Event

Burning reentry

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By Scribe
I returned from Burning Man a week ago today, one of the nearly 40,000 souls reentering the real world from the one that we call “home.” There are more of us than ever given that the population of Black Rock City jumped more than 10 percent this year to by far it’s largest level yet, with the Bay Area still the main source of BRC citizens. The event is growing fast, and at a time when there is increasing concern about global warming and other environmental problems associated with unsustainable consumption of resources. So I was pleased to see founder Larry Harvey and his board announce next year’s theme — Green Man — just as this year’s event was wrapping up. The idea is to better connect the isolated event with the larger world, to increase awareness of our impacts on the environment, and to start offsetting that impact with tree planting and other year-round projects. It’s a natural step in the evolution of an event that began on Baker Beach in 1986, but one that needed to be deliberately taken, a challenging move than will test whether Burning Man is ready to return from the desert and project its values outward.

NOISE: Bingo! And bangin’, bizzy Deerhoof

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Taxes, zits, and coffee breath – these things are eternal. Add to that list “Rock ‘n’ Roll Bingo” at Blankspace in Oakland on Sept. 1. This third installment of the Oakland Art Murmur event featured the Bay’s winning bro-duo Moore Brothers and Santa Cruz chamber-goofers Antarctica Takes It (Bookends canceled, shoot). Most amazing – this writer took home an awesome prize (a fine alternative to the unicorn thrift scores): a tote bag design original by artist Tonya Solley Thornton. Bingo, indeed.

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Game? All photos by Kimberly Chun

A few days later on Sept. 5, we stopped by Great American Music Hall to catch Marc Ribot’s Ceramic Dog (with longtime local Ches Smith on drums) and our pals Deerhoof.

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Onetime guitarist-bassist Chris Cohen will be missed, but man, has John Dieterich stepped up, big time. The ‘Hoofies are approaching their songs from new, streamlined angles. Awesome, as usual. Before the show, drummer Greg Saunier had tales to tell from the road and Radiohead (Jonny Greenwood did their lights on their last show together in Europe, Saunier said).

Deerhoof was off to LA right after the show, he added, to finish mixing their forthcoming new album, Friend Opportunity, which the band worked on while out with Radiohead (it’s scheduled to come out Jan. 23, 2007). Next it was off to tour the East Coast with Flaming Lips.

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When will we see Greg, Satomi, and John again? Not soon – the trio was also in LA recording and co-composing a score for Justin Theroux’s new film, Dedication, starring Billy Crudup, Mandy Moore, Tom Wilkinson, and Amy Sedaris. And a Milk Man ballet, inspired by the Deerhoof album, is in the works in October at the North Haven Community School in North Haven, Maine. Their likes won’t be seen again till Nov. 11 at RIOTT! at Bill Graham Civic. So count yourself lucky, Deerhoofies, that you saw ’em before they scampered off into the wilds again.

SUNDAY

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Sept. 10

Event

SF Zine Fest

You start with just a staple gun and a dream, but pretty soon you’ll want an audience. The San Francisco Zine Fest fills CELLspace to the brim with minicomics, literary journals, zines galore, and even arts and crafts booths for those who can’t go an afternoon without a glue stick fix. The peeps behind the fest are offering various workshops and plenty of film and animation screenings during this year’s free event. (K.Tighe)
CELLspace, 2050 Bryant, SF
Free
(415) 648-7562
www.sfzinefest.com
www.cellspace.org

Film

Three Dollars

There-but-for-the-grace-of-whomever is the overriding theme of this Australian drama from director Robert Connolly (The Bank), based on Elliot Pearlman’s novel. Life is pretty – just pretty – good for chemical engineer Eddie (David Wenham); his academic wife, Tanya (Frances O’Connor); and their daughter, Abby (Joanna Hunt-Prokhovnik). But it’s a life wobbling on any number of fragile foundations, primarily in the financial realm: when both parents lose their employment in rapid sequence, things suddenly look desperate. The film has some ambitious, even metaphorical aspects that seem incompletely developed, and most viewers will find that the last reel’s events drop Eddie too far, too fast to be believed. Nonetheless, for the most part Three Dollars handles suspense, humor, warmth, and near-tragedy in an affecting way – all the while facing off against some of life’s big questions. (Dennis Harvey)

Now in Bay Area theaters

Event horizon: cinemania

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Attention, film geeks: the Guardian‘s Toronto International Film Festival desk is up and running and frantically trying to patchwork together a schedule that crams in as many movies as possible without incurring some kind of mental break with reality as a result.

It’s a delicate balance, really, and one that brings forth a feeling of excitement, panic, and jet-lagged punchiness that I’ve never really felt at any other time in my life. Ideally, one figures out a way to see everything worth seeing (note: a personal judgement call all the way) while still leaving room for spontaneity, last-minute interviews, random networking, and bothersome other crap like meals, caffeine, and sleep. This is my second year at the fest, which happens to be the same exact age as me (31), and I’d be lying if I said I had the whole crazy shebang figured out.

Late-night luau

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› le_chicken_farmer@yahoo.com
CHEAP EATS I mean, they were already practically married, but my friends Little Him and Little Her officially said they did in the Presidio last weekend, and there was a decidedly islandish theme to the event.
Hawaii, I mean — so technically I should have been playing the uke instead of steel pan. But I’m not a very technical person.
And this isn’t the society pages.
It’s the food section. You want to know about my week in Idaho, right, being a semiprofessional cook for the first and probably last time ever? Among other whimsical dishes, I invented angeled eggs. Instead of mayonnaise, you use, predictably, barbecued chicken. And instead of paprika, fresh salsa.
There was a barbecued squash stuffed with refried beans, sausage, and olives, and another sausage poked suggestively through cored zucchini slices. A pork feast marinated in unripe green grape juice (thanks, Chrissy), rubbed with fresh herbs and basted in pear barbecue sauce — everything but the pig courtesy of Mr. and Mrs. “Jack” Poetry’s garden.
I love using what nature and hecklers throw at you. Barbecued green tomatoes (because deer kept knocking them off the vines). Barbecued overripe cucumbers …
What else rolled off the grill was, of course, my signature dish, barbecued eggs. Which, so you know, have come a long way since I last wrote about them, last winter, I think. I think I was cooking them then in meat grease and barbecue sauce in a bread pan in the wood stove. Now I pour the beat-up eggs into cored bell peppers with chunks of sausage and/or whatever … toothpick a strip of bacon around the rim of the pepper, skewer the toothpick with a cherry tomato, olive, onion, and/or also whatever. And stand them up on the grill. It’s not quite perfected yet, because they fall and spill and take forever to set; but it’s getting there, and it not only tastes better but looks 10 times prettier than huevos Dancheros did.
I have a term for what I do, cooking-wise: nouveau trash.
There are other words as well. But the important thing is that, like Little League baseball, I had a lot of fun doing it. And I had, in Johnny “Jack,” Eberle “Jack,” and Georgie “Jack” Bundle, an appreciative and enthusiastic audience. They were working hard recording music all day, every day, and if not for the chicken farmer would have eaten nothing but toast and Cheerios for a week.
At the end of which week, I dropped Mr. Bundle off at the Boise airport so he could make it to his grandpa’s 90th birthday party and delivered his car full of gear to Oakland. The “Hawaiian Wedding Song” was already stuck in my head, and this was a week before the wedding.
In case you don’t know it, you can easily imagine: it’s a wedding song! The lyrics are unadulterated cheese, but the melody is spectacularly all-over-the-place. I was going to have to learn it, and I didn’t have anything better to do with my ears between Boise and Oakland, so I looped the recording and sang and whistled and hummed and yodeled and just generally drove myself crazy.
Next day needing something to eat in the Sunset, I thought of Island Café, that new Hawaiian joint where JT’s all-night diner used to be. Taraval and 19th Ave. Thematically, geographically, it just seemed like the thing to do. And I was all alonesome still, and they have a counter. A great one. An even greater one than it used to be, because there’s a big TV now, and women’s golf was on.
Women’s golf goes good with Hawaiian food. Who knew?
Instead of Spam and eggs or barbecued chicken soup, which I didn’t see until too late, I got Loco Moco ($8.65). That’s three hamburger patties, three scoops of rice because I didn’t want the macaroni (because of mayonnaise), some cabbage, and of course gravy. But not enough gravy. I distinctly remember reading the word “smothered” on the menu in reference to gravy, and neither the burgers nor the rice scoops were what I would call smothered. They were dolloped.
But besides that I have nothing bad to say about my new favorite Hawaiian restaurant. The service was good and friendly. Women’s golf. Uke. Surfboard. Good music. Good vibe. Nothing’s more than 10 bucks. A lot of things are a lot less.
And — and this is a big and — they’re open till 2 a.m., and all night Thursday through Saturday. SFBG
ISLAND CAFÉ
Sun.–Wed., 8–2 a.m.; Thurs.–Sat., 24 hours
901 Taraval, SF
(415) 661-3303
Takeout available
Beer and wine
MC/V
Quiet
Wheelchair accessible

A lover’s lane

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› paulr@sfbg.com
Of the top 10 questions I am most often asked about restaurants in the city, the top two by far are “Which is the best?” and “Which is your favorite?” Since “best” is a snake pit of competing considerations and unacknowledged biases, I am happier with the second, which is all about acknowledging one’s biases — about being in touch with the inner bias. For me, it is also far easier to answer, since my favorite restaurant in the city, the one I have recommended to inquiring minds for more than a decade, is Hawthorne Lane. (And a brief digression here for the honorable mentions: Firefly, Delfina, Gary Danko, and Boulevard, each reliably sensational in its way.)
How do I love Hawthorne Lane? Let me count the ways. The food, of course, has always been exquisite, though the many Asian touches favored by the original chef, Annie Gingrass, are much less in evidence under the current regime of Bridget Batson; the only more-or-less intact survivor I recognized from the old days is the Chinese-style roasted duck.
Speaking of survivors: the restaurant itself qualifies as one, having surfed the treacherous dot-com wave and its rough aftermath with grace and without frantic reinvention. The restaurant still looks much as it did when it opened in 1995: there is handsome ironwork on a glorious old brick building, a casual front room whose ovoid bar stands amid a ring of booths, and a regal passageway to the main dining room, with its exhibition kitchen, banquettes upholstered in rich fabrics (some floral, others striped), and plenty of paintings (most of the colorful-squiggly school) on the walls. The look, with its meant-to-last fusion of traditional and modern elements, is timeless and has worn well.
Best of all, you can offer this observation and many others across your table without having to shout to be heard. You might even be able to whisper, or at least murmur. For Hawthorne Lane has artfully managed noise from the beginning, and on that basis alone it long ago won my heart. The place is busy and it is lively, but while the cauldron of sound simmers and bubbles, it never boils over. The result is a restaurant in which it is possible to converse while enjoying the food, and for some of us this basic and ancient mix of satisfactions remains one of the heights of civilization.
The food would be enjoyable in any event. While I mourn the passing of the $28 three-course prix fixe option — offered in the dark autumn of 2001, when air travel was stunted and tourism anemic — I am glad to find that most of the main courses on the ever-changing menu are now available in half sizes (at reduced if not quite halved prices), an innovation that encourages the trying of more dishes and the ingestion of fewer calories while helping with money management. (Hawthorne Lane is expensive, and you could easily drop $100 a head there, but you can also spend quite a bit less and not cheat yourself.)
One of the few big dishes not offered in smaller guise on the main menu is the Chinese duck — but it did turn up as a downsized item (for $15) on the bar menu, inclusive of split scallion buns with which to make little duck sandwiches. We agreed that the finger-food angle was fun, but the dish on the whole seemed to be a little out of tune, with too much vinegar in the sauce, like a light on an overcranked dimmer. Could this imbalance perhaps be because the duck is a signature dish from a regime that’s no longer there?
Otherwise, Batson’s cooking is both passionate and elegant. From the fire-breathing brick oven emerges a small but memorable procession of clever pizzas, among them a pie ($12) topped with prosciutto, Mission figs, and arugula leaves: an artful combination of salty, sweet, and nutty, with plenty of white cheese to serve as emulsifier. Squash blossoms ($14), icons of summer, are stuffed with goat cheese and basil, tempura-battered into flute shapes, deep-fried, and presented on mixed greens with a pool of soffrito and cherry tomatoes.
Even more deeply imbued with the essence of summer, if that’s possible, is an heirloom tomato risotto ($13 for a half portion), intense with tomatoey-ness despite its golden color and enriched with plenty of parmesan cheese. The dish is like a distant, aristocratic relation of mac and cheese, with the differences as apparent as the familial similarities. We caught no plebeian echo, on the other hand, in the crisped striped sea bass ($17 for a half portion). The small chunk of filet was indeed well crisped, the better to stand up to a cap of peperonata and a few coins of fennel root (nature’s little breath mint) braised with leek and pancetta.
The half-sizing joyride ends abruptly at the dessert border. But this poses no hardship, because people seem routinely to share desserts in a way they do not always share savory courses. It helps that Hawthorne Lane’s desserts are big and complex; we saw a trio of the seasonal sorbets — spooned cornucopia-style into crisp fruit cups — arriving at the next table and silently wished that couple luck for the long march. For us, the matter at hand was the fetchingly named peach buckle ($9.50), a kind of stone fruit coffee cake with slices of Frog Hollow peach atop an almond streusel and cinnamon meal baked over everything, like stucco. We buckled down and demolished it. SFBG
HAWTHORNE LANE
Lunch: Mon.–Fri., 11:30 a.m.–1:30 p.m.
Dinner: Sun.–Thurs., 5:30–9 p.m.; Fri.–Sat., 5:30–10 p.m.
22 Hawthorne, SF
(415) 777-9779
www.hawthornelane.com
Full bar
AE/DC/DISC/MC/V
Pleasant noise level
Wheelchair accessible

Vashti’s progress: More than just another diamond night in San Francisco

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Vashti Bunyan is giving a concert at Great American Music Hall this week. To give an idea of how rare this event is, Bunyan has played fewer shows here than she has released albums, and she’s released exactly two long song collections: 1970’s justifiably adored Just Another Diamond Day and last year’s equally exquisite Lookaftering. With a little help from a calling card, I spoke with Bunyan recently about her not-so-hidden current bond with Devendra Banhart, her rather more secret past kinship with Francoise Hardy, the artistic leanings and pilgrim’s progress of the Bunyan family bloodline, the making of a Diamond Day movie, the cruelty beneath Swinging London’s fun, the wonders of home recording, and some friendly coincidences.

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Guardian: I just ran up a hill to buy a calling card. How are you?
Vashti Bunyan: I’m fine. I’m comfortably at home at Edinburgh, [Scotland].

G: Have you been living in the same place for many years?
VB: Yes, we’ve been here for 12 years, which is the longest I’ve been anywhere in my life. I keep thinking, “Maybe it’s time to go?” But yes, I’m back in the city after many years of country living.

Eureka! Here comes even more Eurekaism! (part 3)

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Hearst was last seen covering the big Hearst/Singleton deal via Reuters out of New York. Now it is blacking out the story completely. A tale of two footnotes tells all.

By Bruce B. Brugmann

Just in time to update our annual Project Censored package, the Hearst/Chronicle demonstrated yet again how the galloping Conglomerati are covering the big story in Eureka (where the MediaNews Group/
Singleton are competing headon with a local upstart daily) — and blacking out the much bigger story in the Bay Area where Hearst and Singleton are destroying daily competition and forming a regional monopoly, aided and abetted by the McClatchy, Gannett, and Stephens newspaper chains.

The major new development: The federal judge in the
Clint Reilly/Joe Alioto lawsuit against the deal okayed an agreement between lawyers from both sides to fast-track the suit and set a trial date for Feb. 26.
Obvioiusly, this is a major local news story. Josh Richman, a staff writer for the Singleton’s East Bay group, wrote a story dated Saturday, Sept. 2, headlined “Newspaper suit put on legal fast track.” The story quoted Alioto as saying on Monday Sept. 4 that he and Reilly “are grateful that the court has ordered an expedited trial date in this very important antitrust case which seeks to prevent the monopolization of newspapers in the Bay Area.”

The story quoted MediaNews president Jody Lodovic as offering “no comment except to note that the case was accelerated by mutual agreement. Hearst spokesman Paul Luthringer (B3 note: who he? where he? New York? ) said his company wouldn’t comment.” It is always great sport, of course, when publishers under fire say “no comment” to their own reporters.

Hearst’s last story on the deal came from the Reuters New Service out of New York (which it butchered, see my earlier blog.) This time, the Chronicle simply blacked out the story completely. The Singleton story left out a key point: that Hearst had invested $399 million in the deal and that the two major chains were becoming jolly good business and editorial partners in creating an unprecedented Bay Area newspaper monopoly. Both chains are sweating mightily to create the impression this is no big deal, there isn’t much of a story here, that Justice and the AG have cleared it, and Clint Reilly is just, well, Clint Reilly, and there is nothing to the lawsuit, and certainly nothing for anybody to worry about. Peace!

However, there is a deadly time bomb in the deal and it is hidden in a tiny footnote in Hearst’s July 25 filing in the suit. The footnote disclosed that Hearst is a major potential major investor and partner with Singleton. Here’s how it works: Hearst has stated repeatedly that its $299 million equity investment in MediaNews will be based on what is known as “tracking stock.” In other words, the value of the MediaNews stock will rise and fall depending solely on the performance of MediaNews businesses outside the Bay Area, which was a legal structure set up presumably to help the deal survive anticipated antitrust scrutiny.

However, Hearst admitted in the footnote that in the future the “tracking” stock “will be convertible into ordinary MNG common stock.” Hearst added that any such conversion will require additional antitrust review. Federal Judge Susan Illston picked up on the significance of this footnote in her own footnote in her ruling knocking out the Reilly request for temporary restraining order. She stated, “Although Hearst’s proposed interest in MediaNews does not include MediaNews Bay Area publications, Hearst implies in its filings that it will seek permission at a future time to convert its interest in MediaNews into MediaNews common stock.” (See the G.W. Schulz story in the current print and online Guardian).

Voila! In this mysterious tale of the two footnotes, the closely held secret is finally revealed: Hearst and Singleton are working hard to be partners, cheek to cheek, jowl to jowl, shoulder to shoulder, hip to hip. And this fact, among many others, demonstrates in 96 point Garamond Bold why they have employed Eurekaism and censored a big local story about newspaper monopoly, the local censored story of the year, while going hellbent to cover the story about Singleton’s competition in Eureka.

Stop the presses: Frances Dinkelspiel, in her Wednesday Aug. 30 blog (see link below), spotted a juicy Eureka and posted it under the head “Newspaper Coverage in the Bay Area is Shrinking.” Her lead: “the latest evidence of media consolidation in the Bay Area screamed out all over the front pages on Wednesday.”

She pointed out that the four major papers in the region (Hearst/Chronicle and the Singleton/Contra Costa Times/San Jose Mercury News/Oakland Tribune) all prominently displayed the same story–the story of the motorist who deliberately drove his car into l4 pedestrians, killed one man in Fremont, and injured l3 others in San Francisco.

“On Wednesday,” she said, “instead of four distinct stories on the region’s front pages, there were only two—one from the Chronicle and one from the MediaNews group.” (Merc reporters did the story for the three Singleton papers.) She concluded, “That’s a huge loss for Bay Area readers. Competition improves news coverage. What will readers miss out on in the future? What will readers miss out on in the future? This was just a police story; imagine the impact when the big story deals with corruption or another important, but less easily reported event. If fewer reporters are tracking the story, there will be fewer revelations.”
Eureka!

Postscript: Let’s keep the Eureka exercise going. Anybody who spots a Eurekaism, an example of the galloping Conglomerati censoring a local story, please send it along to the Guardian and the Bruce blog and any of the handful of independent voices left in the Bay Area. B3

The silent scandal

The Mercury News

Ghost Story

Newspaper suit put on legal fast track – Inside Bay Area

TUESDAY

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Sept. 5

Visual art

Tetsuya Noda: “Recent Works from the ‘Diary’ Series”

Most of us wish we could “cook” and “season” our personal photographs, not to mention our overall memories. That’s precisely what Tetsuya Noda has been doing for 40 years in his “Diary” series of prints, though that doesn’t mean he’s out to flatter himself. Retouching, embellishing, and erasing aspects of photographs, Noda often discovers the spirit of an image. The first contemporary artist to exhibit at San Francisco’s Asian Art Museum, he’s now the subject of a show at Don Soker Contemporary Art – itself an event. (Johnny Ray Huston)

Through Oct. 14
Don Soker Contemporary Art
49 Geary, SF
Free
(415) 291-0966
www.donsokergallery.com

Event

Defeat Pombo

Help the 11th District get a better US representative by coming to a fundraiser for Democratic Party candidate Jerry McNerney, who will be running against the notoriously antienvironmental, developer-friendly Rep. Richard Pombo. (Deborah Giattina)

5:30-7:30 p.m.
Varnish Fine Art
77 Natoma, SF
Donations accepted
www.jerrymcnerney.com

NOISE: O, we come in praise of those random acts of music

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Yes, Virginia, there’s much to catch up on since last week.

Red Hot Chili Peppers and Mars Volta for two, last Thursday at Oakland Arena. The scene was dumpy out in the parking lot before the show — doesn’t this look like the SUV pooped tin? Yeesh, clean up after yourselves, jerks.

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Sloppy tailgaitin’ Pepper-heads. All images by Kimberly Chun.

We got inside just in time to see the start of Mars Volta’s set. Cedric was swiveling around like a mini-James Brown and the entire band got down admirably for some rad psych-prog jams despite the always-lousy arena sound. Nice pseudo-Satanic backdrops and occaisional sax skronk. For the finale the sax dude put his horn aside, sat behind a kit, while another player started wailing on a set of congas. Groooooovy.

As for the Chili Peppers, well what can I say? They are my guilty pleasure – I secretly love their pop hits and give them their props for being the first punk-funkers on the block. Yet why do all their other non-hit songs sooo similar. Despite the musicianship on Flea and Frusciante’s part, I must admit I was downright bored for most of the show – must they jam endlessly on the most mundane riffs? Must Anthony Keidis cavort like a graceless goblin? His voice seemed just fine but his dance moves paled after the agile MV. I’d much rather read his recent, strangely fascinating autobio (which memorably kicks off with an injection by a sexy nurse).

Next up, Friday night: 7 Year Rabbit Cycle with XBXRX and Murder Murder. I’m sorry I missed XB but I got there early enough to see a new lineup for Guardian contributor Paul Costuros’s Murder Murder, with Sic Alps’s Matt Hartman and Comets on Fire’s Noel Harmonson joining Costuros on sax and Ches Smith on vibes. Noise -and two drummers – t’was compelling.

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Paul Costuros gets down with Murder Murder.

Then 7 Year Rabbit Cycle came on – and dang, did they tear it up. Ches Smith on drums has sort of become the centerpiece of the band, propping his foot up on a snare to reach a China cymbal, rattling and shaking, as everyone – partner Miya on bass, Rob on guitar, Kelly on vocals, fellow Xiu Xiu member Jamie Stewart, and Guardian contributor George Chen clustered around. Powerful stuff. Appreciative audience. Who could ask for anything more?

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7 Year Rabbit Cycle don’t go through the motions – they’ll impress the fur off youse.

I took a break to head up north to Lassen volcanic national park. Awesome bubbling mud pits and cute bluejays. But then last night I was back to see Jean-Jacques Perrey – protege of Cocteau, Piaf, and Disney and Incredibly Strange Music star – play a special RE/Search event at Asphodel Records’ Recombinant Labs in SOMA. Perrey fan Jello Biafra introduced the man.

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Here’s your Jello.

Perrey was a hoot – loved his jams particularly on “Mame” and “The Typewriter,” his tribute to Spike Jones. I dare anyone not to crack a smile once during a performance.

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Jean-Jacques Perrey shook his lil’ stuffed pal along with the beat.

The man oozes infectious glee while pounding his beloved Ondioline, an early synthesizer – hard to believe he made so many of the sounds he creates with tape records, scissors and the sheer urge to splice. The much-sampled “EVA” was his closer – pure hip-shaking mod fun.

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At 77 years young, Perrey proves you’re never too old to mug for the camera.

Yay Area five-oh

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› johnny@sfbg.com
“Before Vanishing: Syrian Short Cinema” A series devoted to films from Syria kicks off with a shorts program that includes work by Oussama Mohammed. (Sept. 7, PFA; see below)
The Mechanical Man The PFA’s vast and expansive series devoted to “The Mechanical Age” includes André Deed’s 1921 science fiction vision of a female crime leader and a robot run amok. The screening features live piano by Juliet Rosenberg. (Sept. 7, PFA)
“Cinemayaat, the Arab Film Festival” This year’s festival opens with the Lebanon-Sweden coproduction Zozo and also includes the US-Palestine documentary Occupation 101: Voices of the Silenced Majority, which looks at events before and after Israel’s 1948 occupation of Palestine.
Sept. 8–17. Various venues. (415) 863-1087, www.aff.org
“Global Lens” The traveling fest includes some highly lauded films, such as Stolen Life by Li Shaohong, one of the female directors within China’s Fifth Generation.
Sept. 8–Oct. 4. Various venues. (415) 221-8184, www.globalfilm.org
“MadCat Women’s International Film Festival” MadCat turns 10 this year, and its programming and venues are even more varied. Not to mention deep — literally. 3-D filmmaking by Zoe Beloff and Viewmaster magic courtesy of Greta Snider are just some of the treats in store.
Sept. 12–27. Various venues. (415) 436-9523, www.madcatfilmfestival.org
The Pirate The many forms and facets of piracy comprise another PFA fall series; this entry brings a swashbuckling Gene Kelly and Judy Garland as Manuela, directed by then-husband Vincente Minnelli. (Sept. 13, PFA)
“A Conversation with Ali Kazimi” and Shooting Indians Documentarian Kazimi discusses his work before a screening of his critical look at Edward S. Curtis’s photography. (Sept. 14, PFA)
“The Word and the Image: The Films of Peter Whitehead” The swinging ’60s hit the Yerba Buena Center for the Arts as curator Joel Shepard presents the first-ever US retrospective dedicated to the director of Tonight Let’s All Make Love in London. Includes proto–music videos made for Nico, Jimi Hendrix, and others. Smashing! (Sept. 14–28, YBCA; see below)
Edmond Stuart Gordon of Re-Aminator infamy makes a jump from horror into drama — not so surprising, since he’s a friend of David Mamet. Willam H. Macy adds another sad sack to his résumé. (Sept. 15–21, Roxie; see below)
Anxious Animation Other Cinema hosts a celebration for the release of a DVD devoted to local animators Lewis Klahr, Janie Geiser, and others. Expect some work inspired by hellfire prognosticator Jack Chick!
Sept. 16. Other Cinema, 992 Valencia, SF. (415) 824-3890, www.othercinema.com
Kingdom of the Spiders Eight-legged freaks versus two-legged freak William Shatner. I will say no more.
Sept. 17. Dark Room, 2263 Mission, SF. (415) 401-7987, www.darkroomsf.com
Landscape Suicide No other living director looks at the American landscape with the direct intent of James Benning; here, he examines two murder cases. (Sept. 19, PFA)
La Promesse and Je Pense à Vous Tracking the brutal coming-of-age of scooter-riding Jérémie Renier, 1997’s La Promesse made the name of Jean-Pierre and Luc Dardenne, but Je Pense is a rarely screened earlier work. (Sept. 22, PFA)
Muddy Waters Can’t Be Satisfied Billed as the first authoritative doc about the man who invented electric blues, this plays with Always for Pleasure, a look at New Orleans by the one and only Les Blank. (Sept. 22–26, Roxie)
Rosetta and Falsch The Dardenne brothers’ Rosetta made a splash at Cannes in 1999; Falsch is their surprisingly experimental and nonnaturalistic 1987 debut feature. (Sept. 23, PFA)
loudQUIETloud: A Film About the Pixies A reunion tour movie. (Sept. 29–Oct. 5, Roxie)
American Blackout Ian Inaba’s doc about voter fraud made waves and gathered praise at this year’s San Francisco International Film Festival; it gets screened at various houses, followed by a Tosca after-party, in this SF360 citywide event.
Sept. 30. Tosca Café, 242 Columbus, SF. (415) 561-5000, www.sffs.org
Them! “Film in the Fog” turns five, as the SF Film Society unleashes giant mutant ants in the Presidio.
Sept. 30. Main Post Theatre, 99 Moraga, SF. (415) 561-5500, www.sffs.org
“Zombie-Rama” Before Bob Clark made Black Christmas, Porky’s, and A Christmas Story, he made Children Shouldn’t Play with Dead Things. The ending is as scary as the title is funny.
Oct. 5. Parkway Speakeasy Theater, 1834 Park, Oakl. (510) 814-2400, www.thrillville.net
“Swinging Scandinavia: How Nordic Sex Cinema Conquered the World” Jack Stevenson presents a “Totally Uncensored” clip show about the scandalous impact of Scandinavian cinema on uptight US mores and also screens some rare cousins of I Am Curious (Yellow). (Oct. 5 and 7, YBCA)
“Mill Valley Film Festival” Why go to Toronto when many of the fall’s biggest Hollywood and international releases come to Mill Valley? The festival turns 29 this year.
Oct. 5–15, 2006. Various venues. (415) 383-5256, www.mvff.org
“Fighting the Walking Dead” Jesse Ficks brings They Live to the Castro Theatre. Thank you, Jesse. (Oct. 6, Castro; see below)
Phantom of the Paradise Forget the buildup for director Brian de Palma’s Black Dahlia and get ready for a Paul Williams weekend. This is screening while Williams is performing at the Plush Room.
Oct. 6. Clay Theatre, 2261 Fillmore, SF. (415) 346-1124, www.thelatenightpictureshow.com
Calvaire Belgium makes horror movies too. This one is billed as a cross between The Texas Chainsaw Massacre and Deliverance — a crossbreeding combo that’s popular these days. (Oct. 6–12, Roxie)
Black Girl Tragic and so sharp-eyed that its images can cut you, Ousmane Sembene’s 1966 film is the masterpiece the white caps of the French new wave never thought to make. It kicks off a series devoted to the director. (Oct. 7, PFA)
“Animal Charm’s Golden Digest and Brian Boyce” Boyce is the genius behind America’s Biggest Dick, starring Dick Cheney as Scarface. Animal Charm have made some of the funniest movies I’ve ever seen.
Oct. 7. Other Cinema, 992 Valencia, SF. (415) 824-3890, www.othercinema.com
Madame X, an Absolute Ruler Feminist director Ulrike Ottinger envisions a Madame X much different from Lana Turner’s — hers is a pirate. (Oct. 11, PFA)
“The Horrifying 1980s … in 3-D” Molly Ringwald (in Spacehunter), a killer shark (in Jaws 3-D), and Jason (in Friday the 13th Part 3: 3-D) vie for dominance in this “Midnites for Maniacs” three-dimensional triple bill. (Oct. 13, Castro)
“Dual System 3-D Series” This program leans toward creature features, from Creature from the Black Lagoon to the ape astronaut of Robot Monster to Cat-Women on the Moon. (Oct. 14–19, Castro)
“Early Baillie and the Canyon CinemaNews Years” This program calls attention to great looks at this city by Baillie (whom Apichatpong Weerasethakul cites as a major influence) and also highlights the importance of Canyon Cinema. (Oct. 15, YBCA)
“War and Video Games” NY-based film critic Ed Halter presents a lecture based on From Sun Tzu to Xbox: War and Video Games, his new book. (Oct. 17, PFA)
Santo Domingo Blues The Red Vic premieres a doc about bachata and the form’s “supreme king of bitterness,” Luis Vargas.
Oct. 18–19. Red Vic, 1727 Haight, SF. (415) 668-3994, www.redvicmoviehouse.com
“Monster-Rama” The Devil-ettes, live and in person, and Werewolf vs. the Vampire Women, on the screen, thanks to Will “the Thrill” Viharo.
Oct. 19. Parkway Speakeasy Theater, 1834 Park, Oakl. (510) 814-2400, www.thrillville.net
“Spinning Up, Slowing Down”: Industry Celebrates the Machine” Local film archivist Rick Prelinger presents six short films that epitomize the United States’ machine mania, including one in which mechanical puppets demonstrate free enterprise. (Oct. 19, PFA)
The Last Movie Hmmm, part two: OK, let’s see here, Dennis Hopper’s 1971 film gets a screening after he personally strikes a new print … (Oct. 20–21, YBCA)
What Is It? and “The Very First Crispin Glover Film Festival in the World” … and on the same weekend, Hopper’s River’s Edge costar Glover gets a freak hero’s welcome at the Castro. Sounds like they might cross paths. (Oct. 20–22, Castro)
I Like Killing Flies And I completely fucking love Matt Mahurin’s documentary about the Greenwich Village restaurant Shopsin’s, possibly the most characterful, funny, and poignant documentary I’ve seen in the last few years. (Oct. 20–26, Roxie)
“Miranda July Live” Want to be part of the process that will produce Miranda July’s next film? If so, you can collaborate with her in this multimedia presentation about love, obsession, and heartbreak.
Oct. 23–24. Project Artaud Theater, 450 Florida, SF. (415) 552-1990, www.sfcinematheque.org)
The Case of the Grinning Cat This 2004 film by Chris Marker receives a Bay Area premiere, screening with Junkopia, his 1981 look at a public art project in Emeryville. (Oct. 27, PFA)
The Monster Squad The folks (including Peaches Christ) behind the Late Night Picture Show say that this 1987 flick is the most underrated monster movie ever.
Oct. 27–28. Clay Theatre, 2261 Fillmore, SF. (415) 346-1124, www.thelatenightpictureshow.com
Neighborhood Watch Résumés don’t get any better than Graeme Whifler’s — after all, he helped write the screenplay to Dr. Giggles. His rancid directorial debut brings the grindhouse gag factor to the Pacific Film Archive. (Oct. 29, PFA)
“Grindhouse Double Feature” See The Beyond with an audience of Lucio Fulci maniacs. (Oct. 30, Castro)
“Hara Kazuo” Joel Shepard programs a series devoted to Kazuo, including his 1969 film tracing the protest efforts of Okuzaki Kenzó, who slung marbles at Emperor Hirohito. (November, YBCA)
“International Latino Film Festival” This growing fest reaches a decade and counting — expect some celebrations.
Nov. 3–19. Various venues. (415) 454-4039, www.utf8ofilmfestival.org
Vegas in Space Midnight Mass makes a rare fall appearance as Peaches Christ brings back Philip Ford’s 1991 local drag science fiction gem.
Nov. 11. Clay Theatre, 2261 Fillmore, SF. (415) 346-1124, www.thelatenightpictureshow.com
“As the Great Earth Rolls On: A Frank O’Hara Birthday Tribute” The birthday of the man who wrote “The Day Lady Died” is celebrated. Includes The Last Clean Shirt, O’Hara’s great collaboration with Alfred Leslie.
Nov. 17. California College of the Arts, 1111 Eighth St., SF. (415) 552-1990, www.sfcinematheque.org
Sites and Silences A shout-out to A.C. Thompson for his work with Trevor Paglen on the well-titled Torture Taxi, which helped generate this multimedia presentation by Paglen. (Nov. 19, YBCA)
“Kihachiro Kawamoto” One of cinema’s ultimate puppet masters receives a retrospective. (December, YBCA)
“Silent Songs: Three Films by Nathaniel Dorsky” The SF-based poet of silent film (and essayist behind the excellent book Devotional Cinema) screens a trio of new works. (Dec. 10, YBCA)
CASTRO THEATRE
429 Castro, SF
(415) 621-6120
www.castrotheatre.com
PFA THEATER
2575 Bancroft, Berk.
(510) 642-5249
www.bampfa.berkeley.edu
ROXIE FILM CENTER
3317 16th St., SF
(415) 863-1087
www.roxie.com
YERBA BUENA CENTER FOR THE ARTS (YBCA)
Screening room, 701 Mission, SF
(415) 978-2787
www.ybca.org\ SFBG

Checking the tour and festival circuit

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SEPT. 1
Broke Ass Summer Jam 2006 Living Legends revive the ’90s Mystik Journeymen event, which centered on their mag, underground West Coast acts, and a certain DIY drive. One Block Radius, Mickey Avalon, Dub Esquire, Balance, and surprise guests turn out and turn it up. Historic Sweets Ballroom, 1933 Broadway, Oakl. www.collectiv.com.
SEPT. 7
Vashti Bunyan We all want to look after the folk legend — discovered by Andrew Loog Oldham and championed by Devendra Banhart — as she stops in the Bay during her first US tour. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750.
SEPT. 8
Mary J. Blige and LeToya Is the latter hit-minx biting Blige’s leather laces? The tour coined “The Breakthrough Experience” just might say it all. Concord Pavilion, 2000 Kirker Pass Road, Concord. (415) 421-TIXS. Also Sept. 10, Shoreline Amphitheatre, 1 Amphitheatre Pkwy., Mountain View. (650) 541-0800.
Gigantour Megadeth’s Dave Mustaine has more than “Symphony of Destruction” on his mind. The man builds — namely, a tour showcasing the long-tressed, rock-hard Lamb of God, Opeth, Arch Enemy, and others. McAfee Coliseum, 7000 Coliseum, Oakl. (510) 569-2121.
Japanese New Music Festival Noise legends Ruins and psych ear-bleeders Acid Mothers Temple perform individually and together in, oh, seven configurations. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455.
SEPT. 9
Matisyahu The Hasidic toaster catches the spirit with the nondenominational Polyphonic Spree. San Jose Civic Auditorium, 145 W. San Carlos, San Jose. (415) 421-TIXS.
SEPT. 16
Elton John Hold still, this could be painful. The Caesars Palace fill-in for Celine Dion ushers in The Captain and the Kid (Sanctuary), the sequel to Captain Fantastic and the Brown Dirt Cowboy. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-TIXS.
Zion-I Getcher red-hot underground Bay Area hip-hop right here at a show including the Team and Turf Talk. Fillmore, 1805 Geary, SF. (415) 346-6000.
SEPT. 20
Kelis A drab new look and a will to rise above “Milkshake.” Fillmore, 1805 Geary, SF. (415) 346-6000.
SEPT. 20–21
Guns N’ Roses Word has it that the Chinese democrats sold out in minutes. Warfield, 982 Market, SF. (415) 775-7722.
SEPT. 22–24
San Francisco Blues Festival Little Richard and Ruth Brown carouse at the 34th annual getdown, which includes New Orleans tributes and a Chicago harmonica blowout. Fort Mason, Great Meadow, Bay at Laguna, SF. www.sfblues.com.
SEPT. 28
Tommy Guerrero The artist-skater-musician wears many hats — this time he tips a songwriting cap to laidback funk with From the Soil to the Soul (Quannum Projects, Oct. 10) and tours with labelmates Curumin and Honeycut. Mezzanine, 444 Jessie, SF. (415) 625-8880.
SEPT. 29
M. Ward The former South Bay teacher looks forward with his Post-War (Merge) and tools around the state with that other MW, Mike Watt. Fillmore, 1805 Geary, SF. (415) 346-6000.
SEPT. 30
Download Festival Load up on indie-ish artists like Beck, Yeah Yeah Yeahs, Muse, and the Shins. Shoreline Amphitheatre, 1 Amphitheatre Pkwy., Mountain View. (650) 541-0800.
Supersystem The NYC-DC indie funksters wave A Million Microphones in your mug. Rickshaw Stop, 155 Fell, SF. (415) 861-2011.
OCT. 1
Godsmack Much yuks were had over Arthur magazine’s recent editorial slapdown of frontperson Sully Erna. Concord Pavilion, 2000 Kirker Pass Road, Concord. (415) 421-TIXS.
OCT. 2
Mariah Carey Emancipated and on the loose via the “Adventures of Mimi” tour, alongside Busta Rhymes. Watch out, all you ice cream cones. Oakland Arena, 7000 Coliseum Way, Oakl. (415) 421-TIXS.
OCT. 3
Celtic Frost The notorious ’80s metalists join hands with Goatwhore and Sunn O))) and skip with heavy, heavy hearts. Fillmore, 1805 Geary, SF. (415) 346-6000.
OCT. 6–8
Hardly Strictly Bluegrass How now, our favorite free cowpoke (folkie and roots) hoedown? Elvis Costello is the latest addition to a lineup that counts in Ramblin’ Jack Elliott, Iris DeMent, Billy Bragg, Emmylou Harris, Gillian Welch, Allison Moorer, Richard Thompson, T Bone Burnett, Chip Taylor, and Avett Brothers. Golden Gate Park, Speedway Meadow, JFK near 25th Ave., SF. Free. www.strictlybluegrass.com.
OCT. 13
Clap Your Hands Say Yeah Blogged to the ends of the earth — and to the detriment of our frayed nerves — the NYC band huddles with Architecture in Helsinki. Warfield, 982 Market, SF. (415) 775-7722.
OCT. 16
Ladytron The beloved, wry Liverpool dance-popettes reach beyond the “Seventeen” crowd. Fillmore, 1805 Geary, SF. (415) 346-6000.
NOV. 5
Rolling Stones They’re baaack. Van Morrison makes a mono-generational affair. McAfee Coliseum, 7000 Coliseum Way, Oakl. (415) 421-TIXS. (Kimberly Chun)

Fallin’ out

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› superego@sfbg.com
Club me. Club me hard. And party me even harder, Miss Autumn — you with the burgundy hair, the tiger-striped jumpsuit, and the White Russian teeth. This is a great time to fall out in the Bay: the weather gets warmer, the nights get longer, and there’s a new crop of fresh-faced, low-tolerance Berkeley students and their future careers to fiddle with. How naughty. Do let’s dive into some fall party highlights, shall we?
Big club news first. Crusty favorite 1015 Folsom (www.1015.com) just underwent a massive remodel and is looking to rebrand itself as a more welcoming, less tired niche spot. So far the calendar looks full of the usual Paul Oakenfold–wacky techno stuff of yesteryear, but there’s an outreach going on to draw in more, er, post-1998-type fare, and the remo looks fabu, so here’s hoping.
1015 is spacious, but the brand-new Temple (www.templesf.com) in the old DNA space is holy fucking cosmic. With five dance areas, underground “catacombs,” and various VIP rooms (including one you get to through a secret door in the women’s john), there’s gonna be a lot of sublebrity scandal reeking from this joint when it opens in September. I’m still all about small, but I’m mysteriously drawn to this place already. Something spiritual? Nah, I just wanna egg all the Hummers.
Also on its way is Slide (www.slidesf.com), an upscale underground speakeasy-style lounge soon to be launched by some of clubland’s wealthiest players. It really is underground — you get to it by going down a slide. Lord knows how you get out. But it’ll be fun watching people try. Look out for beaver cams, skirt wearers.
If you’re gay or a fan of the gay or a pervert nun — and who isn’t on a Thursday — you’ll squeal like a stuck pig that one of San Francisco’s literally balls-out faves, Revival Bingo (www.revivalbingo.com), the raucous fundraiser hosted by the Sisters of Perpetual Indulgence, will rise from the dead on Sept. 7 and will continue to rise on the first Friday of every month at 7 p.m. at Ellard Hall in the Castro.
But Sept. 7? You may be just too hungover from the SF Symphony Opening Gala (www.sfsymphony.org) Sept. 6 to wet your bingo tip. OK, OK, I admit this isn’t exactly a clubby event, and maybe I’m pumping it because I want free press tickets. (Oh yes, I’ll be blogging it on www.sfbg.com.) But I’m tired of standing behind the velvet ropes year after year watching San Francisco’s impeccably accoutred master class promenade down the red carpet to enjoy the Michael Tilson Thomas–led aural fireworks inside. I’m a faggot, dammit. I wanna be in the sparkly parade!
Which brings us to the biggest party weekend of the year: Sept. 23 and 24. That’s when, for the third year in a row, the technolicious LoveFest (formerly the Love Parade; www.sflovefest.org) and the leatherific Folsom Street Fair (www.folsomstreetfair.com) share a weekend of mayhem — LoveFest all day Saturday and Folsom all day Sunday. These are both ginormous institutions that draw hundreds of thousands of visitors each. And oh lord, you should see the outfits. LoveFest boasts hundreds of top-notch live acts, including Massive Attack, Grandmaster Flash, and DJ Shadow, plus a really rickety parade of hilariously homemade floats up Market. Folsom boasts hundreds of top-notch bare buttocks and several hundred lower-notch other parts as well, plus this year it’s woken up to the whole alternaqueer thing, programming a ton of trash-drag live acts and even SF’s favorite musical curmudgeon, DJ Bus Station John, to get your chaps sweaty. Throw on a beer-stained bunny suit and hit up both events.
Finally: “Mass Culture has forced the majority’s subconscious into accepting a monotonous mindset pervaded by ignorance and inaction,” quoth the press release for Be the Riottt (www.riottt.com), the eclectic Vice-meets-Misshapes electro-fash throwdown Nov. 11 at the Bill Graham Civic Auditorium. Riott’s answer? Have an enormous concert featuring some of the biggest international draws in postironic attitudinizing. The Rapture, Metric, Clipse, Diplo, and about 20 other acts (plus, I suppose, thousands of neon Vans and white-framed sunglasses) will stoke the frozen grins of the sans blague generation. I’ll be there with a Cher tambourine. Go team! SFBG

Art

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1. “Prophets of Deceit” As assorted “powers” turn the fear factor up ever higher, you don’t need to be Mel Gibson (phew) to see that an exhibition looking at apocalyptic cults — especially governmentally sanctioned ones — is a timely idea. San Francisco end-times expert Craig Baldwin and others take on messianic ideologies.
Sept. 12–Nov. 11. CCA Wattis Institute for Contemporary Arts, Logan Galleries, 1111 Eighth St., SF. 1-800-447-1278, www.wattis.org/exhibitions/2006/prophets
2. “Wallace Berman” and “Semina Culture: Wallace Berman and His Circle” A spring event at SF Art Institute whet my appetite for these shows, which gather the projects of artist, filmmaker, and publisher Berman, an undersung figure whose influence has laced the cosmic wonder of many neofolkies, whether or not they know it.
“Wallace Berman”: Sept. 6–Oct. 28. 871 Fine Arts, 49 Geary, suite 235, SF. (415) 543-5155. “Semina Culture: Wallace Berman and His Circle”: Oct. 18–Dec. 10. Berkeley Art Museum Galleries, 2626 Bancroft, Berk. (510) 642-0808, www.bampfa.berkeley.edu
3. “Neopopular Demand: Recent Works by Fahamu Pecou” Fahamu Pecou is the shit. Peep his Web site and you will agree.
Sept. 20–Oct. 24. Michael Martin Galleries, 101 Townsend, suite 207, SF. (415) 541-1530, www.fahamupecouart.com
4. “Sensacional! Mexican Street Graphics” Taking pages from Juan Carlos Mena and O Reyes’s book of the same name, the Yerba Buena Center hosts a show devoted to comic book, flyer, poster, and street imagery; a music video sideshow promises work by Assume Vivid Astro Focus, which can be like acid (without brain-frying side effects).
Nov. 18, 2006–March 4, 2007. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org
5. “New Work: Phil Collins” They are music videos, but they aren’t made by the man behind “Sussudio.” Turner Prize finalist Collins taps into the spirit of Morrissey rather than Peter Gabriel’s follically challenged replacement. His video installation dünya dinlemiyor (the world won’t listen) features kids in Istanbul performing karaoke versions of songs from a certain 1987 Smiths compilation.
Sept. 16, 2006–Jan. 21, 2007. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org
6. “Visionary Output: Work by Creative Growth Artists” Recent Guardian Local Artist William Scott is one of a dozen people featured in this show devoted to the great, Oakland-based Creative Growth.
Sept. 7–Oct. 14. Rena Bransten Gallery, 77 Geary, SF. (415) 982-3292, www.renabranstengallery.com
7. “How to Build a Universe That Doesn’t Fall Apart Two Days Later” California has long been a front line and dropping-off point for visionaries, a place where people have brought new ideas about community to life (and sometimes to death). Taking its name from an essay by Philip K. Dick, this 12-person show scopes the state’s future and the state of the future, mixing work by local artists with real-life attempts at space colonizing and urban agriculture.
Nov. 28, 2006–Feb. 24, 2007. CCA Wattis Institute for Contemporary Arts, 1111 Eighth St., SF. 1-800-447-1278, www.wattis.org/exhibitions/2006/universe
8. “Making Sense of Sound” Another wave of sound installations continues to overtake museums and galleries, and the Exploratorium is an ideal site for sonic exploration; this exhibition, featuring 40 new interactive exhibits, promises to be a must-see, I mean must-hear. It’ll all kick off with the arrival and ringing of a cast-iron bell driven cross-country by composer Brenda Hutchinson.
Oct. 21, 2006–Dec. 31, 2007. Exploratorium, 3601 Lyon, SF. (415) EXP-LORE, www.exploratorium.edu
9. “Kala Fellowship Exhibition, Part II” Kala’s first installment included strong work by Liz Hickok and others. The second installment features Miriam Dym, Gary Nakamoto, Sasha Petrenko, and Tracey Snelling.
Sept. 7–Oct. 14. Kala Art Institute Galley, 1060 Heinz, Berk. (510) 549-2977, www.kala.org
10. “Ghosts in the Machine” The new SF Camerawork space — directly above the Cartoon Art Museum — will open with this group show of eight international artists that relates haunting to cultural estrangement. Dinh Q. Lê’s “grass mats” constructed with stills from films such as The Deer Hunter and Apocalypse Now are one example.
Oct. 5–Nov. 18. 657 Mission, SF. (415) 863-1001, www.sfcamerawork.org SFBG

The jump off

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› johnny@sfbg.com
Underground Sam Green’s documentary The Weather Underground helped spark David Dorfman Dance’s ambitious new 50-minute piece about activism and terrorism, but Dorman’s own experiences growing up in ’60s Chicago during the Days of Rage are an even bigger influence. Dorfman and Green will also discuss Green’s film in a related event.
Sept. 21 and 23. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 978-2787, www.ybca.org
“Kathak at the Crossroads” Working with companies in India and Boston, Chitresh Das Dance Company has put together perhaps the biggest event ever dedicated to Kathak in this country. No better figure than the energetic, veteran Das could be at the helm of such an undertaking.
Sept. 28–30. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 333-9000, www.kathak.org
Tarantella, Tarantula The local Artship Dance/Theater, led by Slobodan Dan Paich, explores the tarantella, a dance used to ward off the poison of a tarantula bite in particular and malaises of the heart in general. This premiere is paired with a visual art exhibit based on Artship’s years of research on the subject.
Sept. 28–Oct. 8. ODC Theater, 3153 17th St., SF. (415) 863-9834, www.odctheater.org
King Arthur Mark Morris collaborates with the English National Opera and takes on Henry Purcell’s semiopera, giving it a vaudevillian spin, with costume design by Isaac Mizrahi. Productions in England have already been lavishly praised.
Sept. 30–Oct. 7. Zellerbach Hall, Bancroft and Telegraph, Berk. (510) 642-9988, www.calperfs.berkeley.edu
The Live Billboard Project Site-specific specialist (and Guardian Goldie winner) Jo Kreiter knows how to create a dynamic, innovative image. This time she’s doing so at the wild intersection of 24th and Mission streets (near Dance Mission, no doubt). A 10th anniversary production by Kreiter’s Flyaway company, Live Billboard Project will feature her signature aerial choreography.
Oct. 4–8. 24th St. and Mission, SF. (415) 333-8302, www.flyawayproductions.com
The Miles Davis Suite Savage Jazz Dance Company and Miles Davis is a match made in dance heaven — or whatever sphere Davis’s music reaches and thus wherever Reginald Savage’s choreography manages to follow it. If any choreographer is well suited to the late, great Davis, it’s Savage — the real question is what compositions and recordings Savage will mine.
Oct. 12–15. ODC Theater, 3153 17th St., SF. (415) 863-9834, www.odctheater.org
Daughters of Haumea Patrick Makuakane and Na Lei Hulu I Ka Wekiu pay tribute to the women of ancient Hawaii. Both hula kahiko and hula mua will figure in Goldie winner Makuakane’s adaptation of a new book by Lucia Tarallo Jensen that is devoted to fisherwoman, female warriors, and high priestesses.
Oct. 21–29. Palace of Fine Arts Theatre, 3301 Lyon, SF. (415) 392-4400, www.naleihulu.org
Kagemi — Beyond the Metaphors of Mirrors The visual splendor within the title only hints at what the classical-, modern-, and Butoh-trained Sankai Juku company might present in this performance; raves for the mind-bending talents of artistic director Ushio Amagatsu, and the still photos alone make this event a must-see.
Nov. 14–15. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 978-2787, www.performances.org
“San Francisco Hip-Hop Dance Fest” You can count on Micaya to not only showcase the best hip-hop dance in the Bay Area but also to bring some of the world’s best hip-hop troupes to Bay Area stages. This year Flo-Ology, Soulsector, Funkanometry SF, and Loose Change will be representing the Bay Area, and Sanrancune/O’Trip House will be traveling all the way from Paris.
Nov. 17–19. Palace of Fine Arts Theatre, 3301 Lyon, SF. (415) 392-4400, www.sfhiphopdancefest.com
Dimi (Women’s Sorrow) The all-female, Ivory Coast–based Compagnie Tché Tché is renowned for pushing dance into realms that are both visually awe-inducing and physically explosive. This piece, overseen by artistic director Beatrice Kombé, entwines the stories of four dancers.
Dec. 1–2. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 978-2787, www.ybca.org SFBG

BAY AREA FALL FAIRS AND FESTIVALS

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SEPT. 2–4
Art and Soul Oakland Frank Ogawa Plaza and City Center, 14th St and Clay, Oakl; (510) 444-CITY, www.artandsouloakland.com. 11am-6pm. $5. The sixth incarnation of this annual downtown Oakland festival includes dance performances, lots of art to view and purchase, an expanded “Family Fun Zone,” and a notably eclectic musical lineup. Big-name musical performers include New Found Glory, Rickie Lee Jones, Calexico, and the Silversun Pickups.
Sausalito Art Festival Army Corps of Engineers-Bay Model Visitor Center and Marinship Park, Sausalito; (415) 331-3757, www.sausalitoartfestival.org. Call or check Web site for time. $5-20. The Sausalito waterfront will play host to hundreds of artists’ exhibits, as well as family entertainment and top-notch live music from the likes of Ramblin’ Jack Elliott, Dick Dale, and the Lovemakers.

SEPT. 2–24
Free Shakespeare in the Park Parade ground in the Presidio, SF; (415) 558-0888, www.sfshakes.org. Sat, 7:30pm; Sun and Labor Day, 2:30pm. Free. Shakespeare’s The Tempest gets a brilliant rendition under the direction of Kenneth Kelleher on the outdoor stage: families fostering budding lit and theater geeks should take note.

SEPT. 4
Cowgirlpalooza El Rio, 3158 Mission, SF; (415) 282-3325, www.elriosf.com. 4pm. $10. This sure-to-be-twangy evening on el Rio’s patio features music by the most compellingly country-fried female musicians around, including Austin’s the Mother Truckers, 77 el Deora, and Four Year Bender.

SEPT. 9
Brews on the Bay Jeremiah O’Brien, Pier 45, SF; www.sfbrewersguild.org. 12-4:30pm. $8-40. Beer tasting, live music, and food abound at the San Francisco Brewers Guild’s annual on-deck showcase.
911 Power to the Peaceful Festival Speedway Meadows, Golden Gate Park, SF; (415) 865-2170, www.powertothepeaceful.org. 11am-5pm. Free. This event calling for international human rights and an end to bombing features art and cultural exhibits, as well as performances by Michael Franti and Blackalicious.

SEPT. 9–10
Chocolate Festival Ghirardelli Square, 900 N Point, SF; www.ghirardellisq.com. 12-5pm. Free. An indisputably fun weekend at the square includes chocolate goodness from over 30 restaurant and bakery booths, various activities for kids and families, and a “hands free” Earthquake Sundae Eating Contest.
San Francisco Zinefest CELLspace, 2050 Bryant, SF; (415) 750-0991, www.sfzinefest.com. 10am-5pm. Free. Appreciate the continuing vitality of the do-it-yourself approach at this two-day event featuring workshops and more than 40 exhibitors.

SEPT. 10
Solano Avenue Stroll Solano between San Pablo and the Alameda, Berkeley and Albany; (510) 527-5358, www.solanoave.org. 10am-6pm. Free. This long-running East Bay block party features a clown-themed parade, art cars, dunk tanks, and assorted artsy offerings of family fun, along with the requisite delicious food and musical entertainment.

SEPT. 16–17
Mill Valley Fall Arts Festival Old Mill Park, Mill Valley; (415) 381-8090, www.mvfaf.org. Sat, 10am-6pm; Sun, 10am-5pm. $7. Dig this juried show featuring original fine art including jewelry, woodwork, painting, ceramics, and clothing.

SEPT. 17
Arab Cultural Festival County Fair Building, 9th Ave and Lincoln, Golden Gate Park, SF; www.arabculturalcenter.org. 10am-7pm. $2-5. Lissa Faker (Do you still remember?) is the theme for this year’s Arab Cultural Festival, featuring a bazaar with jewelry, henna, and Arab cuisine, as well as assorted folk and contemporary musical performances.

SEPT. 23–24
Autumn Moon Festival Grant between California and Broadway and Pacific between Stockton and Kearney, SF; (415) 982-6306, www.moonfestival.org. 11am-6pm. Free. At one of Chinatown’s biggest annual gatherings, you can see an acrobatic troupe, martial artists, street vendors, and of course, lots of moon cakes. I like the pineapple the best.

SEPT. 24
Folsom Street Fair Folsom between Seventh St and 12th St, SF; www.folsomstreetfair.com. 11am-6pm. Free. The world’s largest leather gathering, coinciding with Leather Pride Week, features a new Leather Women’s Area along with the myriad fetish and rubber booths. Musical performers include My Life with the Thrill Kill Kult, the Presets, and Blowoff, Bob Mould’s new collaboration with Richard Morel.

SEPT. 29–OCT. 1
A Taste of Greece Annunciation Cathedral, 245 Valencia, SF; (415) 864-8000, www.sfgreekfoodfestival.org. Call or check Web site for time. $5. Annunciation Cathedral’s annual fundraising event is an all-out food festival where you can steep yourself in Greek dishes, wine tasting, and the sounds of Greek Compania.

OCT. 3
Shuck and Swallow Oyster Challenge Ghirardelli Square, West Plaza, 900 North Point, SF; (415) 929-1730. 5pm. Free to watch, $25 per pair to enter. How many oysters can two people scarf down in 10 minutes? Find out as pairs compete at this most joyous of spectacles, and head to the oyster and wine pairing afterward at McCormick and Kuleto’s Seafood Restaurant, also in Ghirardelli Square.

OCT. 5–9
Fleet Week Various locations, SF; (650) 599-5057, www.fleetweek.us. Cries of “It’s a plane!” and “Now there’s a boat!” shall abound at San Francisco’s impressive annual fleet gathering. Along with ship visits, there’ll be a big air show from the Blue Angels and the F-16 Falcon Demonstration Team.

OCT. 5–15
Mill Valley Film Festival CinéArts at Sequoia, 25 Throckmorton, Mill Valley; 142 Throckmorton Theatre, 142 Throckmorton Ave, Mill Valley; Christopher B. Smith Rafael Film Center, 1118 Fourth St, San Rafael; (925) 866-9559, www.mvff.com. Call or check Web site for times and prices. Documentaries and features of both the independent and international persuasion get screentime at this festival, the goal of which is insight into the various cultures of filmmaking.

OCT. 6–14
Litquake Various locations, SF; www.litquake.org. San Francisco’s annual literary maelstrom naturally features Q&As and readings from a gazillion local authors, but also puts on display a staged reading of an Andrew Sean Greer story, music from Jay Farrar and Ray Manzarek, and a storytelling session with Sean Wilsey and his mother, Pat Montandon.

OCT. 12–15
Oktoberfest by the Bay Fort Mason Center, Marina at Laguna, SF; www.oktoberfestbythebay.com. Check Web site for times. $5-15. One of the few places your lederhosen won’t look silly is the biggest Oktoberfest left of Berlin, where the Chico Bavarian Band will accompany German food and a whole lotta beer.

OCT. 28–29
Wonders of Cannabis Festival County Fair Building, 9th Ave and Lincoln, Golden Gate Park, SF; (510) 486-8083, www.cannabisactionnetwork.org. 11am-7pm. $20. Ed Rosenthal, cannabis advocate extraordinaire, presents contests in comedy and joint rolling, cooking demonstrations, two musical stages, and some heavy-duty speakers: Terrence Hallinan, Ross Mirkarimi, Tommy Chong, and interestingly, Rick Steves of the eponymous PBS travel show. SFBG

Fashion Week for the fierce, pt I: Yao-za!

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Fab intern K. Tighe went to Thursday’s Fashion Week emerging designers extravaganza, here’s the take:

What to wear? The big question. When I decided to attend the 3rd Annual San Francisco Fashion Week, I didn’t really think it through. You see, I’m not what one might call a “fashionable” person. Oh, I’ve got style for miles and miles — but trendy I am not. I’ve been wearing a uniform of jeans, cowboy boots and free band swag t-shirts for years — and the thought of dressing up for such an event frankly turns my stomach a little. So I did what any self-respecting journalist does in dicey situations such as these — I put on a sweater. I figure at the very least I can start a trend — the “dude ranch rocker on the slopes” look is gonna be all over the Milan runways next year, you watch.

make-up!.JPG
Makeup!!!

I head to the Galleria — roughly 15th & Kansas, that highly fashionable district located just between the Mission and Potrero Hill — hoping the walk will open my mind a little. SF’s Fashion Week is not modeled after the stuff of New York and Paris events — tonight will focus on emerging local designers, and that is a cause I can get behind. I hope.

Doggie do

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Bring your favorite pooch (even if he regularly snacks on your US Weekly — dude, a tooth mark right through Jennifer Aniston’s face!) to Dolores Park tomorrow for SF Dog‘s “Dog Days of August” event.

black_tongue.JPG

According to the event website, there’ll be “dog arts and crafts” (presumably, made by humans with dog motifs, not actual arts and crafts made by dogs), a doggie fashion show (so Project Runway!), and a screening of Best in Show hosted by the canine-friendly San Francisco Neighborhood Theater Foundation.

UPDATE! Pics from the event after the jump.

No Pasaran!

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MEXICO CITY, Aug. 24th — The Congress of the country is ringed by two-meter tall grilled metal barriers soldered together, apparently to thwart a suicide car-bomb attack. Behind this metal wall, 3000 vizored, kevlar-wearing robocops — the Federal Preventative Police (PFP, a police force drawn from the army) — and members of the elite Estado Mayor or presidential military command, form a second line of defense. Armed with tear gas launchers, water cannons, and reportedly light tanks, this Praetorian Guard has been assigned to protect law and order and the institutions of the republic against left-wing mobs that threaten to storm the Legislative Palace – or so the president informs his fellow citizens in repeated messages transmitted on national television.
No, the president’s name is not Pinochet and this military tableau is not being mounted in the usual banana republic or some African satrap. This is Mexico, a paragon of democracy (dixit George Bush), Washington’s third trading partner, and the eighth leading petroleum producer on the planet, seven weeks after the fraud-marred July 2nd presidential election of which, at this writing, no winner has been officially declared. One of the elite military units assigned to seal off congress is indeed titled the July 2nd brigade.

“MEXICO ON A KNIFEBLADE” headlines the British Guardian. The typically short-term-memory-loss U.S. print media seems to have forgotten about the imbroglio just south of its borders. Nonetheless, the phone rings and it’s New York telling me they just got a call from their man on the border and Homeland Security is beefing up its forces around Laredo in anticipation of upheaval further south. The phone rings again and it’s California telling me they just heard on Air America that U.S. Navy patrols were being dispatched to safeguard Mexican oil platforms in the Gulf. The left-wing daily La Jornada runs a citizen-snapped photo of army convoys arriving carrying soldiers disguised as farmers and young toughs. Rumors race through the seven mile-long encampment installed by supporters of leftist presidential challenger Andres Manuel Lopez Obrador (AMLO) three weeks ago, who have tied up big city traffic and enraged the motorist class here, that PFP robocops will attack before dawn. The campers stay up all night huddled around bum fires prepared to defend their tent cities.

The moment reminds many Mexicans of the tense weeks in September and October 1968 when, 12 days before the Olympic Games were to be inaugurated here, President Gustavo Diaz Ordaz ordered the military to massacre striking students in a downtown plaza not far from where AMLO’s people are now camped out. Some 300 were killed in the Plaza of Three Cultures, their bodies incinerated at Military Camp #1 in western Mexico City. The Tlatelolco massacre was a watershed in social conflict here and the similarities are sinister– in fact, Lopez Obrador has taken to comparing outgoing President Vicente Fox with Diaz Ordaz.

Fox will go to congress September 1st to deliver his final State of the Union address; the new legislature will be convened the same day. The country may or may not have a new president by that day. In anticipation of this show-down, on August 14th, newly-elected senators and deputies from the three parties that comprise AMLO’s Coalition for the Good of All attempted to encamp on the sidewalk in front of the legislative palace only to be rousted and clobbered bloody by the President’s robocops.

With 160 representatives, the Coalition forms just a quarter of the 628 members of the new congress, but its members will be a loud minority during Fox’s “Informe.” Since the 1988 presidenciales were stolen from Cuauhtemoc Cardenas, founder of AMLO’s Party of the Democratic Revolution, PRD legislators have routinely interrupted the president during this authoritarian ritual in orchestrated outbursts that have sometimes degenerated into partisan fisticuffs.

The first to challenge the Imperial Presidency was Porfirio Munoz Ledo, a hoary political warhorse, who in 1988 thrust a finger at President Miguel De la Madrid, accusing him of overseeing the theft of the election from Cardenas. Munoz Ledo’s J’Acuse stunned the political class; he was slugged and pummeled by members of De la Madrid’s long-ruling PRI when he tried to escape the chamber. Munoz Ledo now stands at AMLO’s side.

But perhaps the most comical moment in the annals of acting out during the Informe came in 1996 when a brash PRI deputy donned a Babe the Valiant Pig mask and positioned himself directly under the podium from which President Ernesto Zedillo was addressing the state of the nation and wiggled insouciant signs with slogans that said things like ‘EAT THE RICH!” Like Munoz Ledo, Marco Rascon was physically attacked, his mask ripped off like he was a losing wrestler by a corrupt railroad union official — who in turn was hammer locked by a pseudo-leftist senator, Irma “La Tigresa” Serrano, a one-time ranchero singers and, in fact, the former mistress of Gustavo Diaz Ordaz.

This September 1st, if martial law is not declared and the new Congress dissolved before it is even installed, the PRD delegation — which will no doubt be strip-searched by the Estado Mayor for incriminating banners — is sworn to create a monumental ruckus, shredding the tarnished decorum of this once-solemn event forever to protest Fox’s endorsement of electoral larceny. Some solons say they may go naked.

But no matter what kind of uproar develops, one can be secure that it will not be shown on national television, as the cameras of Mexico’s two-headed television monstrosity Televisa and TV Azteca will stay trained on the President as he tries to mouth the stereotypical cliches that is always the stuff and fluff of this otherwise stultifying seance. The images of the chaos on the floor of congress will not be passed along to the Great Unwashed.

NO PASARAN!

There is a reptilian feel to Mexico seven weeks after a discredited Federal Electoral Institute (IFE) cemented Lopez Obrador into a second place coffin by awarding the presidency to right-winger Felipe Calderon by a mere 243,000 votes out of a total 42,000,000 cast. Both Calderon and IFE czar Luis Carlos Ugalde (Calderon was best man at Ugalde’s wedding) make these little beady reptile eyes as they slither across national screens.

Those screens have been the scenes of some of the slimiest and most sordid political intrigue of late. One of the lizard kings who is fleetingly featured on Televisa primetime is an imprisoned Argentinean construction tycoon, Carlos Ahumada, who in 2004 conspired with Fox, Calderon’s PAN, and Televisa to frame AMLO on corruption charges and take him out of the presidential election. El Peje” (for a gar-like fish from the swamps of Lopez Obrador’s native Tabasco) was then leading the pack by 18 points.

Charged by Lopez Obrador, then the mayor of this megalopolis, with defrauding Mexico City out of millions, Ahumada had taken his revenge by filming PRD honchos when they came to his office to pick up boodles of political cash for his lover, Rosario Robles, who aspired to be queen of the PRD. Although the filthy lucre was perfectly legal under Mexico’s milquetoast campaign financing laws, the pick-ups looked awful on national television — AMLO’s former personal secretary was caught stuffing wads of low denomination bills into his suit coat pockets as if he were on Saturday Night Live.

Ahumada subsequently turned the tapes over to the leprous, cigar-chomping leader of Fox’s PAN party in the Senate, Diego Fernandez de Cevallos (“El Jefe Diego”) who in turn had them delivered to a green-haired clown, Brozo, who was then reading the morning news on Televisa. Then the Argentine fled to Cuba in a private plane. Televisa would air the incriminating videos day and night for months.

Apprehended in Veradero after his lover Robles was shadowed to the socialist beachfront, Ahumada spilled the beans to Cuban authorities: Interior Secretary Santiago Creel, who was then AMLO’s lead rival for the presidency, had cooked up the plot with the connivance of reviled former president Carlos Salinas, Lopez Obrador’s most venomous foe, the then attorney general, and Fox himself, to remove AMLO from the race.

The Mexican government did not ask for extradition and Ahumada’s deportation from Cuba was not seen as a friendly gesture. Within a month, diplomatic relations between Mexico and that red paradise were broken off and ambassadors summoned home. The construction tycoon has been imprisoned in Mexico City ever since he was booted out of Cuba, and was last heard from when he had his rogue cop chauffer shoot up the family SUV, a charade both Fox and Televisa tried to pin on AMLO — Ahumada had suggested he was about to release two more incriminating videos. These dubious events took place on June 6th, the day of a crucial presidential debate between AMLO and Calderon.

Then last week, Ahumada abruptly resurfaced — or at least his videotaped confession to Cuban authorities did. Filmed through prison bars, he lays out the plot step by step. Yes, he affirms, the deal was fixed up to cut AMLO’s legs out from under him and advance the fortunes of the right-wing candidate who turned out to be Felipe Calderon and not the bumbling Creel. The conspiracy backfired badly as his supporters rallied around him and Lopez Obrador’s ratings soared.

The origins of the confession tape, leaked to top-rung reporter Carmen Aristegui, was obscure. Had Fidel dispatched it from his sick bed to bolster Lopez Obrador’s claims of victory as the PAN and the snake-eyed Televisa evening anchor Joaquin Lopez Dorriga hissed? The air grew serpentine with theories. There was even one school that speculated Calderon himself had been the source in a scheme to distance himself from Fox (there had always been “mala leche” between them) and Creel, now the leader of the PAN faction in congress.

AMLO advanced a variant of this explanation — the specter of Ahumada had been resuscitated to divert attention from the evidence of generalized fraud the Coalition had submitted to the TRIFE and the panel’s impending verdict that Calderon had won the election.

Perhaps the most nagging question in this snakepit of uncertainty is what happened during the partial recount of less than 10% of the 130,000 ballot boxes ordered by the TRIFE to test the legitimacy of the IFE’s results. Although the recount concluded on August 13th, the judges have released no numbers and are not obligated to do so — their only responsibility is to certify the validity of the election.

Although AMLO’s reps in the counting rooms came up with gobs of evidence — violated ballot boxes, stolen or stuffed ballots, altered tally sheets and other bizarre anomalies — only the left-wing daily La Jornada saw fit to mention them. The silence of the Mexican media and their accomplices in the international press in respect to the Great Fraud is deafening — although they manage to fill their rags with ample attacks on Lopez Obrador for tying up Mexico City traffic.

According to AMLO’s people, 119,000 ballots in the sample recount cannot be substantiated — in about 3500 casillas, 58,000 more votes were cast than the number of voters on the voting list. In nearly 4,000 other casillas, 61,000 ballots allocated to election officials cannot be accounted for. The annulment of the casillas in which these alterations occurred would put Lopez Obrador in striking distance of Calderon and in a better world, would obligate the TRIFE to order a total recount.

But given the cheesy state of the Mexican judiciary this is not apt to happen; one of the judges who will decide the fate of democracy in Mexico is a former client of El Jefe Diego for whom the PANista senator won millions from the Mexico City government in a crooked land deal.

Meanwhile, thousands continue to camp out in a hard rain for a third week on the streets of Mexico City awaiting the court’s decision. They have taken to erecting shrines and altars and are praying for divine intervention. Hundreds pilgrimage out to the shrine of the Virgin of Guadalupe, some crawling on their knees, to ask the Brown Madonna to work her mojo. “God doesn’t belong to the PAN!” they chant as they trudge up the great avenue that leads to the Basilica. “AMLO deserves a miracle” Esther Ortiz, a 70 year-old great grandmother comments to a reporter as she kneels to pray before the gilded altar.

At the Metropolitan Cathedral on one flank of the Zocalo, a young worshipper interrupts Cardinal Norberto Rivera with loas to AMLO and is quickly hustled off the premises by the Prelate’s bouncers. The following Sunday, the Cathedral’s great doors are under heavy surveillance, and churchgoers screened for telltale signs of devotion to Lopez Obrador. Hundreds of AMLO’s supporters mill about in front of the ancient temple shouting “voto por voto” and alleging that Cardinal Rivera is a pederast.

AMLO as demi-god is one motif of this religious pageant being played out at what was once the heart of the Aztec theocracy, the island of Tenochtitlan. The ruins of the twin temples of the fierce Aztec war god Huitzilopochtli and Tlahuac, the god of the rain, is adjacent to the National Palace against which AMLO’s stage is set. Lopez Obrador sleeps each night in a tent close by.

Many hearts were ripped out smoking on these old stones and fed to such hungry gods before the Crusaders showed up bearing the body and blood of Jesus Christ.

AMLO is accused by right-wing “intellectuals” (Enrique Krauze and the gringo apologist George Grayson) of entertaining a Messiah complex. Indeed, he is up there every day on the big screen, his craggy features, salt and pepper hair, raspy voice and defiantly jutted jaw bearing more of a passable resemblance to a younger George C. Scott rather The Crucified One. AMLO’s devotees come every evening at seven, shoehorned between the big tents that fill the Zocalo, rain or shine. Last Monday, I stood with a few thousand diehards in a biblical downpour, thunder and lightening shattering the heavens above. “Llueve y llueve y el pueblo no se mueve” they chanted joyously, “it rains and rains and the people do not move.”

The evolution of these incantations is fascinating. At first, the standard slogan of “Voto Por Voto, Casilla por Casilla!” was automatically invoked whenever Lopez Obrador stepped to the microphone. “You are not alone!” and “Presidente!” had their moment. “Fraude!” is still popular but in these last days, “No Pasaran!” — they shall not pass, the cry of the defenders of Madrid as Franco’s fascist hordes banged on the doors of Madrid, 1936 — has flourished.

In this context, “No Pasaran!” means “we will not let Felipe Calderon pass to the presidency.” AMLO, who holds out little hope that the TRIFE will decide in his favor, devotes more time now to organizing the resistance to the imposition of Calderon upon the Aztec nation. Article 39 of the Mexican constitution, he reminds partisans, grants the people the right to change their government if that government does not represent them. To this end, he is summoning a million delegates up to the Zocalo for a National Democratic Convention on Mexican Independence Day September 16th, a date usually reserved for a major military parade.

Aside from the logistical impossibility of putting a million citizens in this Tiananmen-sized plaza, how this gargantuan political extravaganza is going to be financed is cloudy. Right now, it seems like small children donating their piggy banks is the main mode of fund-raising. Because AMLO’s people distrust the banks, all of which financed Calderon’s vicious TV ad campaign, a giant piggy bank has been raised in the Zocalo to receive the contributions of the faithful.

Dreaming is also a fundraiser. Some 10,000 raised their voices in song this past Sunday as part of a huge chorus assembled under the dome of the Monument to the Revolution to perform a cantata based on the words of Martin Luther King and Mohandas Gandhi. This too is a form of civil resistance, Lopez Obrador commended his followers.

The first National Democratic Convention took place behind rebel lines in the state of Aguascalientes in 1914 at the apogee of the Mexican Revolution when the forces of Francisco Villa and his Army of the North first joined forces with Zapata’s Liberating Army of the Southern Revolution. The second National Democratic Revolution took place 80 years later in 1994, in a clearing in the Lacandon Jungle of Chiapas when the Zapatista Army of National Liberation wedded itself to the civil society in an uprising that rocked Mexico all throughout the ’90s; eclipsed by events, the EZLN and its quixotic spokesperson Subcomandante Marcos have disappeared from the political map in the wake of the fraudulent election.

What this third National Democratic Convention is all about is now being debated in PRD ruling circles and down at the grassroots. Minimally, a plan of organized resistance that will dog Felipe Calderon for the next six years, severely hampering his ability to rule will evolve from this mammoth conclave. The declaration of a government in resistance headed by Andres Manuel Lopez Obrador is one consideration. The National Democratic Convention could also result in the creation of a new party to replace a worn-out PRD now thoroughly infiltrated by cast-offs from the PRI.

The Party of the Democratic Revolution has always functioned best as an opposition party. With notable exceptions (AMLO was one), when the PRD becomes government, it collapses into corruption, internecine bickering, and behaves just as arrogantly as the PAN and the PRI. No Pasaran?

Seven weeks after the July 2nd electoral debacle, Mexico finds itself at a dangerously combustible conjunction (“coyuntura”) in which the tiny white elite here is about to impose its will upon a largely brown and impoverished populous to whom the political parties and process grow more irrelevant each day. “No Pasaran!” the people cry out but to whom and what they are alluding to remains to be defined.
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John Ross’s ZAPATISTAS! Making Another World Possible – Chronicles of Resistance 2000-2006 will be published by Nation Books this October. Ross will travel the Left Coast this fall with both ZAPATISTAS! and a new chapbook of poetry BOMBA! and is still looking for possible venues; send suggestions to johnross@igc.org

Excerpts from freelance journalist Josh Wolf

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What follows are excerpts from an Aug. 14 letter that freelance journalist Josh Wolf wrote to reporter Sarah Phelan from inside Dublin Federal Correctional Institute. Wolf has been held at Dublin FCI since Aug. 1 refusing to give a federal grand jury unpublished footage from a July 8, 2005 anti-G8 protest that turned violent.

Aug. 14, 2006

Dear Sarah,

Thanks for writing to me about my case;

On Judith Miller:

“The issue of Judith Miller is a complicated one. My reservations about the Judith Miller situation are as follows: She should be protected, but should she have published it in the first place? I’m very thankful that she has helped publicize my case and I have talked to her on the phone and wouldn’t want it to seem like I’m ungrateful for the support.”


On the injuries that a SFPD officer sustained during the July 8, 2005 anti G8 protest:

“The officer’s injury is a sad and unfortunate incident, and I do not in any way condone violence against any living creature. However, as tragic and unjust as it may have been, it is a potential crime which falls under state and not Federal jurisdiction and although the Assistant US Attorney has brought up the injured officer repeatedly, he has never asserted that this potential crime is part of the grand jury investigation and is therefore nothing more than an effort to sensationalize the case.

Furthermore, my mother’s statement is accurate, I neither witnessed nor filmed the alleged assault on the officer – I learned of the incident after hearing “officer down” by several bystanders. At that point in time, I was filming the aforementioned officer’s partner choking Gabe Myers whom has been charged with the conspiracy charge of attempting to lynch himself, along with resisting arrest and rioting. The published video illustrates this fairly well and can be accessed through http://joshwolf.net/grandjury/ along with the all the legal documents up until I became incarcerated and could no longer maintain the site.”

On the alleged arson to a SFPD patrol car:

“Another important factor in the police’s story of what happened that night is their claim that the Styrofoam sign (for the 500th time, there was no mattress) became lodged in front of their car, therein disabling it. While the Styrofoam sign may have been lodged – I have trouble believing that a piece of Styrofoam could actually force a modified Crown Victoria to a stop. As a rear-wheel drive car with more-than-ample horsepower, I believe it would’ve been able to push the sign along indefinitely, if not able to completely rise over the top of it. Beyond that, the officers immediately jumped out of their vehicle and chased after the 2 people they believed were originally holding the sign.

By the way, these officers – Shields + Wolf (no known relation to myself) were not assigned to the protest and were responding to some sort of complaint. These police officers attempted to disperse the crowd by accelerating their vehicle towards us – it was at that point that the sign carriers in the back of the crowd dropped their sign and dived out of the car’s path. The most accurate description I heard of the event came from Attorney Ben Rosenfeld who spoke at one of my press conferences, the video can be accessed at the URL I mentioned previously.”

On the grand jury investigation:

“As I’m sure you are aware, the subject of the grand jury investigation, or the reason that I’m in jail, is the alleged attempt to destroy property that the federal government may have had a fiscal interest in, the SFPD patrol vehicle. If this pretense for a federal interest is allowed to stand, then would not all public property – be it city, state, or federal serve to trump state protections such as the California Shield law. This would not only include streets, schools, and sidewalks, but also city hall itself.

Perhaps you recall Matt Gonzales last art exhibit as Supervisor – the Supervisor arrange to have graffiti art sprayed onto his office wall. Now, obviously he did this with the approval of the city, but could the federal government have intervened under the claim that this art damaged Federal Property? Obviously they wouldn’t, but according to the logic of the US Attorney, I imagine they might feel they could legitimately do so. The analogy is a stretch and borders on being cartoonist, but is it really any more outrageous than throwing me in prison for refusing to comply with this order to turn over a videotape regarding a police vehicle that apparently wasn’t even damaged – we’ve yet to see any repair orders for the squad car.
Both myself and my attorney have filed declarations to the fact that I did not film any attempts at arson on a police car. It seems highly unlikely that the US Attorney doesn’t believe us as I imagine lying in a declaration would result in perjury for me but could also, to my best understanding; result in my attorney facing even more serious repercussions than that. Neither myself nor my attorney would be stupid enough to behave that irresponsibly. I remember Alger Hiss.”

On Alger Hiss, McCarthyism and Black as the new Pink:

Speaking of Hiss, I feel that given the circumstances, this witch hunt could very likely be a witch hunt akin to those of McCarthey’s blood thirsty quest to expose communists. If that in fact is the case, then instead of a red-scare, this is a black scare.

Keep in mind, that each subpoena I have received not only demands the unpublished materials, but also my testimony. I do not feel that is paranoia which leads me to think that I would be compelled to identify anyone on the footage whom I might know in an effort to create a list of political dissidents and anarchists in the bay area.

Yes, the idea is alarmist, but; it happened in this country 50 years ago – and anyone with a decent education is painfully aware that history has a way of repeating itself. There is no way this much money and energy has been expended simply to investigate some kid throwing a firework four days after the 4th of July, and as the government has not been forthcoming, I have no reason not to assume the worst.


On life inside Dublin Federal Correctional Institute:

“In your letter you also asked me about Dublin; I don’t have a whole lot to say about my experience here, but I can say that the experience is nowhere near the nightmare I had expected. I’ve never felt like my personal safety is in jeopardy, and I have made friends with many of the inmates. There’s food which is edible during every single meal, and 90% of the staff have behaved with the utmost professionalism. At the same time, visits are limited to immediate family, and I only get to feel air on my face for an hour each day; 5 days a week.

Living in captivity is emotionally very difficult, and you find yourself missing the simplest of things. Not having my music, for one, has been very hard for me. The experience is akin to being a young child in man ways, and almost all decisions have been robbed from you. Regulations which serve no purpose abound – we are prohibited from doing laundry after 2pm; I have no idea why.
I have the opportunity by being here to catch up on a lot of reading; however, and I’ve written more letters by hand over the last two weeks than I’ve composed throughout my 24 years up till now. I miss email. I’ve also been inspired to create a new organization, but I can’t share the details just yet about that one.”

Thanks again, for covering the story and in the words of Edward R. Murrow,
Goodnight and Good Luck,
Josh

SATURDAY

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Aug. 26

Event

“I Love Bugs!”

Because I am an East Coast transplant, my childhood memories are riddled with insects – from catching fireflies, swatting cicada, and burning ants with a magnifying glass. I think I might karmically owe something to the wonderful world of bugs. The folks at Habitot must have been insect-infatuated children too, because they are hosting a whole day of bug activities for kids. Get in touch with your inner exoskeleton as the Oakland Zoo presents the Zoomobile’s bug display, which includes a tarantula and walking stick. (K. Tighe)

10 a.m.-5 p.m.
Habitot Children’s Museum
2065 Kittredge, Berk
Free
www.habitot.org

Event

“Rebellion from the Inside”

Turns out the Buddha, Siddhartha Gautama, was pretty punk rock: “The one who indulges in sense desires and commits wrong deeds goes with the stream,” he said over 2,500 years ago. “He who lives the pure, decent life goes against the stream.” Dharma Punx author Noah Levine espouses the “Buddhism is punk” philosophy and is the subject of a documentary film in progress, Meditate and Destroy, by local filmmaker Sarah Fisher. “Rebellion from the Inside” is a benefit for the film featuring dharma funnyman and author of Essential Crazy Wisdom, Wes Nisker, as master of ceremonies, plus music by DFTRAM, free massages, a juice bar, and veggie appetizers. (Duncan Scott Davidson)

6:30-9 p.m.
Yoga Sangha
3030A 16th St, SF
$15-$45 sliding scale
(415) 934-0000
www.meditateanddestroy.com

Snakes in vain

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› annalee@techsploitation.com
TECHSPLOITATION I’m the only geek in San Francisco who didn’t go to the drunken flash mob event at 1000 Van Ness where Snakes on a Plane played in dangerous proximity to cartloads of extremely stiff, free drinks. My sources tell me that outrageous costumes were worn; somebody brought a real live snake; and there were many inebriated screams that included the epithet “motherfuckin’ snakes on a motherfuckin’ plane!” Was it glorious dork anarchy? Or was it something more sinister — the kind of media-engineered, snake-eating-its-own-long-tail event that Bill Wasik claims he invented the “flash mob” to parody?
Believe me, I would have been there toasting the motherfucking snakes if I could have been. But Birthing of Millions was playing at Edinburgh Castle, and no amount of serpents and spirits could drag me away from Brian Naas on guitar. So now that we’ve established my complicity in the Snakes meme thing, despite my absence on opening night, we can proceed.
Snakes on a Plane became an Internet geek phenomenon, rather than a pleasure reserved solely for dorks who like bad movies, for the same reasons that the Star Wars kid or the Hamster Dance became Internet phenomena. In short, it was weird and stupid and fun. One day neuropsychologists may discover an area in the brain that lights up when we watch home movies of teenagers fighting with light sabers — or campy action heroes battling snakes. But for now, Snakes’ online popularity can only be explained via cultural analysis.
Bloggers began leaking information about this movie with a deliciously literal-minded title more than a year ago, hailing it as a masterpiece of cheese. It had all the ingredients required for hip ironic consumption: Samuel L. Jackson, an airplane disaster, and a bunch of retro, analog-era monsters (snakes — without CGI!). Soon news about the flick was all over the Net. Some of its popularity was probably inspired by everybody’s frustration with Transportation Security Administration regulations and long lines in airports. Who hasn’t wanted to yell something about motherfucking snakes on motherfucking planes after being made to take off jackets, shoes, belts, earrings, and hats during the holiday rush in an airport, when the floor is covered in muddy, melted snow? (As if to underscore this association, a parody TSA announcement about banning snakes from planes was circuutf8g in blogland last week.)
Internet fascination with the film reached critical mass last year when New Line Cinema threatened to rename it Pacific Air Flight 121 and Jackson convinced them to keep the original. At that point, references to the movie were so commonplace on the Internet that the studio decided to promote it more, beef it up with extra footage, and add a line to the script that had actually been invented by Web fans imagining what Jackson’s legendary Pulp Fiction character Jules would say: “That’s it! I have had it with these motherfucking snakes on this motherfucking plane!” In response, the fans went utterly nuts. The people in movieland were listening to the people in blogland! When this movie comes out, let’s get totally motherfucking drunk and buy a million tickets!
As Quinn Norton pointed out on her blog, it’s important to remember that nobody actually expected to like this movie. To the extent that we do like Snakes, we’re getting pleasure out of it as a joke — a joke on itself for being so flagrantly silly, but also the butt of jokes we’ve made for the past year online. Of course, there’s the less-acknowledged joke Snakes plays on us when we buy tickets to see a movie that can never be as cool or creative as the videos, songs, posters, and satires people have already published about it for free on the Internet.
Trying to imitate the strategy that led to Snakes’ prerelease buzz, the SciFi Channel recently invited its fans to name an upcoming made-for-TV movie “about a giant squid.” Haven’t heard of Kraken: Tentacles of the Deep? Maybe it’s because the name the SciFi folks picked was exactly the sort of dopey thing they’d normally slap on a story about sea monsters. Apparently they passed over some ideas that might actually have gotten them the hipster cachet that Snakes garnered for New Line. Among the discarded titles were Killamari and Tentacles 8, Humans 2.
I vaguely thought that I should go see Snakes, or at least set the DVR to catch Kraken. But the fact is, I’d rather watch all the YouTube parodies tonight.SFBG
Annalee Newitz is a surly media nerd who would be happy to buy tickets to see Sharks on a Roller Coaster.

EDITOR’S NOTES

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› steve@sfbg.com
There’s an intriguing confluence of anniversaries coming up that together offer an opportunity for societal awakening.
This week I’ll be among thousands of Bay Area residents leaving for Burning Man and the 20th birthday of the most significant countercultural event of our times. Five years ago, right after my first Burning Man, the Sept. 11 attacks ushered in radical changes to US foreign policy and political dialogue. And last year during the festival, Hurricane Katrina hit the Gulf Coast, another event of international significance, which New Orleans writer Jason Berry explores in this week’s cover story commissioned by the Association of Alternative Newsweeklies.
Burning Man, Sept. 11, Hurricane Katrina — aside from the timing of their 20th, 5th, and 1st anniversaries, what’s the connection? Before I answer that, let me layer on a more personal anniversary: this summer marks my 15th year working as a reporter and editor for various California newspapers.
I got into the business mainly because I felt like the American people were being duped, at the time about Iraq’s invasion of Kuwait, a war used by the first President Bush as a pretext for establishing permanent US military bases in the oil-rich Middle East.
American bases in Saudi Arabia caused Osama bin Laden to threaten a terrorist war against the United States unless we withdrew — a threat that we seemed to ignore while he carried through with a series of attacks that culminated in Sept. 11. Rather than reevaluating our relationships with oil and the Islamic world, this Bush administration upped the ante: invading and occupying two more Islamic nations, adopting energy policies that increased our oil dependence, and withdrawing the United States from international accords on global climate change and human rights.
Then Hurricane Katrina hit, opening up a second front of attack on the choices this country is making. I was already at Burning Man, in an isolated bubble of ignorant bliss that was eventually popped by the news. As we left the playa, burners gave significant money, supplies, and people to the relief effort. An eight-month cleanup and rebuilding encampment turned into a movement dubbed Burners Without Borders, which is still developing ambitious goals for good works and greening the event.
I believe Burning Man will be using its 20th birthday as a transition point. We’ve built our community and allowed it to mature, and now we’re talking about where we go from here. Most of those discussions are happening right here in San Francisco, where Burning Man was born and is headquartered. There is tremendous will to use our creation as a force for good.
Progressives will use the anniversaries of Sept. 11 and Katrina to urge our government to reevaluate its relationships with oil, other countries, and its own cities and poor people. Unfortunately, San Francisco isn’t where those decisions will be made.
But if there is a will to change this country’s direction, what better place to launch that movement than here? And what better army than Burning Man’s attendees, expected to number more than 35,000 — people known for their resourceful ability to build a city from scratch, clean it up, and leave no trace?
We’ll be back in a couple weeks, ready for what’s next. SFBG

A sister fears Halloween in the Castro

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OPINION Any attempt to organize an official Halloween in the Castro is a terrible idea, maybe even a deadly one. But before I rant, let me give a little history. In the wake of the Oct. 17, 1989, Loma Prieta earthquake, a BBC story reported that “a massive rescue effort is now underway in what experts believe is the second biggest earthquake ever to hit the United States.”
More than 3,500 people were injured and 100,000 buildings damaged. For this reason, a few members of the Sisters of Perpetual Indulgence made a spontaneous decision to stand in the Castro among the drag queens and costumed folk that Halloween to put on street theater and collect donations for the mayor’s relief fund for the victims of the earthquake. A brilliant move. We collected thousands.
This put a bee in our bonnets … er … wimples to use Halloween as a fun fundraiser the next year. A tremendous success. Each year the caliber of entertainment drew more people and brought in more donations, enabling us to entertain the otherwise unruly crowds while collecting donations for AIDS charities. The events were a hit, until we saw attendees getting hit — with bottles, bats, and other deadly weapons — by drunken gay-bashers out to get their kicks. The next year we saw that police checking for weapons had collected garbage cans full of baseball bats, hammers, knives, axes (none of these were the rubber kind), and many blunt instruments that could harm people. I saw someone with a mask running a gas-powered chain saw. But when police told us that among other weapons they had confiscated an AK-47 assault rifle, that was the year the Sisters were through with Halloween in the Castro, frightened that an event we had sponsored might bring about death.
So we tried something different. Luring people away from the Castro and into a private club, we turned the Pleasuredome in SoMa into a Halloween-themed party space with ornate All Hallows Eve–oriented backdrops and props. We had stellar entertainment, and the door charge went to AIDS and cancer charities. There was only one rule: you had to be in costume. The event was called HallowQueen, with the slogan “Evolve with the Sisters as Halloween moves to the next level.” It was successful in getting people out of the Castro and into a safe space, but we couldn’t afford to do it again on our meager budget.
The attempt to move the party to the Civic Center did not work because of poor planning and insufficient advance public relations. And since the Castro was still gated off, the queer-bashers thought that was the better locale in which to be violent. There were several stabbings that year.
There should be no official gathering in the Castro. No gates set up to make it look like an event. Police should infiltrate the area to keep peace but not harass the costumed folk. And something must be scheduled by the city outside the Castro and managed well to draw the crowd away to safety. Then perhaps the Sisters will get involved again. Then maybe the Sisters will MC and run a stage. But as it is now, the cordoned-off section of the “official” Halloween will end at Market and Castro. That is potentially deadly — inviting bashers and spoilers to assemble right at the very entrance of the Castro. Boo! SFBG
Sister Dana Van Iquity
Sister Dana Van Iquity is a member of the Sisters of Perpetual Indulgence.