($5.75), meanwhile, featured a tangy-sweet sauce with a discreet hint of heat, but what was more striking was the fish itself — fish cakes, really, with a certain sponginess of texture the price of uniformity in size (for more reliable cooking) and the chance to mix seasonings with the flesh. The cakes aren’t unmanageably rubbery, but they can’t match the more usual cod or flounder filets for velvetiness. Lunches come with a cup of soup, a quite lively sweet-and-sour maybe, and rice — brown rice, if you prefer.
Although the restaurant is quite small, service can be stressed. The noontime crowd is sizable, and in the evening take-out orders pile up on the cashier’s podium at the rear of the dining room. So: serenity now, and your order will be along soon enough. SFBG
AH LIN
Continuous service: Mon.–Fri., 11 a.m.–10 p.m.; Sat., noon–9:30 p.m.; Sun., 4:30–9:30 p.m.
1634 Bush, SF
(415) 922-5279
www.ahlinrestaurant.com
Beer and wine
AE/MC/V
Moderately noisy
Wheelchair accessible

SATURDAY

0

Oct. 7

Visual Art

ArtSpan Open Studios

Art, it’s often argued, is in the eye of the beholder. During ArtSpan’s 31st Open Studios, you’ll have the opportunity to behold a lot of it as more than 700 working artists open their studios to the public over the course of four weekends. Art aficionados like the Open Studios event as a time to spot emerging trends; artists like it for the chance to display and sell their backlog; plebs such as myself enjoy the accompanying Havarti cubes and two-buck chuck. There will also be a number of events held at SomArts, including a free opening reception on Fri/6 from 5:30 to 8:30 p.m., plus an exhibition of over 400 pieces. (Nicole Gluckstern)

Through Oct. 29
Times and locations vary
(415) 861-9838
www.artspan.org

Dance

Smuin Ballet

You can pick any of three reasons to see Smuin Ballet this month. Reason one: the dancers. Each of the 15 is a strong, well-trained, uniquely talented individual – including the three new ones. Reason two: the rep. It’s a pungent mix of the new and the old. Top billing has to go to the world premiere of Amy Seiwert’s Revealing the Bridge, based on Claude Monet’s painting The Japanese Bridge. Michael Smuin’s new Obrigado, Brazil, set to João Gilberto’s music, probably will rouse the bossa to the point where you wish you could join the dancers. Smuin is also bringing back Shinju, which will be performed to Paul Chihara’s magical score. This piece just might be the most erotic you’ll ever see in ballet form. Reason three: the Palace of Fine Arts. With good sight lines and a relaxed setting, it’s the perfect theater for a company of this size. (Rita Felciano)

Through Oct 15. Opens Sat/7, 8 p.m. Runs Tues.-Sat., 8 p.m. (also Sat., 2 p.m., except Sat/7); Oct 15, 2 p.m.
Palace of Fine Arts
Bay and Lyon, SF
$40-$55
(415) 978-2787
www.smuinballetorg

FRIDAY

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Oct. 6

Event/Visual Art/Music/Film

“The Illuminated Corridor”

Let’s face it – live loud music and large projected images don’t take over cities nearly as often as they should. Why in the hell should a street fair be required for it to happen? The visionaries behind “The Illuminated Corridor” have been righting this problem. Their latest collision of sight and sound includes movie-esque stuff by Cinepimps, featuring Canyon Cinema filmmaker Alfonso Alvarez. Music will be made by folks such as Nicholas Chase, Admiral Ted Brinkley, the DC-to-Bay Area multi-instrumentalist Sharon Cheslow, and a trio that includes Guardian contributor George Chen. The fact that Veronica de Jesus is also involved in this shindig is exciting, because while the Bay Area is full of great drawings these days, hers might be the best around. (Johnny Ray Huston)

7-11 p.m.
25th St. between Broadway and Telegraph, Oakl.
Free
www.illuminatedcorridor.com

Film

“Midnites for Maniacs”: They Live

Ours is a culture of obligatory consumerism. The streets and airwaves have become a canvas for messages from corporate entities, and we cannot help but obey. It sometimes seems as though the world is run by an invisible group of aliens who exploit our inferiority complexes to ensure widespread complacency. If only we had some bionic sunglasses that would enable us to distinguish the aliens from the humans. We could lend them to a washed-up professional wrestler and relax as he busied himself chewing bubble gum and kicking ass. So goes the story line of John Carpenter’s seminal sci-fi horror classic, They Live. At once a comment on greed, subliminal messaging, conspicuous consumption, and horrible acting, They Live is widely regarded as the best movie of all time. (Justin Juul)

With The Return of the Living Dead and Sid and Nancy
7:30 p.m.
Castro Theatre
429 Castro, SF
$10
(415) 621-6120
www.midnitesformaniacs.com
www.thecastrotheatre.com

THURSDAY

0

Oct. 5

Visual Art

“Who’s Afraid of San Francisco?”

Who’s afraid of San Francisco? The whole world, it sometimes seems, including the people who live here. A new group show at Frey Norris Gallery brings together more than 20 works by local artists that examine San Francisco and what it stands for in the public consciousness. Recent “Bay Area Now”-er Frederick Loomis’s apocalyptic work reps the visionary side of matters, while an attractively vivid painting by Enrique Chagoya that chows down on Ellsworth Kelly is one of at least a few works dealing with immigration. (Johnny Ray Huston)

6-9 p.m. reception
Through Nov. 16
Frey Norris Gallery
456 Geary, SF
Free
(415) 346-7812
www.freynorris.com

Music

ADULT.

The Detroit duo, formed in 1997, don’t adhere to the whims of popular youth culture: it is this very aversion that helped inspire their very mature handle. ADULT.’s calculated sparse beats, often reminiscent of kitchen utensils clattering, collide with ominous synthesizers and seething vocals to form a heavily dissonant brand of no wave techno that demands a visceral reaction. They don’t care if it’s love or hate, as long as it makes you listen. (Hayley Elisabeth Kaufman)

With Hardplace and Landshark
9 p.m.
Mezzanine
444 Jessie, SF
$13
(415) 625-8880
www.mezzaninesf.com
www.adultperiod.com

WEDNESDAY

0

Oct. 4

Event

Don Ed Hardy

What does it take to earn the status of “the Godfather of Tattoo”? Ask Don Ed Hardy, a practitioner of skin art for 30 years, who’s known for his arresting designs and for melding Western and Eastern aesthetics. It is this cross-cultural mixing of horimono, or classical Japanese tattoo, with Americana iconography that has garnered Hardy his formidable reputation and a specialized creative edge. Find out more about the Bay Area native when he lectures at Mills College in Oakland. (Hayley Elisabeth Kaufman)

7 p.m.
Mills College, Music Building Concert Hall
5000 MacArthur, Oakl.
Free
(510) 430-2164
www.mills.edu
www.donedhardy.com

Event

Harmon Leon

Living in one of the bluest corners of blue-state America, it’s easy to forget how the other half lives. This is where Harmon Leon comes in. Leon dives headfirst into the right wing and lives to tell the tale with hilariously savage aplomb. He volunteered on George W. Bush’s 2004 campaign, joined abortion protests, went to Christian rock concerts, dined with a group of white supremacists at an Applebee’s. Leon is having a release party for his book The Infiltrator: My Undercover Exploits in Right-Wing America at the Rockit Room. (Aaron Sankin)

7 p.m.
Rockit Room
406 Clement, SF
Free
(415) 387-6343
www.rock-it-room.com

The final frontier

0

› cheryl@sfbg.com
Ask Aron Ranen about his filmmaking philosophy, and he won’t pause long. “I’m a reality surfer. Things pop up as I’m quote-unquote traveling around the world with my camera.”
When he says “pop up,” he ain’t kidding. While attempting to uncover the truth about the Apollo 11 moon landing in Did We Go? (which screened in 2000 at New York’s Museum of Modern Art), Ranen stumbled upon the fact that the magnetic tapes used to record the 1969 event had gone missing. This peculiar nugget resurfaced in the news lately, generating enough buzz beyond the conspiracy fringes to nudge NASA into a response via its Web site: “Despite the challenges of the search, NASA does not consider the tapes to be lost.”
A month ago Ranen appeared on CNN to discuss the controversy. Host Glenn Beck tried awfully hard to paint the doc maker as a wackjob; the segment ends with a joke likening those who believe the moon landing was faked to those who are “still wondering why Darrin One was mysteriously replaced by Darrin Two.” This kind of reaction doesn’t seem to bother Ranen, who between movies teaches digital filmmaking at DV Workshops, the school he runs out of his Mission District studio.
“My motto is film the obvious,” he explains. (Later in our conversation he expands that motto to include “trust reality … and also don’t fuck it up.”) “I’m just trying to illuminate some of the things that are going on in our culture.” Did We Go? is actually not a wackjob’s manifesto; it features interviews with Apollo 11 flight director Gene Krantz and astronaut Buzz Aldrin — as well as the NASA employee who physically closed the hatch on the rocket before its launch. The film doesn’t try to discredit the moon landing; it tries, with sincerity, to prove that it actually happened. (In other words, there’s a reason it’s not titled We Didn’t Go.)
A filmmaker since he was 13, Ranen has made so many short documentaries that he’s lost count. Over the years the self-funded artist has developed his own approach to shooting. His films are generally unstructured — expecting the unexpected — and are guided by Ranen’s first-person voice-overs, delivered in a tone that hovers between curiosity and amazement.
“Everyone trusts me and talks to me in my films,” he says. It’s a claim backed up by the openness displayed by his diverse array of subjects, many of whom Ranen meets on the fly. His film Power and Control: LSD in the 60s — a tangent-riddled exploration of the drug’s influence on politics and counterculture — features chats with an ex–Stanford University researcher whose simian LSD tests earned him the nickname “Monkey Mike” and a now-elderly professor who was among the Harvard students who participated in Timothy Leary’s 1962 Good Friday experiment. Ranen attributes this kind of access to his lone gunman style.
“I refuse to let anyone go with me. I believe so much of documentary is about the relationship between the filmmaker and the subject. I don’t want a crew or a sound man to mitigate my relationships with these subjects,” he explains. “When I’m talking to someone, you can see their enthusiasm in talking to me.”
Ranen’s go-with-the-flow methodology extends to postproduction. He “edits organically,” subscribing to what he calls “the pinball effect: as you’re watching it, the edit speaks to you and says, no, take that stuff in the middle and put it up front.” He’s also not opposed to altering his films after they are finished. Power and Control screened as a 70-minute feature at the 2005 San Francisco Independent Film Festival; the version at Other Cinema this weekend hovers closer to 40 minutes. Eventually, Ranen hopes to add a chapter exploring the possible LSD-KGB connection.
His most recent film, Black Hair, is also his most widely seen, thanks to a strategy of free distribution via YouTube. The doc, which Ranen says has been viewed some 100,000 times, delves into the racial and economic issues raised by the fact that most of the black hair-care industry’s retail and wholesale markets are controlled by Korean, not African American, businesspeople.
Ranen’s film inspired Bay Area hair-product manufacturer Sam Ennon to found the Black Owned Beauty Supply Association, or BOBSA, now a national organization aimed at what Ennon calls “reorganizing the whole industry in terms of the distribution channel. It’s not that we want to run the Koreans out of business — we just want to share in the business. We want to recirculate the black dollar.”
Ennon says Black Hair gave BOBSA’s cause a major assist. “A picture speaks better than words. The film is really what turned it completely around.”
It’s all in a day’s work for Ranen, who seems to attract unexpected spontaneity and the not-occasional weird coincidence. His DV Workshops was funded with a settlement he received after learning that Nine Inch Nails had sampled one of his films without permission. The dialogue snippet, taken from Ranen’s film Religion in Suburbia, just happened to include this phrase: “do you believe in miracles?” SFBG
POWER AND CONTROL:
LSD IN THE 60S
Sat/30, 8:30 p.m.
Artists’ Television Access
992 Valencia, SF
$5
(415) 824-3890
www.atasite.org
www.dvworkshops.com

Pixies stick

0

A smiling Kim Deal holds up a T-shirt with “Pixies Sellout” emblazoned across the back. “Where did you get the inspiration?” she asks guitarist Joey Santiago, who named the band’s comeback tour. “’Cause we sold out in minutes!” he offers sans irony. Santiago might not be in on the joke (somewhat inexplicably), but for the rest of us the subtext is clear. Sure, the Pixies are now well into middle age and showing it, but to claim these indie rock demigods are simply trying to cash in on past success is a little unfair. Since they were never really able to enjoy major-league (outside of the United Kingdom) success (which happened after the breakup) in the first place, they’re just now getting used to this whole rock-glory thing.
LoudQUIETloud, shot during the band’s 2004 world tour, frames their collective “holy shit, they love us!” state of shock perfectly while still managing to focus on the individual members’ personal struggles with art, family, and commerce. Before the tour’s start, lead singer-songwriter Charles Thompson (a.k.a. Black Francis) is plugging away at solo gigs and Nashville records; a newly sober Deal (the only Pixie left with any hair) hasn’t recorded with the Breeders in years and is holed up in Ohio; Santiago is scoring films and raising kids; and drummer David Lovering is pursuing “hobbies of magic and metal detecting” (seriously).
Still, amid all the drug tiffs, card tricks, and mostly energetic renditions of classic tunes like “Caribou” and “Hey,” we get precious little insight into the Pixies’ much-ballyhooed musical influence. Even the film’s title — a reference to the band’s signature seesawing song structure — is never explained. Actually, the title is a good characterization of the movie itself: despite the notorious rancor between members that ultimately led to the band’s demise, for the most part they come off as quiet, funny eccentrics in between the thunderous live footage. They’re so unrelentingly low-key, in fact, it’s hard not to wish one of them would explode, like a Pixies chorus, into something a little less tame. (Michelle Devereaux)

Boys? What boys?

0

› a&eletters@sfbg.com
I meet bandleader, videographer, and Mission District indie icon Leslie Satterfield at Ritual café on a summer evening as she walks up Valencia Street looking weather-beaten and weary from her recent travels. Is she just back from a cross-country tour, I wonder? No, she was precisely where you’d expect the guitarist from Boyskout to have been: camping. She survived days of deer watching and near–bear sightings in the Sierras, and despite her desire for a hot shower and warm bed, Satterfield settles in with a cappuccino and some good stories.
Satterfield may be best known for her post-punk quartet Boyskout, a band that’s risen the ranks since its inception in 2001 to tour around the United States and Germany and headline major local venues including Mezzanine and Bimbo’s 365 Club. But the sandy-blond, late-20s songwriter has been also turning heads of late with her filmmaking.
Her video for Film School’s song “11:11” — a minimalist travelogue set in San Francisco streets and tunnels — is the latest work for her own Sharkbone Productions, which has also produced Boyskout videos shown internationally at major gay and lesbian film festivals. Her latest projects include a video for Rough Trade UK–signed act Scissors for Lefty and a self-produced experimental film that she describes as “being about love and creating what you believe.”
“Most of my films have been about how we create our own realities with our mind and how powerful the mind itself is — how your thoughts create everything that happens to you,” Satterfield says.
With her Mission artist garb — black boots and worn dark denim — I figure Satterfield had a youth spent in mosh pits and zine-collective punk hangouts. On the contrary, she grew up listening to the Beatles, Olivia Newton-John, and Simon and Garfunkel, while spending a lot of time drawing. She earned a BA in photography from Savannah College of Art and Design and resided in Amsterdam for a year before moving west. Now in addition to classics from Elton John and Heart, her iPod holds songs by Coco Rosie, the Libertines, and Tapes ’n Tapes. It’s an eclectic collection of music, similar to the local bands she holds dear and performs with regularly. The list includes up-and-coming acts like the Fucking Ocean, Tartufi, Full Moon Partisans, Death of a Party, and the Mall, as well as Shande — the group fronted by her sometime–guest guitarist Jennifer Chochinov.
Admittedly a shy, coy romantic who’s just completed an all-acoustic album, Mixing Memory with Desire (Dial), as J-Mod, Satterfield was initially a reluctant lead vocalist. You wouldn’t know it from Boyskout’s recent rock-out performances: Satterfield’s steely, saucerwide blue eyes zap the audience playfully while she mixes it up with her bandmates onstage. Along with bassist Piper Lewine, keys and violin player Christina Stanley, and drummer Ping (and occasionally adding guest guitarists like Chochinov or Daniel Dietrick to the lineup), Satterfield slayed audiences at South By Southwest this year in Austin and returned immediately to begin recording Boyskout’s now completed second album, Another Life (Three Ring). At the time we speak, eight of the planned 11 songs are done but won’t be out, well, until they’re done. “I’m a huge perfectionist,” Satterfield confesses. “The biggest in the world. I really like to take my time and do things to a tee.”
The songs I’ve heard from the project, including the Nocturne-era-Siouxsie-sounding “Spotlight” and the jittery dance-rock slab of “Lobby Boys,” are as refreshing as local underground music can get (word to Live 105). Meanwhile, Satterfield’s singing on the J-Mod disc (fantastically recorded at Hyde Street Studios) resembles Nico or Hope Sandoval in their darkest, most mysterious moments. Each album serves as an introduction to Satterfield’s thoughtful and dissonant guitar playing, a style that compliments her alabaster-smooth voice. Based on her range of projects and contacts, I get the impression that Satterfield has some big opportunities on the horizon.
Other recent adventures include a trip to Portland to teach at the Rock ’n’ Roll Camp for Girls. “I taught last year in New York, and it was really fun. I worked with a group of 8-year-olds who formed their own band called Pink Slip.” Which reminds me, I never did get to ask Satterfield what her day job is. For now I’ll just assume it’s the professional term for “brilliant multidisciplinary artist.” SFBG
BOYSKOUT
With the Mall and the Plot to Blow Up the Eiffel Tower
Oct. 5, 9:30 p.m.
Bottom of the Hill
1233 17th St., SF
$10
(415) 621-4455
www.bottomofthehill.com
www.boyskout.com

TUESDAY

0

Oct. 3

Music

Man Man and Pink Mountaintops

With band members identifying themselves as masters of such unusual instruments as the beduggering demonstration and the illustrious quesadilla special, Philadelphia’s Man Man are nothing if not unconventional. Wielding a mightily transfixing power with a carnival-clown playful sound, they bring to mind images of unrelentingly caffeinated children’s choirs playing musical chairs with Tom Waits and Captain Beefheart in Federico Fellini’s junkyard. Providing additional mind-messing are Vancouver’s Pink Mountaintops, whose latest album, Axis of Evol (Jagjaguwar, 2006), is a hypnotically propulsive piece of deliciously twisted modern psychedelia. (Todd Lavoie)

With Dodo Bird
8 p.m.
Independent
628 Divisadero, SF
$12
(415) 771-1421
www.independentsf.com

Visual Art

“Palimpsest; New Paintings” and “Le Silence des Choses”

The shock, misery, and loss of control that a “Dear John” letter recipient experiences are tough topics to sell. In his show “Palimpsest; New Paintings,” Mark Stock captures the dull resignation in the eyes of his subject and builds layers of weight atop it. Catherine Jansens’s watercolors are an inspired complement to Stock’s works. “Le Silence des Choses” shows off her incredible eye for light and unwavering control of the medium. Each exhibit explores a heaviness both in technique and in content that is palpable and startling in the light, airy, whitewashed gallery space. (K. Tighe)

Through Oct. 28.
Tues.-Sat., 10 a.m.-5:30 p.m.
Modernism
685 Market, SF
Free
(415) 541-0461
www.modernisminc.com

MONDAY

0

Oct. 2

Film

Jesus Camp

Fascinated disgust and aghast amusement are two feelings I don’t experience often enough. Jesus Camp elicits both in spades. This doc by Heidi Ewing and Rachel Grady (The Boys of Baraka) travels into the darkest heart of America’s evangelical Christian movement: a North Dakota summer camp that whips born-again children – most already home-schooled into such beliefs as the nonexistence of evolution and global warming – into religious frenzies. The film also places emphasis on the palpable evangelical presence in American politics – with a chilling look toward the future, when this brainwashed-from-birth generation will eagerly join the right-wing voting bloc. (Cheryl Eddy)

In Bay Area theaters
www.jesuscampthemovie.com

Visual Art

“Mexico as Muse: Tina Modotti and Edward Weston”

Intended as an archive for the monumental partnership between two major artistic figures, Tina Modotti and Edward Weston, the San Francisco Museum of Modern Art’s “Mexico as Muse” serves more as a teaser to Modotti’s life and work. While Weston’s images of earthen pots and Mexican skies build a foundation for later works, his portraits of his artistic partner are by far his most interesting contributions to “Mexico as Muse.” Modotti chose her subjects carefully, opting for the limitless possibilities of telephone lines stretching over the rural Mexican landscape and flimsy, partially ajar doors instead of the immobile nature of Weston’s content. Her most famous photo featured here is a bundle of white roses, clumped together in limp and fragile decay. (K. Tighe)

Through Jan. 2
Fri.-Tues., 11 a.m.-5:45 p.m.; Thurs., 11 a.m.-8:45 p.m.
San Francisco Museum of Modern Art
151 Third St., SF
$12.50, $8 seniors, $7 students, free under 13 and members (free first Tuesday; half price Thurs., 6-8:45pm)
(415) 357-4000
www.sfmoma.org

WEDNESDAY

0

Sept. 27

Event

“Slam Arnold Poetry Competition”

Arnold Schwarzenegger has been shot at, beat up, and humiliated as Conan, Commando, the Terminator, and a kindergarten cop. Most Bay Area residents would agree the governor can handle a little bit of verbal abuse. The San Francisco League of Young Voters is hosting the “Slam Arnold Poetry Competition” at the Balazo Gallery to help boot the actor out of office, register voters, and educate young people about important issues. The event will open a forum for discussion regarding current political concerns. Work by local artists will be on the walls, and 12 popular regional poets will compete for prizes and laughs. Ill-Literacy will perform, along with female MCs Rhapsodistas. (Kellie Ell)

6-11 p.m.
Balazo 18 Art Gallery
2183 Mission, SF
$10-$25, sliding scale
(415) 255-7227
www.balazogallery.org
www.indyvoter.org

Film/Event

SF 360 Home Movie Night: American Blackout

It’s a little too late for you to host an American Blackout screening, but it isn’t too late to attend one at someone else’s house – even though some places have already reached sold-out capacity. This first installment of SF360 Home Movie Night showcases Ian Inaba’s documentary about schemes against black voters, which generated waves of praise at the latest SF International Film Festival. Guerilla News Network member Inaba focuses on the campaigns – including covert ones – waged against Democratic Rep. (and outspoken George W. Bush and 2000 presidential election critic) Cynthia McKinney. (Johnny Ray Huston)

10 p.m. (postscreening after-party)
Tosca
242 Columbus, SF
Free
1-866-456-WEED
www.partylaunch.com/ironweedfilms

Firing off at fixed-gears

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RANT/FILM I’m all for the current bicycle renaissance in San Francisco. As the Indian summer heats up, you’ll notice the bike lanes will be nose to tail with bikers — like a line of baby elephants. This is a good thing. Maybe the notoriously free-form, Tijuana driving style of SF residents will ease up a notch and they’ll return to mowing down pedestrians exclusively. There’s safety in numbers.
Of course, every revolution has its drawbacks. There’s always going to be that crew that wants to convince the world they’re that much more revolutionary, devoted, and pure than everyone else. And as the rubber hits the roads in San Francisco, a clan of tight-trousered, mullet-headed, vintage-T-shirt-clad Robespierres has coalesced around the fixed-gear bicycle, or as it’s called in its proponents’ cutesy parlance, the “fixie.”
What’s a fixed-gear? Imagine yourself cruising down the street on your bike. You get tired and so you stop pedaling and coast. The freewheel mechanism in your hub disengages the drive train and lets the back wheel continue to spin while the cranks and pedals are still. On a fixed-gear the rear cog is bolted directly to the hub. There is no freewheel or cassette mechanism, so if the hub is moving, the cog is moving. Which means if the chain is moving, the pedals are moving, and if the bike is moving, you’re pedaling. There is no coasting.
Sounds like a pain in the ass. If you’re like me, the first question that comes to mind is “why?” Well, the modern SF two-wheeled steel, aluminum, and rubber hipster fashion accessory has its roots in racing, like other wheeled vehicles that don’t really translate to street usage. They were — and still are — used on banked, velodrome-style tracks during races that employ all manner of strategies, including slowing down to a stop or near stop and doing a “track stand” — balancing at a standstill without putting your feet down — so your opponent can pass you and you can ride in the draft.
Since you’re not likely to be drafting anyone on city streets, a track bike is a highly impractical choice of wheels. What’s more impractical is that fixed-gears often appear to lack brakes. The bike’s speed is controlled by the rider’s pedaling cadence — slow the pedaling, you slow the bike. Stop pedaling, stop the bike. This effect can be augmented by adding a front caliper brake, but that’s frowned upon by fixie fashionistas who do things like cut their handlebars down to a foot and don’t run bar tape or grips. The problem with using pedal cadence as a braking mechanism is that stopping is dependent on rider skill.
Now there’s the rub. Like trucker hats and PBR, what started as a bike messenger thing has become a fashion statement and status symbol. You’ve got kids in the Mission with the left leg of their jeans rolled up, a little biker hat on crooked, slip-on Vans, and a brand-new fixed-gear Bianchi; and they don’t know their ass from a light socket. Cadence? You may as well be talking astrophysics. They just know that it looks cool. It looks less cool, however, when one of these lemmings comes screaming down the Haight Street hill unable to keep up with the speed of the pedals and wrecks in the middle of Divisadero. A friend was riding down Stanyan with a box in his hand when some goon on a fixed-gear, unable to slow down, ran into his back wheel and crashed him in the middle of the street. He didn’t even stop to see if my friend was OK.
So what was the original draw that caused the person I’ll call “Biker Zero” — to crib epidemiological lingo — to ride a track bike on the street? The people I know who ride them talk about being at one with the bike, feeling part of it, in the bike instead of on the bike. I’ll go with that. But this human-bike-cyborg crap has reached the level of “I like the East Coast because I like to see the seasons change” tripe. Respect to the old-school heads who’ve been riding them since way back, but as someone who’s done way gnarlier things on wheels, it’s just not all that impressive. The Bicycle Film Festival had scheduled a screening of M.A.S.H., an unfinished fixed-gear documentary by Mike Martin and Gabe Morford, until it got pulled at the last minute. It was shot here in San Francisco and showcased the “skills and beauty of these riders.” Beauty, no doubt — as in perfect hair. So you can ride down a hill and lift up your back wheel and do little skids to slow down. So what?
Riding a fixed-gear is like handicapping yourself. The bikes are so awkward to ride that not looking like an idiot while riding one is an accomplishment. It’s like riding a three-legged horse in the Kentucky Derby. To do that well, you’d have to be an excellent jockey. At the same time, why not be in it to win it and ride a horse with four legs? To me, it takes the choices — and therefore some creativity — out of riding. I don’t ride a fixed-gear for the same reason I won’t drive an automatic: no car is telling me when to shift, and no bike is going to tell me when I can pedal. If you’ve got bike skills, why not take them to a higher level? Go home and search for “Steven Hamilton” or “World Cup Downhill” on YouTube and see what can really be done on a bike that has the capabilities to be pushed. (There is a whole European tradition of flatland tricks on fixed-gears that takes serious skills, but it doesn’t seem to be a part of the current SF scenester fixie explosion.)
Not everyone is riding a bike to push limits. Still, the fixie cabal sticks in my craw, and it’s not because I’m unimpressed with the virtuosity. It’s not the misuse of a track-racing bike on city streets that bugs me. BMX bikes came about through the misuse of Schwinn Stingrays in dirt lots, and mountain bikes were the result of chopped-up road bikes on dirt. Misuse can mean progress. What kills me is the sinking feeling I get when I ride down Valencia and think, “Does anyone in this town ever do anything original?”
Now there’s even fixed-gear graffiti, Krylon line art of single-speed bikes with bullhorn handlebars, and the dubious slogan of “gears are for queers.” The fact of the matter is, the popularity of these bikes has nothing to do with the bikes themselves or the few people who actually have the chops to ride them with style. The fixed-gear is to 2006 what the Razor scooter was to 1996: a wheeled freak show for wannabes. Test it: send the right guy with the right clothes and the right haircut out around town on one of those old-timey bikes with the enormous front wheel with the cranks mounted directly to it like a tricycle. You know, the ones you need a ladder to get on and off of. Just see how many giant-wheeled ladder bikes are locked up in front of Ritual Coffee Roasters next week.
Do what makes you happy, but also do some soul-searching, champ: does riding a fixed-gear make you happy or does fitting in make you happy? Ask yourself, what bike was I riding last year? Was I riding one at all?

BICYCLE FILM FESTIVAL
Thurs/28–Sat/30
Victoria Theatre
2961 16th St., SF
www.bicyclefilmfestival.com

40-year-old teens

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› a&eletters@sfbg.com
American Conservatory Theater, the Magic Theatre, and Marin Theatre Company all turn 40 this year. Accordingly, these three regionally and nationally preeminent Bay Area companies are rolling out ambitious celebratory seasons. But despite all the satisfaction rightfully implied by this triple birthday, theater finds itself in a significant and uncertain period of transition.
Relevance and sustainability were prominent themes when artistic directors Carey Perloff (ACT), Lee Sankowich (MTC), and Chris Smith (Magic) sat down with the Guardian to share their thoughts on the trajectories of their respective organizations as well as theater’s past, present, and future in the culture at large.
CHRIS SMITH There is a lot of looking back and celebration of legacies and all that a significant landmark — turning 40 — suggests. But organic to the Magic’s mission is seeding the future, because we really are about new work. And to be committed to new work is really to have a perspective on the horizon.
We can talk about it from a number of different points of view, including the way most people want to talk about theater and art making these days, which is from the consumer model. We’re all completely obsessed with audiences and consumers. And that’s one of the critical differences [between] now and 40 years ago. In a weird way we’re a 40-year-old teenager. Suddenly we’re saying we have to be more concerned now than in the past about making sure people are having a good experience and getting them in.
But if you stop thinking for one split second about the financial success of the theater or the relevancy of the theater within a country that is arguably celebrating the dumbing down of the political spectrum, the health of the theater as an art form is very, very good. The best thing to cite on that front is the proliferation of high-quality MFA writing programs contributing to the number of committed, intelligent, craft-oriented, theatrically vibrant artists coming into our field.
So I actually have a great deal of optimism about the value that theater will have in the next decade in our society. That’s very distinct from numbers. The audiences that will be attending challenging, literate, smart work I expect are going to shrink. But I think it brings us back to a kind of churchlike sensibility.
The theater as a church for a thinking person is increasingly at value in our digital age, where we’re being separated from liveness, we’re being separated from the communal, separated from contact. We are in a moment between a fundamental impulse to look backwards and an impulse to look forwards. And the artists are the ones that live in that cusp.
CAREY PERLOFF Of course, this is exactly what [Tom Stoppard’s] Travesties is about. There’s a great moment where [Tristan] Tzara says, “As a Dadaist I’m a natural ally of the political left, but the paradox is the further left you go politically, the more bourgeois they like their art.” On the other hand, obviously what Stoppard believes — and what we all have to believe or we wouldn’t be doing this — is that in the long run, when everything else goes, the thing that lasts is art.
The real fight for us in the field right now is to have our own barometers of value. You have to try to take the long view. The only external measures of value [now] are box office sales and critical response. But there are many plays that had miserable box office returns and disastrous critical responses and have come to be the plays we treasure. As I get older, what I most admire in certain artists is their willingness to stay the course and keep their own exploration, their own voice, their own particular artistic journey going, whether or not it seems to be popular or viable.
We wrestle with it here all the time, because I wish people were writing bigger plays. We’re doing [Philip Kan Gotanda’s After the War] at the Geary. Now this may be the most foolhardy choice I’ve ever made, but it’s such a big, meaty play that it deserves to be on the Geary stage. We do Lillian Hellman, we do August Wilson, we do Stoppard. Who’s the next generation of writers writing 10-character plays that can fit in the Geary? No wonder nobody’s doing it, because who’s producing it? Nobody! Of course everyone’s writing four-character plays. They’re not idiots.
You have to say to a writer, “Have the courage to think big. Learn the Chekhovian skill of writing for 10 actors,” which is extremely difficult. To sustain complex character over a canvas that size is a totally different challenge. We don’t ask our writers to do that anymore.
LEE SANKOWICH Well, it comes down to support. To be able to do what both of you are talking about, it comes down to corporate funding and grants.
CP But the grant ethos right now — the word that is used more than anything else — is outcomes, right? We’re all being asked to demonstrate measurable outcomes. To me this is so hilarious. It’s like saying, “I’m going to be raising my children, and the measurable outcomes are what?”
CS We need to — as artists and as leaders of artistic institutions — stand up and say, “No, we need cultural metrics. We need the enlightenment-o-meter for measurable outcomes.” Did I walk out of this performance of Orson’s Shadow knowing more about the peculiar nature of these tremendous stars and their relationships and how that impulse really created art? Did I leave there somehow changed? And can we measure that? Can we say, instead, there was a 20 percent increase in enlightenment — what a remarkable outcome! — although the attendance figures stayed flat?
LS It’s interesting, [when] you walk out of Orson’s Shadow, if nothing else, you realize that the big struggle, especially for Welles and Olivier, [is that] they’re known for what they did 30 years earlier. And their big thing is they’re trying to become modern.
CS The opening of our seasons is really emblematic. MTC is working with these great artists in a very literate, funny, interesting perspective. ACT is working on this very big social canvas in a really smart way with Stoppard. The Magic Theatre is getting to work with Sam Shepard and his most recent play [The God of Hell], likewise his most passionate play, written in a moment specifically with the intention to affect the outcome of an election! SFBG
www.act-sfbay.org
www.magictheatre.org
www.marintheatre.org
For the complete interview with Perloff, Sankowich, and Smith, see www.sfbg.com/blogs/pixel_vision.