Drag

The trip

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Everyone I tell about my project thinks I’m nuts. Maybe they’re right. But many progressives have been pushed to the brink of madness by what this country is becoming. Besides, it’s too late to turn back now, so I’m going to take the trip and try to drag all of you along with me.

The basic plan is to drive from San Francisco to Denver in a rented Chevy Impala, stopping by Burning Man on the way there and back, covering the Democratic National Convention in the middle, reporting and posting to the Guardian‘s Politics blog the whole way, and then producing a cover story by the end.

What do these two epic events have in common besides synchronicity? For starters, they each have strong roots in San Francisco and will be disproportionately peopled by Bay Area residents. And this year’s Burning Man art theme — American Dream — is an obvious effort to achieve sociopolitical relevance. These two great American pageants are promoting similar goals from opposite directions.

"Burning Man doesn’t mean anything unless it affects the way we live our lives back home," event founder Larry Harvey told me earlier this year as we chatted in his rent-controlled apartment on Alamo Square. "That city is connecting to itself faster than anyone knows. And if they can do that, they can connect to the world. That’s why for three years I’ve done these sociopolitical themes, so they know they can apply it. Because if it’s just a vacation," he said, pausing to choose his next words carefully, "we’ve been on vacation long enough."

Liberal Democrats also feel they’ve been lost in the political wilderness for long enough, and they hope Barack Obama is the one to lead them out of the desert and into power. And I’ll be chronicling their launch, from when I pick up my convention press credentials the morning of Aug. 25 to when Obama addresses 75,000 people in Mile High Stadium four days later, on the 45th anniversary of Martin Luther King Jr.’s "I Have a Dream" speech. Then it’s back to the playa for the big freakout.

If truth be told, which is my intention, I don’t know what I’ll write. I’ll embrace the chaos and let the road provide the narrative. But expect insightful juxtaposition of two realms I’ve covered extensively over the past two decades — the political culture and the counterculture — peppered with perspective from my yin-yang travel mates: Democratic Party bigwig Donnie Fowler and performer Kid Beyond, a.k.a. Andrew Chaikin.

This is a story of who we are and what we may become. I hope you’ll join the journey.

Newsom heads South

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By Steven T. Jones
In the latest indication that Mayor Gavin Newsom intends to run as far away from San Francisco values as possible during his bid for governor, his campaign announced today the hiring of Garry South as its senior adviser.
I got to know South during my years as news editor for the Sacramento News & Review, when he was an adviser to then-Gov. Gray Davis, and I share the concerns of others that he represents the antithesis of Democratic Party values.
While the California Energy Crisis was barreling down on this state’s citizens and government, with enough time to head off the worst impacts, I listened to South indignantly defend the governor’s laissez faire approach until way after such passivity was indefensible. I argued with him as Davis became the most mindless law-and-order governor in California history (Davis famously argued for patterning our criminal justice system on that of repressive Singapore, a ludicrous South-inspired statement he never disavowed). And I sat in court while South and his Republican counterparts pleaded with a judge to overturn voter-approved campaign finance limits.
Garry South’s conservative triangulation approach to politics is arguably a big reason why Davis was recalled, leaving us with the Governator. Along with other soulless, scorched-earth political operatives in Camp Newsom — including Nathan Ballard, Peter Ragone, and Chris Lehane — South is sure to drag this campaign down into the lowest common denominator muck.
Hmm, maybe this isn’t such a bad thing after all. Newsom can run from us, lose, and then we won’t need to keep explaining why Newsom is from San Francisco, but not of San Francisco.

Double draggin’

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More:

>>Drag king Fudgie Frottage spills his tea

>>Heklina waves goodbye to all that

>>Hazy, crazy Trannyshack memories

› superego@sfbg.com

SUPER EGO "Last year one of my balls failed to inflate during my opening number ‘Big Balls’ — but the concept got across, so it wasn’t a total disaster," the spunky Fudgie Frottage, organizer and host of this year’s 13th San Francisco Drag King Contest, told me when I asked him about any unlucky past fake-mustachioed experiences at the event. The show must go on — even through a sheer testicle of will.

Beijing may be in full abs-a-poppin’ swing — boo on those new body-covering men’s swimming outfits! — but San Francisco’s hosting a cross-dressed Olympics of its own, as drag aficionados from around the glistening globe flood in for the always-balls-out Drag King Contest at the DNA Lounge Aug. 16, and then the sublebrity-studded Trannyshack Kiss-Off extravaganza at the Regency Center Aug. 23. No fried Tibetan monks on the menu, but dog will indeed be served. Take that, Lang Lang!

The year in drag is turning out to be very auspicious: the Kiss-Off marks the end of Trannyshack’s bloody 12-year weekly run at the Stud. Hostess Heklina ("Press is like crack to me, Marke B. Run my picture and feel my orgasm!") told me back in February that she’s hanging up her lamé panties to explore her inner self — and her club’s swan song showcases appearances by Lady Bunny, Lady Miss Kier, Ana Matronic, and Justin Bond, as well as a pageant to determine this year’s (final?) Miss Trannyshack. Heklina will be beheaded live onstage.

On the slightly hairier hand, the Drag King Contest will display a mucho macho gaggle of faux Ys competing to see who sends up stereotypical chauvinism the mostest, replete with jizz-juicing antics, ass-scratching hotties, and performances by Electro the Pop ‘n’ Lock King, Siemen Marcus, Fakin’ Aiken, the Pacmen from Sacramento, and a ton more, plus bonerific cohost the Indra. Think America’s Got Talent crossed with a monster truck show, add more pubic hair and aerialist burlesque, and you’re halfway there.

Fudgie’s and Heklina’s provenance sprang from SF’s early 1990s drag renaissance club Klubstitute. Fudgie, a.k.a. Lu Read, started his legendary DragStrip party, which ran from 1995 to 1996, when Klubstitute shuttered. (Fun fact: DragStrip’s VIP room was called "Dungeons and Drag Queens.") Heklina’s Trannyshack took the wigged-out craziness from there. Although drag queens get all the freakin’ press, and there’s still no sustained drag king visibility in the city — "We’re looking for our Bizarro RuPaul," says Fudgie of his scene’s need for mainstream promotion — I’m sure the drag queen spawn now shooting from Heklina’s sticky womb will keep Trannyshack’s trashy aesthetic alive and well. As for the kings? Those smokin’ papis can perform in my Dumpster bedroom anytime.

Now, who’ll kick start the drag bisexual scene? Oh, wait: Tila Tequila.

13TH ANNUAL DRAG KING CONTEST

Sat/16, 8 p.m., $20–$25

DNA Lounge

375 11th St., SF

(415) 626-1409

www.sfdragkingcontest.com

TRANNYSHACK KISS-OFF

Aug. 23, 9 p.m., $35–$45

Regency Center

1300 Sutter, SF

(415) 673-5716

www.trannyshack.com

King me, Fudgie: Spermin’ out with drag’s biggest baller

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Hey, girl, hey: In this week’s Super Ego clubs column, I talk to the reigning king and queen of SF Drag: Fudgie Frottage of this Saturday’s 13th Annual San Francisco Drag King Contest, and Heklina of Trannyshack, whose weekly club is coming to a nuclear close after 12 years as I type this (listen very carefully and you can hear dizzy trannies exploding in the distance….) before her giant Trannyshack Kiss-Off Party on Aug 23 at the Regency Center.


Footage of the century: A youngish Heklina plugs the first Trannyshacks at Fudgie’s legendary DragStrip club, April 14, 1996. Arturo Galster MCs.

Look at me, I’m a starfucker. Below is my extended, unexpurgated, sticky-fingered interview with Fudgie, aka Lu Read, whose hairy roots stretch back to the heyday of SF’s punk rock drag scene. Strap one on and dive in.

SFBG: This is your lucky 13 — are you planning anything, like, spooky? Are there any SF Drag King disaster stories you can share?

Fudgie: Well, our theme this year sets us Kings donating to a sperm bank — that is genetically spooky to many, though most find it hilarious. Drag King disaster stories? Well, last year one of my balls failed to inflate during the opening number “Big Balls,” but the concept got across so it wasn’t a total disaster.

SFDK13a.jpg
Yes Nurse! No Nurse! Photos by Larry Utley

SFBG: What in general do you have planned for this glorious, gorious evening?

Fudgie: Hard and throbbing musical productions, firm and penetrating performances, and extraordinary feats of entertaningly unbridled masculine stamina and staying power. Cohost Indra and I have a few surprizes, Electro, the Pop n’ Lock King, SFDK title holder from 2000 is flying in from NY as our special guest. He hasn’t performed here for 8 years and I’m really looking forward to seeing him — he is a fantastic performer!

The Contest is very much like a variety show, we’ve got bands like The Mighty Slim Pickins and TuffnStuff, aerialist burlesque with Kitty Kitty Bang Bang: some Kings lipsynch, some sing live, some choreograph amazing dance routines, of course there’s Fakin’ Aiken, this year’s title holder plus the troupe title holders The Pacmen from Sacramento who are adorable, talented and handsome. Surely Delicio Del Toro, L. Ron Hubby and Seimen Marcus will do something wild and crazy. The contest is like a mash-up of the Miss America Pageant, American Idol, So You Think You Can Dance, Project Runway, Halloween and a Monster Truck Show.

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Fudgie gets fishy

SFBG: An annoying thing for me: Many people I know, even smart ones, don’t know much about the drag king community — drag queens get all the freakin’ press. What do you think about the lack of drag king visibility on the SF scene?

Aerobiqueen

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PREVIEW There ought to be a name for the ecstatic genre of drag where the drag queen whirls and twirls more than she lipsynchs, points, or occasionally stalks across the stage. I’m thinking of when the svelte Varla Jean Merman swings from the rafters or any number of Southern man-belles ringading-ding a song home in a whirlwind of wig-tossing backflips. Acrotranny? Choreodrag? Whatever it is, the fabulously kinetic Edie has made it her own. She’s not only the aerobiqueen It Girl — she’s That Girl with a puffed-out Marlo Thomas ‘do, ass-high spangled shifts that showcase extraordinary legs in blurry strut-kick action, and a forest-fire smile that says "No!" but means "Yes?" Edie’s style can best be described as showgirl cocktail hour, a wry martini with a fruity umbrella that blends Audrey Hepburn cigarette-holder chic, frantic backup dancer shimmy, and occasional bursts of Cyd Charisse and Doris Day. (Yes, she sings.) After her act’s several breathless climaxes, you’re never sure whether to offer her an Eames chair or a Twister mat. It all comes on with a slightly demented edge: Mama misses her barbiturates. Edie’s Internet Boom–era run of performances at Mecca are now legendary — she was the perfect drag avatar of those status-drunk, screwy ultralounge times. After a successful stint with Cirque Du Soleil’s sensuous Zumanity in Las Vegas, she’s popping back into town to blow our Web 2.0 fedoras off. Grab your gimlets.

EDIE Rrazz Room, Hotel Nikko, 222 Mason, San Francisco. Fri/8, 10:30pm. $25. (415) 394-1189, www.therrazzroom.com

Homegirl

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› kimberly@sfbg.com

SONIC REDUCER Of the many unsung, possibly fabulous, potentially limitless unexplored combos floating round in the ether — up there with the now-familiar chocolate and peanut butter or pizza flavoring and dog-biscuits-for-humanoids — has to be rock music and housework. Natch, Heloise would probably be in hell contemputf8g the crusty state of most band’s vans or rehearsal spaces. Few jam it home-econo.

Leave it to Dawn McCarthy of Faun Fables — a Bay Area player who has been consistently reimagining old music and traditional folk with an often theatrical, punky sensibility — to rescue the most mundane of tasks, so far from the neggy decadence and glam hysterics of most rock and pop cliché-peddlers, and bring together music, hearth, and home on her new EP, A Table Forgotten (Drag City). Coproduced by Nurse with Wound’s Matt Waldron, Table is a palate-tickling, four-track taste of Faun Fables’ 2009 full-length — roving compactly from the Irish bodhran drum beat and "happy clinks" of spell-casting opener "With Words and Cake" to the spine-tingling, fiddle-swept "Pictures" to the epic "Winter Sleep," cowritten with Björk producer Valgeir Sigurdsson, whom McCarthy worked with on Bonnie "Prince" Billy’s The Letting Go (Drag City, 2006).

The focus on home and family came in part from McCarthy’s residency at Idyllwild Art Academy in the San Jacinto Mountains, where she began to develop some of these songs as part of a student musical theatrical production, although she’s been meaning to undertake this ode to home work for a while. "I’m going to sound like an Amish woman or something," she says with a chuckle by phone from Oakland. "But over the years I found a lot of solace and joy in doing household stuff. It’s kind of one of those hidden arts. And I find that it’s those little day-to-day things that make or break my happiness."

McCarthy’s family is expanding: she’s pregnant and expecting her child around the time of year she herself was born, Oct. 30. "I have pregnancy brain," she says after one inadvertently long pause. And her home is shifting: after living near the Oakland zoo for eight years in an old rustic cottage "that time forgot," as she describes it, and more recently in an artists’ warehouse near Jack London Square, she’s hoping to move to Sonoma. In the meantime she hopes to make edible saleables like vinegar pie for her Café Du Nord merch table. "The singing and performing and shows feel amazing," she says. "I can tell the baby is happy with it."

FROM THE GUT On the bill at Faun Fables’ upcoming Du Nord show: über-productive bicoastal player Bonfire Madigan Shive, who also headlines at the Henry Miller Library Aug. 2. The activist-musician dazzled all and sundry who caught the recent American Conservatory Theater production of John Ford’s ‘Tis Pity She’s A Whore where she performed, suspended above the stage and outfitted in angel’s wings, ripping alternately dulcet and dissonant unearthly sounds from her cello and thereby commenting on, counterpointing, or lamenting the gory, incestuous goings-on below.

"Now that it’s wrapped, I’m proud and happy with what I created for that," Shive says of her "duets for hair and gut," as she dubbed the music she composed for ‘Tis Pity. "For me, it was a lot of surrender, getting out of the way of preconceived notions and focusing on the style and time and being a part of this world, to work on this text that’s 400 years old, and how that world reflects this one."

Up amid the sensuous lines of ‘Tis Pity‘s almost futuristic discotheque set, Shive told me — speaking in the ecstatic, enthusiastic streams of an earthbound angel — she’d often study the audience’s reactions from on high. "I would have moments when I’d zone in on a person and they’d realize, ‘I’m a part of this show.’<0x2009>"

Shive is likewise often pulled into others’ shows: since we last spoke she’s toured or played with the Good, the Bad, and the Queen; Laibach; Carla Bozulich and Silver Mt. Zion members; Kimya Dawson; and St. Vincent’s Annie Clark. Somehow she’s also found a moment to publish an essay in Live Through This: On Creativity and Self-Destruction (Seven Stories Press), and she’s looking forward to self-releasing her next album, which includes contributions from Joan Jeanrenaud and Jolie Holland. Apparently it’s just one fastball after another from the onetime member of the Guardian softball team.

"I’ve known Dawn [McCarthy] for a long time now," Shive says. "When she moved from New York to the Bay Area, she came to my apartment and said, ‘I heard you’re a yodeler. Yodel for me!’ Dawn’s one of those kindred spirits. It’s all about community and art."

FAUN FABLES

With Bonfire Madigan

Thurs/31, 9 p.m., $12

Café Du Nord

2170 Market, SF

www.cafedunord.com

LOOK, LISTEN, YEARN

EEF BARZELAY


Clem Snide, we never knew ye. So meet the band’s songwriter, touting a new solo CD, Lose Big (429). Wed/30, 8 p.m., $14. Café Du Nord, 2170 Market, SF. www.cafedunord.com

THE HERBALISER


Hot on the heels of Same as It Never Was (!K7), London’s Ollie Teeba turns in a DJ set. Fri/1, 10 p.m., $12. Mighty, 119 Utah, SF. www.sunsetpromotions.net

CONOR OBERST AND THE MYSTIC VALLEY BAND


"Sausalito" is the name of one song on the Bright Eyes’ front-guy’s first solo LP in 13 years, Conor Oberst (Merge). Fri/1–Sat/2, 10 p.m., $25. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

TITUS ANDRONICUS


Glen Rock, N.J.’s finest, Titus Andronicus, dust off and spit-shine a rustic punk-pop. Sun/3, 9 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

NOMO


Haunted by Fela Kuti and Francis Bebey as well as Can and Miles Davis, the new Ghost Rock (Ubiquity) finds the Michigan collective ushering a new post-rocky fusion. Tues/5, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Ta-ta and smack-smack, Trannyshack

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As many if not all know by now, Trannyshack, revered weekly trash-drag temple of glittery gore from the planet Thrift Town, is ending after 12 years of tranny antics (trantics?). Head honchette Heklina revealed to me the exact reasons why in a candid interview back in early February — and I didn’t even have to score her any hot sex with quadriplegic Desert Storm veterans in return! She’s magnanimous. I’m scoopy. We traded memories.

Right now, Trannyshack’s counting down to its close with a series of four command performance nights featuring fave messy queens from the present and past. That will be followed by a ginormous, absolutely ginormous, Trannyshack Kiss-Off Party at the Regency Center on August 23. This shindig will double as this year’s famed Trannyshack Pageant as well, and will encompass appearances by Lady Bunny, Justin Bond, Lady Miss Kier, Ana Matronic, and more. I smell glorious disas-tears.

tshackkissa.jpg

Let’s leave this off with the incredible Glamamore’s (NSFW maybe!) performance of Bjork’s “Pagan Poetry.”

All or nothing

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› andrea@altsexcolumn.com

Dear Andrea:

When my husband and I first married, he was into S-M. I was very inexperienced, while he … well … wasn’t. Things were interesting for a while until he repeatedly breached our full-disclosure agreement and saw other people behind my back, but came clean about it later. There was also an issue with anal sex (he’s hurt me too many times). We’ve been completely out of the scene for several years and are enjoying a much closer connection. However, three kids later sex is very boring, planned, and short.

I’d love to have fun with him again, but he’s so sex-crazy I’m afraid of re-opening the door to trouble. He still uses a lot of nasty porn and Web sites where he exchanges e-mails with subs. I don’t like this, but I understand that he’s got to have an outlet. He’s a pretty all-or-nothing kind of guy. Also, I think that he isn’t sure how to approach me anymore after having three children. Who feels sexy with baby puke on their sleeve and no shower? Is there any hope for us? Also, he refuses to go into therapy or ask for help because he doesn’t want to be judged.

Love,

Want Something

Dear Want:

You may be surprised to hear this, but for a couple who not only have such disparate experience levels and requirements but also three small children, you seem to be doing pretty well. Any number of issues casually glanced on in your letter could easily have doomed you — yet you persevere and even feel closer than when you were doing all that kinky stuff? You’re OK.

The S-M obscures things a bit, but the core issues here are no different from ones we discuss in classes (rather imprecisely titled "Is There Sex After Motherhood?") I’ve been teaching at a local nice-moms-and-their-babies education center. The baby puke, for instance. One of the most disheartening things I heard while awaiting my own babies was, "Oh, I didn’t change my clothes for six months. I just wore this ratty old T-shirt full of holes and spit-up." (This from a lovely friend who was only telling me the truth as she’d lived it.) "Forget it, then," I thought. "If it’s going to be like that, I’m not doing it."

And it wasn’t like that, of course, not for me and it shouldn’t be for you. One needs to do whatever it takes not to sink to that barely human state where you figure, what the hell, why bother showering when you’re just going to get dirty again? Get enough T-shirts so there’s always a clean one! Drag everybody into the shower with you, get up at 5 a.m., pay a neighbor to watch the kids for half an hour, whatever works. Get enough time to look and feel decent. We’re not talking about a hot-stone massage, Yummy Mummy makeover here. Grooming enough to bear the sight and smell of oneself shouldn’t be too high a bar.

I would like to launch into some ways you two could get back to breaking out the whips and chains and stuff, but I worry. Does he really need to have it all? Is he really insisting on nothing if he can’t? I’m hoping a guy starved of all but virtual kink for a couple of years may be more amenable than he used to be to a scaled-down version of "hell-bent for leather." Maybe "leaning toward Naugahyde"?

I do believe he doesn’t know how to approach you anymore, so here’s the obvious suggestion: you approach him, but only after ensuring that you won’t end up with him holding the power, reins, flogger, modem, and lube again, which he didn’t use enough of anyway. Take this opportunity to decide which games you liked, which might do, and which are untenable. Given the scarcity conditions that follow the introduction of many small children into the marital equation, I would also suggest that the whole "other partners" thing is right out. In order to get beyond the dreary status quo (although I do have to put a good word in for the parents-of-small-children quickie while I’m here), you’ll need to plan. You’ll also need to throw some childcare money at the problem (what my husband and I refer to, just to annoy people, as "paying young women for sex"). This is all stressful and expensive enough already, so no way will you want to pay for babysitters for his nights out without you. Save your cash for kinky-sex dates.

Obviously, all this depends on him not being so crazy, sex- or otherwise, and that "some but not all" actually is an option. I’m hoping that after a few years of deprivation and with the added motivation of keeping a beloved family intact, he can embrace moderation. Tell him it’s like the French model of eating, you know? A little + a little + a little = plenty.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Andrea is also teaching two classes: "You’ve Really Got Your Hands Full" — a realistic look at having twins — at Birthways in Berkeley.

Where there’s Will …

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› kimberly@sfbg.com

SONIC REDUCER The cormorants know, the red-winged blackbirds have heard, and the quail would wail: the Marin Headlands and surrounding environs are imbued with more than a little magic. You don’t need to spend much time there to know this, rolling through pebbly Rodeo Beach or tromping down Tennessee Valley Road, soaking up the sagey scents and painting the digits dark red with crushed blackberries, as little girls wander by talking on seagull-feather faux cellies.

They will testify, as will Will Oldham — a.k.a. Bonnie "Prince" Billy, a.k.a. ace Palace Brother, singer-songwriter, and star of Old Joy (2006) and Matewan (1987) — to the area’s healing properties and the way its fresh breezes, rippled clouds, and hills in every hue of green ignite the imagination. After all, until recently Oldham was squirreled away at the Headlands Center for the Arts as an artist in residence. In one of the few interviews he’s consented to lately, Oldham told me he ended up doing much songwriting, including a commissioned piece with his Superwolf partner Matt Sweeney intended for a new Wim Wenders film.

"I felt super-fortunate," said the jovial, easygoing Oldham from Louisville, Ky., where he’d driven to from the Bay Area only three days previous. No matter that tornado warnings were all over the local media as he cast his mind back. "It was kind of a dream situation, because out there in the Headlands, there’s no cell phone reception. And once you cross through that tunnel, you’re in something you can imagine as wilderness and by the sea, and there’s a fair amount of wildlife — snakes and skunks and turkeys and deer and coyotes and bobcats and seals, which, if you choose to, you can see more of than you see any human being on any given day."

He’ll be back in the Bay after touring Europe and playing a handful of US dates, ending in San Francisco. The occasion is Lie Down in the Light (Drag City), Oldham’s worthy, rootsier follow-up to the transcendent The Letting Go (Drag City, 2006). If the latter is colored by the otherworldly ambience of its Icelandic origins, then the new album is touched by the tender humidity of its Tennessee recording site, encompassing, according to Oldham, "a couple songs that sort of address — using terms of love, devotion, and even lust — songs themselves."

"I think," he offered, "at the end of the day, sometimes it can be the truest form of comfort, especially if you’re a singer. You can find in music just about any ideal emotional landscape you crave, whether it’s angst or rebellion or celebration or union or dissolution. It’s all there, and none of it’s going to call you back or text you at four o’clock in the morning or blame you for anything you did or didn’t do or slap you with a paternity suit."

Not that Oldham can speak on paternity suits. "My lawyer says I can’t answer questions like that," he demurred mirthfully. Meanwhile there’s some heavy weather to consider. "I do have a cellar," he said, not worried at all. "But I’m not the hiding kind. I want to see it if it comes. I think I can run faster than a tornado." *

KICKING, LICKING, GOOD

LOWER CLASS REVOLT


Kicking it blue-collar style, the comp celebration includes Rademacher, Tigers Can Bite You, and Light FM. Wed/25, 10 p.m., $4. Knockout, 3223 Mission, SF. www.theknockoutsf.com

JONAS REINHART


Kicking it Krautrock, the Citay collaborator’s Kranky release promises near-exotica grooves. Wed/25, 9:30 p.m., $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

DILATED PEOPLES


Kicking it old-school, the Los Angeles underground hip-hoppers unleash The Release Party DVD in July. Thurs/26, 9 p.m. doors, $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

GRAND ARCHIVES


Kicking it Vivaldi styley, if the composer wore Converse. The ethereal Sub Pop indie-rockers get with their folk label mate Sera Cahoone. Sat/28, 9 p.m., $13. Slim’s, 333 11th., SF. www.slims-sf.com

MUTE SOCIALITE


Kicking it free-noise mode — with such Oakland exploratory musical surgeons as Moe! Staiano, Ava Mendoza, and Liz Allbee. Sun/29, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

ALL THAT GLITTERS: LADY GAGA

It takes a lot of g-g-guts to name your act after the Queen tune "Radio Gaga," ‘fess up to the fact that you attended Catholic school alongside Nicky Hilton, and make it your personal mission to make pop cool once more. Lady Gaga, 22, has the moxie to undertake all of the above, having gone from setting hairspray afire on fringy NYC stages and attending Tisch School of the Arts at NYU to hammering out songs for Britney Spears, and making her own brazen dance-pop à la "Beautiful Dirty Rich." Why did she name her debut, The Fame (Streamline/Interscope)? "The concept is that it doesn’t matter who you are or where you come from or what you have, as long as you can embody a sense of inner fame and value of your own ideas, you can really be whoever you want," Lady Gaga opined huskily on her way to a Raging Waters gig in San Dimas. "I was nobody, and I’ve been jerking people for years into thinking I’m somebody I’m not. I used to get into clubs like when I was 16. I’d usually just walk right in because of the way I carried myself, the way I dressed, the way I spoke to people."

Sat/28, 8 p.m., $45. Temple, 540 Howard, SF; www.templesf.com. Sun/29, 6:10 p.m., Pride Festival, Civic Center, SF; www.sfpride.org

Charo gives a pluck

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› culture@sfbg.com

My first exposure to Charo was in a high school–era Christmas gift from my parents, The Encyclopedia of Bad Taste. There she was: strawberry blonde Pebbles hair framing a face that defined pert, a guitar poised scepter-like, and an impressive décolleté shrink-wrapped in enough sequins to cover all of Carnaval.

I think Charo would laugh at being included in such a Who’s Who, which also included Liberace and Chesty Morgan. The singing, dancing, and "cuchi-cuchi!" spouting Castilian sex kitten that pratfalled with the best of 1970s television, the Vegas institution who wound up in that sub-A list purgatory The Surreal Life, is the Charo America knows and loves. But according to this 40-year show biz veteran, the other Charo — a classically trained musician with serious Spanish guitar chops — is just getting warmed up. A Pride celebrity grand marshal, she’ll be riding on a parade float full of Charo look-alike drag queens, followed by a show at the Herbst Theatre.

SFBG How does it feel to be coming back to San Francisco after three years?

CHARO I call it Planet San Francisco because it’s different from everything else in this country. And I am honored and very glad [to be a Pride grand marshal], due to the fact that all my life I have detested oppression, dictatorship, and discrimination. ‘Cuz, you know, my early learning years were under the fear and dictatorship of [Gen. Francisco] Franco. I was surprised when I came to America that people used such titles as black, fag, skinny, Catholic, yellow. None of this exist in my education.

[Being a grand marshal] is also perfect timing because I am introducing my new single, "España Cani," as remixed for the dance clubs! It’s the best thing I have done in my career, and it’s just destined to make people live for 10 minutes and feel the passion of flamenco. That will be playing on the float with my flamenco dancers dancing around, and I will be with several look-alikes.

SFBG Are they going to be the same drag queens you judged at the Trannyshack Charo night back in 2005?

CHARO That was a hot-hot-hot evening! But I think this time they will be different. I think that one is better-looking than I am, and I am pissed off because that means I have to have to put a lot of push-up to have bigger tits. And he’s a 30-year-old boy!

SFBG Your publicist told me that you lost a Charo look-alike contest in Puerto Rico.

CHARO That was the lowest point in my career [laughs]. I made a big mistake since I dressed like a look-alike. I had a big, big wig instead of my natural hairdo, and instead of dancing like me I tried to copy them. The idiot judge said, "Number 3" — which was me — "needs more practice!"

SFBG What can we expect from your new show at the Herbst?

Charo: The show is faaabulous. I am going to play as much [guitar] as the audience can take of the new me. I will do it until they ask me to stop. I am a musician in high heels [laughs]. I even sleep with high heels, in case I have to run and the fire department guys can’t find me. I am 5 feet 3 inches, and I wear heels all the time. But the bottom line is that I am a musician. I am an entertainer number second.

SFBG When you started making TV appearances it was all "cuchi-cuchi!" all the time.

CHARO Yes. When I was on Johnny Carson and he starts talking to me in English, I just kept saying "cuchi-cuchi" to survive. And the rating was so big that I keep coming back. But the TV producer said if you want to play guitar, do it in your own time.

SFBG On a few of the episodes of The Love Boat your character April Lopez plays guitar for the passengers, no?

CHARO I went to producer Mr. [Aaron] Spelling and said, "OK, in this episode can I play a little of the guitar?" And he said, "OK, but don’t be too good. Don’t destroy the character of April, because April is a wetback and she’s not supposed to know so much music."

SFBG It’s just so funny because here’s Madonna trying to play guitar on tour and she’s pretty terrible, but right of out the gate you were a classically trained guitarist who could also write hit dance singles.

CHARO [Laughs]. Yes, Madonna used to be my neighbor. But then she moved to England. I would be very happy — and this is not bragging, because I like Madonna — to say to her how to play the guitar. I think I could help her with "La Ilsa Bonita."

THE RETURN OF CHARO AND HER LAS VEGAS SHOW

Sun/29, 8 p.m., $40–$100

Herbst Theatre

401 Van Ness, SF.

(415) 392-4400, www.koshercomedy.com/charo

The Hot Pink List 2008

0

>>ALLAN AND LEO HERRERA



Yes, they’re gay brothers, which is, like, totally hot. But even if they weren’t related, their individual artistic creations would have us on the hook. Heads of HomoChic (www.homochic.com), the new gay mafia collective that combines gallery shows, fashion design, and nightlife craziness into mind boggling events, they’re inspiring the latest generation to revel in its scandalous past. Leo’s photography mixes porn with historical reference to dizzying, stimuutf8g effect. Allan’s costuming and styling brings bathhouse and backroom gay culture to light. Currently the Chihuahua, Mexico-born siblings have pieces in the queer Latino "Maria" show at Galería De La Raza. Leo features pants-raising boy-pics and a video installation centered on Harvey Milk. Allan, whose Money Shots underwear line graces many an alternaqueer’s backside, displays a chandelier made of 2,000 pink condoms.

MARIA

Through July 4

Galería De La Raza

2857 24th St., SF

(415) 827-8009

www.galeriadelaraza.org


>>ANNIE DANGER



Who’s the superbusy M-to-F artist and activist stirring up trouble with the mighty force of a Dirt Devil — the one they call Annie Danger? She’s sketched flora and fauna for environmental manifesto Dam Nation (Soft Skull Press, 2007), appeared as a blackjack-playing nymph in a shit-stirring Greywater Guerillas performance, dressed like a wizard at a recent Gender Pirates party, and just played Pony Boy in a queered-up "Outsiders." Right now at Femina Potens gallery (www.feminapotens.org), you can see her as Sister Wendy, the wimpled PBS art nun, in her video for "Untold Stories: Visual and Performative Expressions of Transwomen." In a rare occurrence, you can meet Annie Danger as herself at the National Queer Arts Festival’s edgy "TransForming Community" spoken word event. Who she’ll be when she MCs Friday’s thrilling Trans March (www.transmarch.org) is anyone’s delightful guess.

TRANSFORMING COMMUNITY

Thurs/26, 7:30 p.m., $8–$15

LGBT Community Center

1800 Market, SF

(415) 865-5555

www.queerculturalcenter.org


>>DEXTER SIMMONS



"I worry not just for fashion, but for the future of television," this multitalented fashion designer, stylist, hair and makeup artist, model, and Oakland native told us with a laugh backstage at the Vans Warped Tour, where he was frantically preparing bands for the stage. "There’s a cheesy aspect creeping in right now because of fashion reality TV that scares me. It looks too easy, and creates too many followers. Wise people want one-of-a-kind, personalized looks. That’s why I love San Francisco," he adds. "It’s small but big — global even — and it likes to take risks." Dexter’s company, FLOC (www.teamflocouture), formed with his best amigo Lauren Rassel, has been taking local runways and nightclubs by fierce, feathery storm since it was formed two years ago, and local rockers like Von Iva and Svelt Street swear by FLOC’s Warriors-inspired designs. Now working as a stylist for SF-based online retail giant Tobi.com, Dexter seems destined for the big time — his designs are penetrating the world and making heads turn a wee bit sharper.


>>CHELSEA STARR



She’s too-too much, this Miss Starr. A genre-straddling DJ and ubiquitous promoter celebrated for her many regular parties (including new weekly Buffet at Pink, a fabulously popular all-female DJ weekly shindig, and Hot Pants, a queer biweekly that draws out the crème de la crème of the city’s thigh-baring night owls), as well as a groundbreaking writer who just toured the country as part of the Sister Spit all-girl spoken word road show, and a fashion designer with her very own eponymous line of eminently wearables — there are just so many ways to love her. This week she’ll find time to spin at umpteen Pride parties, as well as at her very own special Pride edition of Hot Pants. "I’m also a twin, a Gemini, and a cookie monster," Chelsea tells us with a wink.

HOT PANTS

Fri/27, 10 p.m., $5

Cat Club

1190 Folsom, SF

(415) 703-8964

www.myspace.com/hotpantsclub


>>JOSH CHEON



We can’t fib — smarties turn us on. So when we heard that cutie DJ Josh Cheon, host of West ADD Radio’s thuper-queerific "Slave to the Rhythm" program (www.westaddradio.com/slavetotherhythm) held advanced degrees in cell biology, neuroscience, and psychology, we suddenly had to hide our pointiness. An integral member of San Francisco’s gay vinyl-fetishist collective Honey Soundsystem (www.honeysoundsystem.com), Cheon just got back from rocking London’s premiere alternaqueer club, Horsemeat Disco. While his radio show’s name pays homage to Grace Jones, his eclectic sets encompass Candi Staton classics and Detroit Rock City jams. As a featured disc-meister at Bibi, San Francisco’s glorious, charitable party for Middle Eastern and North African queers, he taps his Lebanese roots with Arabian and Persian pop and disco favorites like Fairuz, Googoosh, and Dalida — and some surprise grin-givers from the likes of Boney M.

BIBI

Fri/27, 9 p.m., $20

Pork Store Café

3122 16th St., SF

(415) 626-5523

www.myspace.com/BibiSF


>>MONISTAT



She’s everywhere, lately, this feisty mistress of the night. Trash drag fanatics, glamorous electro freaks, after-hours hipster hot tub revelers — she’s a muse to many, with a sharp tongue and handmade Technicolor outfit for all. Plus, just in general: hot Asian tranny fierceness. "I’m thoroughly inspired by the pigeons in the Civic Center," she tells us. "Also, parties full of beautiful people worshipping me." She’ll be hosting the Asian and Pacific Islander stage at this year’s Pride festivities. But first this plus-size supermodel, trainwrecking DJ, oft-blacklisted performer, and dangerous skateboarder will be throwing a sleazoid party called Body Rock on gay-historic Polk Street "for the musically impaired and fans of a man in a dress, which would be me. I’ve walked through the fire and come out blazing!"

BODY ROCK

Thu/26, 10 p.m., free

Vertigo

1160 Polk, SF

(415) 674-1278

www.myspace.com/monistat7


>>CHRIS PEREZ



Which highly influential SF gallery owner brought John Waters, Todd Oldham, the mayor, and hundreds of sweaty kids together (with a couple kegs) under one roof this spring for photographer Ryan McGinley’s West Coast solo debut? Chris Perez of Ratio 3, whose shows also helped artists score Artforum covers and big time awards. Perez pairs an intuitive talent for identifying a popular hit with innovative curatorial decisions. But his space is no mere white box in the gourmet ghetto: "You’re never just walking down Stevenson," explains this escapee from Catholic school and former San Diego Museum of Photographic Arts volunteer. "Unless you’re hooking up or getting cracked out." Or peeping great art. On Friday, Ratio 3 dresses up as ’90s queer-radical gallery Kiki, for "Kiki: The Proof is in the Pudding," a group tribute to late curator-activist Rick Jacobsen.

KIKI: THE PROOF IS IN THE PUDDING

Fri/27, reception 6–8 p.m., free

Ratio 3

1447 Stevenson, SF

(415) 821-3371

www.ratio3.org


>>HUNTER HARGRAVES



If you think constant AIDS activism is exhausting, try doing it in drag. Stanford grad Hunter heads up StopAIDS (www.stopaids.org) community initiatives by day, and is a board member of diversity-seeking And Castro For All (www.andcastroforall.org), through which fellowships in his name are awarded to young queer activists every year. By night and early morning he becomes Felicia Fellatio, a precariously-heeled tranny who’s single-handedly hauling grunge back onto drag stages — a recent flannel-drenched lipsync of Pearl Jam’s "Jeremy" teared up many a jaded eye — and he DJs queer punk parties like Trans Am (www.myspace.com/transamtheclub) and Revolution, the hot monthly tea dance for HIV-positive men at Club Eight (www.positiveforce-sf.com). Felicia also auditioned for America’s Next Top Model (seriously) but was eliminated when her man hands slapped someone prettier. You can catch Hunter and Felicia, although probably only half of each, at the StopAIDS booth at this year’s Pride celebration.


>>ALICIA MCCARTHY



Hipsters sporting $80 faux-penciled rainbow patterns and glossy-mag ads with jagged color intersections are fronting a style artist Alicia McCarthy helped originate — but she does it a hundred times better. Her current show at Jack Hanley takes off in a dozen different directions from her signature shapes and spectrums in a manner that reflects an honestly fractured identity. Coiled thought forms, a wooden chair facing the backside of a scruffy penguin flying toward a wall of mirrors, and a show-within-the-show by friend Stormy Knight that includes sketches by a parrot named The National Anthem and sculpture by Redbone the dog. McCarthy’s latest exhibition also displays more than a few small works subtly placed where a wall meets the floor, which goes to show that she’s still making some art that only people who pay attention will discover.

ALICIA MCCARTHY

Through Sat/28, free

Jack Hanley Gallery

395 Valencia, SF

(415) 522-1623

www.jackhanley.com


>>MON COUSIN BELGE



Half-naked, goo-spitting art rock in a sling never got so deliciously tawdry. When this San Francisco quartet of self-professed "bunch of fags with vision and bacon cheeseburgers" takes the stage and launches into "Tweaker Bitch" or "Pigdog" off their new album Quelle Horreur (World Famous in SF Records), anything involving titilutf8g revulsion can happen and usually does. Fronted by enigmatic singer Emile, a Belgian addicted to plastic surgery — 39 procedures to date — and leather thongs, Mon Cousin Belge (www.moncousinbelge.com) updates queercore for the ambivalent masses with "deep faggotry jams" and knickers-wetting live performances. Bring a towel to their launch party at Thee Parkside bar in Potrero Hill. You’ll definitely need it — the crowd of cute intel-queers they draw is over-the-top steamy.

QUELLE HORREUR LAUNCH PARTY

Sat/28, 10pm, $6

Parkside

1600 17th St., SF

(415) 503-0393

www.theeparkside.com

The Guardian Queer Issue 2008

Pride 2008 events

0

› culture@sfbg.com

ONGOING

Frameline Film Festival Various locations; see Web site for dates and times, www.frameline.org. The humongous citywide queer flick fest is still in full eye-popping effect.

Golden Girls Mama Calizo’s Voice Factory, 1519 Mission, SF; (415) 690-9410, www.voicefactorysf.org. 7 and 9pm, $20. Through Sat/28. Revisit all the "gay" episodes of this classic and tragic sitcom, as performed with panache and pratfalls by gender clowns Heklina, Pollo Del Mar, Cookie Dough, and Matthew Martin.

National Queer Arts Festival Various locations; see Web site for details, www.queerculturalcenter.org. Experience scandalously good spoken word, cabaret, art installations, and so much more as this powerhouse monthlong celebration of queer revelations continues.

THURSDAY 26

PERFORMANCES AND EVENTS

Marriage Is Not Enough: Radical Queers Take Back the Movement New Valencia Hall, 625 Larkin, SF; (415) 864-1278. 7pm, $7 donation. Spread-eagled with one foot in the past and the other in the future, Radical Women host a forum to honor the efforts of drag queens and queers of color in 1969’s Stonewall rebellion and to discuss the docile nature of LGBT leadership in the face of poor and working-class queer issues today.

"Our Message Is Music" First Unitarian Church and Center, 1187 Franklin, SF; (415) 865-2787, www.sfgmc.org. 8pm, $15-$35. The world’s first openly LGBT music ensemble will kick off Pride Week with a range of music from Broadway to light classical. Includes performances by the Lesbian/Gay Chorus of San Francisco, San Francisco Gay Men’s Chorus, and the San Francisco Lesbian/Gay Freedom Band.

Pansy Division Eagle Tavern, 398 12th St., SF; (415) 626-0880, www.pansydivision.com. 9pm, $7. Homoerockit band Pansy Division plays a live set with the handsome help of Glen Meadmore and Winsome Griffles following a screening of the film Pansy Division: Life in a Gay Rock Band.

CLUBS AND PARTIES

Body Rock Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Incredibly energetic tranny-about-town Monistat hosts a bangin’ electro night for queers and friends featuring San Francisco’s favorite crazy DJ Richie Panic. Expect wet panties.

Cockblock SF Pride Party Minna, 111 Minna, SF; www.cockblocksf.com. 9pm-2am, $5. DJs Nuxx and Zax spin homolicious tunes and put the haters on notice: no cock-blockin’ at this sweaty soiree.

Crib Gay Pride Party Crib, 715 Harrison, SF; (415) 749-2228, www.thecribsf.com. 9:30pm-3am, $10. The hopefully soothing Ms. Monistat (again!) and the irritating — in a fun way — Bobby Trendy set it off at this homolicious megaparty popular among the 18+ set, complete with a Naked Truth body-art fashion show and a T-shirt toss, in case you lose the one you came with in the melee.

The Cruise Pride Party Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 9pm-2am, free. Hey, dyke sailor! Hike up your naughty nauticals and wade into this ship of dreams (yes, it’s a theme party) with DJs Rapid Fire and Melissa at the lovely lesbian Lex. Land, ho.

The Tubesteak Connection Aunt Charlie’s, 133 Turk, SF; (415) 441-2922, www.auntcharlieslounge.com. A warm and bubbly tribute to early Italo house, wonderfully obscure disco tunes, and outfits Grace Jones would die for. With DJ Bus Station John.

FRIDAY 27

PERFORMANCES AND EVENTS

Same-Sex Salsa and Latin Ballroom Dance Festival and Competition Magnet, 4122 18th St., SF; (415) 581-1600. www.queerballroom.com. 7pm-12am, free. With $100 awarded to the winner of this fancy-footwork competition, the stakes for this event’s salsa-hot dancing surpass the single bills slipping into thong strings this week.

San Francisco Trans March Dolores Park, Dolores and 18th Sts; (415) 447-2774, www.transmarch.org. 3pm stage, 7pm march; free. Join the transgender community of San Francisco and beyond for a day of live performances, speeches, and not-so-military marching.

CLUBS AND PARTIES

Bibi: We Exist and We Thrive Pork Store Café, 3122 16th St., SF; (415) 626-5523, www.myspace.com/BibiSF. 9pm, $20. The Middle Eastern and North African LGBT community hosts a charitable happy hookah party to native tunes spun by DJs Masood, Josh Cheon, and more.

Bustin’ Out III Trans March Afterparty El Rio, 3158 Mission, SF; 282-3325. 9pm-2am, $5-$50, sliding scale. Strut your stuff at the Transgender Pride March’s official afterparty, featuring sets from DJs Durt, Lil Manila, and giveaways from Good Vibes, AK Press, and more. Proceeds benefit the Trans/Gender Variant in Prison Committee.

Charlie Horse: No Pride No Shame The Cinch, 1723 Polk, SF; (415) 776-4162, www.myspace.com/charliehorsecinch. 10pm, free. Drag disaster Anna Conda presents a bonkers night of rock ‘n’ roll trash drag numbers, plus Juanita Fajita’s iffy "gay food cart" and Portland, Ore.’s Gender Fluids performance troupe.

Cream DNA Lounge, 375 11th St., SF; (415) 626-1409, www.creamsf.com. Two levels of sexy girl energy and a catwalk to scratch your lipstick claws on, plus a Latin lounge with hip-grinding tunes from DJs Carlitos and Chili D.

GIRLPRIDE Faith, 715 Harrison, SF; (415) 647-8258. 8pm-4am, $20. About 2,500 women are expected to join host DJ Page Hodel to celebrate this year’s Pride Weekend, and that’s a whole lotta love.

Hot Pants Cat Club, 1190 Folsom, SF; (415) 703-8964, www.myspace.com/hotpantsclub. 10pm, $5. DJ Chelsea Starr and many others make this alternaqueer dance party a major destination for hot persons of all genders and little trousers.

Mr. Mighty, 119 Utah, SF; (415) 762-0151, wwww.mighty119.com. 10pm-6am, $20. Darling promoters Big Booty, FSLD, Beatboxevents, and Big Top join forces to produce the party premiere of Pride week with DJ Kidd Sysko and Lord Kook spinning alternative techno sounds, and a special deep and dirty set from soulful house god David Harness.

Sweet Beast Transfer, 198 Church, SF; www.myspace.com/beastparty. 10pm-2am, $10. Reanimate your fetish for leather and fur by dressing up as fiercely feral fauna for the petting-zoo of a party. This week, after all, is mating season.

Tranny Fierce Supperclub, 657 Harrison, SF; (415) 348-0900, www.supperclub.com. 8pm dinner, 10pm afterparty. $85 dinner, $15-$25 afterparty. Total ferosh! Project Runway winner Christian Siriano hosts a four-course meal of trash-talking and looking fierce. The afterparty serves up drag nasty from Holy MsGrail, Cassandra Cass, and more.

Uniform and Leather Ball Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.frantix.net. 8pm-midnight, $25 & $40. The men’s men of San Francisco’s Mr. Leather Committee want you to dress to the fetish nines for this huge gathering, featuring men, music, and more shiny boots than you can lick all year. Yes, sirs!

SATURDAY 28

PERFORMANCES AND EVENTS

Dykes on Bikes Fundraiser Eagle Tavern, 398 12th St., SF; (415) 626-0880, www.dykesonbikes.org. Noon. Dykes on Bikes can’t drink and drive: they need your help. A pint for you means a gallon of gas for them. Stop by before heading to the march.

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-6pm, free. Celebrate LGBT pride at this free outdoor event featuring DJs, speakers, and live music. This is the first half of the weekend-long celebration sponsored by SF Pride. Also Sun/29.

Pink Triangle Installation Twin Peaks Vista, Twin Peaks Blvd parking area, SF; (415) 247-1100, ext 142, www.thepinktriangle.com. 7-11am, free. Bring a hammer and your work boots and help install the giant pink triangle atop Twin Peaks for everyone to see this Pride Weekend. Stay for the commemoration ceremony at 10:30am to hear Mayor Gavin Newsom and Assemblymember Mark Leno speak.

Pride Brunch Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.positiveresource.org. 11am-2pm, $75-$100. Raise a mimosa toast to this year’s Pride Parade grand marshals with many of the community’s leading activists.

Same-Sex Country, Swing, and Standard Ballroom Dance Festival and Competition Hotel Whitcomb, 1231 Market, SF; (415) 626-8000, www.queerballroom.com. 6:30-8pm, free. The Queer Jitterbugs get reeling at this one-of-a-kind contest that’ll shine your spurs and get you swingin’ out of your seat.

San Francisco Dyke March Dolores Park, Dolores and 18th Sts, SF; www.dykemarch.org. 7pm, free. Featuring music from the Trykes, Papa Dino, Las Krudas, and more, plus a whole lot of wacky sapphic high jinks.

CLUBS AND PARTIES

Bearracuda Pride Deco, 510 Larkin, SF; (415) 346-2025, www.bearracuda.com/pride. 9pm-3am, $8 before 10pm, $10 after. Hot hairy homos generate serious body static on the dance floor at this big bear get-down.

Bootie Presents The Monster Show DNA Lounge, 375 11th St, SF; (415) 626-1409, www.bootiesf.com. The city’s giant mashup club hosts a drag queen bootleg mix extravaganza, as Cookie Dough and her wild Monster Show crash the Bootie stage.

Colossus 1015 Folsom, SF; (415) 431-1200, www.guspresents.com. 10pm-8am, $40. The beats of mainstream club favorite DJ Manny Lehman throb through the largest and longest, uh &ldots; dance party of Pride week.

Deaf Lesbian Festival Dyke Ball San Francisco LGBT Center, Rainbow Room, 1800 Market, SF; (415) 865-5555, www.dcara.org. 8pm, 440. Feel the music, close your eyes, and dance to the rhythm of your smokin’ partner at the Deaf Lesbian Festival’s first ever Dyke Ball.

Devotion EndUp, 401 Sixth St, SF; (415) 357-0827, www.theendup.com. 9pm, $15. This storied dance party is back with "A Classic Pride." DJs Ruben Mancias and Pete Avila spin all-classic soulful and stripped-down house anthems for a sweaty roomful of those who were there back when.

Dyke March After Affair Minna, 111 Minna, SF; www.diamonddaggers.com. 8pm-11pm, $12-$20 sliding scale. An early-ending party featuring drag queens, burlesque stars, and belly dancers ensures that beauty sleep comes to the next day’s easy riders whose love of bikes and beer rivals that of any Hell’s Angel or fratboy. Or, stick around for Minna’s ’80s night, Barracuda.

Manquake The Gangway, 841 Larkin, SF; (415) 776-6828. 10pm, $5. Disco rareties and bathhouse classics in a perfectly cruisy old-school dive environment with DJ Bus Station John.

PlayBoyz Club Eight, 1151 Folsom, SF; www.clubrimshot.com. 10pm-3am, $10. The stars of legalized gay marriage, Obama’s candidacy, Pride week, and Black Music Month all align for this hip-hop heavy celebration.

Queen Pier 27, SF; www.energy927fm.com. 8pm, $45. Energy 92.7 FM brings back the dynamism of the old-school San Francisco clubs for this Pride dance-off. Chris Cox and Chris Willis headline. Wear your best tear-away sweats and get ready to get down, Party Boy style.

Rebel Girl Rickshaw Stop, 155 Fell, SF; wwww.rebelgirlsf.com. 9pm-2am, $12. Rebel Girl brings the noise for this one with go-go dancers, Vixen Creations giveaways, drink specials, and, you know, rebel girls.

SUNDAY 29

PERFORMANCES AND EVENTS

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-7pm, free. The celebration hits full stride, with musical performances and more.

LGBT Pride Parade Market at Davis to Market and Eighth Sts, SF; (415) 864-3733, www.sfpride.org. 10:30am-noon, free. With 200-plus dykes on bikes in the lead, this 38th annual parade, with an expected draw of 500,000, is the highlight of the Pride Weekend in the city that defines LGBT culture.

True Colors Tour Greek Theatre, UC Berkeley Campus, Hearst and Gayley Streets, Berk; (510) 809-0100, www.apeconcerts.com. 5pm, $42.50-$125 Cyndi Lauper, The B-52s, Wanda Sykes, The Puppini Sisters, and queer-eyed host Carson Kressley bring it on for human rights and limp wrists.

CLUBS AND PARTIES

Big Top The Transfer, 198 Church, SF; (415) 861-7499, www.myspace.com/joshuajcook. A circus-themed hot mess, with DJs Ladymeat, Saratonin, and Chelsea Starr, plus Heklina’s "best butt munch" contest. Will she find the third ring?

Dykes on Bikes Afterparty Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 1pm, free. How do they find time to ride with all these parties?

Juanita More! Gay Pride ’08 Bambuddha Lounge, 601 Eddy, SF; (415) 864-3733, www.juanitamore.com. 3pm, $30. Juanita More! hosts this benefit for the Harvey Milk City Hall Memorial, with DJs Robot Hustle and James Glass, and performances by fancy-pants Harlem Shake Burlesque and the Diamond Daggers. Fill ‘er up, baby!

Starbox Harry Denton’s, 450 Powell, SF; (415) 395-8595, www.harrydenton.com. 6pm-midnight, $7 High atop the Sir Francisc Drake Hotel, the swank Harry Denton’s presents DJ Page Hodel’s patented brand of diverse and soulful bacchanalia.

Sundance Saloon Country Pride Hotel Whitcomb, 1231 Market, SF; (415) 626-8000, www.sundancesaloon.org. 6pm-11pm, $5. Hot hot bear husbands on the hoof, line-dancing for the pickin’ at this overalls-and-snakeskin-boots roundup.

Unity Temple, 540 Howard, SF; www.templesf.com. Legendary kiki-hurrah club Fag Fridays rises again with a sure-to-be-smokin’ DJ set from the one and only Frankie Knuckles, the goddess’s gift to deep house freaks and friends.

Bag drag

0

› kimberly@sfbg.com

SONIC REDUCER As a once-impressionable protein unit who wrapped my eyeballs around any and all TV comedy, I’m slightly abashed to say I haven’t caught Saturday Night Live regularly in many a year. So I was surprised to hear rumors a while back that the series was allegedly biting off one of the Bay Area underground music scene’s fave figures: Jibz Cameron — known and loved for her garage-rock spaz-outs with the Roofies and her pretension-leveling levity behind the counter at Lost Weekend Video. And then there’s her super-girl-group of sorts, Dynasty, with Numbers drummer Indra Dunis and Neung Phak vocalist Diana Hayes, and her solo spin-off project, Dynasty Handbag.

“I don’t watch it either,” Cameron says from Brooklyn, as pet Chihuahuas struggle over a chew toy in the background. “But I get a phone call every other Saturday, ‘Omigod, you won’t fucking believe it…’ and I say, ‘I already know.'” She’s talking about SNL‘s house DJ Dynasty Handbag, a character that first popped up on the show in 2005, hosting a faux-MTV talk show. The occasional Kenan Thompson character is a far cry from Cameron’s Dynasty Handbag, a crazed kitsch-waver — a kind of schizo Bride of Peaches and Krystle Carrington — that Cameron developed on petite SF music stages before moving east four years ago. The project started life as the portable version of Dynasty and turned into a multi-referent alter ego.

The SNL character hasn’t reappeared in the last year, but it still offends. “It’s still on their DVDs, and I do performance that’s comedy-related,” she says. “People research me on the Internet, and my site comes up first, but they’re there, though I’m the OG, the OD, the OGD.” She says she sent SNL a cease-and-desist letter and when “that didn’t go anywhere, I took it to Volunteer Lawyers for the Arts. I’m not in a full-blown lawsuit with them, but we’re sort of in discussion with them.” At press time, SNL representatives have not responded to requests for comment.

Cameron says she does have a new “plan of attack.” Her friend Dave Sitek of TV on the Radio will be producing a podcast radio show called Radio Woo Woo, which she will cohost. “My plan is to just keep talking about it on the air,” she says, adding that the podcast will premiere TV on the Radio’s new album this fall.

The low-broiling brouhaha hasn’t stopped Cameron from developing her Dynasty Handbag performances into narratives. This week she’ll unveil three short pieces at CounterPULSE. One, Bags, revolves around Cameron’s relationships with five empty shopping bags: “Each one sucks my soul in a different way, like bad relationships in my 20s. One is really needy; one’s really demanding; and one just wants to get fisted.” A work in progress, O Death, sees Cameron attempting to bury her own dead body.

Cameron has been far from dead and buried in New York: within months of moving to the Big Snapple she was crowned Miss Lower East Side in Murray Hill’s annual pageant, and she has presented solo shows at PS 122 and Galapagos Art Space. “Everybody works so hard here — it’s really influenced me to go ahead with my stuff. And there’s just the intensity of seeing so many insane people every day,” says Cameron, who was raised by hippie parents in Mendocino County (“My childhood was peppered by characters with beards and long, droopy fun bags”). “That’s really helpful, too.” *

DYNASTY HANDBAG: TALES FROM THE PURSE

Thurs/19 and Sat/21, 8 p.m., Fri/20 and Sun/22, 10 p.m., $20

CounterPULSE

1310 Mission, SF

www.directfromnyc.com

MAGIC NUMBERS, FLYING DRUMS: THESE NEW PURITANS

Southend-on-Sea, UK’s These New Puritans purvey an austere, twinkling breed of synthetic/organic art-pop — one that evokes both Wire and the Klaxons. Who suspected the murky mystical inclinations embedded in the band’s debut, Beat Pyramid (Domino)? “Pyramids are about secrets and chambers,” vocalist Jack Barnett, 20, offers from his band’s tour stop in Chicago. “Some of the songs have to do with magic.” He claims 16th-century occultist-mathematician John Dee plays into his searching New Puritans as much as the Wu-Tang Clan, which Barnett praises for the “eerie, tiny little sounds in the background” of their productions.

Now the combo is attempting to write music that marries “the round canons of Steve Reich” with the beats of dancehall — provided Barnett manages to dodge the projectiles heaved by his drummer twin, George. When making music with your twin, Jack says, “you’re honest to the point of getting completely out of hand. As in drums being thrown at me. On a regular basis.”

Thurs/19, 8 p.m., $12–$13. Popscene, 333 Ritch, SF. www.popscene-sf.com

THE HAPPENINGS?

 

100 YEARS AT THE HOTEL UTAH

The 1908 edifice where Robin Williams, Cake, Counting Crows, and countless others broke out brings back witnesses and whoops it up. With Penelope Houston, Paula Frazer, Jesse DeNatale, Colossal Yes, Greg Ashley, Blag Dahlia, and others. Thurs/19; reception 7 p.m., ceremony 7:30 p.m., music 9 p.m.; $8 show. Hotel Utah, 500 Fourth St., SF. (415) 546-6300

 

JAYMAY

The bookish Long Island chanteuse flirts with song stylings slouching betwixt Feist and Keren Ann. Thurs/19, 9 p.m., $12. Café Du Nord, 2170 Market, SF. (415) 861-5016

 

GEORGE MICHAEL

He’s never going to dance again through this sort of arena show, the UK pop star hinted recently. Thurs/19, 8 p.m., $56–<\d>$176. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-TIXS

 

DEATH CAB FOR CUTIE

Narrow Stairs finds the Seattle cabbies stretching into darker realms. With Rogue Wave. Sat/21, 8 p.m., $39.50. Greek Theatre, UC Berkeley, Berk. www.apeconcerts.com

 

Sonic Reducer Overage: RTX, RZA, Liz Phair, and more

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Imaad Wasif waxes “Oceanic.”

Oh, Ess-eff, as if you ever stop unfurling the good times. Here’s a few more worthy shows that didn’t make it into print.

RTX and Imaad Wasif
Rasp-rock pied piper Jennifer Herrema lopes into town with RaTX (Drag City), alongside Imaad Wasif and his new combo, Two Part Beast, who’ll doubtless charm with his excellent, self-released Strange Hexes. With Bridez. Fri/20, 9:30 p.m., $10. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923

Sir Lord Von Raven
Times Flys meets Gris Gris for off-the-cuff rock in this new combo. With Apache and Toko-Ri Get High. Fri/20, 9:30 p.m., call for price. Knockout, 3223 Mission, SF. (415) 550-6994.

RZA
Backed by a live band, Bobby Digital give us a taste of Digi Snacks (Koch). With Stone Mecca, Zeph and Azeem, and Ben Flowz. Sat/21, 8 p.m., $30. 1015, 1015 Folsom, SF. www.1015.com

Mo’ Jello

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› kimberly@sfbg.com

SONIC REDUCER What do you give a 50-year-old punk icon who has everything? A silver-studded dog collar? A reason to believe — or rebel? Peace of mind?

"Boy, I can’t think of much," Jello Biafra, né Eric Boucher, says with a chuckle at the question of what to gift him for his 50th birthday June 17. "I’m already such a pack rat, the last thing I need is more stuff. The main vice is vinyl, but I archive a lot of stuff. I’m a librarian’s kid."

Instead, the ex–Dead Kennedys vocalist, in characteristically against-the-grain fashion, will gift celebrants at his birthday-bash-to-end-all-bashes, the two-day "Biafra Five-O" at Great American Music Hall, with turns alongside the Melvins and a newly assembled band, the Axis of Merry Evildoers, which includes Victims Family’s Ralph Spight on guitar, Faith No More’s Billy Gould on bass, and Sharkbait’s Jon Weiss on drums. Oh yeah, and each punk-rock fire-/party-starter will receive a poster, or if it arrives in time, a 7-inch of Biafra and members of Zen Guerilla covering Rev. Horton Heat’s "Speed Demon" and Frankie Laine’s "Jezebel."

So what gives with the very public celebration of three decades of punky monkey-wrenching? "I saw the Stooges on Iggy’s 60th last year, and that was a great show," Biafra tells me while snacking in his San Francisco digs. "I got carried away with the moment and promised myself, if he’s that good at 60, I better be a tenth as good at 50 and get something together."

Expect Biafra’s new group to be part of a continuum: one that began with Dead Kennedys and has manifested in collaborations with the Melvins, DOA, No Means No, Al Jourgensen, Mojo Nixon, and others. "The hope is you’re still going to get a pretty sharp set of teeth," he promises. And speaking of DK, the man who would be SF’s mayor ("It was done as a prank") — and who was nominated as the Green Party’s 2000 presidential bid, right on the coattails of Ralph Nader ("It kind of got dumped in my lap") — is also recognizing the 30th anniversary of the Dead Kennedys, which played its first show in July 1978 opening for the Offs, DV-8, and Negative Trend, despite an extremely acrimonious lawsuit between the vocalist and his bandmates that led a jury to award control of the catalog to the rest of the group.

Despite intimations of a reunion on the part of the remaining Dead Kennedys, the bitterness of the conflict still rankles, with Biafra confessing with a wry chuckle, "I’ve had battles with suicidal depression — especially after that ugly Dead Kennedys lawsuit." Further, he says, "I really resent all the times they played these so-called reunion shows advertised as reunions, and there’s my picture in the ad. I think we have a new genre of punk, and it’s called fraudcore!"

Nonetheless, he hasn’t completely ruled out a reconciliation: "Sure, if those guys were ever willing to undo every last bit of damage they’ve done, I’d consider going back on stage with them. But so far they’ve been way too greedy and way too cowardly to even consider it."

So leave it to the Melvins to convince Biafra to tackle a few DK songs in honor of his birthday. The once SF-based band — in a near-original lineup including Mike Dillard — also will attack early hardcore tunes culled from a 1984 demo sent to Biafra. It turns out those pack-rat tendencies, coupled with Biafra’s abiding love of music, led him to hold onto that ancient tape, which the Melvins lost long ago. "It’s a good thing I saved these things," Biafra says. "They’d forgotten those songs existed." *

BIAFRA FIVE-O

With Jello Biafra and the Melvins, Biafra and the Axis of Merry Evildoers, the Melvins, and (Mon/16) Drunk Injuns and Los Olvidados, and (Tues/17) Triclops! and Akimbo

Mon/16–Tues/17, 8 p.m., $22-$40

Great American Music Hall

859 O’Farrell, SF

www.gamh.com

COUNTRY TEASIN’ WITH NEIL HAMBURGER

Moanin’ and groanin’ has never been so hammily hilarious. Comedian Neil Hamburger has a brand new hat — namely, a sorry-ass Stetson — to go along with his new bag: the recently released Neil Hamburger Sings Country Winners (Drag City). Teaming with longtime Bay Area–ite Dave Gleason on guitar, Amoeba Music co-honcho Joe Goldmark on pedal steel, and Todd Rundgren cohort Prairie Prince on drums, Hamburger, a.k.a. onetime Bay stalwart Gregg Turkington, plans to stir misery-loving odes to classic backwoods grimness ("Please Ask That Clown to Stop Crying") into his archetypal miasma of whining/joke-telling during his present tour. So why turn to C&W, which currently seems to consist of "songs about shopping," rather than tears, beer, and chicken dinners? "A lot of rock ‘n’ roll is just people screaming," groans Hamburger from Los Angeles, far from the SF storage locker he claims to have once dwelt in. "You hear enough of that in San Francisco on the streets. With those big, bushy beards and screaming — what’s the difference between a contingent of homeless guys carrying signs and the Doobie Brothers?"

June 11, 9 p.m., $13–<\d>$15. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.gamh.com

IT’S TIME FOR TIMES NEW VIKING

They may be pegged as part of the so-called shitgaze underground — thanks to their pals in Psychedelic Horseshit who coined the term — but Columbus, Ohio, trio Times New Viking are as grounded as a trio of Midwestern ex-art-schoolers can be. Keyboardist Beth Murphy met guitarist Jared Phillips and drummer Adam Elliott while attending Columbus College of Art and Design, and the three found that their education came in handy when it came to playing together nicely — and noisily, particularly on their new Matador album, Rip It Off. "When you’re in art school you’re always forced to critique your work and think about everything you’re doing," Murphy, 26, explains from her hometown. "That got, like, really annoying to have to validate every mark you made. But now I think it’s kind of like ingrained in us, so we can’t help but think about every aspect of what we do." Their creative approach to music-making? "One of the first rules we set up was 300 percent creative control," she says. "We all have 100 percent say in everything, and we don’t ever tell each other what to do."

With Hank IV, Psychedelic Horseshit, and Fabulous Diamonds. Fri/13, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

New foragers

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Jack Carneal is trying to locate a Malian musician to secure the release of a much-cycled bootleg on his microlabel, Yaala Yaala Records. Fueled by exuberance and somewhat chastened by controversy, Carneal is worrying over Yaala Yaala No. 4 more than he did the first three releases: a dubbed set of howling electric kamelen music by Pekos and Yoro Diallo; a popular bootleg recording of griot Daouda Dembele; and an audio collage of Carneal’s minidisc field recordings from his yearlong stay in Bougouni, Mali. Yaala Yaala No. 5 recently materialized in the form of a magisterial compilation of traditional hunter’s music by vocalist Yoro Sidibe, but the old bootleg is taking more time. "I heard it decades ago, and it just really stuck with me," Carneal reflects over the phone from his Baltimore, Md., home. "I didn’t even know it was from Mali until I lived there and I saw the musician’s name…. It was mastered and everything, and I’m still trying to find the musician to get him some money. In the past this wouldn’t have stopped me. I just would have done it."

No one contends that the music on the initial Yaala Yaala CDs isn’t dazzling. The rough sonic textures of cassette dubbing and crowd noise only thicken their cinematic quality, especially with the skip-and-start rhythms of Pekos and Yoro Diallo’s rumbling blues. But a number of critics — most notably Clive Bell of The Wire were incredulous about the packages’ lack of annotative liner notes and Carneal’s rush-delivery approach. (Unable to recompense for bootlegs, Carneal established a fund called the Yaala Yaala Rural Musicians’ Collective for whatever scant profits the discs might produce.)

It’s evident talking to Carneal — an English professor at Towson University and former drummer of Anomoanon and Palace Music — that profit motive isn’t part of the Yaala Yaala equation. But past exploitations cast a long shadow. Labels like Yaala Yaala, which is distributed by Drag City, and Sublime Frequencies don’t play by the outmoded rules of so-called world music production, eschewing both academic empiricism and the major labels’ reductive tendency to isolate bankable masters. Meanwhile, kids in Mali listen to dubbed tapes of Led Zeppelin and Jay-Z.

For the new Yoro Sidibe release, Carneal went through the proper contracting but was ultimately foiled by a corrupt producer. "We did everything above-board and legally, and the musician still got ripped off," he laments. Cullen Strawn’s liner notes explain that the donso music Sidibe powers through — long, call-and-response narrations designed to praise and bully hunters into action — is an especially ancient form, but it’s easy to appreciate why the vocalist is popular in the Bougouni marketplaces, beyond the music’s traditional context. Sidibe sounds intensely poised throughout the CD’s three cascading chants, periodically popping into a rapid-fire oratory that crowds out even his accompanist’s confirming hum. The dense ngoni (six-stringed spike harp) flurries capping each verse are perfect examples of the visceral highs Carneal relishes in Malian music.

"I recognize the danger in bringing this music back from Mali and having it reflect my very limited interpretation of an experience," he tells me. "I really want the listener to be able to listen to the music and derive something of their own that was not affected by my subjective take on things." Good taste certainly doesn’t mitigate responsibility, but listeners can only hope that music distribution might continue to be the province of committed amateurs, the sort of imprints like Yaala Yaala, Sublime Frequencies, and Dust-to-Digital that value the unclassifiable and throw the spigot open in accordance with the Mississippi Records motto, "Always — Love before Gold." (Max Goldberg)

www.myspace.com/yaalayaalarecords

E-Z Sleaze

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› superego@sfbg.com

SUPER EGO "You’ve gotta have the graphics," 26-year-old party promoter extraordinaire, Floridian transplant, smart-talkin’ electro DJ, and graphically explicit designer Sleazemore (www.myspace.com/sleazemore) recently whispered into my tender, somewhat incredulous ear. "The scene’s gotten to a point where it’s not only about who you bring in, what you wear, and who’s there to document your clubs — it’s also about the look you project in your promotions. Everything ties into style."

I just knew graphic designers would someday rule the world. Too bad I’d never risk smudging my minty-fresh nail art on an Axiotron Modbook.

Still, I can’t deny Mr. S’s drag-and-drop skills when it comes to flyers: he’s got the Stanley Mouse-meets-bored-goth-girl’s-notebook thing down, though he often jumps visual genres, and his musical taste is top-notch: Lazaro Casanova’s bowel-shaking banger "Venganza," Nacho Lovers’ mix of Style of Eye’s minimal-bleepy, Dirty Birdish "The Big Kazoo," and classic Brit lush-raver duo Underworld’s "Ring Road (Fake Blood remix)" are Sleazemore platters du jour.

Plus, he seems to be everywhere at the moment: when not inflaming the woofers of gritty ground zero Club 222’s bimonthly Lights Down Low (www.myspace.com/lightsdownlow) or lending a hand to occasionals like the Are Friends Electric? parties, he’s popping the spots for his mostly free and carefree weekly Infatuation shindig with his partner in grime Rchrd Oh?! — of whom you’ll hear a lot more from me later — at the incongruously fancy-shmancy Vessel. "I’m slowly convincing our electro crowd that it’s OK to be there, to mix with the fruity cocktail people," Big Sleazy said with a laugh.

Sleazemore acknowledges, too, that right now electro’s undergoing the same micro-niching that techno, house, and hip-hop did more than a decade ago. "Everybody’s making music right now. It’s great and almost too much, and not all of it’s good." That’s an opinion oodles of other electro DJs I’ve spoken with hold. "Everyone wants to hype their sound as unique, which is cool — if they can back it up," he added. "In fact, lately I’ve been getting into the Crookers, Boy 8-BIT, Drop the Lime, and Fake Blood sound — fidget house, kind of like the speed garage thing revisited."

Envision a chipmunk on steroids riding a ravey beat so skittish it can often cross over into traditional Latin American dance styles — ay, like the Crookers’ kick-ass crunk-samba remix of Bonde do Role’s "Marina Gasolina" — and that’s fidget house. Yes, I’m a trend whore. Italian duo Crookers themselves will steal fidgety thunder June 24 at Infatuation after DJ Assault assaults the crowd’s ass cracks June 18 and latest scene sweethearts Shit Disco fuzz up Vessel’s needles June 11. But is it art? Who cares, it’s infatuating.

Crooker, “Wassup” (Video by Pommes)

INFATUATION

Wednesdays, 10 p.m.–2 a.m., free (Crookers, $10 — advance tix $5 at www.blasthaus.com)

Vessel

85 Campton, SF

(415) 433-8585, www.vesselsf.com

Sonic Reducer Overage: Judy Mowatt, Wolf Eyes, Styrofoam, and more

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singer.jpg
Singer through the wringer – and at Rickshaw Stop this week.

Bo Diddley’s passing has bummed me out – leaving me in a drifting, low-level depression-style funk. But know what, B-Diddley wouldn’t have wanted you to sit around and sulk. You got options – some very intriguing ones, in fact.

HELOISE AND THE SAVOIR FAIRE
Kylie added them to her top MySpace chums. The NY electro-rock sensations smash it up with Solid Gold references, trash, rats, and, oh yeah, microphones. Tues/10, call for time and price. Trannyshack at the Stud, 399 Ninth St., SF. (415) 252-7883.

Judy Mowatt at Slim's on June 11.jpg

JUDY MOWATT
The crucial member of Bob Marley’s I-Three is born again but word has it that she retains that Jamaican fire, backed by the Yellow Wall Dub Squad. Wed/11, 9 p.m., $25. Slim’s, 333 11th St., SF. (415) 522-0333.

SINGER
The pedigreed Chicago combo comes bearing a new LP on Drag City, Unhistories, and all sorts of challenging musical notions: what else would you expect from US Maple’s Todd Rittmann and 90 Day Men’s Robert Lowe? With Sic Alps and the Fresh and Onlys. Thurs/12, 8 p.m., $10. Rickshaw Stop, 155 Fell, SF. (415) 861-2011.

A fall revenue measure

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EDITORIAL If you think the June ballot was busy, wait until November. San Francisco will be electing six district supervisors. The mayor and organized labor are going to be pushing the mother of all bond acts, roughly $1 billion to rebuild San Francisco General Hospital. There’s likely to be a public power charter amendment mandating that the city mount a real effort to take over the electric grid. There will probably be a major affordable-housing initiative that includes a set-aside for low-income housing and perhaps some affordable-housing bond money. It’s shaping up as an election that will change the city’s direction for years to come — but there’s still a crucial piece missing.

There’s no money.

Public power will, of course, generate vast amounts of new revenue, but not immediately: the process of setting up the system and fighting Pacific Gas and Electric Co. in court could drag out for several years. That, of course, is all the more reason to get started — if the city had done this years ago, we wouldn’t have a budget crisis today.

But in the meantime, right now, San Francisco needs cash — and there needs to be a November ballot measure that brings in new revenue to pay for more affordable housing and to save the services Mayor Gavin Newsom is cutting.

It’s tough to pass new taxes in California. Most of the time, state law mandates a two-thirds majority vote by the people to enact any new form of taxation. But it’s a bit easier when the supervisors are up for election; on those ballots, the threshold is only 50 percent. And with at least four tightly contested supervisorial races bringing out voters, labor bringing out the troops for the General Hospital bond, and the Democratic Party pushing to get voters out for Barack Obama, the turnout should be excellent.

So if there’s ever a good time to try to pass a tax measure, November 2008 ought to fit the bill.


All sorts of tax proposals have floated around City Hall in recent years and some of them — for example, a higher real-estate transfer tax — were defeated at the ballot. Some groups will oppose any tax proposal, and it’s hard to find constituencies that want to work hard for higher taxes.

So the key to crafting a revenue measure is to ensure that it’s as progressive as possible, and that it takes into account the concerns of those small businesses and homeowners who aren’t rich and can’t afford huge new levies. We see two good options:

1. A city income tax. This hasn’t been seriously discussed since the 1980s, but it ought to be. California law bars cities from collecting traditional income taxes — that is, San Francisco can’t tax the incomes of everyone who lives here. But in 1978 the state Supreme Court ruled that cities can tax income earned from employment in the city. The upside is that a San Francisco employment income tax would hit commuters, a huge group who use city services and don’t pay for them. The downside is that people who live here but work, say, in Silicon Valley would escape the tax.

But overall, income taxes are the fairest method of collecting revenue, and a city tax could be set to hit hardest on the wealthiest. The city could exempt, say, the first $50,000 of earned income, levy a modest (say, 1 percent) tax on the next $50,000, then increase the marginal percentage so that people with enormous salaries pay as much as 2 or 3 percent.

The beauty of this: most of the people who paid the top-end income tax would simply write it off their federal income taxes — meaning this would be a direct shift of cash from Washington DC to San Francisco. And it would come primarily from people who have already received a huge tax windfall from the Bush administration.

Yes, some people would cheat. Some businesses would try to claim their employees all really worked out of a satellite office in another city. But New York City has a municipal income tax. So does Philadelphia. They manage to deal with the cheaters. The supervisors at least ought to consider the idea.

2. A new business tax. Almost everyone agrees that San Francisco’s business taxes are unfair. The city places a flat tax on businesses — a small merchant pays the same percentage as a giant corporation — and some partnerships, like law firms, get away with paying no city taxes at all. The best way to fix that may be to create a single, progressive business tax (probably on gross receipts), with no loopholes, that exempts the first $100,000 or so and actually lowers the levy on small businesses while significantly raising it on big ones. Most small businesses would get an actual tax cut while the big guys would pick up the tab.

Together, a tax package like this could bring in the $250 million a year or so the city needs — and some of the money could go to cutting, say, Muni fares or reducing the sales tax so working-class San Franciscans would pay less.

Almost everyone at City Hall knows the current tax system is unfair, regressive, and inadequate. We’ve been calling for the supervisors to do something about it for years now. November 2008 seems like an excellent time.

Hellarity burns

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› news@sfbg.com

"The angels in the summertime are ashes in the fall. As Eden fell so heaven shall. I will burn them all."

The sign, written in gothic letters on weatherworn plywood with faded red flames, is nailed to the side gate of a two-story duplex off Martin Luther King Jr. Way in north Oakland. Today, the old sign’s words carry a chilling new meaning, greeting visitors to a house whose insides were scorched by an unidentified arsonist.

The charred house has been a cauldron of contention for more than 10 years. It has been the product of two anticapitalist housing experiments, one started by an environmentalist landlord who sought to create an ecotopia, and the other by a group of anarchists who intended to make it their home. In the process, it became a hub for traveling activists and aspiring hobos, and a headquarters for antiestablishment endeavors such as Berkeley Liberation Radio.

"People would hear about it through the grapevine, hop off a freight train, and show up on our doorstep with a backpack, a banjo, and a Woody Guthrie song," says Steve DiCaprio, a tenant who moved into the house in 2001 with his wife after living in a van out front. "We had an open-door policy. Anyone could come in, no questions asked. They just had to abide by certain rules: no hard drugs, no racism, no homophobia, and no violence. We wanted to emphasize equality — it was a reaction to the closed, materialistic, competitive, dog-eat-dog society we live in."

The house originally was part of the green property owner’s attempt to create a network of sustainable, affordable housing. When his project floundered, the residence was slowly taken over by his tenants, a group of people who one-upped his radicalism. Both sides claimed to be avowed anticapitalists, but their strategies were at odds; his was to produce an alternative to the local housing market by creating a nonprofit that would help tenants own their homes as a collective. Theirs was to make space for themselves in a rent-based housing market by seizing property from investors and absentee landlords.

The owner eventually went bankrupt — drowned in the early stages of the current defutf8g housing market — and the property fell into the hands of a small-time real estate investor, despite the tenants’ attempts to buy it themselves. The tenants refused to leave, transforming themselves into squatters, and fought it out with the buyer in court for three years. As the court case bogged down, housing values plummeted, making the landlord’s investment lose value by the day.

On Feb. 28, when one of many hearings was set to take place, the squatters showed up in court but the landlord hadn’t filed the paperwork needed to move the conflict closer to a resolution. The following night, in the early hours of March 1, someone lit three fires in the empty upper apartment, setting the house ablaze as people slept inside.

WELCOME TO HELLARITY


For years the house has been known as "Hellarity," although its original owner never called it that. In fact, he refuses to. To recognize that name would be to legitimize the people who adorned it with the title — a group he sees as thieves, squatters who disrupted a legitimate project he thought would have a small but tangible impact on a profit-driven housing market.

Born on the Sunrise Free School in northeastern Washington State, Sennet Williams — known by most as "Sand" — spent his early years bouncing between Spokane and "environmental and pacifist intentional communities" in the area. A year after moving to Berkeley in 1990, he graduated from UC Berkeley’s Hass School of Business. With a degree in urban land economics, he wanted to do his part to turn the tide of environmental degradation by developing "nonprofit car-free housing" in Berkeley.

Williams didn’t see attending business school or investing in property as contradictions of his ideals. For Williams, they were strategic moves. He thought that anticapitalist projects lacked an important element — money — and wanted to be a benefactor for alternative forms of housing.

One week after graduating, his dreamy aspirations came to a crashing halt when an SUV plowed into his compact car while he was on a ski trip at Lake Tahoe, badly injuring him and causing brain damage. His goals would have been quickly destroyed, but Williams sued the driver and convinced the court that the accident interfered with his budding career, winning a settlement in 1993 that he says was "almost a million dollars."

While his money was tucked away in mutual funds and he was living briefly at a student co-op in Ann Arbor, Mich., in 1994, Williams solidified his ideas into an ambitious project called the "Green Plan" with some of his housemates. The plan was an elaborate scheme to "end homelessness" by creating "an urban nonprofit dedicated to self-governing and radical environmentalism" that would fund "rural sustainable ecovillages in Hawaii and elsewhere."

That summer, Williams bought five houses on credit in what he calls Berkeley’s "’80s drug-war zones" and brought his Ann Arbor friends to California to turn his rundown properties into co-op material. Over the summer, the Green Plan became an official organization and Williams let its members live in his houses without paying rent. Instead, they were expected to pay monthly dues to their organization — roughly the equivalent of fair market rent — to put toward buying rural land or repurchasing the houses from Williams at cost. Those who couldn’t afford to contribute were allowed to stay free in exchange for working on the houses, doing extra work for the Green Plan, or volunteering in its Little Planet café.

"Sennet (Williams) tried to be clear that he wasn’t a landlord," says former Green Plan member Dianna Tibbs, but relations between Williams and the members quickly disintegrated. Three years after its formation, the Green Plan remained unincorporated as a nonprofit. A former member also said it was still too centered on Williams’ ideas. Williams’ relationship with the tenants soured. "Ultimately there was a rebellion among the people against Sennet," Tibbs says. In 1997 the project disbanded, transferring all of the money they had raised — about $50,000 — to the Little Planet café.

The Green Plan fell apart, but Williams was caught up in the fervor of the mid-90s real estate market. In 1997, he bought the house that would later be named Hellarity for $114,000, with the goal of "making it into a demonstration of an eco-house that would be an educational resource for the city." He says he chose that property in part so it "could be a tribute to the Black Panthers’ goals of providing food in the inner-city," as it was on the same block as the home of Black Panthers founder Bobby Seale.

But shortly after Williams bought Hellarity, he says he became "overextended in real estate." By the time he made his first mortgage payments, he says there were "over 60 people" living in his houses. He owned eight in Berkeley, two in Oakland, and was planning to buy farmland in Hawaii. With Williams tied up in too many projects to fix up Hellarity, he moved in some people to "house sit" in exchange for free rent.

Shortly after people moved in, Williams stopped coming around the house. The housesitters gradually brought in their friends, the walls were slowly painted to suit the eccentric tastes of the occupants, and more people started calling the house theirs. Williams said he didn’t invite them, but admits that he never asked them to leave. He had little contact with the occupants as years passed. "He was just a theoretical person that owned the house," DiCaprio says.

Hellarity took on a distinctly anarchist flavor in Williams’ absence. "People with alternative lifestyles and alternative family arrangements could live without having to dedicate their lives to making money, giving them more time to invest in their homes and their communities," says long-term resident Robert "Eggplant" Burnett, Bay Area punk rock legend, publisher of the zine Absolutely Zippo, and editor of Slingshot newspaper. Hellarity hosted the pirate radio station Berkeley Liberation Radio, a do-it-yourself bike shop, and cooked meals for Food Not Bombs.

It seemed like an anarchist paradise, but it wouldn’t last.

FOR SALE


By 2004, mortgage payments were driving Williams deep into debt, and Hellarity became a burden. The house was being pulled away from him from two sides: by anarchists who increasingly challenged the legitimacy of his ownership, and by creditors who placed liens against his properties.

When Hellarity was eventually sold by the court in a bankruptcy sale, the tenants say the man who would buy the house, Pradeep Pal, had never set foot in it. Pal, who refused to be interviewed for this article, lived in an upper-middle class neighborhood in Hercules and owned two businesses, Charlie’s Garage in Berkeley and European Motor Works in Albany. He wasn’t exactly a freewheeling real estate flipper — he was a South Asian immigrant who, according to Guardian research of property records, never owned real estate in the area other than his own home.

But to the tenants, Pal was a capitalist trying to buy them out of their home. In a recorded meeting with tenants, Pal admitted he hadn’t been inside the house before he bought it, and Williams tells us the real estate agent who arranged the sale also never toured the house before Pal bought it. "He obviously had no interest in moving into the place or contributing to the community if he didn’t even look at it," future occupant Jake Sternberg says. "This was someone who just wanted to make a profit."

The tenants made it clear to Pal that they didn’t want him to buy the house and would make life difficult for him. As soon as it became apparent that Williams would lose the house, Crystal Haviland and a few other occupants started searching for someone to help them buy the house. In the summer of 2004, the house was slated to go up on foreclosure auction, but the tenants hadn’t found a sympathetic donor.

The auction was set to occur on the steps of the René C. Davidson Alameda County Courthouse, and the occupants showed up banging drums and bellowing chants to warn off prospective buyers. "We wanted anyone interested in buying the house to know that the people who had been living at the house for 10 years wanted to buy it," says Haviland, who is now raising a child, studying psychology at San Francisco State University, and volunteering as a peer counselor at the Berkeley Free Clinic. "We didn’t want people to buy it and turn it into an expensive gentrified thing." While people gathered, Williams showed up and announced bankruptcy, a legal move that cancelled the auction.

With more time to search for financial support, Haviland started talking with Cooperative Roots, an organization that bought a couple of Williams’ other houses — now known as "Fort Awesome" and "Fort Radical" — in foreclosure auctions. Cooperative Roots is a Berkeley-based nonprofit organized in 2003 by members of the University Students Cooperative Association. They received money from progressive donors — mainly the Parker Street Foundation — to buy houses that they turned into "cooperative, affordable housing," says Cooperative Roots member Zach Norwood. Anyone who lives in their houses is an automatic member of the cooperative and makes monthly mortgage payments to the foundation.

For Hellarity, Cooperative Roots was a godsend. "Other people would walk into that house and say, "This place is disgusting," DiCaprio says. "But they said, ‘Wow, this is a work of art.’<0x2009>" The Parker Street Foundation was willing to put down whatever was needed to buy the house, Norwood says, but the occupants were limited by the monthly payments they could afford. On Nov. 4, 2004, the house went up for bankruptcy sale, and Cooperative Roots was prepared to bid up to $420,000. "It was exciting to be there with a bunch of crazy Hellarity people, putting out bids for hundreds of thousands of dollars," Haviland says.

No one expected them to show up at the sale. Williams says they had previously offered to buy the house from him but he "didn’t think they were serious." By the time they had the money, Williams no longer had control of the sale. At the courthouse, the anarchists were playing by the rules, bidding with money up front. The only other party interested in the house was Pal and his brother-in-law Charanjit Rihal, who were placing bids against the occupants. The two sides bid against each other, driving up the price until the occupants reached their limit. Pal and Rihal took the property for $432,000.

OWNERSHIP VS. CONTROL


"This sale was symptomatic of a housing market gone haywire," says DiCaprio. "People like Pal and Rihal thought they could just throw a bunch of money into real estate and it would always be a good investment. I’m glad the market finally crashed, because that kind of behavior hurts a lot of people. It ended up driving the price of housing to the point that normal people can’t buy anymore — and that’s absurd."

Pal soon discovered he owned the property on paper only. The occupants didn’t recognize the sale or his authority to tell them to leave. Three months after the sale, the occupants were still there, refusing to go. Pal took the case to court in an "action to quiet title," demanding that they be ejected from the property and that the title be freed from any future claims against it. He claimed the people in the house were squatters, living on his property without permission. But before the police could drag out the occupants, they countersued, holding themselves up in court without a lawyer for three years and living in the house the whole time.

One of the first cross-complaints came from Robert Burnett who — with his contempt for the computerized, cell phone-saturated consumer culture — wrote his cross-complaint on the back of a flyer on an ancient typewriter. When the document appeared in court, one side advertised a benefit for a pirate radio station at the anarchist info shop at the Long Haul with an image of tiny people being thrown out of an upside-down Statue of Liberty. On the other side, Burnett claims that he is a co-owner of the house, which he acquired through "adverse possession." Two other defendants made the same claim.

"Adverse possession transfers the ownership of a piece of real estate to people occupying the house without payment," says Oakland attorney Ellis Brown, an expert in property law. "In the state of California, you have to be openly living in a place for five years without the titleholder trying to make you leave to win an adverse possession case."

"Adverse possession originated to prevent Native Americans from taking back land from homesteaders, but squatters turned it around, using it to protect people who take possession of unused property," says Iain Boal, a historian of the commons who teaches in the community studies department at the University of California, Santa Cruz and the author of the forthcoming book, The Long Theft: Episodes in the History of Enclosure. Boal emphasizes the large numbers of squatters in the world, a figure Robert Neuwirth, author of Shadow Cities: A Billion Squatters, a New Urban World (Routledge, 2004), pegs at 1 billion. "It is only here that squatters are seen as bizarre leftovers from the ’60s," Boal says. "We are in a crisis of shelter, and people need to fill their housing needs."

DiCaprio concurs. Along with Burnett, DiCaprio was the main backer of the occupants’ legal case. As we talk in a dark, live-in warehouse, he sips coffee out of a Mason jar and looks over the court case on his laptop. He says he wants to be a lawyer, but he has never been interested in making lots of money — he says he wants to "fight for housing rights." DiCaprio learned squatter law while cycling through family law court, criminal court, and federal court over a Berkeley house he was squatting and trying to win through adverse possession. The city threw him in jail, and he was released just after Pal sued the occupants of Hellarity.

He says Hellarity was different from other situations he’s dealt with as a squatter. "We never thought of ourselves as squatters [at Hellarity] per se until Pal sued us and start using that language in court," he says. "Before he bought the house, no one was challenging our presence on the property. Sennet [Williams] was either actively or passively letting us stay there. By filing a claim to quiet title, Pal made it apparent the title was in question. By calling us squatters instead of tenants, they lost some claim to the property. So we took the ball and ran with it."

Their use of adverse possession was strategic, DiCaprio says, but they didn’t intend to win the house that way. "We were never under any illusion that we would win ownership of the house in court," he says. "We wanted to use the court as a forum to enable us to buy the house. We were just treading water until Pal got tired and agreed to sell." The occupants say they offered him $360,000 for the house, the price it was originally listed for, but he refused to take a loss on his investment.

DiCaprio says the courts generally aren’t sympathetic to squatters’ cases. "Pro pers tend to be poor, so there is a class bias against them," he says, referring to people who represent themselves without a lawyer. DiCaprio says judges have rejected documents for having dirt on them and refused to give fee waivers to people with no income. "The courts do not like squatters. If you mix pro per and adverse possession, you could not have a more hostile environment against us."

For more than two years, Pal and the occupants played a cat-and-mouse game, dragging out the case and trying to complicate it in hopes the other side would just give up. Pal’s lawyer, Richard Harms (who did not return Guardian calls seeking comment), objected to the terms "documents," "property," and "identify" when asked to produce evidence related to his claim. "Instead of trying to prove their case, they were just waiting for us to trip up and not file something before a deadline," says DiCaprio.

The occupants didn’t slip, but as the case wore on, he and Burnett grew tired of upholding their side in court. By fall 2007, the two cut side deals with Pal. Burnett settled for $2,000 and DiCaprio for an undisclosed amount. "I realized I couldn’t save it alone," DiCaprio says. "I told them to sink or swim."

ENDGAME


When Burnett and DiCaprio settled with Pal, the subprime housing crisis was splashing the headlines. Pal’s investment was starting to seem more like a loss, but for the first time since he bought the property, it looked like it would finally be his. By November 2007, the remaining squatters dropped the battle for ownership and began bargaining with him for concessions.

By mid-February, Pal was ready to start renovations, and all but two of the squatters had moved out. They made their final plea and Pal gave his last compromise: two more weeks, then they had to go. "He was sure he was going to get the house, so he agreed to let us stay," says a squatter called Frank, who asked not to be named because of his immigration status.

What Pal may not have understood was that he was not the only party still interested in the house. The house was becoming a point of contention among the larger community of squatters and anarchists in the East Bay. Fissures broke around a central question: was it up to those living there to decide the fate of the notorious squat, or did the larger community of radical activists have a say in the property?

As Pal was getting rid of the last people occupying the house, the squatters’ conflict came to Hellarity’s doorstep. A new group of people came to the North Oakland house, among them a few who had previously stayed at Hellarity, ready to renew the struggle against Pal. Frank, who had been living in the house for seven months, was unhappy about the new arrivals.

"I told them that this kind of action would make problems for me," he says. "I already made an agreement with this guy [Pal] to leave by the end of the month." The new group saw things differently. "We own this place," says Jake Sternberg, the new de facto caretaker of Hellarity, who has since been pushing for the squatters to renew their court case. The discord between the squatters split up the duplex: the two old squatters stayed upstairs while the recent arrivals occupied the lower half.

Two weeks after the new crew moved in, a fire was lit in the upper apartment that burned through the ceiling and the floor. But who did it? Was it a disgruntled squatter who would rather destroy the house than hand it back to Pal? Or was Pal connected to the arson, losing his nerve as a newly energized group of squatters took over and the value of his investment crashed?

If not for the squatters, Pal might have been less affected by the subprime crisis than most property owners. He had no mortgage on the house — he bought it outright — so he wasn’t under threat of foreclosure, unlike tens of thousands of other California homeowners. But Pal faced a different threat. It seems likely he bought the house as an investment, and as the market crashed, he was stuck with a house he could neither renovate nor sell, and was left to watch its value tank as he slogged through court proceedings.

For an investor like Pal, the numbers weren’t looking good. In March, median housing prices had fallen 16.1 percent compared with those of March 2007, according to DataQuick Information Systems, and home sales declined 36.7 percent from the previous year. In April — for the seventh consecutive month — Bay Area home sales were at their lowest level in two decades, DataQuick reported. And according to Business Week, national home prices will plummet an additional 25 percent over the next two to three years.

On Feb. 17, the day after the new group of squatters moved in, Pal made an appearance at the house. In early March, Sternberg showed me a video he recorded during Pal’s visit. On the screen, Pal is sitting on a couch in the downstairs living room of Hellarity. At the door, a well-built man who looks to be in his 30s and calls himself Tony leans against the wall with two younger men who call themselves Salvador and Ryan. Sternberg tells me that Pal came to the house demanding they leave his property. Sternberg called the police, accusing Pal of trespassing. As they waited for the OPD to arrive, which took more than 25 minutes, they discuss their conflict over the house.

At the beginning of the video, Sternberg tells Pal why he and his friends refuse to give up the property: "People came over here from Europe and they said, ‘Hey, we’re going to take this place.’ Now they sell land to each other. And how did they get it? They took it…. And just because somebody pays for something doesn’t mean that they get it. And just because somebody sells something doesn’t mean they have a right to sell that."

A few minutes into Sternberg’s video, Pal told the squatters he was ready to take matters into his own hands. "You just have to deal with me now because what I’m saying is, it’s person to person…. And you know what? If it’s gonna get dirty, it’s gonna get dirty. I don’t care. Because you know what? That’s the way it’s gonna be, because this is what I need. I need to have it. I don’t have any lawyer. I can’t afford a damn lawyer. So it’s gonna be me and you. One to one. Man to man."

Pal eventually left the property after the police arrived, but the two younger men, Salvador and Ryan, spent the night upstairs. "[Pal] had them stay there because they thought the people downstairs would squat the upstairs," Frank says. "He wanted to protect the house." Frank, who says he was concerned that Pal would try to evict him with everyone else, initially didn’t protest the presence of the two young men.

The next day, at Frank’s request, Pal told Salvador and Ryan to leave, and for the two weeks that followed, Pal didn’t return to the house. The new group of squatters expected to see him Feb. 28, the date set for a case hearing called by Pal’s lawyer prior to the re-occupation of the house. If the defendants didn’t show up, a default judgment could have been entered, granting Pal his request to have the squatters removed and ordered to pay $2,000 per month in back rent. The squatters showed up for court, but Pal’s side hadn’t filed the necessary paperwork to hold the hearing.

Once again the house hung in legal limbo and the day after the hearing, the remaining people upstairs moved out as agreed. Frank says Pal called him while he was at work that afternoon to make sure they were gone. For the first time in 11 years, the upper apartment was empty, waiting for either Pal or the other squatters to seize it.

But someone was committed to preventing that from happening. The night after the people upstairs moved out, at around 3:15 a.m., the squatters downstairs awoke to fire creeping through the floorboards above them.

"Both of the doors upstairs were locked," Sternberg says. "We broke through one of the doors and threw buckets of water on the flames."

After the fire department extinguished the blaze, the squatters called the police to have an investigator search the scene. "It appears that unknown suspects entered the house through unknown means, and then set three fires in an attempt to burn the house," the police report states. According to the report, all three fires were set in the upstairs apartment; two burned out before the fire department arrived. Officer Vincent Chen found two used matches in the bathroom, where the wood around the sink had been burned, and a gas can hidden in the bushes on the east side of the house.

When I first met Sternberg, he told me the Oakland Police Department’s arson investigator, Barry Donelan, was helpful. Two and a half months after the fire, however, Sternberg says: "I regret having talked to the police."

Initially, Donelan didn’t know they were squatters — Sternberg had told him they owned the house. "Once he found flyers for a fundraiser to defend the squat, he became angry," says Sternberg. "He said he submitted the case to the district attorney, and didn’t expect anyone would be arrested."

Sternberg says Donelan also threatened to have him arrested for a traffic-related warrant and that he would turn Sternberg’s name over to the Federal Communications Commission, which had an open investigation on the house for hosting Berkeley Liberation Radio. In March, Donelan told us he wouldn’t comment on the case and at press time, he hadn’t return Guardian calls about the status of the investigation.

EPILOGUE


Although the arson may never be solved, the squatters have strong suspicions about who was behind the fire. But they have a hard time deciding who, ultimately, is most culpable for the blaze. "No one involved in Hellarity is innocent, and no one is completely guilty," says DiCaprio. The one point of view everyone seems to share is that Hellarity has long been a tinderbox of contention, in which property owners struggling in a beleaguered housing market faced off against a group of people who reject the market outright for its inaccessibility to low-income people. Eventually, it all literally — burst into flames.

When I visit after the fire, people are sitting outside playing guitar, smoking rolled cigarettes, and singing the timeless hobo ballad, "Big Rock Candy Mountain." The sounds drift over the budding vegetable gardens and into the downstairs living room, where a message written on a big green chalkboard suggests that if the fire was intended to drive people out, it was unsuccessful: "WELCOME BACK TO HELL(ARITY). Because bosses, landlords, and capitalists suck, the house has lots of repairs that need to be done before it becomes fully livable."

Upstairs, Sternberg looks up at a charred, gaping hole in the ceiling. "We have to make lemonade out of lemons," he tells me, explaining that they just got a skylight to fill the cavity. "We’re going to continue fighting just like we’ve been fighting. This guy [Pal] has been in court with us for three years. He’s got no case." *

When tools race

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San Franciscans love to make shit and they love weird spectacles. And the The Power Tool Drag Races is the perfect combination of both. The name says it all: drag racing between custom vehicles made from belt sanders, skillsaws, grinders or other power tools. This quirky event has garnered national recognition and was even briefly a television show, but there’s nothing like just spending the day in the beautiful sunshine out at Ace’s Junkyard, drinking too much beer, watching the weirdness, and flirting with the gearheads behind these strange Frankenmachines.
PTDR put on a good show at the Maker’s Faire a couple weeks ago, but that was sanitized for families and prudes. This weekend’s show is the one to attend if you want racing sex toys and other adult thrills. Check it out this Saturday and/or Sunday.
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Clubs: Return, disco children, to Paradise

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By Vanessa Carr

If the last Gemini Disco Paradise party was any indication (18-piece disco band Escort, performances at midnight and 3 a.m., packed crowd, go-go dancers, balloon drop, cabaret-style performances), the second Paradise this Saturday night (5/17) should deliver on its promise to be a debaucherous, all-night disco dance party channelling the spirit of Studio 54 or Paradise Garage, the infamous gay NYC nightclub from the ’80s.


Christopher McVick’s Paradise Disco Trailer

Mezzanine and Gemini Disco are bringing the original disco divas from the ’70s Sister Sledge (“We Are Family” and “He’s the Greatest Dancer”), as well as DFA’s disco-revivalists Holy Ghost! (DJ set), with local supporting DJs Derrek Love and Nicky B (Gemini), BT Magnum and Black Shag (Beat Electric), and Honey Soundsystem. Christopher McVick and his entourage help ignite the disco fever with their outlandish circus/disco/cabaret antics, including theatrical choreography, stick ponies, and glitzy drag performances.


Sister Sledge perform “He’s the Greatest Dancer”

Paradise All-Night Disco Party
May 17th, 10 pm to dawn, $15 advance
Mezzanine, 444 Jessie Street, 415-625-8880
www.mezzaninesf.com

Yo, bangerz

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Also in this issue:

Rave it tecktonik: Hard electro’s dance du jour

Bang! The clubs, the music, the mixes

Super Ego Must the French rule everything? Is Justice revenge for "freedom fries"?

Anyone who’s recently squeezed themselves into a sliced-up silver Lycra T-shirt, pushed down a pair of Day-Glo Cazals, baby-oiled their coke-spoon anklet charms, and hit the city’s glitzier underground dance floors in the past year knows that the hardcore electro sound of Paris’s laptops — lahptoops? — is everywhere they wanna be. So yeah, this shout-out to the trenchant trend is late, and the French are already being usurped by English, Aussie, and American glam-tech innovators. But I’ve got hungry drag queens at home to feed. Mama can’t afford no glittery off-the-shoulder neon silk-screen slip dry-cleaning bills.

Also, it’s taken a while for the scene to coalesce into something tangible, nightlifewise. "Electro" has always been a catch-all — as long as it emanates from adorably entangled circuitry, the genre’s sound swings wildly from lowdown industrial grind to straight-up booty smack, vocoded howl to shuddering fwump to skittery blizzard of blips. It took French duo Justice, along with a slew of other big-name like-mindeds like MSTRKRFT and Simian Mobile Disco, to crystallize some of electro’s recent, disparate past — amped-up electroclash guitars, nu-rave airhorn screech, Philly and Baltimore cybernetic cartoon sexuality, bubbly London champagne rave, and triple-filtered Daft Punk euro strip-down — into the rock-candy party sound still blowing out woofers all over town, launching a genuine style. At first dismissed as mere Daft Punk knockoffs, these earnest Ableton addicts have transformed electro into this house generation’s gleaming hair metal, complete with fussy headbands, flashing tits, and on occasion, what my bf Hunky Beau terms "the most well-scrubbed mosh pits ever."

The scene is called banger — as in Ed Banger, Justice’s Paris-based label. The sound? Warped arena rock grandeur ripped asunder by fuzzy needles, taut bass arpeggios, pounding 808s with cymbal-crash breakdowns (they’re back!), dirty childlike vocals, and anarchic Prodigy posing to — cover your ears, discriminating queens — pop-rave 2 Unlimited keyboards. Banger kids arrive stripped of quotation marks (excessive goofy accessorizing and ironic retro bombast are out), fronting the tight sheen of perfect online shopping technique, 24-inch waists, Rockstar and rye on tap, wanton pantomimed sex, and a tang of American Apparel ennui. ("I’m on the club soda diet," a model confided matter-of-factly outside one bangin’ banger club. "I need to go to the bathroom and meditate for a minute before I pass out.") If all this sounds more like "da club" then the club, well, that’s the delicious line of tension bangers like to play against.

Banger style has even given rise, in Paris at least, to a dance craze (also back!) called tecktonik. Have you seen this shit? It’s electroclash break dancing — a splash of rave liquid by way of circuit fan–twirling, coupled with random Adderall withdrawal jerks. "Tecktonik" is now a brand-name T-shirt and a haircut, of course.

The above may look iffy on paper, but it works — there’s a blinding energy to the scene, and I’m held positively rapt by some local bangers. My next column will feature a few, as well as some young upstarts taking the bang into fidgety new directions. Let’s riot.

Clubs: Cross-dressed Monster Salad

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The storied Metro Bar in the Castro moved down the street to Church and Market a while ago (the old space became the suspiciously Metro-alike Lookout) — and people worried for its future. Luckily, the minds behind the Metro are sharp enough to know they need a draw, and the new Metro has already become a premiere trash-drag venue (multiple Joan Crawford tribute nights aside.)

It’s even managed to lure one of San Francisco’s bloody, beloved drag traditions, The Cookie Dough Monster Show, run by Cookie Dough herself (with her cute DJ partner MC2), from its pleasant perch at Harvey’s.

The biweekly Saturday night drag-stravaganza may be big on low-budget thrills, but its offal-covered heart is always in the right place. This Saturday, May 10, features the freakishly unexplainable House of Salad, whom I adore. These underaged children will grow up to be starz someday, I tell you — starz.

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