Berkeley

Raiding Long Haul

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› deborah@sfbg.com

Previously sealed documents related to the Aug. 27 police raid at the Long Haul Infoshop in Berkeley now reveal what the UC Berkeley Police Department was after, even if questions remain about its tactics.

The Statement of Probable Cause refers to e-mail threats against UC Berkeley researchers made by animal rights activists, sent from Long Haul’s IP address. Long Haul — along with its tenants Slingshot, a quarterly newspaper supporting radical causes, East Bay Prisoner Support, and Berkeley Liberation Radio — had several of its computers seized by an assortment of gun-wielding campus cops, Alameda County sheriff deputies, and federal agents who broke into the nonprofit locale, which has been providing office and meeting space for political and social justice groups since 1994.

During the raid, according to Kathryn Miller, one of the first Long Haul collective members to arrive on the scene, authorities wouldn’t show anyone the warrant until they finished breaking open cabinets and nabbing CDs and hard drives in pursuit of evidence. Miller says she even offered to unlock cabinets for them provided they show her the warrant, but the cops still refused.

That warrant explained little about the reasons for the intrusion, other than to refer to the Statement of Probable Cause affidavit filed with the Superior Court and to grant permission to confiscate property that could show a felony had been committed. Immediately after the raid, Robert Bennett, a staff member of Slingshot, expressed his suspicion that the raid was a form of "collective punishment" against left-wing groups, especially considering his publication’s support of the tree-sitters who have delayed a UC Berkeley construction project.

Carlos Villareal, who is part of a team from the National Lawyers Guild that will be representing the besieged nonprofit pro bono, told the Guardian that Long Haul and its tenants have grounds to contest the search as unconstitutional under the Fourth Amendment.

"I’m pretty confident that we have a good argument that the search was overbroad and the tactics were heavy-handed. Searches need to be limited in both their scope and how they’re done," he said.

Villareal didn’t even see the affidavit until Heather Ishimaru, an ABC Channel 7 news reporter, brought it to Long Haul seeking comment. Ishimaru obtained the document by accident from the Wiley Manuel Courthouse in Oakland on Aug. 8 when a clerk in training provided it to her even though it was under protective seal. If not for that lapse in procedure, Long Haul’s lawyers would have to petition a court to see the incriminating document.

The affidavit, written by Detective Bill Kasiske, details some alarming e-mails sent via free Internet e-mail accounts to a researcher at the university, like one demanding, "STOP TORTURING ANIMALS OR THINGS GET UGLY" or another that correctly stated the researcher’s home address and said, "im a crazy fuck and im watching YOU."

Kasiske concludes, "A search of the Long Haul’s premises could reveal logs or sign-in sheets indicating which patrons used the computers on particular dates." But he doesn’t draw a distinction between computers open to the public and those strictly for the use of tenant organizations.

Even if the search is limited to the public-access computers, not much information can be gleaned from them. Much like at the local public library, anyone — from the Unabomber and Osama bin Laden to an FBI agent — can walk in and use the computers without logging on or leaving any trace of their identity.

It’s unclear why Kasiske didn’t research Long Haul’s practices regarding patron use prior to filing the affidavit, and no one from UCBPD would respond to our calls for comment. Villareal, the legal spokesperson on the case, noted that, "there are less disruptive methods of law enforcement…. We don’t think they would do something similar to a business, Internet café, or library."

Editor’s Notes

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› tredmond@sfbg.com

The Democrats, who control both houses of the state Legislature, lost badly on the state budget. They caved in, they sold out — and the worst part is, they had very little choice.

The state can’t keep running forever without a budget. I think we could have gone a little longer, and the Democrats could have turned up the public pressure a bit more, but in the end, it probably wouldn’t have mattered a bit. A small number of anti-tax Republicans from very conservative districts now control the entire state budget process.

And the worst part of that is, I’m not sure we can change that. So I’m thinking we should try something else.

Just about everybody knows by now that California is one of only three states that requires a two-thirds Legislative majority to approve a budget. The state Constitution also requires a two-thirds vote to raise taxes. So unless the Democrats can take control of both houses by a 67 percent majority, the GOP can exert a veto over any attempt to close a budget deficit with anything but deep, draconian cuts.

And the Republicans who hold sway aren’t the moderate types who might want to negotiate. One reason the Democrats control both the Assembly and the Senate is that they’ve been experts at drawing legislative lines, shoving large majorities of Republicans into a small number of districts. That means more Democrats in Sacramento — but it also means that many of the Republicans represent areas where there’s little chance a Democrat can challenge them — and where the voters will rebel against any representative who raises taxes.

"The Republicans have no incentive ever to raise taxes," Assemblymember Mark Leno explained to me recently. "They all fear that if they vote for a tax increase, they will lose their seats. And history shows that they are right."

That’s why the polls show an overwhelming percentage of Californians want better schools — but the state budget will take billions away from education, putting the next generation of Californians at risk.

So the buzz in more progressive circles in Sacramento is starting to focus on a constitutional reform that would eliminate the supermajority for budget approval. But that would only be meaningful if we also scrapped the two-thirds rule for new taxes — and that’s going to be a tough sell. I can see the money flowing by the tens of millions into a campaign to keep legislators from raising taxes. And given the fact that the public in general doesn’t trust the Legislature, it’s possible that battle will be lost.

Over and over, starting with Proposition 13 in 1978, California voters have approved anti-tax measures. I hope we can turn that tide around, but I think we also need a backup plan.

See, it doesn’t take a supermajority to give cities and counties the right to raise taxes on their own.

Leno, for example, has a bill that would allow cities to impose their own car taxes. In San Francisco, we’re talking big money, $50 million or so — enough, perhaps, to blunt the impact of the state’s cuts to public schools and public health. It might be easier to push for the passage of that sort of measure than for statewide Constitutional reform.

Let cities pass their own income taxes. Let counties impose oil-severance taxes. Amend Prop. 13 to allow higher taxes on commercial property.

Then maybe San Francisco and Berkeley and Los Angeles will wind up with better schools and parks and streets and hospitals, and Orange Country and the other anti-tax havens will see their public services collapse as the state keeps cutting. Maybe after a while they’ll get the point.

Waving the black flag

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PREVIEW First the bad news, straight from the wise-ass, too-literate, poetry-writing punk rocker who once muscled his way through Los Angeles hardcore byways and back: "I think McCain will win," Henry Rollins tells me over the phone in Los Angeles after humping a shipment of his new book, Fanatic! Vol. Three (21361), off the truck and into his offices.

"He’s just an awful person." Rollins pauses. "I’m one to talk, but I’m not as awful. I just think America will make the wrong choice again. After all, Democrats never miss an opportunity to miss an opportunity — and Republicans cheat."

Ah, Rollins — a heady gust of hardcore wit ‘n’ wisdom, the punk progenitor driving the original, alternate-universe straight-talk express. On the eve of a so-called change election, leave it to the ex–Black Flag frontman and IFC regular to take a talking tour titled "Recountdown" to gauge the state of the nation. Rollins, no doubt, will hold forth on subjects ranging from Sarah Palin ("Who needs five kids? What are you, working in the fields? Are you selling them for meat?") to his recent documentary-making and travels in Thailand, South Africa, New Orleans, Pakistan, and Burma (of the latter he says, "it was five wacky white guys with expensive cameras trying to pass themselves off as tourists").

So in a world that seems to witness even the most obscure underground combo bellying up to the reunion trough, can we ever expect the still-influential Black Flag to reassemble? The good news: Rollins amiably notes that he wouldn’t have much say in the matter since "Black Flag basically belongs to Greg Ginn. But as a hypothetical, I’d pass."

HENRY ROLLINS Fri/19, 8 p.m., $25. Zellerbach Auditorium, UC Berkeley Campus, Bancroft and Telegraph, Berk. (415) 421-8497, www.livenation.com

Berkeley Old Time Music Convention

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PREVIEW It’s strange for a music to be called "old time" if it’s played today. Granted, webbed fingers because your parents were cousins might keep you out of Internet distribution, and Deliverance (1972) didn’t help any, but old time music really is more than country music’s hillbilly brother.

The Berkeley Old Time Music Convention fiddles away four days of concert performances, square dances, contests, and tailgate string band sessions. San Francisco’s swanky Make-Out Room opens the festival with a square dance: expect straw on the floor, bolo ties, and polished boots.

All hat but no cattle? Learn to support your cowboy swagger at Ashkenaz on Sunday with a clogging workshop, or at Thursday’s panel discussion at UC Berkeley’s Hertz Hall. If you play, polish your chops at one of Sunday evening’s JazzSchool workshops (unfortunately scheduled too late to prep you for Saturday’s string band concert). The convention’s main event, the string band competition, pits band against band, with the winner awarded a trophy of gilded roadkill and second place taking home a jug of moonshine and homemade candles.

For professional fare, Freight and Salvage and Ashkenaz bring the best out of the woods for nightly concerts and square dances showcasing fiddler Benton Flippen, banjo player Paul Brown, and guitar player Frank Bode — all southern Appalachian born and bred.

Not to drape a flag, but for the oldest form of North American traditional music (other than Native American music) to host its festival on 9/11 seems particularly fitting.

BERKELEY OLD TIME MUSIC CONVENTION String Band Contest, Sat/13, 11 a.m., free. Civic Center Park, Martin Luther King Jr. and Center, Berk. (510) 848-5018, www.berkeleyoldtimemusic.org. Convention runs Thurs/11–Sun/14, see Web site for details.

Identity crisis

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› le_chicken_farmer@yahoo.com

CHEAP EATS My answering machine almost always has a message on it for Brent Casserole. It’s another machine, talking to my machine, and it says, in its robotically female voice, "This is a message for … Brent Casserole. If this is not … Brent Casserole … please press two now."

Clearly, I am not … Brent Casserole. Even I know this. And so the first time I heard it I picked up my phone and started pressing 2 2 2 2 2. Five times because nothing was happening. Nothing was happening because, of course, as anyone but me could have told me, the message had been recorded hours ago, when I was not there. It was way too late to press two. I had missed my chance to not be … Brent Casserole … so the machine on my machine just kept treating me as if I were … Brent Casserole.

There are problems associated with being an open-minded, free-thinking, and completely unhinged chicken farmer. The one I’m thinking of is that you can only be called … Brent Casserole … so many times before you start to wonder if, by some odd turn of events, you are … Brent Casserole.

I spent a lot of time in front of the mirror looking for clues, some little crack in the glass of my perception, something I’d missed. It’s not like me to owe anyone money. Brent Casserole does, according to the rest of the message on my answering machine, and he had better call the following number or else (and this part is only implied) he’s going to have his head bashed in by robots.

Kind of like mine.

My therapist can’t see me until October. I already tried the chickens, but they were no help. My friends all have kids, and, therefore, anxiety disorders of their own. Weirdo the Cat just looks at me as if I were … Brent Casserole? She’s so hard to read sometimes.

That leaves you. I’m going to have to work it out with you, dear reader, because you’re all I have left. Sorry. And we’re going to have to move pretty fast because, on my way to work this afternoon, I need to stop at the feed store and pick up a live chicken for my employer. Then I need to stop at the junkyard that has my stupid Saturn and wrestle either the car or a check for $1,650 away from them. Then I have to stop at the grocery store and buy ingredients for jambalaya because that’s my job du jour, changing diapers and making jambalaya — which I’ve never made before but people seem to think I can because I used to be married to someone named Crawdad.

I have no idea how to make jambalaya, so add that to my list: learn to make jambalaya. And then, while it’s gurgling on the back burner and the baby (oh please oh please oh please) is napping, I need to figure out a 75-word way to say that the worst-ever nightmare taqueria where I had the lousiest burrito ever made in the state of California is actually my new favorite restaurant.

Which …

Hey, wait a minute! Do you see what I did? By accident, by reducing myself to, essentially, the minutia of my day, a grocery list, a chicken farmerly litany of Leoneness, or impending failures, I have established beyond a shadow of a doubt that I am not, no matter how many machines might think otherwise … whatshisname. There can only be one person with that exact list of Things To Do: Me!

So the moral is that we are what we eat, and buy, and cook, and do, and in my case write, and we are not what we owe. Or even what someone else owes. It doesn’t matter how a machine on your answering machine addresses you: we are the sticks, the stones, and the bones. Not the names.

And you say, "Duh."

And I say, That’s easy for you to say. You’re … Brent Casserole. Hit the delete key if you’re not.

—————————————————————————————–

My new favorite restaurant is La Villa Taqueria in Berkeley, on the strength of how bad they are. Unlike hippies, I enjoy a little hatred and anger in my mix, and La Villa deserves credit for making easily the worst burrito I’ve ever eaten. Crusty, dry carnitas, bland beans, and the lamest pico de gallo ever to tap my tongue. At least it only took a half hour to slap this crap together! My friend was next door deciding on and buying a piano, and she got done first.

LA VILLA TAQUERIA

2434 San Pablo Ave., Berkeley

510-843-0112

Daily: 7 a.m.–8 p.m.

No alcohol

MC/V

God bless Larry Bensky and KPFA

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By Bruce B. Brugmann

It was a near perfect political moment. I was driving last night across the Bay Bridge and into Berkeley for the first anniversary dinner of the Chauncey Bailey investigative reporting project. I turned on KPFA radio and started listening to the on-the-street coverage that Amy Goodman and Larry Bensky were doing for KPFA on the Democratic convention.

They were covering what CNN, MSNBC, Fox, and other mainstream broadcasters weren’t: a dramatic anti-war demonstration in the streets of Denver. I could hear the staccato military commands as the Iraq Veterans Against the War marched in uniform to the Democratic convention gates, backed by hundreds of demonstrators.
The City of Denver had not approved the protest and trucks of armed police in riot gear were dispatched to watch for any eruptions of violence, but there were no reported arrests.

Whether or not there were incidents, the event was newsworthy and certainly more important than the pundits desperately looking for somebody to interview and something to say. But KPFA was there. And KPFA, unlike much of the broadcast media, covered the convention by allowing the convention speakers to speak and not doing lots of aimless interviews and adding mostly pithy and relevant comments. God bless Amy Goodman, Larry Bensky, and KPFA. They are a national treasure we can enjoy as a local radio station.

Here are two of the best print stories on the demonstrations:

The protest was not approved by the City of Denver.

Click here to read the Guardian UK story, US election: Hundreds of anti-war demonstrators march on the Democratic convention hall.

Click here to read the L.A. Times’ article, Obama camp meets with Iraq war veterans protesting at Democratic convention.

City Sued over Care not Cash, again

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by Amanda Witherell

Berkeley-based Disability Rights Advocates filed suit in US District Court today against the city of San Francisco for denying access to shelter beds for disabled homeless people. The suit alleges that Mayor Gavin Newsom’s Care not Cash program sets aside a certain amount of beds that are thus unavailable to disabled people who are banned from the program.

“There are limited resources in the shelter system and there are large numbers of beds that are set aside that people with disabilities don’t have access to as a statutory matter,” said Julia Pinover, DRA’s attorney on the case. “The city has a responsibility to provide services equally.”

Care not Cash, which was passed by voters in 2002, pools the General Assistance money that used to go to individuals into a fund for financing housing and supportive services. People still receive small portions of their $395 GA cash — $29 checks every two weeks – and they’re guaranteed shelter beds in exchange for giving the rest of the cash to the city. Not everyone uses their allocated beds, but they still must be set aside – thus eliminating them from the pool of beds available to other people seeking shelter.

Homeless people who receive Supplemental Security Income, Social Security Disability Insurance, or veterans and disabled benefits do not get GA money and therefore cannot participate in Care not Cash. The suit alleges there are 60 to 80 Care Not Cash beds that go unfilled every night while hundreds of people seeking shelter are turned away. At least 50 percent of homeless people self-identify as disabled, though many consider that a low figure. “Because any person who is eligible for disability benefits is not able to participate in the CNC program even is there is an empty CNC bed at a shelter, a homeless person with a disability may be denied shelter solely because of his or her disabled status,” states the claim.

“Right now the shelter system for disabled people with mental illness is the equivalent to having a shelter at the top of a hill with a giant staircase and you’re in a wheelchair,” said Paul Boden of Western Regional Advocacy Project, a nonprofit homeless rights group based in San Francisco that is party to the class action suit. “It’s being run more like a capitalist venture than a social program. If it was a social program with a soul then disabled people, seniors, and women would be your priorities.”

Diverse moments

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› a&eletters@sfbg.com

The sheer quantity of advance notices piling up over the summer could overwhelm even a committed dance observer. But then come the aha! moments where you grab your pencil to fill in one more slot on the calendar. The Bay Area is still an exceptional place to watch dance, whether you do it at the prestigious Zellerbach Hall or the Mission District’s humbler CounterPULSE. By including four local choreographers who have risen to the forefront in recent years, the Yerba Buena Center for the Arts’s Bay Area Now 5 (BAN5) series just may be the most noteworthy shows of the fall season. The works of the Erika Shuch Performance Project (After All, Part 1, Sept. 12–14), Robert Moses’ Kin (Toward September, Sept. 18–20), Dohee Lee (Flux, Oct. 16–18), and Keith Hennessy (Delinquent, Nov. 13–15) couldn’t be more different from one another. So these world premieres, supported and — at least partially — commissioned by the YBCA, are a vote of confidence in the health of local dance (check www.ybca.org for performance details). Read on for more notable dance dates.

Courage Group When longtime dancer and arts activist Todd Courage started his own company some six years ago, his work immediately stood for the breadth of its references and its theatrical savvy. Pinpoint, an evening of three world premieres, is his most ambitious endeavor yet.

Sept. 11–13, Project Artaud Theater, 450 Florida, SF. (415) 863-9834, www.odctheater.org

Shawl-Anderson 50th Anniversary Gala With dancers flying in from across the nation, this event is a huge celebration of the lives and works of Frank Shawl and Victor Anderson, who have run Shawl-Anderson Modern Dance Center — the Bay Area’s oldest dance studio — for the past five decades. The gala is preceded by two performance salons Sept. 19.

Sept. 20, St. John’s Presbyterian Church, 2727 College, Berk.; www.shawl-anderson.org

Keyhole Dances Erin Mei-Stuart is a smart, witty, idiosyncratic choreographer. For this series of matinee performances, she takes her EmSpace ensemble to the third floor of a Victorian flat in the Fillmore neighborhood. Buy a ticket and find out location details.

Sept. 20–28. private home, SF. www.emspacedance.org/keyhole

Mark Morris Dance Group Romeo and Juliet without a balcony scene, but with a happy ending? If anyone can bring this off, MM can. His Romeo and Juliet, On Motifs of Shakespeare, is based on the old standby’s recently discovered original libretto and score, and is said to reflect Prokofiev’s initial vision for the piece.

Sept. 25–28. Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk. (510) 642-9988, www.calperformances.org

Chitresh Das Chitresh Das has managed to popularize Kathak, one of India’s most rhythmic dance forms. For these performances, Das and his musicians will challenge each other to ever-greater heights. It’s dance in which improvisation and structure go hand in hand.

Sept. 27–28. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.kathak.org

Nâ Lei Hulu I Ka Wekiu Patrick Makuakane is master showman but also a deeply serious practitioner and student of hula. He has gorgeous dancers, and the "Hula Show 2008" promises to be spectacular, witty, and fun. Includes a family show on Sunday.

Oct. 11–19. Palace of Fine Arts, 3301 Lyon, SF. www.cityboxoffice.com

Kirov Ballet A superb company (and orchestra) — but why such a conservative repertory for an ensemble that these days performs George Balanchine and William Forsythe in addition to the story ballets?

Oct. 14–19. Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk. (510) 642-9988, www.calperformances.org

Merce Cunningham Dance Company This four-program series is superb overview of half a century of dancemaking by a giant of an artist. The Nov. 7 performance includes colloquia and a conversation with Cunningham.

Nov. 7–15. Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk. (510) 642-9988, www.calperformances.org

Axis Dance Company Over the years Axis has redefined long-cherished ideas about who can and who cannot dance. They are true revolutionaries. This 20th anniversary concert includes works by Sonya Delwaide, Joe Goode, Alex Ketley, and Kate Weare.

Nov. 14–16. Malonga Casquelourd Center for the Arts, 1428 Alice, Oakl. www.axisdance.org

Diablo Ballet With "An Evening on Broadway," featuring the work of George Balanchine, Lynn Taylor Corbett, and Christopher Stowell, Diablo takes a very welcome step away from in-house choreography.

Nov. 21–22. Dean Lesher Center for the Arts, 1601 Civic, Walnut Creek. www.diabloballet.org

Stage names

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› a&eletters@sfbg.com

SEPT. 2

Estelle The British soul femme gets a chance to sing to the subjects of “American Boy.” Independent, 628 Divisadero, SF. (415) 771-1421, www.theindependentsf.com

SEPT. 8–9

Built to Spill Pulling off Perfect from Now On (Warner Bros., 1997) from start to finish. Slim’s, 333 11th St., SF. (415) 522-0333, www.slims-sf.com

SEPT. 10

Robert Forster Two years on from Grant McLennan’s unexpected death, the dandified half of the Go-Betweens’ now-fabled songwriting duo returns to the stage with an album that includes three songs cowritten with his old bandmate. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.musichallsf.com

SEPT. 19–20

Nick Cave and the Bad Seeds Mellow with age? No way, say the Grinderman and crew. Warfield, 982 Market, SF. (415) 421-8497, www.ticketmaster.com

SEPT. 19

Al Green and Gladys Knight The Reverend is riding high on the acclaim for his latest recording, Lay It Down (Blue Knight), while Aaliyah’s aunt has kept her voice healthy and powerful in a manner that certain other divas must envy. Sleep Train Pavilion, 2000 Kirker Pass Rd., Concord. Also Oct. 7, Mountain Winery, 14831 Pierce, Saratoga. (415) 421-8497, www.livenation.com

SEPT. 19

My Morning Jacket Southern men channel their Evil Urges (Ato). Greek Theatre, UC Berkeley, Berk. (510) 809-0100, www.anotherplanetent.com

SEPT. 20

Herbie Hancock Loved the fusion maestro’s bon mot to Joni Mitchell. Nob Hill Masonic Center, SF. (415) 421-8497, www.livenation.com

This Land Is Your Land Songsmiths and word slingers Sheryl Crow, Cat Power, Henry Rollins, Mike Ness, and Son Volt pay homage to John Steinbeck, who’s been dubbed “the Woody Guthrie of American authors,” and Woody Guthrie, who has been described as “the soundtrack to Steinbeck.” Guthrie’s granddaughter Sarah Lee and husband (and Steinbeck nephew) Johnny Irion round out the bill of this event — a portion of the proceeds go to the Steinbeck and Guthrie family foundations. Sleep Train Pavilion, 2000 Kirker Pass Rd., Concord. (415) 421-8497, www.livenation.com

SEPT. 20–21

Treasure Island Musical Festival Stunning views, equally awesome sounds — who could ask for anything more? Try a full day of dance beats (Justice, TV on the Radio, Goldfrapp, Hot Chip, et al.) followed by another of all-out indie rock (the Raconteurs, Tegan and Sara, Vampire Weekend, and the gang). Treasure Island, SF. www.treasureislandfestival.com

SEPT. 22–24

Spoon Can’t get enough of Britt Daniel and company? Fillmore, 1805 Geary, SF. (415) 421-8497, www.livenation.com

SEPT. 24

Journey, Heart, and Cheap Trick Feathered-hair flashbacks in full effect. Sleep Train Pavilion, 2000 Kirker Pass Rd., Concord. Also Sept. 27, Shoreline Amphitheatre, 1 Amphitheatre Parkway, Mountain View. (415) 421-8497, www.livenation.com. Also Oct. 7, Mountain Winery, 14831 Pierce, Saratoga. (415) 421-8497, www.livenation.com

SEPT. 25

Silver Jews With a likely gentle assist from Why?’s Yoni Wolf, David Berman flashes his sterling songwriting once more. Fillmore, 1805 Geary, SF. (415) 421-8497, www.livenation.com

SEPT. 26–27

Mission of Burma The Boston life-changers play 1982 post-punk classic Vs. (Ace of Hearts/Matador, 1982) in its entirety. Independent, 628 Divisadero, SF. (415) 771-1422, www.theindependentsf.com

Rancid Up from Gilman and back on the ginormous Warfield stage, alongside the Adolescents and the Aquabats! Warfield, 982 Market, SF. (415) 421-8497, www.ticketmaster.com

SEPT. 26–28

San Francisco Blues Festival The 36th annual throwdown kicks off with a blues film series at the Roxie Theater and continues at the Great Meadow with Hot Tuna, the Delta Groove All Star Blues Revue, Johnny Winter, and Gospel Hummingbirds. Various locations. www.sfblues.com

SEPT. 28

Beach House Baltimore’s Alex Scully and Victoria Legrand — the niece of Michel — rewards the devotion of listeners who’ve discovered that the endlessly resplendent Devotion (Carpark) is a contender for album of the year. Swedish American Hall, 2174 Market, SF. (415) 861-5016, www.swedishamericanhall.com

Earth, Wind & Fire, Angie Stone, and Michael McDonald A slab of ’70s soul fantasy, a little stab at post–Celebrity Fit Club redemption, and a whole lotta distinctive yacht-rock vocalization, all under one roof. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-8497, www.hppsj.com

SEPT. 30

My Bloody Valentine The moment has finally arrived for MBV fans. Will they stretch the distorted bridge of “You Made Me Realize” into infinity? Here’s hoping the answer is yes. Concourse, 620 Seventh St., SF. (415) 421-8497, www.livenation.com

OCT. 3–5

Hardly Strictly Bluegrass 8 Dang, bluegrass, country, and roots fans are in for one of the most diverse lineups yet: Earl Scruggs, Emmylou Harris, Robert Plant and Alison Krauss with T Bone Burnett, Ralph Stanley and the Clinch Mountain Boys, Hazel Dickens, the Gourds, Jimmie Dale Gilmore, Tift Merritt, and Greg Brown mix it up with Gogol Bordello, Odetta, Elvis Costello, Iron and Wine, Richard Thompson, the Jayhawks’ Mark Olson and Gary Louris, Heavy Trash, Bonnie “Prince” Billy, and MC Hammer. A free downhome massive in every sense. Golden Gate Park, SF. www.strictlybluegrass.com

OCT. 3–NOV. 9

San Francisco Jazz Festival Lovers of singing can go straight to the source: the indomitable Jimmy Scott. Lovers of song can sit by the piano of one of the American songbook’s best-known authors: Randy Newman. Lovers of soul can pick up their prescriptions when Dr. Lonnie Smith leads a groove summit. Lovers of revolution can break free from election propaganda with the Brecht-tinged jazz of Charlie Haden’s Liberation Music Orchestra. And lovers of the late Alice Coltrane can pay respects to the music of her son and bandmate Ravi. Various venues, SF. 1-866-920-JAZZ, www.sfjazz.org

OCT. 3

Sigur Rós All hail the Icelandic etherealists. Greek Theatre, UC Berkeley, Berk. (510) 809-0100, www.anotherplanetent.com

OCT. 4

Lovefest The dance music massive and procession is a-twirl with beatmakers à la Armin Van Buuren, Above and Beyond, Kyau and Albert, Deep Voices, Colette, Hil Huerta, and Green Velvet. Various locales, SF. www.sflovefest.org

OCT. 5

Cut Copy The spirit of ELO is a living thing that chugs through the stadium disco of these DFA-affiliated Aussies, and the swoon of OMD isn’t too far away. Mezzanine, 444 Jessie, SF. (415) 625-8880, www.mezzaninesf.com

OCT. 11–12

Santana The pater familias teams with his scion’s Salvador Santana Band. Shoreline Amphitheatre, 1 Amphitheatre Parkway, Mountain View, and Sleep Train Pavilion, 2000 Kirker Pass Road, Concord. (415) 421-8497, www.livenation.com

OCT. 13

The Black Kids The Wizards of Ahhhs initiate the Virgins. Fillmore, 1805 Geary, SF. (415) 421-8497, www.livenation.com

OCT. 14–15

Brightblack Morning Light For those about to rock in a manner that makes Spiritualized seem like meth heads, we salute you. Café Du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

OCT. 18

Mary J. Blige Mary, Mary, quite contrary to … smoothie opener Robin Thicke. Sleep Train Pavilion, 2000 Kirker Pass Road, Concord. (415) 421-8497, www.livenation.com

OCT. 23–26

Budget Rock Seven Magnifico garage-rock from folks who mean it — and love it. Don’t you dare miss Mummies’ Russell Quan’s 50th birthday with Hypstrz and the Rantouls; Ray Loney and the Phantom Movers with Apache; Hank IV with the Lamps and Bare Wires; and Thee Makeout Party with the Pets. Stork Club, 2330 Telegraph, Oakl. www.storkcluboakland.com.

OCT. 27–28

Girl Talk Master of megamix mayhem Gregg Gillis returns to SF, albeit without the pay-what-you-like system offered to those who purchase his latest album. Fillmore, 1805 Geary, SF. (415) 421-8497, www.livenation.com

OCT. 31

Yelle The French electro vixen pops up again. Mezzanine, 444 Jessie, SF. (415) 625-8880, www.mezzaninesf.com

NOV. 1–2

Madonna Break it down, New York magazine-style. Tabloid sensation dissipates, while ageless sex appeal, hardcore show-womanship, and — please remember, your Madge-sty — good songs are a girl’s real best friend. Oracle Arena, 7000 Coliseum, Oakl. (415) 421-8497, www.livenation.com

>>More Fall Arts Preview

Cinemania

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› johnny@sfbg.com

Mock Up on Mu Craig Baldwin’s latest opus, on rocket science and Scientology in California, with the director in person.

Sept. 2. Pacific Film Archive

Obscene A new documentary about Evergreen Review and Grove Press publisher Barney Russet and his many battles on behalf of free speech and real art.

Sept. 5–11. Roxie Film Center

Lost Indulgence and In Love We Trust A pair of films by up-and-coming Chinese directors Zhang Yibai and Wang Xiaoshuai.

Sept. 6–20. San Francisco Museum of Modern Art, Wattis Theater, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

"History Stutters: Found Footage Films" Bruce Conner’s John F. Kennedy–assassination film Report (1965) and Ken Jacobs’ Malcolm X. assassination response Perfect Film (1984) is on the same bill; program also includes a movie with Ed Henderson.

Sept. 9. Pacific Film Archive

Leave Her to Heaven The 1947 Technicolor noir — and ultimate swimmer’s nightmare — returns with a demonstration of film restoration.

Sept. 12. Smith Rafael Film Center, 1118 Fourth St., San Rafael. (415) 454-1222, www.cafilm.org

"MilkBar International Live Film Festival" Three days of experimental cinema, including more than 20 local short works.

Sept. 12–14. Noodle Factory Performing Arts Center, 1255 26th St. #207, Oakl. (510) 289-5188, www.milkbar.org

"Unknown Pleasures: The Films of Jia Zhangke" At last, China’s vanguard contemporary filmmaker gets an extensive Bay Area retrospective.

Sept. 12–Oct. 17. Pacific Film Archive

"The People Behind the Screen" Local programmers contribute to "Bay Area Now": Jesse Hawthorne Ficks presents girl rock; Stephen Parr of Oddball Films shares a giddy taste of his mega-montage project Euphoria; and kino21 puts together performance cinema; Peaches Christ, Queer Women of Color Media Arts Project, and DocFest also have nights.

Sept. 13–Oct. 18. Yerba Buena Center for the Arts

Shatfest Thrillville’s tributes to the one and only William Shatner continue with his 1968 spaghetti western White Comanche.

Sept. 18. El Cerrito Speakeasy Theater, 10070 San Pablo, El Cerrito. (510) 814-2400, www.thrillville.net

"Taylor Mead: A Clown Underground" The legendary wit Mead visit for screenings that showcase his best starring roles (1960’s The Flower Thief and 1967–68’s Lonesome Cowboys).

Sept. 18–21. Yerba Buena Center for the Arts

Forbidden Lies The Roxie is distributing this look at con artist Norma Khouri, which gets a theatrical run after a successful trip through the festival circuit.

Sept. 19. Roxie Film Center

MadCat Women’s International Film Festival Ariella Ben-Dov’s fest turns 12 with eight archival greats (including one by Samara Halperin) and silent films with live rock scores.

Sept. 19 and 23. Various venues. (415) 436-9523, www.madcatfilmfestival.org

"Psychotic and Erotic: Rare Films by Tinto Brass" Ass-fixated erotica that includes talking animals and naked cannibals.

Sept. 24. Yerba Buena Center for the Arts

"How We Fight: Iraqi Short Films" Kino21 kicks off a series with Argentine director Mauro Andrizzi’s feature-length compilation of short videos shot by US or British soldiers, Iraqi militia members, and corporate workers.

Sept. 25. Artists’ Television Access

"James Dean Memorial Weekend" Come back to the five and dime, or failing that, the Castro, and be sure to wear your red windbreaker.

Sept. 26–28. Castro Theatre

Film in the Fog Gene Kelley is singing in the rain — and the Presidio fog.

Sept. 27. Main Post Theatre, 99 Moraga, SF. (415) 561-5500, www.sffs.org

The World’s Largest Shopping Mall The debut or preview of a film by Sam Green and Carrie Lozano is at the heart of a program devoted to psychogeography.

Sept. 27. Other Cinema

Deathbowl to Downtown Coan Nichols’ and Rick Charnoski’s look at the history of NYC street skateboard culture, narrated by Chloë Sevigny.

Sept. 29. Castro Theatre

"Bette Davis Centennial" She’ll tease you, she’ll unease you — all the better just to please you.

Sept.–Oct. Castro Theatre

Dead Channels You can never get enough weird horror and fantasy.

Oct. 2–5. Roxie Film Center

Mill Valley Film Festival The major fall Bay Area festival turns 31.

Oct. 2–12. Various venues. (415) 383-5256, www.mvff.org

Rosemary’s Baby and The Devils Double the demonic hysteria!

Oct. 3. Castro Theatre

"No Wave: The Cinema of Jean Eustache" The series includes 1965’s Santa Claus Has Blue Eyes, his 215-minute masterpiece The Mother and the Whore (1973), his hog-slaughtering documentary — shades of Georges Franju? — The Pig (1970), and a 1997 doc portrait of him.

Oct. 4–22. Pacific Film Archive

"Rediscovering the Fourth Generation" The post-Mao cinema that laid groundwork for directors such as Jia Zhangke gets a SF showcase.

Oct. 4–30. San Francisco Museum of Modern Art, Wattis Theater, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

Vertigo The greatest San Francisco movie ever — maybe greatest movie ever — gets the outdoor screening treatment from Film Night in the Park.

Oct. 4. Union Square, SF. (415) 453-4333, www.filmnight.org

"Spirit of ’68" and "Know Your Enemy" A pair of programs compiled by Jack Stevenson

Oct. 5. Oddball Films, 275 Capp, SF. (415) 558-8117, www.oddballfilm.com

Manhattan and Muppets Take Manhattan Mariel Hemingway, meet Miss Piggy.

Oct. 7–9. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994. www.redvicmoviehouse.com

"French Cinema Now" A new minifestival from the San Francisco Film Society.

Oct. 8–12. Various venues. (415) 561-5000, www.sffs.org

"Superstars Next Door: A Celebration of SF Amateur Sex Cinema from the ’60s" Stevenson looks at that time in SF when everyone would take off their clothes for a camera — with film in it.

Oct. 9–11. Yerba Buena Center for the Arts

"Midnites for Maniacs: Back to School … in the ’90s" Jesse Hawthorne Ficks serves up Buffy the Vampire Slayer (1991), Romeo and Juliet (1995), and Starship Troopers (1997).

Oct. 10. Castro Theatre

"Envisioning Russia: A Century of Filmmaking" The expansive 16-film program extends across eight decades.

Oct. 10–30. Pacific Film Archive

"Protest-sploitation" A lecture-demo by Christian Divine looking at six "youth" films made in 1970, along with a screening of that year’s The People Next Door.

Oct. 11. Other Cinema

RR James Benning’s train film finally reaches a Bay Area destination.

Oct. 14. Pacific Film Archive

Arab Film Festival The festival turns 12 this year.

Oct. 16–Nov. 4. Various venues. (415) 564-1100. www.aff.org

DocFest IndieFest’s doc extension turns seven this year with a slate of at least 60 films.

Oct. 17–Nov.6. Roxie Film Center and Shattuck Cinema, 2230 Shattuck, Berk. (415) 820-3907, www.sfindie.com

Leslie Thornton A three-program SF Cinematheque series devoted to the director behind Peggy and Fred in Hell (1985–present) and other experimental works, with Thornton in-person.

Oct. 19–26. Yerba Buena Center for the Arts

United Nations Association Film Festival Environmentalism is the focus of the festival’s 11th year.

Oct. 19–26. Various venues. (650) 724-5544, www.unaff.org

"I Love Beijing: The Films of Ning Ying" Ning and her acclaimed Beijing trilogy — which spans from the Peking Opera to dogs, cops, and taxi drivers — visit the Bay, capping things a screening of her 2005 "Chinese Sex and the City" feature Perpetual Motion.

Oct. 23–27. Pacific Film Archive

The Werewolf of Washington The president’s speechwriter is a lycanthrope in this Nixon-era flick.

Oct. 31. Pacific Film Archive

"The New Talkies: Bollywood Night" Kino21 presents six works of live narration to Bollywood film scenes.

Nov. 1. Artists’ Television Access

"Occult on Camera" Erik Davis charts out the Aleister Crowley–Kenneth Anger–Led Zeppelin triumvirate-of-evil — what does Jimmy Page’s appearance in the closing ceremony of the Olympics mean?

Nov. 1. Other Cinema

Louise Bourgeois: The Spider, the Mistress and the Tangerine The SF premiere of a new documentary devoted to the sculptor.

Nov. 2–3. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994, www.redvicmoviehouse.com

Ghosts Nick Broomfield’s excellent first non-documentary feature, about the abuse of Chinese immigrants in the United Kingdom.

Nov. 7–13. Roxie Film Center

San Francisco International Animation Festival The burgeoning fest and showcase turns three with a program that includes the Cannes favorite Waltz with Bashir.

Nov. 13–16. Various venues. (415) 561-5000, www.sffs.org

Luther Price New works by one of the more scathing and harrowing filmmakers on the planet, presented by SF Cinematheque.

Mid-November. Yerba Buena Center for the Arts

New Italian Cinema Will it include Matteo Garrone’s Cannes critic’s fave Gomorra?

Nov. 16–23. Various venues. (415) 561-5000, www.sffs.org

"Films by Martha Colburn" A night of kinetic works by the collage creator, presented in conjunction with a show at Berkeley Art Museum.

Dec. 2. Pacific Film Archive

Robot vs. the Aztec Mummy Thrillville stuffs your stocking with a gem from 1957.

Dec. 11. El Cerrito Speakeasy Theater, 10070 San Pablo, El Cerrito. (510) 814-2400, www.thrillville.net

James Hong A sneak peek at the local director’s expose on Japan’s rewriting of history, Lessons in the Blood.

Dec. 13. Other Cinema

"At Sea" Peter Hutton’s At Sea (2004-7), about the life and death of a colossal container ship, is the centerpiece of an oceanic SF Cinematheque program.

Dec. 14. Yerba Buena Center for the Arts

ARTISTS’ TELEVISION ACCESS/OTHER CINEMA

992 Valencia, SF

(415) 824-3890

www.othercinema.com

CASTRO THEATRE

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

PACIFIC FILM ARCHIVE

2575 Bancroft Way, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

ROXIE FILM CENTER

3317 16th St., SF

(415) 863-1087

www.roxie.com

YERBA BUENA CENTER FOR THE ARTS

701 Mission, screening room, SF

(415) 978-2787

www.ybca.org

>>More Fall Arts Preview

Sino the times

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› a&eletters@sfbg.com

If the world-class flash of the Beijing Olympics isn’t enough of an example of China’s rising international cultural power, we’ll have continued reminders at Bay Area museums and galleries in the coming months. It’s perhaps a tipping point: Pace Beijing, a big outlet for a major western gallery, just opened, signaling a market vetting of art currently being made in China. In fact, a wide swath of Asia will the focus of the international art world this fall with a confluence of biennials — and a triennial — that rival the 2007 European "grand tour" of the "Venice Biennale," "Documenta," and "Münster Sculpture Project." This September sees the opening of biennials in Singapore; Taipei, Taiwan; Yokohama, Japan; Guangzhou and Shanghai in China; and Busan and Gwangju in Korea, the latter organized by Okwui Enwezor, dean of the San Francisco Art Institute.

So it does seem fitting, given our Pacific Rim position, that we at least reflect this activity. San Francisco Museum of Modern Art got a jump-start in the Sino-surveys, as "Half-Life of a Dream: Contemporary Chinese Art from the Logan Collection," opened prior to the Olympics and continues through Oct. 5. It’s a lively crash course in its subject, though the museum did give us one in 1999 — the pivotal "Inside Out: New Chinese Art," which included most of the artists on view now. The current show has the opportunity to provide scope — with newer works augmenting some classics — and the mix seems particularly smooth, no doubt because we have become far more familiar with China in general and with at least some of the cultural conditions that fuel the work.

"Half Life" satisfies with 50 pieces of painting, sculpture, and installations, but it seems modest in comparison to "Mahjong: Contemporary Chinese Art from the Sigg Collection," a show that will fill almost the entire UC Berkeley Art Museum from Sept. 10–Jan. 4, 2009, with 141 works by 96 artists. Both exhibitions provide the opportunity to bring artists here and generate public dialogues, panel discussions, artist talks, and film screenings, which will play out in various venues around town. Berkeley’s show brings Ai Weiwei, a breakout international art star with intellectual buzz, out for a Bay Area residency.

One can’t help but notice that both these shows have "collection" in the title revealing a troubling sense of western ownership — a scenario suggesting that such works wouldn’t come to our attention without patronage. In this case, the collectors take on a passionate, fact-filled advocacy role: Swiss collector Uli Sigg has been supporting art in China for two decades, while Kent Logan, who has acquired works with his wife Vicki, writes extensively on his collection in the SFMOMA show’s catalog. Apparently it takes vision — and packaging — to float this work into a western context.

Other shows continue the focus on Asia, including Chinese sculptor Zhan Wang’s solo turn at Haines Gallery (Sept. 4-Oct. 4). His supershiny metal scholar’s rock is a highlight in the de Young’s sculpture garden, and that museum has organized a historical show with themes that may prove to be an interesting counterpoint: "Asian/American/Modern Art: Shifting Currents, 1900–1970" (Oct. 25-Jan. 18, 2009), which surveys work by Asian and Asian American artists who worked in the United States — albeit at a time when the art world was less heated and international than it is today. Yerba Buena Center for the Arts and Mills College Art Museum expand the geographic scope with, respectively, Manila-Bay Area exchange show "Galleon Trade: Bay Area Now 5 Edition" (Sept. 4–Oct. 19) and "The Offering Table: Women Activist Artists from Korea" (Sept. 6-Dec. 7). The Asian Art Museum opens another can of cultural worms — and dazzling artifacts — with the historical "Arts of the Islamic World from Turkey to Indonesia," Sept. 5–March 1, 2009. One hopes that such exhibits expand on what we ordinarily think of as Asian art, contextualizing the current fascination with the contemporary Chinese art scene.

GLEN HELFAND’S PICKS FOR FALL VISUAL ART

"Andrew Schoultz: In Gods We Trust," Sept. 4–Oct. 25. Reception Sept. 4. Marx and Zavattero, 77 Geary, SF. (415) 627-9111, www.marxzav.com

Renzo Piano’s California Academy of Sciences building opens Sept. 27. 55 Music Concourse, Golden Gate Park, SF. (415) 379-8000, www.calacademy.org

Teddy Cruz and Pedro Reyes, Oct. 17–Dec. 13. Reception Oct. 16. Walter and McBean Galleries, San Francisco Art Institute, 800 Chestnut, SF. (415) 749-4563, www.waltermcbean.com

"Lutz Bacher: ODO," Oct. 31–Dec. 13. Ratio 3, 1447 Stevenson, SF. (415) 821-3371, www.ratio3.org

"The Art of Participation: 1950 to Now," Nov. 8–Feb. 8, 2009. SFMOMA, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

>>More Fall Arts Preview

Zing go the strings

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PREVIEW How do you tell a fiddle from a violin? No one cries when they spill beer on a fiddle. From Ireland to Scotland to Appalachia, the hearty fiddle followed the common folk wherever they settled. In pubs and on back porches, fiddle tunes trickled down through generations, learned by ear from fathers or friends. Styles evolved within the regional confines of community, variously emphasizing and echoing chosen parts of the homeland’s repertoire.

The 20th Annual Fiddle Summit reunites three fiddle masters from different styles under one roof: Alasdair Fraser, a Scottish fiddler, his bow heavy, his sound as thick and peaty as his brogue; Martin Hayes, an Irish fiddler with a high-lonesome, lilting style, his tempo wistfully stretched and yearning; and Bruce Molsky, an Appalachian fiddler, his sound percussively bright and bouncing, his melodies drawn chordally across multiple strings. Though each will showcase his own style for a set, the three end the show together, embracing the commonalities of their instrument and the debt each mode owes to the others.

As the opening night act for the Downtown Berkeley Music Festival, the Fiddle Summit is but one course in a brilliant banquet of sound. That morning, organist Will Blades and drummer Scott Amendola’s dueling solos will offer a gratis mind-blowing at high noon on the Downtown Berkeley BART Plaza on Shattuck at Center. On Sunday, Chad Manning plays what the fiddle summit forgot: a set of bluegrass, Texas-style, and swing fiddling at Jupiter (2181 Shattuck), where you can try for yourself to tell a fiddle from a violin.

20TH ANNUAL FIDDLE SUMMIT AT THE DOWNTOWN BERKELEY MUSIC FESTIVAL Thurs/21, 8 p.m., $22.50. Roda Theatre, 2015 Addison, Berk. (510) 548-1761, www.downtownberkeleymusicfest.org Festival continues through Sun/24, see Web site for details.<

Love songs

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TYSON VOGEL OF TWO GALLANTS

* Hazy Loper (San Francisco)

* Ted The Block (Oakland)

* Michael Hurley (Northwest area)

Two Gallants play at 6:05 p.m., Sat/23, at Outside Lands’ Presidio stage, Lindley Meadow.

MICHAEL HILDE OF MOUNTAINHOOD

Locally I’m into David Enos. David is a filmmaker who also played keys in the Papercuts and did the art for their album. His songs are great, haunting, and unflinching.

Nicky Emmert from Mammatus plays solo acoustic as Misty Mountain. The songs are all superlong and unfold in slow motion. Incense [is] in his guitar. We’ve done a couple of shows together, the first was at the San Siern Holyoake and Wood Festival, May ’07.

I also want to especially mention Jonathan Arthur from the All Night Sunshine band in Seattle. He’s brilliant, and plays very, very rarely. As far as I know, the only two times have been with me when I go to Seattle. Maybe more. I hope more.

MATT NATHANSON

* Brett Dennen. He is so good, and he’s just beginning. He has decades of greatness ahead. It is inspiring. His phrasing makes me wish I had soul.

* Bill Foreman. Best songwriter I have known, period. I feel like he moves forward with every song. It is the most natural evolution I have seen. He has so many great ones. His stuff is hard to find, but it’s worth every step. The full band version of "St. Louis" will change you.

* John Vanderslice. His songs sound like they were beamed in from Mars. His records are sonic perfection. He doesn’t think like a normal person. His lyrics crush me.

* Steve Perry. Not really a singer-songwriter, I guess, but who doesn’t wish they had written "Don’t Stop Believing" or "Oh Sherrie"? And who doesn’t love yellow, sleeveless, zebra-striped T-shirts?

Matt Nathanson plays at 7 p.m., Sat/23, on Outside Lands’ Twin Peaks stage, Speedway Meadow.

BART DAVENPORT

(1) Thom Moore (Nevada City)

(2) Greg Moore (Nevada City)

(3) Mia Doi Todd (Los Angeles )

(4) Kelley Stoltz (SF)

(5) Brian Glaze (Oakland)

(6) Kacey Johansing (SF)

(7) Jesse DeNatale (SF)

(8) Mark Eitzel (SF)

(9) Miranda Zeiger (SF)

(10) Amy Blaustein (Berkeley)

Davenport plays 9:30 p.m., Sept. 19, Café Du Nord, 2174 Market SF. www.cafedunord.com

KIRA LYNN CAIN

My favorite singer-songwriters (who are not family members):

* Nico, circa Desertshore (Reprise, 1970), The Marble Index (Elektra, 1969), and The End (Island, 1974)

* Syd Barrett, circa The Madcap Laughs (Capitol, 1970) and Barrett (Capitol, 1970)

* Leonard Cohen

GARRETT PIERCE

"In all honesty, I think SF has been struggling to find a new batch of singer-songwriters to latch onto. I thought Daniella of Snowblink was going to be the next voice of SF, but she just moved to Toronto.

Favorite local singer-songwriters: Peggy Honeywell, Joanna Newsome, and Sean Hayes.

Fave nonlocal singer-songwriters: Diane Cluck, Bon Iver, Tom Waits, Jolie Holland, M. Ward, Matt Bauer, Hayden, and Michael Hurley.

SONNY SMITH

Welllll, Jonathan Richman is nothing new under the sun, but he’s been one of my heroes for a long, long time.

Smith plays 7:30 p.m., Aug. 29, at the Make-Out Room, 3225 22nd St., SF. www.makeoutroom.com

BRITTANY SHANE

My favorite local singer-songwriter: Stephanie Finch (Chuck Prophet’s wife and keyboard player). I loved her band Go Go Market and their CD, Hotel San Jose (Evangeline, 2002)!

Other singer-songwriters I love: Kathleen Edwards, Liz Phair, Susanna Hoffs, Dido, Sheryl Crow, Fran Healy, and Josh Ritter.

But is it metal?

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› a&eletters@sfbg.com

Judgement Day has all the makings of a classic superhero: gritty back-story, freakish features, and extraordinary powers. And for a mutant that’s half-string quartet, half-power trio, this triple threat of violin, cello, and drums turns out to be mighty tough.

Dude, seriously, though. Violins are soft. Drums are loud. Is this going to work? Bowed string instruments have put down anchor in a spectacular variety of musical cultures, but aside from Rasputina and Apocalyptica, metal is still relatively undiscovered country — until you’ve watched the Oakland trio’s collection of eccentrically creepy YouTube entries. In the mini-horror flick Out of the Abyss (2007), the violin screams and dives over an utterly ruinous wall of thumping, sawing cello while zombies threaten to overturn the Marshall stacks. With a forthcoming second album in the can and plenty of tour miles supporting folks like Mates of State already behind them, it’s hard to imagine a rock venue Judgement Day can’t annihilate.

Just because these lads can rock 100 watts, though, doesn’t mean they can’t play a Stradivarius, straight up. This year’s self-released EP, Opus 4 Acoustic — the followup to their first full-length, Dark Opus (self-released, 2007) — shows JD doesn’t rely on sheer volume or slick production to achieve Yngwie-worthy intensity.

What to call this deviant half-breed? "We call it string metal," says violinist Anton Patzner. "But it’s a little bit debatable whether it’s metal." Lewis Patzner, Anton’s younger brother and the band’s furious low end, remembers when "a big metalhead came up to me after the show and was like, ‘Yeah, man, that’s metal! You play metal chords, metal rhythms — that’s metal.’<0x2009>" Yet Anton remembers another fan who saw things differently: "’Your music is sooo beautiful,’ she said. ‘It’s definitely not metal.’<0x2009>"

For the Patzners and drummer Jon Bush, pushing the limits of their instruments and their own virtuosity, hopefully taking a totally psyched audience along for the ride, is more important than impressing the poseur police. "When we play rock music," Anton says, "I’m not trying to copy metal riffs note for note from the guitar." Lewis agrees: "I’m really trying to capture the intention and then translate that to my instrument. It comes out better that way…. Honesty is a really important quality."

And if there’s any tradition Judgement Day is truly born of, it seems, it’s that of the passionate but savvy professional musician. The Patzners’ parents, not surprisingly, are pro performers and educators — and, full disclosure, my former teachers — who "emphasized the importance of being able to play other musical styles, because they understand the reality of trying to make a living."

For Anton, back in the day, that meant hitting the streets of Berkeley with his fiddle, making tips while working on his chops. When Lewis tagged along one day with his cello, Anton recalls, "I didn’t really know what to do, so we started playing metal, and it was a hit." With shout-outs to other "off-center" bands like Thrips, Judgement Day hasn’t outgrown those roots, thriving among industry-shunning, genre-defying DIYers that populate the Bay and the nation. Yeah, man, that’s metal.

JUDGEMENT DAY

With Geographer and Cotillion

Sun/17, 9 p.m., $10

Café Du Nord

2170 Market, SF

www.cafedunord.com

Under the skin

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› le_chicken_farmer@yahoo.com

CHEAP EATS To be honest (which is one of my two favorite ways to be) … I never very much liked ratatouille, or rat-a-tat-tat-ouille, as I have sometimes called it, to be difficult. Nothing against eggplant. It’s just that there are, at any given time, 9,999 other things I’d rather be putting in my mouth, at least one of which, at any given time, is a whole roasted chicken rubbed with black pepper and garlic, strips of bacon stuffed under the skin.

The only reason I mention ratatouille is because there’s a movie that, like most movies, I never saw. Called Ratatouille. But I don’t much go for ratatouille, so why would I want it in italics, with a capital R?

Plus I am the least movied person alive. That’s why I so seldom know what anyone’s talking about. I do see movies, occasionally, but only as a vehicle for popcorn. Home or away, I pop my own. Not that I can’t afford movie theater popcorn; I just like mine better. As it turns out I — famed appreciator of Two-Buck Chuck and Dollar-a-Thing Chinese fast food — am a popcorn snob.

I get my kernels at Rainbow Grocery, so we’re talking organic, free-range, home-schooled, non-HMO, white corn popcorn. And, in one of those cool turnabouts that makes life soupy and worth living, it’s cheaper than Orville fucking Redenbacher and Jolly goddamn Time. Oh, and every kernel pops — for real, Orville. I can prove this in a court of law. I know how much oil to use, so the salt sticks too. No butter. Just salt.

People are always almost beating me up in bars. And not for the normal reasons, either. Most recently it was a matter of my not having seen Ratatouille, the movie. I forget who it was, but it wasn’t the one person in the world who’d have "probable cause" for beating me up in bars for not seeing Ratatouille — the badass biker babe I know who actually worked on that film.

Whoever it was, they were berating, abusing, and downright poking me over never having seen Ratatouille. I didn’t dream this. I know it wasn’t a dream or else it would have been the badass biker babe.

Now, I know what you’re thinking. You’re thinking: no butter? Did you just say no butter on your popcorn? You, Chicken Farmer? Butterer of everything, singer of songs about butter, and placer of bacon under chicken skin? No butter on your popcorn?

Well, first let me say that it was Crawdad’s idea to put bacon under the chicken skin. I was 100 percent behind the idea, yes. But ultimately I was, like so many ruiners of life and meals before me, "only following orders." It was her kitchen.

We both knew that the bacon stuffed under the skin and into the cavity would never get crisp, nor exactly palatable to most palates, save mine and maybe the dog’s. But I figured, well, we could always put more strips of bacon on the outside of the bird. To eat! The bacon-inside idea, I imagined, would lasso all sorts of holy cows at the dinner table. It would melt into the meat, and leave an extra layer of pretty pure fat under the skin, essentially turning chicken into duck, and consequently turning us, me and Crawdad, into Nobel lariats.

There’s a word for this. It’s either hubris, dumbass, or joie de vivre … depending where you come from and what kind of mood you’re in.

Speaking of Frenchness, I borrowed Ratatouille from Crawdad that night — something to watch with my bedtime popcorn when I got home.

Got home, popped my corn, salt, no butter, opened the box …

No disc. No Ratatouille. Still going to get beat up in bars, etc. Except: the following night, last night, at Yo-Yo’s, cat-sitting, out of pure boredom, I swear, I touched the "open" button on her DVD player. I’d already scanned her shelves, nothing I wanted to see. And you’re not going to believe this, because Yo-Yo and Crawdad haven’t seen each other in years…. In fact, I’m not even going to tell you.

—————————————-

My new favorite restaurant is Cactus Taqueria. There’s one in Oakland and one in north Berkeley. That’s the one I like, because that’s where I lunched with a one-year-old after a grueling five-minute birthday shop for another one-year-old. Best thing about nannying: you always have someone with you to help finish a burrito. And if it’s Clara de la Cooter, she’ll finish all your hot sauce too. We were googy over the carnitas.

CACTUS TAQUERIA

1881 Solano, Berk.

(510) 528-1881

Daily: 11 a.m.–9 p.m.

Beer & wine

DISC/MC/V

Optic nerve

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› johnny@sfbg.com

This is the second year that the Guardian has devoted an issue to local photographers. I’ll wait until it happens a third time before deeming the project an annual endeavor. It’s easy to believe in that possibility, because the range of photography in the Bay Area right now is exceptional. This great state of affairs is partly due to spaces and organizations such as SF Camerawork, RayKo Photo Center, and PhotoAlliance. It’s also due to more do-it-yourself street-level groups such as Hamburger Eyes and one of this issue’s 10 contributors, Cutter Photozine.

Last year’s photography issue focused on portraiture, but this year I’ve opted for a survey approach that allows for spontaneous connections. Jessica Rosen and Sean McFarland both utilize collage, but with vastly different results. Keba Konte’s collage aesthetic adds objects to imagery and links history to autobiography. Investigative work leads to political or societal exposure within Trevor Paglen’s and David Maisel’s photography. Adrianne Fernandez and Bayeté Ross-Smith focus on youth as they bring new twists to traditions such as the family album and the prom portrait. Dustin Aksland’s portraiture also includes teenagers, sometimes plopped onto or stopped within American landscapes, while Mimi Plumb likens rural landscapes to the backs of horses.

August may be when summer winds down and a portion of SF prepares to camp elsewhere, but it’s an important time for local photography. This issue coincides with PhotoAlliance’s and the San Francisco Arts Commission Gallery’s annual exhibition of local photographers. Two of the 10 artists on the following pages are part of that show. American photography also will be playing a major role at the San Francisco Museum of Modern Art next year, when that space presents an exhibition devoted to Robert Frank and his classic monograph The Americans (Steidl).

In honor of an old adage or clichéd truth, there aren’t a lot of words next to the pictures that follow. But the text does include Web site information. In most cases, these photographers’ sites function as another gallery of sorts, one that lacks the tactile nature and dimensions of an actual photograph but at least suggests the variety of a body of work to date. Scope them out, and scope out Pixel Vision, the Guardian‘s arts and culture blog, for interviews and other photography-related pieces this week. Last, before you look, some thanks are due to Glen Helfand, Chuck Mobley, and Mirissa Neff for their help in the selection process, and to Kat Renz for a last-minute idea.

Also in this issue:

>>Killer shots from the bowels of rock

>>Before stalkerazzi, there was Gary Lee Boas

>>Q&A with Heather Renee Russ of Cutter Photozine

>>Q&A with Jessica Rosen

>>Molly Decoudreaux looks beneath local nightlife
———-

NAME Adrianne Fernandez

TITLE Daddy Sends His Love

BACKGROUND In my "Alternative Album" project, the interplay of social and personal history is essential. It yields a complex tension between irony and nostalgia for the so-called family album.

SHOUT OUTS My influences include artists such as Larry Sultan and Elinor Carruci, who have worked with their prospective families to create intimate images that provide a compelling look into family dynamics.

SHOWS "Gender Agenda," through Sept. 14. The Gallery Project, Ann Arbor, Mich. www.thegalleryproject.com. Also "Not Your Mama’s World," Fri/8 through Sept. 9. Washington Gallery of Photography, Bethesda, Md. www.wsp-photo.com

WEB AlternativeAlbum@aol.com

———-

NAME Jessica Rosen

TITLE I Could See the Amazon from the 5th Floor of the Robert Fulton Projects
BACKGROUND This work is a large-scale photo collage installation made from cut-up, layered C-prints of my original photographs. It measures about 10 feet by 12 feet. Because this scale relates to human scale, it allows the viewer to experience the image as an environment rather than as an isolated image.

SHOUT OUTS My work stems from a fascination with people. Over the years my art practice has continually focused on portraiture. Although my newer collage works may seem quite fantastic, most are truly portraits in the traditional sense.

SHOW "Jessica Rosen," through Oct. 1. Open 24/7 (storefront window). Keys That Fit, 2312 Telegraph Ave, Oakl., http://www.xaul.com/KEYS/home.html

WEB www.jessicarosen.com

———-

NAME Cutter Photozine

TITLE Top to bottom, untitled photos by (1) Ethan Indorf; (2) Keith Aguiar; (3) Ace Morgan; (4) Darcy Sharpe

BACKGROUND Cutter is a San Francisco documentary photo magazine. Founded by Heather Renee Russ and Alison O’Connell, it has a DIY ethic and is eco-positive (it uses recycled paper and soy-based inks). Cole Blevins, Jesse Rose Roberts, Sara Seinberg, and Rachel Styer also worked to put out the first issue, which includes 20 photographers and spotlights Ace Morgan’s uncanny blend of rage, longing, joy, and punk rock.

SHOUT OUTS Cutter is dedicated to people telling their stories and documenting their existence. We seek to undo traditional voyeurism toward the "other" and place the power of sight in the focused home of the author.

SHOW The first issue can be purchased at local shops such as Needles & Pens. They’re currently accepting submissions for the second issue, due this fall. There will be a release party and photo show in late November.

WEB www.cutterphotozine.com

———-

NAME David Maisel

TITLE 1165 (from Library of Dust)

BACKGROUND The large-scale photographs of the "Library of Dust" series depict individual copper canisters, dating from 1913 to 1971, which contain unclaimed cremated remains of patients from Oregon’s state-run psychiatric hospital.

SHOUT OUTS Robert Smithson, NASA photographs, 19th-century exploratory landscape photographers (especially Timothy O’Sullivan), and the New Topographics photographers from the mid-1970s.

SHOW "David Maisel: Library of Dust," Sept. 4–Oct. 4. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Haines Gallery, 49 Geary (suite 540), SF. (415) 397-8114, www.hainesgallery.com. Library of Dust (Chronicle Books, 108 pages, $80) will be released in October.

WEB www.davidmaisel.com

———-

NAME Keba Konte

TITLE Detail from "888 Pieces of We"

BACKGROUND The eighth day of the eighth month of the eighth year is approaching, and in alignment with this auspicious moment I have created this exhibition of 888 photographs printed on wood, copper, and vintage books. I’ve had to select from thousands of images spanning 42 years in order to choose 888 that reflect my journey: there are protests and portraits, street moments and political movements; freaks, friends, and family members. As a documentary and portrait photographer, one observes the beautiful strangers. However, looking at this large body of work, another story comes into focus: my own.

SHOUT OUTS Roy DeCarava, Gordon Parks, Sebastião Salgado, Ruth Bernhard, Kimara Dixon.

SHOW "888 Pieces of We: A Photo Memoir," Fri/8 through Sept. 8. Oakland Art Gallery, 199 Kahn’s Alley, Oakl. (510) 637-0395, www.oaklandartgallery.org

WEB www.kebakonte.com

———-

NAME Sean McFarland

TITLES Untitled (park)

BACKGROUND I work from an archive of photographs I’ve made, along with images gathered from print and other media. Through collage, new pictures are formed. Recently my work has focused on weather, nighttime, and the ocean.

SHOUT OUTS For now, two books: National Audubon Society Field Guide to North American Weather, (Knopf, 1991), and Gerhard Richter’s Atlas (D.A.P., 2007). Also, students, friends, and just about any archive.

SHOWS "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org. Upcoming: "Johanna St. Clare, Paul Wackers, Sean McFarland, Dan Carlson," October. Thurs.–Sat., 1–5 p.m. Eleanor Harwood Gallery, 1295 Alabama, SF.

WEB www.sean-mcfarland.com

———-

NAME Dustin Aksland

TITLE Paso Robles, CA (2005)

BACKGROUND This was shot during a trip to Paso Robles. My friend and I pulled off the highway to take the back roads into town. As soon as we pulled off, we passed this man sleeping in his car. We went about a half-mile and I made my friend turn around. We pulled up in front of the car and I shot two frames out of the passenger window.

INSPIRATION "Useful pictures don’t start from ideas, they start from seeing." — Robert Adams.

SHOWS "States of Mind," September. TH Inside, Brussels, Belgium. "States of Mind," November. TH Inside, Copenhagen, Denmark.

WEB www.dustinaksland.com

———-

NAME Bayeté Ross-Smith

TITLE Here Come the Girls

BACKGROUND This is part of a series that documents high school students in Berkeley, east Oakland, San Francisco, and Richmond as they mark their ascension from childhood to adulthood through the celebratory rite of passage known as prom. Taking a cue from traditional prom photos, the portraits allow for seriousness and playful flamboyance, depicting a vast array of budding identities.

SHOUT OUTS Walter Iooss, the Magnum photographers, and James Van Der Zee.

SHOW "Pomp and Circumstance: First Time to Be Adults," Sept. 4–Oct. 11. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Patricia Sweetow Gallery, 77 Geary (mezzanine), SF. (415) 788-5126, www.patriciasweetwogallery.com. Upcoming: "Off Color," Sept. 19–Nov. 1. RUSH Arts Gallery, New York.

WEB www.patriciasweetowgallery.com

———-

NAME Mimi Plumb

TITLE Harley

BACKGROUND These photos are part of an ongoing series that began about 10 years ago when I photographed a herd in the John Muir Wilderness of the Sierra Nevada. The horses in this new series live in Petaluma.

SHOUT OUTS Horses’ backs embody the landscape. They become the horizon and horizon line, at times transforming into the rolling hills of the California landscape where I grew up, before tract houses and strip malls became the norm.

SHOW "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org

WEB www.mimiplumb.com

———-

NAME Trevor Paglen

TITLE KEYHOLE 12-3 (IMPROVED CRYSTAL) Near Scorpio (USA 129), 2007

BACKGROUND This is a photo of reconnaissance satellite, taken from the roof of my house in Berkeley. It’s part of a series of photos of American spy satellites.

SHOUT OUTS I got interested in photography because I was working on projects that were nonfiction allegories, projects that played with notions of truth and what we can and can’t see. To me, photography is the medium that does that best. It captures reality and at the same time doesn’t. I like that tension. I also became interested in photography post-9/11 because photography became an aggressive gesture in a way that it wasn’t before — people could be arrested for photographing the Brooklyn Bridge. The act of taking photographs outside became an exercise in civil rights.

SHOWS "The Other Night Sky," through Sept. 14. Wed.–Sun., 11 a.m.–5 p.m. Berkeley Art Museum, 2626 Bancroft, Berk. (510) 642-0808, www.bampfa.berkeley.edu. Upcoming: Taipei Biennial, Sept. 13–Jan. 11, 2009; Istanbul Biennial, 2009; "2008 SECA Art Award Winners," Feb.–May, 2009, SFMOMA.

WEB www.paglen.com

Friends of Chet celebrate his 66th birthday

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By Bruce B. Brugmann (Scroll down for a picture of the Friends of Chet)

Lee Housekeeper, the worthy keeper of the flame for Chet Helms, sent out the word to the Friends of Chet.

“This Saturday (Aug. 2) we would have celebrated Chet’s 66th birthday with him at the Great American Music Hall. Some of you would have shared a meal with him at Lefty O’Doul’s. Alas, Chet’s ashes are stashed at the Columbarium but that won’t stop us from celebrating our brother.”

And so 22 Friends of Chet showed up on a beautiful Saturday afternoon on the top floor of the Columbarium in San Francisco to celebrate the legendary rock impresario and symbol of the Summer of Love who died on June 25, 2005.

It was a a lively little group, who talked and joked as if Chet were with us, wearing flowing white robes and looking like Jesus Christ. That is how I remembered him when he appeared at Guardian parties in the late l960s at the time he was energizing the old Avalon Ballroom and rock music. Then it was Chet Helms and the Family Dog and he was at the top of his game.

Carole Vernier was there, looking as if she were still gathering items for Herb Caen (she was Caen’s last assistant). And there was Boots Houston, who did a benefit to pay off Chet’s debts and promoted the 40th anniversary of the Summer of Love in memory of Chet in Golden Gate park); Eugene (Dr. Hip) Schoenfeld and his wife Lonie (Dr. Hip wrote a famous column on sex and drugs for the old Berkeley Barb and the Guardian); Robert Altman, of the famous last name, but a fine photographer in his own name, who arranged the group photo; and Julius Karpen, who managed Janis Joplin, Chet’s find from Texas, and Big Brother and the Holding Company, her group.

Jose Angel Najera, who used to throw free block parties on Mullen Avenue in the l960s/70s with Chet, Janis and their d his rock star friends, did a beat on Chet’s memorial glass. Everybody chimed in with the beat. Jose’s son Eloy Cipriano Najera (aka CIPRE) let out a freestyle rap in honor of Chet.
“Chet was loving and giving and music is what kept him livin.'” (Full rap below.) Then everyone headed to Lefty O’Douls where even more Friends of Chet were gathered to continue the festivities.

Chet, you inspired another jolly good show. B3

Chet Helms celebrationsmall.jpg

Top row standing left to right: Julius Karpen, Sydney Minnerly, Jose Najera II, Jose
Najera, Lee Houskeeper, Bruce Brugmann, Steve Sodokoff, Scott Mize, Boots Houston, Karen Albin, Jon Diamante, Robert Altman

Middle row seated left to right: Tom Soto, Steve Somerstein, Jose Najera, Carol Vernier

Bottom row seated left to right: Eugene Schoenfeld, Lanie Schoenfeld, Judith Davis, Darice Murphy, Jerilyn Brandelius, Ann Pierson

Eloy’s rap on Chet:

“Chet Helms was born in Texas, and hitch hiked with Janis, she always wanted a Mercedes Benz but now we ridin in a Lexus!

“I remember him and my pops, smokin on chops, around the table, and gettin much props! Passin the wine, and enjoyin the time, and Cipriano raps with a rhyme! That was pulled off the grape vine

“He was good friends with my mother, and he was like a brother to my parents, and he was even the manger for Jimmy Hendrix. So we are all here to give respect thats just, due to a great man from the Family Dog, while your gone we are all in the Fog, but I goin to rise a bay HOG!,

“But Chet was loving and giving and music is what kept him livin’! SO we’re all here to give honor and respect to a man that gave the Hippies a reason for wishin for Peace, and love, and to shine bright like the stars above, and I to be free like a dove! One love! Chet Helms!”

Eloy says check out his websites:

myspace.com/Cipre
Ursession.com/Cipre
Ursessoin.com/BERNALBEAT

The best story in Guardian history

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Joe Neilands and Harold Ickes describe how PG&E has Hetch Hetchyed San Francisco for decades

By Bruce B. Brugmann

Le me add my own Best of selection to our splendid Best of issue this year. It;s a Guardian story with all the elements of great story: It has drama, intrigue, corruption, a cast of characters from John Muir to Hiram Johnson to Harold Ickes to Mayor Newsom, a classic battle between progressives and conservationists, a breathtaking theft of a major public asset by a private corporation, and a long sordid history that continues to this day in San Francisco.

Three years after my wife and I founded the Guardian in 1966, a UC-Berkeley professor by the name of J. B. Neilands came to our tiny Guardian office and offered me a big story. I quickly looked it over and said, Joe (he was known as Joe) this is an incredible story.

Why can’t you get it published in the Chronicle or the Examiner or another major news outlet? Why me? Why the Guardian?

“Nobody will touch it,” said, shaking his head sadly. “It’s too big a scandal. It’s up to you to publish it. If you don’t publish it, nobody else will.”

And so started the saga of what we came to call the PG@E/Raker Act Scandal, the biggest urban scandal in American history. Joe had buried the lead and put some professorese but he had done the research, he had nailed the story and the culprits, and all it needed was some editing, which I was happy to do. Joe and the Guardian had an astounding scoop which no other local paper would publish then and few publish to this day.

The story appeared in our March 27, l969 edition under the fold on the front page. And we have followed it up through the years with literally hundreds of stories, editorials, cartoons, graphics, and charts. . Virtually everyone who worked in Guardian editorial has covered or researched a piece of this story.

The head: “How PG@E robs S.Fl of cheap power”

The lead: “A few months before he died last year, Frank Havenner sat up in his bed in a nursing home in San Francisco and told me of how the Pacific Gas & Electric Co. swindled San Francisco out of hundreds of millions of dollars of cheap hydroelectric power.

“The story was incredible: PG&E and its political allies had defeated eight successive bond issues to establish a municipal electric system in San Francisco and grant city residents and businesses the benefit of low cost power produced by the city’s Hetch Hetchy water system in the Sierra.

“The result: San Francisco has paid through the nose to PG&E for its power and the city loses about $30 million a year in profits it would get from a public system.”

The key quote: Joe research turned up a magnificent phrase used by then U.S. Interior Secretary Harold Ickes in a speech to the Commonwealth Club in 1944 in support of a city bond issue to buy out PG@E. Said Ickes: “The disgraceful history of the handling of Hetch Hetchy power should place a new verb in the lexicon of political chicanery: ‘To Hetch Hetchy’ means to confuse and confound the public by adroit acts and deceptive words in order to turn to private corporate profit a trust set up for the people.”

“I need not repeat the scandalous story thas has given birth to this new verb, but I would remind you that the last chapter of it has not been written. The pledge that the people of San Francisco, with full knowledge, made to their government has not yet been redeemed.” Ickes was making the point that San Francisco was in violation of the public power mandates in the federal Raker Act that and he had sued the city in federal court to force the city to bring its Hetch Hetchy public power to establish a public power system in San Francisco. .

A key Examiner editorial quote: Joe even found the Examiner, then a strong supporter of the dam and public power, stating that “It is a wrongful and shameful policy for a grant of water and power privilege in the Yosemite National Park Area to be developed at the expenditure of $50 million by the taxpayers of San Francisco, only to have its greatest financial and economic asset, the hydroelectric power, diverted to private corporation hands at the instant of completion; to the great benefit of said corporation, and at an annual deficit to the city of San Francisco.” (The Examiner of William Randolph Hearst was of course referring to PG&E. Hearst later switched sides, as a result of getting a chunk of money from a PG@E-controlled bank, but that is another story that a Hearst biographer and the Guardian have previously disclosed.)

Joe asked James Carr, then San Francisco’s general manager of the San Francisco Public Utilities Commission,
when the city would enforce the Raker Act. Carr replied to Joe, in a letter 5l years after the Raker Act passed as the Magna Carta of public power, that it was ‘premature to discuss municipal distribution of power in San Francisco.'” Joe concluded: “In March, 1969, it still is.”

Well, in July of 2008, according to PG&E and Mayor Newsom,
it still is.

Click here to read the original Joe Neilands Guardian story on the PG&E/ Raker Act scandal.

Dolly Parton

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PREVIEW That fact that Dolly Parton simply exists makes me happy. Of course, if the now-62-year-old lady from Locust Ridge, Tenn., didn’t exist, it’s likely she would have been invented by some lonesome trucker with a Venus of Willendorf complex — or by Merle Haggard. (Witness Redding’s Calicountry legend crushing hard in 1981’s Sing Me Back Home [Times Books]: "I didn’t just fall in love with the image of Dolly Parton. Hell, I fell in love with that exceptional human being who lives underneath all that bunch of fluffy hair, fluttery eyelashes, and superboobs.") The mythology is firmly in place: the dirt-poor upbringing as the fourth of 12 hungry mouths to feed in a broken-down, one-room cabin in Tennessee’s Great Smoky Mountains. There’s the idea that despite the protestations of so many smitten suitors, including the Hag, Parton has remained wedded to Carl Dean, raising and playing "Aunty Granny" to younger siblings — and filling in as godmother to Miley Cyrus. Her accomplishments as a songwriter and vocalist almost seem like mere frosting next to the C&W tales and Tinseltown efforts, though numbers like "Coat of Many Colors" match many tunes in Haggard’s catalog in their economy, storytelling, and resonance, while such cover turns as mentor Porter Wagoner’s "Lonely Comin’ Down" still possess an emotional power more than three decades along, thanks to Parton. And the moths still flutter toward her flame: Parton recently contributed vocals to a new song written for Jessica Simpson ("Guess you could say it’s the ‘blonde leading the blonde’," Parton has quipped), and a 9 to 5 musical, for which Parton wrote the music and lyrics, premieres in Los Angeles Sept. 20. Word has it that back problems kept the Tennessee Mountain thrush from South By Southwest this year, but one can only hope her recent, wildly successful European tour supporting Backwoods Barbie, her first self-released long-player, will smooth the way to the Greek’s stage. So say hello.

DOLLY PARTON Tues/5, 8 p.m., $39.50–$125. Greek Theatre, UC Berkeley, Hearst and Gayley, Berk. (510) 809-0100, www.apeconcerts.com

Between two worlds and then some

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› a&eletters@sfbg.com

There have been books, documentaries, feature films, and more than one play about Ishi, the last "wild" California Indian who emerged from the hills of northern California in 1911 and became friend and subject of renowned Berkeley anthropologist Alfred Kroeber and his colleagues. Purportedly the sole surviving member of the Yahi tribe — just one of many indigenous groups decimated by white settlers’ diseases as well as the state-sanctioned genocidal violence against California’s native populations in the late 19th century — Ishi succumbed after five years in San Francisco to the white man’s disease of tuberculosis, only to rise again years later (thanks in part to a famous biography written by Kroeber’s second wife, Theodora) as a symbol of new age spiritualism and the elevation of naturalism as ennobling.

Ishi has been the subject of many stories, then, though none necessarily entirely or even remotely his own. Ishi: The Last of the Yahi — Bay Area playwright and Theatre Rhinoceros artistic director John Fisher’s own foray into the history, legend, and meaning of Ishi — takes the idea of the native Californian’s true story as its supple (if somewhat overworked) premise, boldly mixing fact and fiction as well as contemporary and early 20th-century mores to tell a tale of deeply rooted systemic violence that, among other things, links the production of scientific knowledge and the construction of difference (especially racial and sexual difference) to the all-out homicidal impulses of a colonial system of conquest.

This bracing scope, however, is only fitfully fulfilled by the play’s uneven characterization and somewhat tortuous plot, which attempts to ground the play’s more abstract and polemical aspects in a set of human relationships that reverberate across the cultural gulf separating Ishi from his white hosts. Bounding across roughly 150 years, three cities, and two continents, Ishi throws up promising ideas throughout, but ends by being too disjointed and dramatically hit-and-miss to adequately sustain them.

The play brackets the principal action, set between 1911 and 1916, with an academic job talk and a university undergraduate course dealing with the history and implications of Ishi’s story, interspersed with loud and violent scenes of bounty hunters running down Ishi’s relatives. Alfred Kroeber (Kevin Clarke), and colleagues Thomas Waterman (Aaron Martinsen) and Dr. Saxton Pope (Matt Weimer), meanwhile, move effortlessly between the early 20th century and the contemporary setting, in which terms like "postcolonial multiculturalism" are confidently bandied about.

Our first glimpse of Kroeber is of a highly ambitious man courting the favor of a rich benefactress — Phoebe Apperson Hearst (Kathryn Wood) — to secure the necessary funds for a world-class anthropology museum. He is also a loving husband whose wife, Henrietta (Jeanette Harrison), is slowly dying of TB. Here, Henrietta is supposedly the daughter of Kroeber’s renowned former teacher, Franz Boas, a problematic father figure Kroeber has broken with. These connections will find echoes in the relationships in Ishi’s own family. The deal brokered between Kroeber and Hearst, meanwhile, ends up turning on Kroeber’s success in extracting the personal history of the last Yahi, who has just been discovered half-starved and rummaging for scraps in Oroville.

Played with an air of abiding confidence, subdued sorrow, and quiet humor by Michael Vega, Fisher’s Ishi must negotiate a world in which everyone wants a figurative or literal piece of him but where human sympathy and the growing bonds of friendship have their own pull, bidding him to reveal more of himself. Solidly crafted performances from Clarke and Harrison help anchor the drama in the complexity and heartache of the death-shrouded Kroeber marriage. Martinsen is a persuasive and sympathetic Waterman, while Wood’s turn as a jocular and surprisingly ribald Hearst lends further pluck to an otherwise uneven cast. But at more than three hours, including back-to-back addresses from three characters driving home a moral-laden and convoluted conclusion, there is a leaner play waiting to come out here.

ISHI: THE LAST OF THE YAHI

Wed/23–Sat/26, 8 p.m.; Sun/27, 3 p.m., $15–$35

Theatre Rhinoceros

2926 16th St., SF

(415) 861-5079, www.therhino.org

Hunting the lord of war

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› gwschulz@sfbg.com

Accused illegal arms dealer Victor Bout’s long-awaited arrest by Thai police officers March 5 was an important victory against unchecked human rights abuses around the world, and a personal vindication for the San Francisco woman who helped bring Bout to international attention.

Bout arrived at the luxurious Sofitel Hotel in Bangkok believing he was to meet with two senior leaders of the Marxist guerrilla army known as the Revolutionary Armed Forces of Colombia, or FARC. The men, it turned out, were paid informants operating on behalf of US drug enforcement officials.

Through an associate, the 41-year-old Bout allegedly promised to sell the duo large quantities of weapons to continue FARC’s decades-old insurgency against the Colombian government. According to an April federal grand jury indictment filed in New York, the arms included surface-to-air missiles, AK-47s, C-4 explosives, land mines, and even people to help train FARC soldiers in using the weapons.

Among those most relieved — and surprised — at the arrest was a relentlessly determined human rights investigator who lives in San Francisco. Kathi Lynn Austin, 48, has been pursuing the notorious trafficker and war profiteer for more than a decade.

Bout, a former USSR Air Force officer, is widely reputed to be one of the world’s most active criminal arms dealers, perhaps best known for his spectral presence on the African continent. There, he cultivated professional relationships with its litany of brutal dictators and helped fuel some of the most appalling human rights tragedies of the last century.

Austin and other investigators, as well as journalists and law enforcement officials in several countries, say that Bout expertly structured a business empire of shell companies, dubiously licensed cargo planes, and endless arms accumulations from former Soviet stockpiles — all of which were intended to minimize evidence linking his name to illegal weapons dealing.

But the work Austin did to penetrate that shell and expose Bout was so notable and dramatic that Paramount Pictures announced in December 2007 that superstar Angelina Jolie would play her in a drama inspired by Bout’s infamous career.

It’s a stunning achievement for someone who 15 years ago struggled to convince even her colleagues in the human rights community that the end of the Cold War and the globalization of organized crime made nonstate actors like Bout as much of a threat to peace as the tyrannical governments they’d been naming and shaming for years.

"A human rights violation is considered a violation that is carried out by a state actor," Austin told the Guardian. "We were trying to change the whole field of human rights to philosophically say we should be going after these private perpetrators as well."

Austin has helped document Bout’s convoluted network since about 1994, first as a consultant for Human Rights Watch and later as arms and conflict director for the Washington, DC–based Fund for Peace, for which she maintained a San Francisco office, before eventually working for the United Nations.

After returning to San Francisco in June from an 18-month UN mission in East Timor, Austin agreed to talk about her investigations of Bout over several hours of interviews near the North Beach apartment where she’s been holed up writing material for the Paramount script.

Seeing Austin in a crowded coffee shop with clear features and wide, earnest eyes, it’s not easy to imagine her charging through the world’s hellholes: Rwanda, Sierra Leone, Liberia, the Democratic Republic of the Congo, Angola, and other African conflict zones where the UN has imposed longstanding but ineffective arms embargos.

The work of Austin and others repeatedly helped show that death and destruction could continue indefinitely for the right price paid to savvy arms brokers like Bout, while the United States failed to regard the plight of civilian populations across Africa as vital to its interests.

As the world would learn in 2004, even the US military relied on Bout’s planes to conveniently bring its partially privatized war machine down on Iraq, making this story about more than just Bout and his pursuers.

Following Bout’s arrest in Thailand, federal prosecutors here charged him with conspiring to kill US nationals and attempting to illegally acquire anti-aircraft missiles.

In 1997 the United States designated FARC a terrorist group for kidnapping and murdering American citizens in Colombia. US officials also consider Colombia the globe’s largest supplier of cocaine, a trade that’s kept the leftist rebels afloat.

Bout allegedly told DEA informants that an ongoing, violent campaign by the FARC to counter America’s cocaine fumigation efforts in Colombia was his fight, too, and that he could supply the guerrillas with everything they needed.

Days after this story goes to press, however, he’s due for a court hearing in Bangkok, where a judge will decide whether to extradite him to the United States. That means Bout could face a criminal trial on American soil. To Austin, that’s long overdue. She had lost hope that her country would subdue a top-tier enabler of gross human rights violations. A secret sting operation led by American narcotics agents was the last thing Austin believed would lead to Bout’s capture — and for good reason.

She first became aware of his name in 1994, shortly after witnessing one of the brightest moments in contemporary African history. On April 24 of that year, Austin stood near the polling station as Nelson Mandela, a political prisoner of 27 years, marked his ballot in South Africa’s first fully democratic election. She’d been invited to attend after working as a researcher in the Natal province documenting political violence and the apartheid government’s desperate attempts to preserve decades of white control through upheaval and destabilization. No one was sure Mandela would reach the ballot box.

"We got up at three, four in the morning to load a bus," Austin recalls. "Nobody told us exactly where it was. We had to go under cover of darkness. When we got there, he voted just after the sun came up."

The inauguration party weeks later spilled out everywhere in Johannesburg. Austin mingled with foreign journalists and drank champagne. But one of the greatest parties of the century turned glum as vague reports mounted describing trouble in a nearby country, one smaller than Maryland and at the time unknown to most Americans: Rwanda.

"Nothing was really clear. It was all very ambiguous," Austin remembers. "We just kept hearing these reports that 10 Belgian peacekeepers had been killed and the UN was pulling out and people were dying on a massive scale."

The Rwandan genocide would become one of the greatest human atrocities since the Holocaust as extremists from the ethnic Hutu majority massacred at least 800,000 minority Tutsis and Hutu moderates with gruesome efficiency while the world stood by.

As details emerged, Austin raised money in the United States and worked to get to the beleaguered African nation as soon as possible. Meanwhile, a Tutsi-led military offensive defeated the Hutu Power government in the capital city of Kigali by July 1994 and supposedly ended the genocide. But as Austin and others would learn, the violence was far from over.

Hundreds of thousands of refugees streamed toward the eastern border of neighboring Zaire, among them the perpetrators of the genocide. Hidden inside refugee camps, Hutu militias renewed their strength and began amassing weapon caches with the quiet support of Zairian dictator Mobutu Sese Seko.

Austin fearlessly penetrated the militia encampments, persuading exiled Hutu military leaders to disclose how they had obtained antitank grenades and high-caliber ammunition. The list included Col. Théoneste Bagosora, considered to be a chief architect of the genocide. Her trick? Austin told them she was a researcher for the neutral-sounding Institute of Policy Studies — which was technically true — and simply needed to hear their side of the story.

"It was a really treacherous place to be," Austin said. "At the time I appeared young, nonthreatening. I didn’t often say I was with Human Rights Watch…. In any kind of organization, people are motivated by many different things. You find those sources that for some reason or another want to help out or are so ego-driven they don’t think that any information they give to you is going to be used somehow against them."

She also interviewed members of flight crews who gave her information on cargo companies hired by the Mobutu government to secretly supply its Hutu allies with weapons by falsifying official flight plans and end-user certificates, key legal requisites designed to curtail transnational arms shipments.

According to her later Human Rights Watch report, "The militias in these camps have taken control of food distribution, engage in theft, prevent the repatriation of refugees through attacks and intimidation, carry out vigilante killings and mutilations of persons suspected of crimes or of disloyalty … and actively launch cross-border raids."

What didn’t make sense was how the suspected ringleaders of the genocide could obtain weapons despite the return of peacekeepers to the area and an arms embargo on Rwanda imposed by the UN.

CIA investigators later discovered that planes belonging to Bout were involved in supplying the outlaw Hutus, according to Douglas Farah and Stephen Braun’s definitive book on Bout, Merchant of Death: Money, Guns, Planes, and the Man Who Makes War Possible (Wiley, 2007).

Austin also came to that conclusion by the end of an eight-month fact-finding trip to the region carried out in 1994 and 1995. Her findings for Human Rights Watch helped propel her to international notoriety as more NGOs focused on illegal arms flows coming from private brokers.

"The Rwandan genocide was really the watershed, for me and for Bout," Austin said. "In the early years, he’s building his empire and I’m beginning to narrow what I want to investigate. I was becoming more and more convinced that in all the wars I was looking at, it was logistics. It was all about who could bring in the guns, the fuel — keep the war going."

Back then, Bout was still a bit player among many weapons suppliers working on the continent, according to Austin. But he soon did something that would significantly boost his career and help make him what another Bout pursuer once described as "the McDonald’s of arms trafficking." He switched sides and helped the new post-genocide Rwandan leadership topple the neighboring Zairian presidency of Mobutu, Bout’s own longtime client.

Zaire is known today as the Democratic Republic of the Congo. Bout would make yet more money years later aiding another warlord who attempted a violent coup inside the country, Jean-Pierre Bemba. The International Criminal Court last month charged Bemba with mass brutality and rape committed against civilians between 2002 and 2003.

"He [Bout] has no loyalty," a Bout associate told Merchant of Death authors in 2006. "His loyalty is to his balls, his sweet ass, and maybe his wallet."

Probably Bout’s most cynical move occurred in Afghanistan. At the start of his career, in the early 1990s, he allegedly maintained an intimate business relationship with commanders of the Northern Alliance, the tribal army that fought Taliban extremists for years until gaining power in Afghanistan with US help following the Sept. 11 terrorist attacks.

US officials began openly acknowledging in 2005 that Bout earned as much as $50 million also furnishing the Taliban with military equipment during its reign over the country.

Austin’s upbringing is the antithesis of what one might expect from an international human rights investigator. The oldest of five kids, she played guitar in a country-and-western band with the rest of her siblings, embarking on tours throughout the South from their home in Richmond, Va.

"We would play for people who had no money," she said. "We’d camp out for three days just to give them some music."

In the ’60s , the family of Baptists played at small African American churches during the climax of Southern segregation and against the backdrop of racist terror. They defied the neighbors and invited black friends over for dinner or socialized with them publicly. The Austins were largely apolitical, but Kathi says her parents insisted on human decency and encouraged a basic sense of justice and rebellion.

Her exposure to the destitution of many formerly enslaved black families in the South translated seamlessly in her own mind to Africa, a continent that fascinated her. But her understanding of the continent was limited.

"I just wanted to go save Africa one day. It was what I said I wanted to do with my life when I was really young…. I had this kind of missionary zeal, this very naïve, humane impulse."

Few people in her family considered going to college, but Austin hungered for academic achievement, securing a scholarship to the University of Virginia in the late ’70s.

Civil rights turmoil at the school politicized her and transformed her deeply. A model Organization for African Unity held for college students each year at Howard University in Washington, DC had the greatest impact. She attended it devotedly for several years. After competitive debates, politicians, professors, and other experts would speak to the students about Africa’s colonialist history and the anti-Apartheid movement.

"I really began to understand a lot of the underpinnings of what was going on with the African liberation movement in South Africa," she said. "I became engrossed in it and learned a lot intellectually and got a good sense of what I thought."

Austin began to zero in on the Ronald Reagan administration’s agenda of undermining Soviet communist influence in the region. The United States covertly backed the UNITA rebels in Angola against a communist-led liberation movement there, and continued to support the white-dominated and separatist apartheid regime of South Africa.

She wanted to investigate the unsavory relationships Reagan’s White House had developed on the African continent in its crusade to defeat communism during the Cold War. But Austin was aware of only two think tanks in the capital that examined such issues and had a reputation for attracting left-leaning luminaries. One was the nonprofit National Security Archive, a repository of declassified intelligence and foreign policy documents obtained largely through Freedom of Information Act requests.

Headquartered at George Washington University, lawmakers concerned about US covert activities abroad and some of the nation’s best-known journalists, including New Yorker writer Seymour Hersh, palled around at the independent, nongovernmental research library after it was founded in 1985 by a group of muckracking reporters and scholars.

Austin’s internship there in 1988 created a new realm of possibility — solo investigations — and sparked an interest in following the intricate paper trails that accompanied her growing knowledge of Africa’s geopolitical landscape, frequent outbreaks of low-intensity conflicts, and evasive weapons procurers.

But she still had never been to Africa. "That was my big ambition," she said. "If there’s anything about me it’s that I’ve got to see for myself."

As her ties to Washington expanded, she joined a World Bank urban rehabilitation team, writing political and economic background reports on Angola in 1989, believing she could make a difference inside the ill-reputed lender to developing countries.

She didn’t, but it was enough to give her first contact. After that trip to Angola, Austin used her savings to stay behind, joining a UN mission overseeing the withdrawal of Cuban troops above the 19th parallel, who were there as a result of Angola’s years-long civil war. She later went to Mozambique on a MacArthur Foundation grant and interviewed private mercenaries operating there for a report called "Invisible Crimes" that included a simple investigative formula she would employ for years to come: What’s wrong? And who’s doing it?

"Through the years, you realize just what kind of danger she’s in," her sister, Cindi Adkins, said from Virginia. "We would go days, weeks, months without hearing from her. My mom would say, ‘We have to call the Red Cross and see if we can find out that she’s okay.’<0x2009>"

Wanting to escape Washington culture, she moved to North Beach in 1997 after becoming entranced by San Francisco’s slower pace. Between missions, she’d spend full days at Caffe Sapore on Lombard Street writing a book about arms trafficking she’s still working on today.

Stanford University’s Center for African Studies invited her to become a visiting scholar for a year, researching arms proliferation and lecturing students, while the Goldman School of Public Policy at the University of California, Berkeley, did the same thing shortly afterward.

But the San Francisco–based Ploughshares Fund became one of Austin’s biggest supporters, helping her finance the creation of a local arms and conflict office for the Fund for Peace, an antiwar think tank in Washington.

"At that time, one of the areas we did a lot of funding in was the control of small arms and light weapons," said Deborah Bain, Ploughshares’ communications director. "Kathi was someone who did a lot of very courageous work tracking arms flows around the world. We were very impressed with the work she was doing and the kinds of results she was getting."

By then the UN had grown to understand the need for knowledgeable people on the ground who could travel across various war-torn African countries and gather evidence on who was vioutf8g arms embargos and how they were doing it. In the coming years, Austin served as a consultant and official expert on panels that investigated sanctions violations in Liberia, the Congo, Uganda, Burundi, Sudan, and Sierra Leone with teams of other human rights investigators who’d long followed Bout’s operations.

Her ex-boyfriend, Todd Ewing, a foreign economic development specialist and Bay Area native who began dating her in East Africa during the ’90s, described Austin as intense and ambitious. While his own blonde hair and six-foot frame made him conspicuous in the region, he said Austin’s "big brown eyes" and polite manner enabled her to slyly convince gritty characters to talk.

"Her MO at that time would be to just disappear for months [on fact-finding trips]," Ewing said. "I always liked to describe her as a sort of spy for the good guys."

Observers say that history handed the equally ambitious Victor Bout a perfect storm in 1991 at just 24 — an age when many Americans are looking for their first post-collegiate job.

The Soviet empire dissolved that year, ending the Cold War between Russia and the United States. Economic globalization expanded and gave every creative entrepreneur with good connections, criminal or legit, a chance to make a fortune. Aging Cold Warriors in the Beltway during the Bill Clinton era and later in George W. Bush’s cabinet maintained a stark binary ideological view of the world and failed to take seriously the growing threat posed by transnational criminals who had exchanged ideology for profit.

After the Berlin wall fell, corrupt Russian oligarchs infamously plundered the country’s assets as they were privatized following years of state control. Some robbed Russia’s rich oil reserves. Bout sought its military installations and airfields containing rows of cheaply available and unused commercial planes, all essentially abandoned by the central government.

Profiles of Bout put him in Angola — and possibly Mozambique — working as a translator for Russian peacekeepers when the Soviet Union broke up. US officials say Victor Anatolijevitch Bout was born in Dushanbe, Tajikistan, a deeply impoverished former Soviet state, and speaks several languages.

Bout told the New York Times in a rare 2003 interview that he purchased three Antonov aircraft for next to nothing in 1992 and used them to exploit a gap in the transit market, at first ferrying innocuous cargo like flowers from South Africa to the Middle East.

But the mogul quickly fostered connections to old Eastern bloc manufacturing and storage facilities in places like the Ukraine and Bulgaria, which were filled with AK-47s — ubiquitous in the developing world — ammunition, tanks, helicopters, and other military equipment.

Over time, investigators say he erected a complex web of cargo and airline companies designed to throw off suspicion. If one firm faced too much attention from aviation authorities, another was created to hold the assets. Otherwise, bribery, fraud, and forged documents were used, according to a report on Bout created by the US Treasury Department. In many African countries, aviation regulations are weak and international law is rarely enforced.

"Unless confronted with documentary evidence to the contrary, Bout’s associates consistently deny any involvement with Bout himself or playing any role in arms trafficking," the treasury report from 2005 reads.

US officials believed by then that he controlled the largest private fleet of Soviet-era aircraft in the world and employed hundreds of people, overseen partly from a nerve center in the United Arab Emirates, at the time a fast-growing and highly unregulated intercontinental transportation hub east of Saudi Arabia.

The Treasury report and other investigations say Bout became a confidante of the Liberian dictator Charles Taylor, supplying him with gunships and missile launchers. Taylor is currently on trial in the Hague for directing horrifying atrocities in neighboring Sierra Leone, ranging from widespread and extreme sexual violence to drugging and forcing children into combat.

When treasury officials here finally moved to seize Bout’s assets and bar Americans from doing business with him in 2004, they concluded that he had received diamonds extracted from Sierra Leone in exchange for supplying arms to Taylor.

That year saw one of Austin’s boldest attempts to confront the trafficking of illicit goods, on an airport tarmac in the Democratic Republic of the Congo, at that time under its own arms embargo. A UN team Austin worked with uncovered piles of questionable registration records during a surprise inspection of two dozen planes, some of which fit Bout’s profile, as their Russian crews stood by, annoyed.

"I only told one or two high-ranking UN officials to get their permission, so we could be sure it didn’t get leaked out," Austin said. "None of the people involved in the actual inspection knew about it until that morning…. I’m still surprised it was so effective. I’m not sure it would work again."

International aviation rules require pilots to maintain several different types of documents, but the group found that 21 planes had invalid registration papers, two had false airworthiness certificates, and three had no insurance to speak of — telltale signs of smuggling. The group determined that weapons in the area were being exchanged for illegally mined columbite-tantalite, or coltan, a valuable mineral contained in some modern electronic devices such as cell phones.

The revelation led the UN Security Council to place Douglas Mpamo, a prominent alleged Bout manager in the region, on the DRC sanctions list, along with a pair of well-known Bout subsidiaries. With Austin’s help, another reputed top Bout lieutenant named Dimitri Popov made a similar security watch list in the United States.

Meanwhile lower-level bureaucrats in the US State and Treasury departments collected evidence on Bout for years, assisted by Austin, who occasionally met with them to relay information she had gathered on fact-finding missions. She testified to Congress about the proliferation of small arms, too, but after Sept. 11, the White House drifted away from a growing campaign to stop Bout.

"I don’t think the Bush administration should get any credit for the fact that Victor Bout was arrested," Austin said. "I think it has to do with the DEA being insulated from the policy influences of the administration. They kept the case so secret they were able to succeed. In the past, once it became an interagency issue or problem, bureaucratic inertia and turf wars entered in and always raised some obstacle to the actual pursuit of Bout."

Eventually, that bureaucratic inertia began to look like something far more shameful.

On April 26, 2005, several state and federal law enforcement agencies including the FBI, IRS, and Dallas Police Department, raided two homes and an office in Richardson, Texas, looking for evidence that Bout’s tentacles had reached the United States.

The properties belonged to a Syrian-born American citizen named Richard Chichakli, who had served in an aviation regiment of the US Army during the first Gulf War. After being discharged in 1993, Chichakli helped create a free trade zone in the United Arab Emirates.

That’s where Chichakli likely first met Bout. Chichakli later returned to the US and became licensed as an accountant and an expert in military contracting. Officials found records showing that the 49-year-old Chichakli had created American companies connected to Bout.

Also discovered during the raid were wire transfer statements showing hundreds of thousands of dollars at a time moving from Bout-connected companies in the UAE to Chichakli in Texas, and credit card invoices managed by Chichakli listing Bout’s lavish purchases at businesses serving the nouveau riche of Moscow.

The raids were the result of a July 2004 executive order signed by President Bush — who, facing pressure from the UN, authorized the raids and prohibited Americans from doing business with Bout due to his connections to Taylor in Liberia.

The White House’s action came years after Austin and other investigators compiled their own research on Bout’s role in arming African warlords. Thirty companies and four individuals were added to a blocking order as a result. Federal court records from the case include extensive references to UN reports on Bout, including some Austin worked on, like one citing witnesses who saw a Bout-connected plane transporting large volumes of arms and ammunition through a Congolese airport between February and May 2004. Something was finally being done, or so it seemed.

But Austin and her colleagues were furious to learn that the US Defense Department hired Bout’s vast air armada with taxpayer money nearly 200 times in 2004 alone to ferry supplies and construction materials into Baghdad after the start of the Iraq war.

Merchant of Death co-author Braun, a Los Angeles Times national correspondent, reported for the paper in December 2004 that two well-established Bout companies, Air Bas and Irbis, had contracted with the US Air Force and Army as well as private companies like FedEx and Kellogg Brown & Root, the much-maligned former Halliburton subsidiary. The State Department had circulated a list of Bout companies warning its officials not to use them, Braun wrote, but the Pentagon made no similar effort.

A fuel purchase agreement included in Chichakli’s court file shows that the Defense Department used Air Bas "for official government purposes" just nine days after Wisconsin Democratic Sen. Russ Feingold questioned top defense officials, including then–Deputy Secretary of Defense Paul Wolfowitz, about such contracts. But Wolfowitz didn’t acknowledge what he eventually characterized as the "inadvertent" use of Bout’s planes for Feingold until months later.

When Austin delved into the issue in 2005 with fellow Merchant of Death author Farah, a former West African bureau chief for the Washington Post, the pair obtained new information for an article in the New Republic showing that the US military also used Bout-controlled companies during a four-month period in 2005, long after the "inadvertent" contracting had first been publicized.

The discoveries were a major letdown for Austin. She’s discussing with some NGOs the possibility of suing the federal government for vioutf8g its own presidential executive order. But Austin knows that even if Bout lands in a US prison for life, there will be someone else to take his place. It’s already happening, she says. As dark as it sounds, Austin will never have to go without a job.

"I’ve seen so much of the same thing go on year after year," Austin said. "You just have to take it in stride and keep coming back punching and hitting. That’s just the nature of the beast, the nature of the work that I do. You just have to keep going."

You’re going to myth me

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You don’t need to pick up all the subtleties of Berkeley-born Iranian American artist Ala Ebtekar’s work to appreciate the resonant beauty of, for instance, The Ascension II (2007), and its angelic, part-griffin, semi-human, quasi-Homa messenger drawn from Persian mythology, winging across reams of Farsi as assorted readers’ delicate notes intricately lace the printed manuscript. But it helps to know that the iconography of that winged messenger reaches back 5,000 years to a pre-Islamic Iran, was eventually appropriated in depictions of Ayatollah Khomeini, and that the angels with keys dangling from their necks, surrounding the wary mythical creature, refer to the child soldiers enlisted during the Iran-Iraq War (1980–88) to run across battlefields and detect land mines. "They’d give these kids these keys to heaven," explains Ebtekar at his Palo Alto studio near Stanford University, where he received his MFA. "It’s like, ‘Whoa!’ That’s a certain kind of mythology, but it’s tapping into something apocalyptic."

And you don’t need to know the specifics of aerospace design to appreciate the watercolor, acrylic, and ink jets tearing across script in The Breeze of Time (2002): they happen to be the exact ones used in the Iran-Iraq War. Ebtekar is aware that viewers bring their own connections to the work. "Yeah, I was doing this stuff before 9/11, in school, on book pages, and then 9/11 happened and I stopped. I thought, there’s no way I can do this," he recalls. Much of his work tied in directly with the Iran-Iraq War, a part of his own personal mythology, and the reason his activist Iranian parents remained in the States. "I was very much tapped into those older stories and histories. But then they announced the [Iraq] war, and I thought, actually, if there’s any time to do it, it’s more important to do it now than not."

The urgency of the present continues to call to Ebtekar, who draws from his studies in Iran of the refined art of Persian miniature painting and the less-known, more visceral field of coffeehouse painting for his works, which range from the aforementioned pieces that play off rich layers of text and imagery — and Iranian poetry and history — to large-scale graphite drawings that superimpose the outlines of Iranian wrestlers — current street-level mythological heroes — with hip-hop figures culled from Ebtekar’s music-obsessed youth, one spent DJing at parties and interning as a hip-hop DJ at KALX 90.7 FM.

As we listen to classic tracks by his mother’s pop idol, Iranian diva Googoosh, and scope out images of strongmen striking poses in a zurkhaneh (house of strength), juxtaposed with aerodynamic break-dancers in his studio — aptly situated over a downtown Palo Alto coffeehouse and crammed with art supplies, books, cassettes, vinyl, and a Tehrangeles T-shirt Ebtekar made for the 2006 California Biennial — it’s clear the artist’s pop interests still find a way to light: witness the 2004 Intersection for the Arts show that saw Ebtekar pairing a white-washed Iranian coffeehouse installation with shoes sporting fat laces fashioned from ornate Persian textile. "Bay Area Now 5" will find him combining his two approaches with a piece that layers ancient and modern-day warriors in a ghostly epic that looks backward and forward — a gesture familiar to Ebtekar, who rolls his eyes over John McCain’s comment on recent cigarette exports to Iran — "Maybe that’s a way of killing them" — and is currently teaching art at UC Berkeley in preparation for his dream. By 2011, he wants to start an art foundation and school in Iran.

After the US presidential election, Ebtekar hopes he can make it happen. First, he says, "there needs to be more diplomacy. In Iran, there’s this thing about nostalgia. You had such a great empire in the past — how do you move forward?" As a Bay Area 18-year-old who fell in love with Iran when he studied art there in 1997, he’ll be able to synthesize the past and future, bringing his ancestral mythology back to the old country in new forms. "It’s like having these multiple identities and being able to tap into this side of you and that side of you," Ebtekar explains. "They’re not clashing, you know what I mean. They’re rocking it full force."

Nuclear fallout

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› sarah@sfbg.com

As the US Navy prepares to deal with its radioactive past at the Hunters Point Shipyard (HPS) — inviting folks to submit comments by July 28 on its proposed cleanup plan for Parcel B — community members are struggling to understand the threat and its implications.

Bayview–Hunters Point residents and environmental and public health advocates gathered July 8 at City College’s Southeast Community Facility to hear from and question Navy officials, but few came away satisfied. Most expressed doubts about the Navy’s credibility, or confusion about the exact risks to human health and the environment from the plan to clean up radiological, soil, and water contamination.

For the past 25 years, this 59-acre property has housed a colony of artists in the site’s Building 103, in studios rented through the San Francisco Redevelopment Agency. In September the artists will be ejected, either to portables and buildings on the shipyard or to an offsite location, so the Navy can excavate the building’s storm drains and sewers where low levels of radiological contamination have been found.

HPS Base Realignment and Conversion Environmental Coordinator Keith Forman explained at the meeting that when the Navy first presented a cleanup plan for Parcel B in 1997, it had not surveyed for radionuclides, remnants of the shipyard’s military past.

That 2001 survey revealed that there are 14 sites on Parcel B that may have been exposed to radiation, including Building 103. The Navy’s 2004 Historical Radiological Assessment reveals that while Building 103 began as a non-nuclear submarine barracks, Operation Crossroad personnel subsequently used it as a decontamination center after an atomic test went awry in July 1946 in the South Pacific.

In that test, the Navy detonated two bombs the size used on Nagasaki in the lagoon of Bikini Atoll. One bomb, the HRA notes, was an underwater burst called Shot Baker, which "caused a tremendous bubble of water and steam that broke the ocean’s surface."

"Then a huge wave, over 90 feet high … rolled over target and support vessels as well as the islands of the atoll," the HRA records. "Vast quantities of radioactive debris rained down on the target and support ships, islands and lagoon."

Seventy-nine ships were sent to the Navy’s radiological center at Hunters Point Shipyard for decontamination, a site chosen in part because University of California, Berkeley and Stanford University were nearby to support the radiation studies.

The following year, from April through August 1947, the Navy burned 610,000 gallons of radioactively contaminated ship fuel at HPS. Also, workers sandblasting contamination at the shipyard’s dry docks showered in Parcel B’s Building 103, raising the current concern that cesium-137, cobalt-60, plutonium-239, radium-226 (from radioactive decay of uranium-238) and strontium-90 could be present in underground drains and sewers.

The 2004 HRA also identified two plots on Parcel B, IR07 and IR18, as having been used as dumps for radioluminescent devices and possibly more sandblast debris. It also listed a discharge channel between a pump house and Drydock 3 as radiologically impacted.

Currently the Navy is proposing to excavate soil from IR-07 and IR-18, including known mercury and methane spots, and ship it to dumps in Idaho and Utah; fill and seal the suspect discharge channel; cover potentially radiologically impacted soil; and stipulate that these two areas be used as open space in future plans for the base.

The cost of the Navy’s proposed radiological cleanup is $29.6 million. The Navy also proposes spending $13 million on amended soil and sediment cleanup, and $2.7 million on amended groundwater remediation.

Forman told the crowd that the Navy’s old soil remedy was a "bad fit." Excavations were larger than expected, Forman said, and showed no pattern of release. "There was no end in sight for the Navy," Forman said. "It didn’t look as if we were doing what we were meant to do: namely, find Navy-caused spills."

Forman also criticized the Navy’s old groundwater remedy as being "very passive." He proposed a remedy that includes more monitoring along the shoreline and using contaminant-eating bacteria to cleanup groundwater contaminants.

"The old remedy did not consider risks to wildlife and aquatic organisms at the shoreline, whereas the amended remedy will," Forman noted. "It was silent on this issue, yet we know the area has a shoreline."

Ultimately, amending the Navy’s cleanup plan is "about protecting human health and the environment," Forman said.

Green Action’s Marie Harrison was critical of the Navy’s failure to explain the risks in simple terms. "You talked about risk assessment, but you never told us what the risks were," Harrison said. "What is the risk to human life? How is capping going to stop it going into the bay? I’m not a scientist. I don’t have a PhD. I was hoping you were going to give me some kind of knowledge."

Harrison also worried that the Navy was not factoring in the cumulative risks for people living and working in the surrounding community who visit the shoreline to relax. Told that manganese, nickel, and arsenic are present in risky quantities, Harrison was referred to online information at www.bracpmo.navy.mil and to documents housed at the San Francisco’s Main and Third Street libraries.

Other community members criticized the Navy for not doing enough outreach to the Samoans, Latinos, and Asians in the community, and for having taken too long to acknowledge radiological impacts.

"Do you really want us to believe that no one was aware of nuclear waste and spills, given this was a Superfund site?" said Espanola Jackson, a BVHP resident since 1948.

"What I expect you to believe," Forman replied, "is that until 2002, no one who had technical and scientific expertise had looked at the evidence, sifted through history, and done an analysis to put together a radiological assessment."

Jackson also accused the Navy of "fast-tracking the cleanup in order for Lennar to build houses," referring to the efforts of Mayor Gavin Newsom, Speaker of the House Nancy Pelosi, and others to hasten the shipyard’s cleanup and early turnover to the city so the area can be turned into a massive development project pursuant to the voter-approved Prop. G.

"We are not going to accept anything less than total cleanup," Jackson said. "If you have to move that dirty dirt, do it. We need $10 billion. You said $60 million. You can’t even scrape the surface with that amount."

Melanie Kito, the Navy’s lead remedial project manager, replied that the Navy is "chartered to clean up releases of spills from Navy activities. Whatever remedy we put forth, we have to demonstrate that we are protecting human health and the environment."

Kristine Enea, a member of the community-based Restoration Advisory Board, told the Guardian that she felt that the Navy did not do a great job of explaining the risks of contaminants in, say, a major earthquake.

"If there’s an earthquake, would the risk be like getting 10 x-rays at once, or having a three-headed baby?" Enea said.

Pamela Calvert, deputy director of Literacy for Environmental Justice, told the Guardian she’s worried about shipping the contamination elsewhere.

"I’m really concerned that we don’t solve problems in Bayview by creating ones for another community," Calvert said. "It’s best to deal with it here. There is no such thing as ‘away.’ It’s someone else’s backyard."

Saul Bloom, executive director of Arc Ecology, which does contract work for the Redevelopment Agency, said that Calvert’s concerns strengthen the argument for simply capping Parcel B so that the contamination can’t escape rather than removing the material.

Bloom said he blames the Navy’s "incompetence" for the city losing the opportunity to transfer Parcel B early and speed development. "If we’d got rid of Parcel B in 2004, we would have been part of the housing boom, not the housing bust," Bloom said.

He believes the Navy’s proposed plan is acceptable, feasible, and protective, but that "whether it’s the best use given the needs of the BVHP is another debate."

While some residents are arguing for a total excavation of the site down to the sea floor, Bloom disagrees: "I think the covering strategy is a protective solution." He criticized the Navy for only having scheduled 11 days between its July 28 public comment deadline and its final draft, due out August 8.

"I’m concerned about the length of time they’ve allotted for the question that comes up and that no one has the answer to," Bloom said. "I don’t think it is adequate or seemly from a ‘we take your comment seriously’ point of view."

Shipyard artist Rebecca Haseltine, who has rented at Building 103 for 18 years, says that she has consistently trusted Arc Ecology’s advice on the shipyard cleanup. "But I also feel that we still don’t know the half of what happened on the shipyard. The Navy denied that any radioactive material had been used at the base, until a reporter with the SF Weekly published a story about it in 2001."

Another privatization success story

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The stock market took another tumble today on the work that Fannie Mae and Freddie Mac, which guarantee a large percentage of the mortagages in the United States, are in crisis and may be nearing collapse. Word is that the Bush Administration may have to step in with a bailout plan that could compare with the massive S&L bailout of the early 1990s.

Why are the two giant corporations, without which the entire housing market could collapse, in so much trouble? Dave Iverson discussed that on forum this morning, and some interesting points came out. According to his guest, Thomas Davidoff, a business-school professor at Berkeley, Fannie Mae and Freddie Mac were doing what short-term profit-seeking companies do — investing in instruments that do well when the economy is doing well, particularly, and ironically, in mortage-backed securities. Now that the housing markets are tanking, and those securities have fallen in value, and the two companies are facing huge liabilities for the mortgages they guaranteed, the taxpayers are going to have to step in.

But here’s what a lot of people forget: Fannie Mae, the Federal National Mortgage Association, was originally a government agency, created by Roosevelt as part of the New Deal. In 1968, it was privatized. Freddie Mac, the Federal Home Loan Mortgage Corporation, was never a public entity, but was created to provide competition in the market when Fannie Mae was privatized. (By the way, these are the outfits that have made the securitization of morgtages possible.)

But of course, both have operated with what finance experts call an “implicit guarantee” of federal backing. Everyone assumes that if they screw up, Uncle Sam will come to the rescue.

So we have the worst of both worlds: A private outfit making bad investment decisions because there’s no real downside fear — and the taxpayers, who have little control over it, having to foot the bill.

Privatization has done such wonders for the mortgage-finance market, eh? Perhaps President Obama and Speaker Pelosi will have enough sense to stop bailing these companies out and turn them back into government agencies.