Fashion

Crazy quilt

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› superego@sfbg.com

SUPER EGO I like weather. It’s everywhere this season. But it’s also all over the map: patches of drizzle here, swaths of squinty sunlight there, chilly threads of breeze, and a soft, wet batting of fog. Should someone call People for the Ethical Treatment of Animals on dog days? Are Indian summers racist? What color Converse matches my knockoff Burberry umbrella? Weather’s so confusing!

Fortunately, the forecast in Clubland is much more predictable: crazy, as usual. Partly rowdy with a high chance of gusty accordion and slight pratfalls on the runways. Now’s the time when dance floors get "wild" and club folks scramble like chipmunks to store up glowing insanity for the long winter ahead. I’m reminded of boob-tube scream queen Elvira’s immortal "Monsta Rap": "Somethin’ put his nuts on tha side of his head / What in the world were they thinkin’?" Below are some upcoming offbeat joys to enjoy.

PS Every day is Halloween, duh. Check out the Noise blog at www.sfbg.com/blogs/music for my depraved fright-night party picks.

Face the fear and drink it anyway! That’s my motto. It’s tattooed on my inner thigh, right next to a butterfly on a Harley, a rainbow of dancing M&Ms, and Tweety Bird pulling dental floss out of his ass with a pair of scalpels. I live for scary cocktail confrontations. But I’ve never quite been able to overcome my fear of clowns. It’s not so much the clowns themselves that terrify but the flesh-eating bacteria that live in their eyes and squirt out when they blink. Honk, honk!

Still, the line between a good night out and a full-on circus grows ever thinner with each new Burning Man, and circus-themed parties are starting to develop subgenres. For instance: Big Top, which successfully mixes double entendre (it’s a queer thing: "big top" — get it?) and three-ring silliness into one whapping flapdoodle of a monthly Sunday shindig. Promoters–club whores Joshua J and Rayza Burn, who fervently insist to me that they’re in no way "hot for clown," lay on the DIY pancake pretty thick. No slick fire-twirler troupes here — just a tipsy bunch of drag queens in rainbow fright wigs, guest DJs devoid of shame, and cross-eyed kids sporting giant shoes. Somehow it works. This month: a homo fashion costume ball with designer Kim Jones in the DJ booth.

I can’t tell you how to make money, but I can tell you that every time I hear the word milonga I pitch a yard’s worth of tango tent. Let’s pitch together — to the lively plucks and wheezes of local sensations Tango No. 9, an all-star Bay Area quartet celebrating the release of their self-released CD Here Live No Fish with a big ole Piazzola party at Café Cocomo (lessons luckily offered for us absoluto beginners). This is one of those nightlife events I occasionally recommend not because it’s going to be a drunken orgy of unfortunate plumbing leaks but because there’ll be an element of seductive danger. As in, how many heels will I break trying to get to the center of one of my several hot Argentine dance partners? Three licks.

"If there’s anything close to the authentic madness that is true Balkan partying in the Bay Area, it is us," Boban, promoter of the raucous quarterly Kafana Balkan party, told me over the phone. "People come to let it loose in true Balkan-region style. They get up the next morning, maybe with a little hangover, ha, and then they are refreshed in their daily maintenance of the machine." I should add here that Boban has the kind of deep, heavily accented, tinged-with-grins voice that could probably lead anyone into mountainous, oud-and-cümbüs-driven bliss. Lately, indie rock has embraced the Balkan spirits, but Kafana’s no mere Gogol Bordello–Beirut–Balkan Beat Box hoedown: DJ Zeljko brings the Rom and rakiya-fueled real, with selections from the likes of Boban Markovic Orkestar and Fanfare Ciorcarlia. It all whirls round in a carnivalesque atmosphere that includes clowns from Bread and Cheese Circus and live Bay Area Balkan band Brass Menazerie. Plus, Kafana’s a benefit for Humanitarian Circus, which performs for Kosovar orphans. Grab your dumbek and get — sorry — Mace-down-ian.

Vegan donuts are on fire. Nondairy sprinkles litter the runways; free-trade glazing greases the underground wheels of Monday nights. WTF? I’m talking about the sweet monthly Club Donuts, a manic multimedia fiesta that’s celebrating its hole–in–one year anniversary next month. Fab fashion shows, live bands, dance troupes, kitsch movies, and a hot mess on the dance floor have been Donuts’ delicious MO for a fat and fluffy year now, and the anniversary party promises to hit new monthly-Monday-night heights, with a live performance by Hey Willpower and DJs Calvin Johnson and Ian Svenonius joining resident Pickpocket on the decks. (It’ll be "ambrosial, ecstatic," the club’s breathtakingly hottt promoters Kat and Alison promise me. "Total visual and aural immersement, with lots of free vegan donuts.") Plus, you know, cute young Mission party artists. I’ll take half a dozen to go. *

BIG TOP

Fourth Sun., 7 p.m.–2 a.m., $3

Transfer

198 Church, SF

(415) 861-7499

CLUB DONUTS

Nov. 12, 9 p.m.–2 a.m., $8

Knockout

3223 Mission, SF

www.myspace.com/donutparty

KAFANA BALKAN

Nov. 10, 8 p.m.–2 a.m., $10–$25, sliding scale

12 Galaxies

2565 Mission, SF

www.12galaxies.com

www.myspace.com/kafanabalkan

TANGO NO. 9

Nov. 4, 7:30 p.m. tango lesson, 8:30 p.m. performance and party

$15, $20 with lesson

Café Cocomo

650 Indiana, SF
www.cafecocomo.
com

“Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute”

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REVIEW Years after Europunk deconstructionists copped a few tears, ties, and folds from Comme des Garçons’ Rei Kawakubo and A-list fashionista Carolyn Bessette Kennedy championed the cutting austerity of Yohji Yamamoto, it’s safe to say that the once-coupled Japanese designers and their slight predecessor Issey Miyake have been firmly ensconced as pillars of avant-garde fashion. But that doesn’t mean their work — and that of Kawakubo acolytes Junya Watanabe and Tao Kurihara — is ready to be filed away without another look. Take another, then another, because the ravishing, ingenious frocks on display at "Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute," presented in conjunction with Hiroshi Sugimoto’s "History of History" and cocurated by the photographer, will likely trigger seething desire in the most adventurous dressers and lance residual snobbery regarding the concept of fashion as art in the most rigid cultural conservatives.

Sugimoto punctuates the exhibition’s two dramatically darkened rooms with four large-scale images selected from a forthcoming series. These foreground the clothing’s architectural alchemy amid his masterful interplay of creamy light and nuanced shadow. But the dresses, shown without the visual noise of notation, are the real stars. Miyake’s 1989 spiny, black, pleated polyester gown simultaneously evokes prickly succulents and sea urchins, intricate origami, and cryptic ninjas — a surreal fusion that the designer continued to rework, refining an innovative pleating technique that allows the garment to lie flat and morph with the wearer. Cuing recollections of papal robes and ship bows, Yamamoto’s 1996 wool dress and underskirt reference the elaborately sashed silhouette of a traditional kimono as well as the modernist lines of Cristóbal Balenciaga. And one can’t help thinking of the Venus of Willendorf — and Jennifer Lopez — while gazing at the down-padded, protruding shoulders and posterior of Kawakubo’s 1997 body-conscious vamp-as-linebacker ensemble.

STYLIZED SCULPTURE: CONTEMPORARY JAPANESE FASHION FROM THE KYOTO COSTUME INSTITUTE Through Jan. 6, 2008. Tues.–Wed. and Fri.–Sun., 10 a.m.–5 p.m.; Thurs., 10 a.m.–9 p.m.; $6–$10. Asian Art Museum, 200 Larkin, SF. (415) 581-3500, www.asianart.org

Influential fashion designer dies

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Clothing designer Tiffa Novoa — whose neo-tribal aesthetic transformed the fashion sense of the Burning Man world, starting with the El Circo tribe that she was a part of, and trickled out into the larger Bay Area urban culture — has died at the age of 32. Unconfirmed reports indicate that she had a fatal drug reaction in Bali, Indonesia, where she was staying recently. You can read remembrances of Novoa here and here, and I’ll update this post in the comments section if I hear of any local memorials. Novoa’s Onda Designs influenced a generation of San Francisco clothing designers and had just started to push from the margins into the mainstream with stores like Five and Diamond in the Mission District.
Three years ago, while I was working on a series about Burning Man and in particular one article on how it influenced nightlife in San Francisco, local members of El Circo (which formed in Ashland, Oregon and largely transplanted itself in San Francisco) sang Novoa’s praises and credited her with not just their fashion sense, but in part, their entire culture.

Seven up

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1. Dans la Ville de la Sylvia (José Luis Guerín, France/Spain)

2. My Winnipeg (Guy Maddin, Canada) My two favorites of the festival were both ghost stories in which a haunted protagonist (fey Xavier Lafitte in Sylvia and Maddin’s voice-over in My Winnipeg) traces his past in a city charged with memory. In Guerín’s detailed mise-en-scène and patterned compositions and Maddin’s loopy reenactments and smeared dissolves, we get nothing less than cinema as seeing, remembering, being — which is to say, a cinephile’s dream.

3. Useless (Jia Zhangke, China)

4. The Unforeseen (Laura Dunn, US) Terror’s Advocate and Scott Walker: 30th Century Man have their strengths, but these two documentaries gave me the greatest hope for the state of nonfiction cinema — Laura Dunn’s chronicle of an environmental crisis in Austin, Texas, for its plainspoken visual lyricism and Jia Zhangke’s observation of the fashion industry for its side-wind narration and flowering long takes.

5. Persepolis (Vincent Paronnaud and Marjane Satrapi, France/Iran). Sometimes all it takes is lively storytelling. Fingers crossed that this pitch-perfect adaptation of Satrapi’s graphic novel will edge out Ratatouille for the animation Oscar.

6. Fujian Blue (Robin Weng, China)

7. La France (Serge Bozon, France) My two dark horses, each in its way about a band of outsiders. Fujian Blue‘s tender portrait of a group of friends living on the edge in southeast China (a center for human trafficking) evokes Mean Streets, while Bozon’s chronicle of a troop of World War I deserters makes delightful, if often inexplicable, use of vintage Hollywood movies (the westerns of Howard Hawks and John Ford, the combat films of Raoul Walsh and Samuel Fuller) and sun-dappled musical arrangements that would make Wes Anderson blush.

For Johnny Ray Huston’s report on the Vancouver International Film Festival, go to Pixel Vision at www.sfbg.com/blogs/pixel_vision.

By any other name

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› le_chicken_farmer@yahoo.com

CHEAP EATS Fish chili is still chili. Everyone else was wondering or grumbling, but there was never any question in my mind. Fish chili is chili. It just is. If you call a thing a thing, then it is what it is. Ask Popeye.

It was chili because it had chiles in it, or chili powder, and because it was at a chili cook-off and, most important, because the guy who made it called it chili. We live in a free country, and even if we didn’t, fish chili would be chili.

You don’t like that, move to Texas. In Terlingua, at the famous annual "international" chili cook-off, you are not allowed to put beans in your chili. Or pasta. Or rice. Or "other similar items."

Fish? I wonder….

I love Texas-style chili. I prefer it by a mile to your average ground-beef-with-bean varieties. And I love that you can call a chili cook-off an "international" event and then disallow beans and things, pretty much eliminating all the other kinds of chili in the world except Texas-style.

Oh, but chili was invented in Texas.

Give me a break. If so, it has since migrated to New Mexico, where, in Old Mexican fashion, it’s more about the peppers than the meat or the beans or whatever they happen to flavor. Ever been to Cincinnati? Chili has. It’s cinnamony. Beans, onions, and cheese are optional; spaghetti is standard.

Not to blow its cover, but chili lives incognito in Providence, RI, home of the oddly named New York system, which basically means chili dogs slapped together in a line of buns on a guy’s arm. They don’t call it chili, but it’s ground beef with chili powder and cumin, somewhat distinctified by soy sauce, ginger, and — my personal favorite — celery seed.

Now, Oakland is not Terlingua or Cincinnati or Detroit or New York City or New York system or New Castle, Pa. — or a lot of other places, if you think about it. It’s where Joe Rut lives, in a warehouse, and I’m jealous because he gets to vote for Barbara Lee and host chili cook-offs.

I get to go. I get to vote for my favorite chili. In a field of more than 20 contestants, which included a couple of excellent pork chilies, a wild-turkey chili (dude shot the bird hisself!), and an elk and bacon one, among the many beef-and-bean, just-beef, and vegetarian entries, my hands-down, hats-off, and belly-up favorite was the fish chili I’ve been trying to tell you about. It was ridiculously delicious, well stocked with several kinds of fish and shellfish, colorful with peppers, and just all-around pretty. Plus I liked its politics, and philosophy.

My only dilemma was whether to vote for it for best meat chili or best vegetarian. Joe Rut’s chili cook-off ballot, like life, gave me only two choices, neither one quite right, and I had to find my way around that.

This time it was easy: I put number five on both lines. The fish chili was the best meat chili and the best vegetarian one. This from a pork-barbecuing chicken-farmer chick whose favorite two things to eat are raw beef and green salad.

For the record, if there had been a line on the ballot for gumbo, I’d have fived that line too. Hell, if we were voting on pancakes, I’d have voted for the fish chili. You know how sometimes a bowl or plate of food just speaks to you, and speaks your language?

Well, apparently I wasn’t the only one listening. I just got forwarded a mass-mailed e-mail from Joe Rut announcing the winners: fish chili won best meat chili. I love the world!

My guess is about a hundred people voted. Very few were wearing cowboy hats. There must have been at least probably about 150 folks there, you gotta figure, because it was a warehouse and it was crowded. There were bands. There were pies for dessert and a big fruit salad just so everyone could at least have a chance of pooping the next day.

The name of the guy who made this fish chili, also for the record, is — hold on a second — Russ Leslie … and I publish that journalistic fact right here (of all the crazy places) in the wild but sincere hope that he will read this and invite me over for leftovers. Or next time he makes a pot, I guess, because it’s been more than a week.

I miss it.

41st Anniversary Special: Wrecked park

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› news@sfbg.com

The San Francisco Recreation and Park Department has a long history of maintaining parks, community centers, and other recreational offerings. In fact, it controls more land in the city than any other entity, public or private. But after seeing its budget repeatedly slashed during lean fiscal years, the underfunded department has become a prime target for some controversial privatization schemes.

There are ongoing efforts to privatize city golf courses, supported by Mayor Gavin Newsom and Rec and Park general manager Yomi Agunbiade (see “Bilking the Links,” page 22). And there are ongoing fears that the city intends to privatize its popular Camp Mather vacation spot, something the RPD studied a few years ago and Sup. Jake McGoldrick has fought and highlighted.

Rec and Park has identified $37 million in needs at Camp Mather — the product of a private study the agency has been unable to fully explain to the public (see “From Cabin to Castle,” 4/4/07) — but left Camp Mather off a big bond measure planned for February 2008.

“They say $37 million you need up here, and how much you got in there for the ballot measure? Zip, zero,” McGoldrick told the Guardian. “It’s a familiar pattern: you underfund the hell out of something, and then you turn around and say, ‘We, the public sector, cannot handle taking care of this.'<0x2009>”

Rec and Park spokesperson Rose Dennis denies there are plans to privatize Camp Mather or that its omission from the bond measure is telling. “Many people disagreed — including you — with the funding needs and whether we could back it up,” she explained as the reason for its omission from the bond measure.

In his Oct. 1 endorsement interview with the Guardian, Newsom said, “We actually made some commitments just this last week with Sup. McGoldrick to help support his efforts, because he’s very protective of Camp Mather, and I appreciate his leadership on this, to help resource some of the needs up there without privatizing, without moving in accordance with your fears.”

And while Newsom said he hoped to avoiding privatizing Camp Mather, he refused to say he wouldn’t: “I’m not suggesting it’s off the table, because I’m not necessarily sure that the conditions that exist today will be conditions that exist tomorrow, and I will always be open to argument.”

But at least the Camp Mather and golf arguments have been happening mostly in public. That’s what voters intended in 1983 when they passed Proposition J, which requires public hearings, a staff study, and a vote by the Board of Supervisors before city services can be privatized. Yet over the past couple of years, there’s been an effort to quietly shift operations at a half-dozen rec centers away from city programs and toward private nonprofits.

It’s called Rec Connect. Its supporters bill it as an innovative effort to bring much-needed recreation programs to underserved, low-income neighborhoods. “This is a pilot program to see if a collaboration between a community-based organization and a rec center yields a richer program and a more engaged community,” said Margaret Brodkin, director of the Department of Children, Youth and Their Families, which created the program and oversees that and other uses of the city’s Children’s Fund.

But to members of the Service Employees International Union Local 1021 — which includes most city employees and has filed grievances challenging Rec Connect — the program is a sneaky attempt to have underpaid, privately funded workers take over services that should be provided by city employees, who are better paid, unionized, and accountable to the public.

“The city took funds from the city’s coffers and gave them to the Department of Children, Youth and [Their] Families,” Margot Reed, a work-site organizer for the union, told the Guardian. “DCYF is using these funds, through Rec Connect, to contract out to private nonprofits work that rec staff were doing for a quarter of the cost.”

Brodkin was the longtime director of Coleman Advocates for Children and Youth — a perpetual thorn in the side of City Hall and the author of the measure that set aside some property taxes to create the Children’s Fund — before Newsom hired her to head the DCYF. She sees her current role as a continuation of her last one, and she sees Rec Connect as an enhancement of needed services rather than a privatization.

“There is a commitment that no jobs would be lost. I’m a big supporter of the public sector,” Brodkin said, while acknowledging that the RPD is chronically underfunded. “I am certainly aware of the resources issue at Rec and Park…. I’d be a happy camper if the Rec and Park budget was doubled. But I’d still believe in this program and say it offers a richer experience.”

Rec Connect began in 2005 with a study that looked at unmet recreational needs and evaluated facilities that might be good places to bring in community-based organizations to offer specialized classes. The whole program was financed through a mix of public funds and grants from private foundations. The three-year pilot program started just over a year ago.

“The Rec Connects,” Newsom told the Guardian, “are a way of leveraging resources and getting more of our CBOs involved and using these great assets and facilities, instead of limiting use to the way things have been done.”

Rec Connect director Jo Mestelle denied that the initiative is a privatization attempt.

“Rec and Park brings the facilities, the sports, and traditional recreation. The CBOs bring the youth-development perspective and nontraditional programming,” Mestelle said. “Hopefully, together we build a community that includes youth-leadership groups and advisory councils.”

Few would dispute the need for more after-school or other youth programs, particularly in the violence-plagued Western Addition, where some of the Rec Connect centers are. But the means of providing these programs is something new for San Francisco, starting with the fact that even though Mestelle works in the DCYF office, her salary is paid for entirely by private foundations.

That relationship and those funders aren’t posted anywhere or immediately available to the public, but Brodkin agreed to provide them to the Guardian. They include the Hellman Family Philanthropic Foundation ($50,000), the Hearst Foundation ($50,000), the San Francisco Foundation ($128,000), the Haas Foundation ($100,000), and the SH Cowell Foundation ($150,000).

Brodkin and Mestelle characterized those foundations as fairly unimpeachable, and Brodkin defended the arrangement as part of a national trend: “The thing that’s odd about SEIU’s perspective is this is happening all over.”

That’s precisely the point, SEIU’s Robert Haaland says.

“It’s been a strategy since the ’70s to, as [conservative activist] Grover Norquist calls it, ‘starve the beast,'<0x2009>” or defund government programs, Haaland said. “On a national level there is a lot going on that impacts us locally.”

Minutes from a recent Recreation and Park Commission meeting confirm that rec center directors have only about $1,000 each year to cover the cost of buying basketballs, team jerseys, referee whistles, and other basic sports and safety supplies. The SEIU grievance also notes that recreation staff positions have decreased by a third just as senior management positions increased by a third.

“We don’t have enough dollars for $20-an-hour rec center staff who are directly responsible for the kids and are well known to the community. We believe kids deserve great coaches, consistency, longevity, and commitment,” Reed said.

SEIU Local 1021 chapter president Larry McNesby is also the Rec and Park manager who oversees Palega Park, one of the Rec Connect sites. He told the Guardian that while his rec directors are “under pressure from the mayor to show him numbers of people that they are serving,” Rec and Park’s new online registration fails to reflect the “hundreds of drop-ins” that rec staff serve on a daily basis.

But he said the department has been set up to fail by chronic underfunding.

“I’d love Rec Connect and DCYF to be on a level playing field, because my directors could out-recreate theirs any day,” McNesby said. “You can’t just eliminate our jobs and replace them with someone who makes just above minimum wage.”

Actually, Brodkin and Mestelle note that negotiations with SEIU over Rec Connect have resulted in a guarantee that no jobs will be replaced and an agreement by the city as to 250 different tasks that the Rec Connect CBOs can’t perform. Still, they say the program brings innovation to a stagnant city agency.

“Before Rec Connect the rec centers always had a Ping-Pong table and some board games, but some of them were really poor, many were tired looking, none had computers or Internet. So we’ve had to think outside the box. Rec [and] Park is a big department, and it’s not always efficient,” Mestelle said.

Public records show that in 2006, the DCYF, whose primary function is to administer grants, sent $1 million in public money to Rec Connect from the Children’s Trust Fund, a pool of cash the city gathers each year by levying 3¢ per dollar of property tax.

Both Rec Connect and city workers stress the importance of offering a range of good programs to young people. “Our work is at a more social level,” McNesby says. “Every minute a kid spends in a rec center is a minute they’re not breaking into a car or victimizing someone or being victimized.”

The question is who should provide those programs. “It’s society’s value system that controls where the money goes,” Rec and Park spokesperson Dennis said. “It’s a really provocative discussion. There are some very compelling trade-offs argued in convincing fashion by intelligent people on both sides. These aren’t easy decisions.”

But the union people say that when it comes to Rec Connect, that discussion isn’t happening in public forums in a forthright way. As Reed said, “Gavin Newsom never went to the voters and said, ‘Here’s what we want to do: cut the rec staff and bring in private nonprofits.'”

Fashion en-CAPSULE-ated

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By Amber Peckham

If you were inspired by the cool and quirky products in our Style insert this week, make sure you take a few hours to check out the CAPSULE Design Festival this Sunday in Hayes Valley (all around the Hayes Valley Green). Around 140 Bay Area and West Coast designers will be there, all independent, all unique, and all chic.

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Mediums To Masses

This showcase of Bay Area creativity goes above and beyond the normal street fair fare, offering everything from Hilary Williams’s handmade stuffed toys made from scrap fabric to the meticulously crafted tablewares of Mediums to Masses. (And of course, waaaay too much adorable clothing and jewelry to even begin to mention.) Whatever your tastes or price range, there is sure to be at least one must-have in the two block spread of style, and a complete list of the designers who will be there is on the event’s website, with each named handily linked to an information page. If you intend to go check it out, it might be wise to scout out your favorites ahead of time, as odds are the products will be going fast—over 6000 people are expected to attend.

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Creepy? Doll from Hilary Williams

CAPSULE Design Festival
Sunday, October 14, 2007
11:00 am-6:00 pm
Hayes Valley Green
Octavia and Hayes Streets, SF
www.capsulesf.com

Scavenging’s new spirit

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› culture@sfbg.com

>>Click here to check out our Style 2007 Guide

It’s a warm September night, and I’m standing in a crowded art gallery in South San Francisco, staring at a metal octopus that moves its tentacles when you press a button. In many ways, it’s like every other reception I’ve been to: a table with snacks and wine, a healthy feeling of snobbery in the air, and a swath of hipsters blocking my view of everything. But as I walk around I notice some differences. The smell of decomposing flesh, the sound of heavy machinery, the walk-in "free shed," dozens of trash cans, and the mounds of refuse on the horizon all suggest that I’m standing in the middle of a landfill. Which, well, I am. It’s the site of the art exhibition "Waste Deep," by Nemo Gould, the San Francisco Dump’s artist in residence. And what’s most striking? I feel completely at home.

After spending most of September with junk collectors, vintage clothing nerds, and art diggers, I’m now completely accustomed to wallowing in trash and noticing freebies. For example, before driving to the SF Dump this evening I ate free baked goods at the X-rated Cake Gallery in SoMa, scrounged through leftovers at an estate sale in Bernal Heights, and knocked back pints of free Pabst at Broken Record in the Excelsior.

Yes, friends, I have become a bona fide freeloader. But like my newfound partners in grime I shun the connotations of the term. I choose instead to see myself as a sort of hip cultural revolutionary, one of the loose band of entrepreneurs and artists I’ve met over the past month who shamelessly revel in their personal gain because, at the end of the day, they know they’re "working" for a good cause. Not only are we getting a lot of cool free shit, but we’re also helping to transform the traditional hippy-dippy recycle-reuse-redistribute ethos into something more refreshing.

The freestyle movement is growing. Freeganism, a ragtag philosophy of cost-free living in a gift economy, has gained some national attention of late — especially in these economically challenging times — and the freegan ethos incubated in San Francisco, where groups like the Diggers gave away food during the ’60s. This city knows a thing or two about priceless give-and-take. And thanks to the freegan types I’ve been hanging out with, I now look at scavenging as an art form, a party, and a necessary lifestyle, one that has more to do with fashion, art, music, booze, and friendly competition than with fighting world hunger, globalization, or the war machine. Oh, most scavengers are concerned with all of that too, but creating awareness (about irresponsible consumption and the effects of wastefulness on the environment and humanity) is the fortunate by-product of the lifestyle, rather than its focus — which is, of course, copping free stuff.

THRIFTY EYE FOR THE HIP GUY


My journey from a life spent paying to consume to one consumed by the pursuit of freebies began two years ago, when I moved into a new building in the Mission. My neighbor was Aaron Schirmer — a reclusive artist who lives in a world of secondhand designer denim, seminew Macintosh computers, and used sound systems — whom I’d occasionally run into on my way to buy cigarettes and Jim Beam. Usually we’d smile and nod. But one day while he sat smoking on the stoop, he flagged me down. "Check out what I found today," he said.

At his side sat a large bag of American Apparel man panties and a crate of old-school electro cassettes. When I asked where they’d come from, he rambled on about free markets, dumpsters, and swap meets. Then he stopped abruptly, fished for the keys to his house, and said, "Here, I’ll show you."

I followed him into a hallway lined with half-finished paintings and strategically cracked mirrors, through a ’50s-style kitchen, and into his living room. In the corner, beneath a dangling gold and green Eames-style lamp, sat a 50-inch color television. His bedroom walls were lined with random bric-a-brac and outsider art, and his couch was a row of velvet-lined theater seats. Schirmer spread his arms and did his best Vanna White. "Here it is," he said. "I found all of this shit on the streets. People leave piles everywhere, and I just roam around all day and pick through them."

I quickly fell into a routine with Schirmer, a retired world-traveling DJ who now spends his days spinning rare records, tending his garden, and scavenging. I would come over to his house after work, crack a beer, and check out his finds, occasionally claiming certain items for myself. We’d then scroll through the Free section on Craigslist to devise a tentative map for the following day’s scavenge. I rarely had time to join him on his daily hunts, but I quickly learned that the free pot is virtually bottomless. And I was hooked.

These days I roam the neighborhood (corporate dumpsters are always a good bet) or scour the Internet anytime I need something. On my most recent search I found a stuffed bunny, a six-foot-tall stack of records, a pair of cowboy boots, and — I shit you not — Sharon Stone’s old couch. But I’m no expert. Anyone can search a Web site, but it takes a true connoisseur, someone like Kelly Malone, to build a business from scavenging.

FREE-MARKET ECONOMY


Malone, cofounder of the Mission Indie Mart, spent 10 years climbing the retail ladder at places like the Gap and Limited until she worked her way up to a glamorous life as a traveling designer. But then tragedy struck — in the form of ovarian cancer and its debilitating treatment process — and she had to quit. After spending the first few days of her indefinite vacation watching television, drinking too much at the Phone Booth, and watching old movies, she decided to revisit an old hobby: scavenging. "I just started over and kept positive," Malone said. "When I wasn’t sick from the chemo, I was trash-picking for cool stuff to sew and reconstruct." Malone began meticulously scouring estate sales, flea markets, and garage sales for that perfect owl clock or a one-of-a-kind sundress. She also got into interior and exterior design, grabbing spare paint and building materials off the streets, then enlisting her friends to help construct a backyard oasis.

Soon, though, Malone’s home had morphed into a retro junk museum. Her backyard was now dotted with old benches, barbecue grills, sculptures, and a sound system. Clothes were spilling out all over the place, and she had enough paint to cover a mansion. It was time to expand.

Malone began taking her stuff down to the flea market in South San Francisco. She set up a booth with music and goodies, offered free beer and hot dogs to friends, and spent whole weekends selling dolled-up vintage goods and making friends with others who did the same. It was there that she struck up a business relationship with Charles Hurbert, a public relations representative at a marketing firm who has a penchant for outsider art and found fashion. Soon Malone and Hurbert combined forces and decided to look beyond sanctioned venues. Malone’s backyard beckoned. The Mission Indie Mart was born.

The first mart went off without a hitch. Malone and Hurbert invited swap meet–interested friends to set up booths in Malone’s backyard. Cheapo flyers were designed, beer was purchased and resold at cost, and reimagined found apparel was offered for sale. It was a thrifty one-off that felt like an illegal rave, and people loved it. Mission District locals swarmed Malone’s backyard and nearly bought up her entire inventory. When she held it again the next month, the mart was even more successful and attracted more people — so many that her landlord threatened to evict her. So Malone sought sponsors and a new venue. The next Mission Indie Mart will be at 12 Galaxies and will feature a set by DJ Lovedust, extremely cheap Stella Artois, and an even bigger collection of vendors.

The mart’s success suggests that this model benefits its founders, who make some income from the event, and attendees, who get cheap goods, as much as it does San Francisco’s thriving community of independent designers, vintage-clothing dealers, and the recycling-scavenging movement in general. Malone and Hurbert are proving again that with a little effort and creativity, free shit can be turned into gold.

FRUGAL PHILANTHROPY


That’s also what Jason Lewis and Monica Hernandez, the founders of SwapSF, are doing at CELLspace — but for them the party and the product are more important than the money.

The couple started SwapSF a few years ago as a way to poach their friends’ unwanted apparel. "I had this friend who owned like a million pairs of limited-edition sneakers that he never wore," Lewis said. "The swap idea started as a way for me to get my hands on some of them." So Hernandez and Lewis, who have been throwing events since they met at a party five years ago, did what came naturally: they drew up a flyer, bought a bunch of cheap beer and pizza, and invited their friends to get down.

The idea has taken off, as I witnessed Sept. 22 when I threw a few shirts, a pair of pants, and some old hats in a bag and pedaled down to Bryant and 18th Street to volunteer at their recent event, the Most Hyperbolically Stupendous Clothing Swap Ever. It was to be a win-win situation: a little time in exchange for first dibs at free clothes. I arrived at CELLspace at 11 a.m. to find a DJ spinning downtempo hip-hop, a handful of kids sorting through bags, and Hernandez, who greeted me with a smile, a name badge, and a beer. I’d envisioned spending a leisurely afternoon sipping beer provided by Trumer Pilsner (the event sponsor) with about a hundred other scavengers, and the day seemed to be turning out that way.

But neither I nor the organizers were quite prepared for the four-hour clusterfuck that awaited us. Soon the volunteers were drowning in a mile-high volcano of pants, shirts, scarves, and underwear. By noon, the event’s official start time, a line wound around 19th Street. At 12:30 p.m. the place was packed. It was as if every hipster in the Mission had gotten wind of an opportunity for free music, beer, and dancing and had gathered up their unwanted clothes to join the party — a party that happened to result in free clothing for charity organizations like A Woman’s Place, the AIDS Emergency Fund, and San Francisco General Hospital.

FREE YOUR MIND


Since starting in Lewis and Hernandez’s apartment and then relocating, the SwapSF event has become so popular that it’s getting hard to handle. Even the duo have been surprised by its sudden and exponential growth. It seems that by using sarcastic graphic design on their flyers, guerrilla promotion techniques (word of mouth, stickers, blogs, etc.), and a refrigerator full of beer, Hernandez and Lewis have tapped into a new way to market charity events to a community of self-obsessed hipsters. Like Malone, the SwapSF duo see something wrong with the way our culture consumes and wastes, but they’re reluctant to jump on a soapbox — or even stand close to one.

Which may be why their parties have been garnering more attention and support than have the more traditional free markets that have been held across the nation for years. Malone and her contemporaries are creating awareness with no pretenses, no preaching, and no Hacky Sack–playing hippies. They are nurturing a world of gift exchange that speaks to a new generation of recyclers who enjoy the selfish thrills of scoring, a good party, and daytime drinking more than — or at least as much as — the satisfaction people find in collective self-sacrifice and charity.

Even San Francisco Dump artist Nemo Gould isn’t making his garbage art purely, or even mostly, as a political statement. "By virtue of it being made out of garbage, my art does make a statement about waste and overconsumption," Gould said. "But that’s not what it’s really about." Although Gould sees the danger in the complex environmental situations that create places like the SF Dump, his desire to work there had more to do with personal satisfaction than with changing the world. The dump’s Artist in Residence Program offers one of the most coveted positions in the city because it guarantees lifelong access to free garbage.

"There’s a scavenger spirit," Gould said. "Whoever has it is compelled to collect. Whatever comes after that is up to the scavenger."

The scavenger spirit is currently creating a subculture. Like skateboarders who view the city’s byways as a concrete playground, the new breed of scavengers looks at the urban environment from a different perspective. In their eyes the streets of San Francisco are aisles in a seven-mile-by-seven-mile warehouse of free shit. Their primary goal is to decorate their homes with one-of-a-kind furniture, dress their bodies in fly gear, and pad their pocketbooks, all while avoiding overdraft charges and, on the side, helping to generate awareness. In their separate and edgy styles, Gould, Malone, Hernandez, Lewis, and Schirmer have managed to turn this spirit into a lifestyle that doesn’t alienate people with its self-righteousness. I mean, everyone wants free shit, right? Who can’t relate to that?

THE (FREE) SHIT LIST

There’s a fine line between scavenging to make a statement and being a straight-up freeloader. Luckily, it’s up to the individual to decide exactly where that line is drawn. Here are some resources for learning more about the score.

FREEGAN.INFO


Information about strategies for sustainable living beyond capitalism; includes freegan hot spots in San Francisco.

freegan.info/?page=SanFrancisco

REALLY, REALLY FREE MARKET


A monthly alternate-economy festival and a really good place to get rid of your old stuff.

www.reallyreallyfree.org

MISSION INDIE MART


Kelly Malone and Charles Hurbert’s unique party take on the freegan ethos.

www.myspace.com/missionindiemart

SWAPSF


Jason Lewis and Monica Hernandez’s fabulous swap bonanza.

www.swapsf.com

MYOPENBAR.COM


A list of every open bar, happy hour, and extremely cheap alcohol event in the city.

sf.myopenbar.com

GOING.COM


A cross between MySpace and Yelp that focuses entirely on events, including a free section featuring happy hours, art openings, and concert ticket giveaways.

www.going.com

SAN FRANCISCO DEPARTMENT OF THE ENVIRONMENT


Official city site for recycling, disposal, and reuse information.

www.sfenvironment.org

SAN FRANCISCO DUMP


Learn about our city’s unique take on garbage and strategies for recycling.

www.sunsetscavenger.com

SCRAPEDEN SF


An art foundation dedicated to transforming trash into interactive public sculptures.

www.blackrockarts.org/projects/scrapeden-sf

ARTGOODHITLERBAD


Mission Indie Mart cofounder Hurbert blogs his best scavenger finds.

www.artgoodhitlerbad.com

NEMO GOULD


The latest artist in residence at the SF Dump has been making cool stuff from garbage for years.

www.nemomatic.com

Yes, Chuck, enough is enough

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Is Chuck Nevius…
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…the new Ken Garcia?
It’s bad enough that the San Francisco Chronicle and its columnist Chuck Nevius have been demonizing the homeless for months in a highly sensation and misleading fashion. But in today’s paper, they have the gall to claim — with little substantiation — that San Franciscans are no longer tolerant of the poor and now support the homeless crackdown being pushed by the Chronicle and Mayor Gavin Newsom (and let’s not forget the Examiner’s Ken Garcia, whose old anti-homeless columns for the Chron Nevius has now revived).
And when I asked Nevius about why he’s chosen the homeless for his punching bag, he said his coverage has been driven by the “400-plus” blog comments they’ve gotten complaining about the homeless. You see, he’s just giving the people what they want. As he wrote to me, “I understand that not everyone agrees, but I’ve been at this for a while, over 20 years, and my experience is that newspapers can’t create issues — no matter how we try. We can only follow them.”
Well, Chuck, I’ve been at this for almost 20 years myself, long enough to recognize bullshit when I smell it — and to understand when a newspaper is trying to play on people’s prejudices in setting the public agenda.

“You Should Stop Editing”

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REVIEW I should stop editing? Well, an unedited issue of the Guardian has sprung to my wild or tired mind more than once, whether it be rated X or composed entirely of photocopied press releases. In the case of Ema Harris-Sintamarian’s show at Jack Fischer Gallery, the phrase "You Should Stop Editing" might function as a creative credo — one that allows the artist to range freely within works and between mediums. To put it bluntly, what the exhibit lacks in posturing, it more than makes up for in intricate intensity. These metalandscapes of ink and gouache on velum bloom from a technique that verges on digital design or ancient lithograph in its exactitude yet maintains a hand-drawn, idiosyncratic charm.

Nostalgia and science-fiction dystopia tangle and tango in idiosyncratic ways within Harris-Sintamarian’s mazes, grids, and matrices. Upside Down: The Story of Air suggests the skeleton of a spacecraft — and are those construction workers suspended above a roller coaster made of city halls? Elsewhere the cellular and the architectural entwine, sometimes in disturbing, dead-end fashion. Spaghetti, intestines, musculature, bridges, canoes, eggbeaters, machine guns, movie projectors, vaulted hallways, and decorated ceilings ricochet elastically through time and space. At times, as in Lullaby on C, the carefully open-ended result suggests a page from a sophisticated coloring book before its spaces have been completely filled. Gertrude Stein seems to peek from the background of one piece, and Eugène Delacroix is invoked in another, but for the most part the artist’s cosmology is her own. As she has hinted in statements about her work, she’s remaking Alice or trying to find her in the wicked wonderlands of a life that has spanned from Romanian Communism to Californian capitalism. Just as filmmakers such as Cristi Puiu herald a new wave of Romanian cinema, Harris-Sintamarian shows that acute dreaming can be born abroad.

YOU SHOULD STOP EDITING Through Oct. 25. Tues.–Sat., 11 a.m.–5:30 p.m. Jack Fischer Gallery, 49 Geary, SF. (415) 956-1178, www.jackfischergallery.com

Fashion: Eat me

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I once tried to make a bikini out of Fruit Loops – a disastrous project that resulted in melted clear plastic, hundreds of broken colored “o”s, and several hot-glue burns. So when I hear about designers making “edible fashions,” I’m duly impressed and skeptical. But what the designer/chef teams managed to pull off for last night’s Toast of the Town event was nothing less than awesome (in the literal, not California slang, meaning of the word).

I’m not exactly sure how they managed it, but nearly every team concocted an outfit that was not only inventive in its use of materials, but was actually attractive too – as in, if it wouldn’t wilt and smell in four hours, people might consider wearing it in real life (Of course, I didn’t manage to get photos of most of them). My favorite was a piece co-created by Ashley Miller of Tres Agaves: a classy, sassy strapless number made from tequila labels and the curled peels of 250 limes. Of course, there were also the outliers: Sean O’Brien from Myth concocted a halter top with octopus tentacles as fringe (ew!), and the “anarchy confectionary” wedding dresses decorated with candy co-created by Elizabeth Faulkner of Citizen Cake were fun, but too obviously, well, decorated with candy.

octopus_TOT2.jpg
Some designers go for “pretty” or “interesting.” But chef Sean O’Brien was going more for shock value than anything else with this octopus number. Of skinning the octopus to make the bodice, he said, “think about Silence of the Lambs.” Um, OK.

All in all, though, the fashion show far exceeded my expectations, in both form and function. It’s a good thing none of the dresses were for sale, as I might’ve had to buy ‘em all (with my imaginary trust fund, of course), and then a dress-sized icebox to go next to my armoire. I guess it’s back to ill-advised home projects for me.

OLYMPIC_TOT2.jpg
Olympic medallist Allison Wagner modeled a (what else?) aquatic-themed bikini co-created by event host Marisa Churchill (of Top Chef fame), featuring sugar “sand,” gum paste “turquoise beads,” and fish bone accents.

More photos, including those of food, celebrity attendees, and the dancing bow-tie guy, in this San Francisco Sentinel post.

Note: If you know which of the guest designers – Amy Kuschel, Jessica Summers, Joui Turandot, Stephanie Verrieres, and Kimie Sako – collaborated on which fashions, please let us know in the comments. We’d also love a photo of the Tres Agaves dress. I was too busy imagining myself in it to snap a picture of it. You can email a jpeg to molly@sfbg.com.

Toast for two

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Last night I had the classic single journalist’s dilemma: who to take to a work event? In particular, this was Taste of the Town, a swanky food-and-fashion gala thrown annually by the politically evil but socially entertaining Golden Gate Restaurant Association (don’t worry – since I had press passes, I wasn’t supporting their anti-labor lobbying efforts, towards which proceeds of everyone else’s $150 tickets went).

The debate always goes something like this: I have an extra pass to a potentially cool event that I (and my potential date) might not otherwise get to attend. But I have to go there to actually work. If I bring a date I’m interested in, I’ll either ignore my date or ignore my work. So I decide to bring a platonic friend. But then I have to choose the right friend, someone fun, independent, and capable of using restraint at an open bar. Not always easy, and the right Plus One for one event may not be right for another.

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I want candy. Models show off confection-themed wedding dresses co-created by Elizabeth Falkner of Citizen Cake. Of particular interest were cotton-candy hair pieces and chocolate “tattoos.”

Mad chatter

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› kimberly@sfbg.com

SONIC REDUCER What flying snacks do not kill me only make me harder, better, faster, stronger — come all ye children of Kanye West and Friedrich Nietzsche. I love San Francisco. Where else can you catch hell and come this close to getting brained by a pupusa hurled by a nattering, nutty nutbag in orangey pink stretch pants? I’m all the rage, ready for the crème de la Salvadoran vittle missiles.

I’m just cranked on shady luck like that, and was oozing my everyday allotment of pure, untrammeled harassability on a recent Sunday, just minding my own bad bidness strolling through the Mission District. Plenty of lukewarm trade in cell chargers and black velvet paintings of howling wolves and solemn American Indians with ghostly hands emerging from over their maws. Fresh-faced, black-eyed kids in Sunday finery toddled by as I finally landed in Las Palmeras to sample yuca frita con chicharrón. The familias around me were busy cracking crab when an elderly lady with an extremely fashion-damaged Phyllis Diller fright wig cruised alongside me and started in with "You better understand …" before launching into a diatribe en espagnol. Oh, to be the object of so much obsession — as she hobbled outside in royal snit, returning only to yell at me further through the restaurant window. Later, when the good folks at Las Palmeras handed her a conciliatory pupusa — balm to all that ails ya — she flung it, as hard as she could, at my offending, chomping image. Oh, but I don’t understand — I really, really don’t.

Ah Ess-Eff, as if you could ever stop providing safe harbor — or serving up mucho psychotic triggers — for so many mad men and women. You needn’t throw a pupusa far to find classic only-in-SF, Emperor Norton–<\d>style eccentrics or lunatics everywhere you wander. Yet my favorite inspired obsessive this week has to be Chicago’s Galactic Zoo Dossier zine impresario and psych king in his own write-right Steve "Plastic Crimewave" Krakow (least beloved: food-fighter lady marma-lardbutt).

Now out in all its hard-to-read yet lovely-to-behold DIY hand-drawn glory, Galactic‘s issue no. seven, published by Drag City, discharges a wealth of info — and interviews with the Incredible String Band’s Clive Palmer, Gary Panter, Ed Askew, the Strawbs, and Kevin Coyne — for all of us acid- and otherwise damaged lysergic eminencies. Ravin’ spot-on spotlights on dark psych creators like Sam Gopal and Crushed Butler make you wanna bolt out the door — or start up the eBay eye strain — to acquire these jewels. Krakow does give you a taste of the mind expansion under way with the included hot-rockin’ double CD of aged rarities like the Ukuleles of Halifax (a more than 30-strong, all-teen-girl ’70s Canadian uke orchestra) and contempo freak-beaters headed up by Bay Area locals like Assemble Head in Sunburst Sound, Charalambides, and the Stooges’ Steve MacKay and his Radon Ensemble. Shoving in a track by his wondrous Plastic Crimewave Sound and sprinkling his writing with more wells and OKs than a high school speech class, Krakow coughs up 100-plus pages for this issue — making it more booklike than zine-ish.

Still, Galactic foregrounds the fan in fanzine and hews more closely to the spirit of an obsessively handwritten letter than to that of a more sterile blog. And Krakow’s sincerity, knowledge, and breadth of taste — dude delves into Giorgio Moroder and the Banana Splits, revisits overplayed hit makers like the Bee Gees, and resuscitates faded pharaohs like Edwin Starr — inspire you to penetrate his dense scrawl. Also beyond cool: sheets of Astral Folk Goddesses and Damaged Guitar Gods trading cards — collect ’em all, from Jacqui McShee and Erica Pomerance to Jukka Tolonen and Keith Cross, shop hobbits! So this is new reading material for those wondering where to take their Windowpaned stares post–<\d>Ptolemaic Terrascope (now under the editorial leadership of Oakland drummer Pat Thomas of Mushroom and Runt/Water) and Arthur.

Being a lamezoid at crucial moments, I missed the previous six installments of Galactic, but you can catch the first four 300-run issues in the Galactic Zoo Dossier Compendium book-CD (Drag City). Don’t pooh-pooh, sir — you’re as likely to learn about Santa Cruz supergroup Druids as vanguard blues distortion peddler Pat Hare. And you just might like the way your mind feels, blown.

GET THE ROCK OUTTA HERE

N. LANNON


The dreamy former Film Schooler taps a new CD, Pressure (Badman). With Pancho Sanza and the Matinees. Wed/26, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

BONDE DO ROLE


Office boys and girls come out for the baile funk cuties’ armed and dangerous With Lasers (Domino). With JuiceBoxxx and Magic Bullets. Fri/28, 9 p.m., $13. Independent, 628 Divisadero, SF. www.theindependentsf.com

LADYTRON


When you’re 21 you’re no fun, but then you can get in to see a rare live performance by the English combo. With Great Northern. Sat/29, 10 p.m., $25 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

REMEMBERING NICK DRAKE


Nick’s sis, Gabrielle Drake; producer Joe Boyd; and songwriter Jolie Holland talk about the late artist. Tues/2, 8 p.m., $19. Herbst Theatre, War Memorial Veterans Bldg., 401 Van Ness, SF. www.cityboxoffice.com

Cold case

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› gwschulz@sfbg.com

The gruesome death of a French national living in San Francisco is becoming a political hornet’s nest for local top law enforcement officials and the Mayor’s Office.

It’s still not clear how local homicide cops will define 36-year-old Hugues de la Plaza’s death after months of allowing for and even favoring the possibility that he took his own life. Suicide would have made things much less difficult for everyone in San Francisco responsible for catching those who kill, but few people close to de la Plaza believe that he killed himself.

But the French ambassador to the United States, Pierre Vimont, a confidant of newly elected president Nicolas Sarkozy, is following the case closely, and a police officer at the French consulate in Los Angeles is transutf8g hundreds of e-mails from de la Plaza’s Google and Yahoo accounts as well as mining material from the hard drive of his computer after breaking into it last week, a task homicide inspectors here apparently hadn’t yet bothered with.

"I have notified others regarding the implications contained in your letter and the wishes that you expressed to ensure an in-depth and serious inquest into the death of your son," Vimont wrote to de la Plaza’s parents, Mireille and François, earlier this year, according to our rough translation.

The status of the case right now is hardly reassuring for the de la Plazas, who forked out their own cash for a private investigator.

Recent photos of de la Plaza show him with unshorn black hair spilling out from an army cap and wide dark eyes under a pair of bushy brows.

His ex-girlfriend, Mellisa Nix, with whom he remained close, will testify soon in front of the Board of Supervisors’ Public Safety Committee on how well the SFPD is investigating violent crimes in the city as the homicide rate marches swiftly toward a 15-year high.

More than half of the annual homicide cases in San Francisco since 2001 have resulted in no arrests, according to the Police Department’s statistics, and that includes those in which the feds became involved.

Nix has doggedly pursued de la Plaza’s case, starting a blog with photos and updates, frequently calling area newsrooms to urge follow-up stories — she’s a reporter for the Sacramento Bee — and pestering the SFPD’s homicide unit to the point that it now refuses to answer her questions. Messages we left with the SFPD’s Bureau of Investigations seeking comment were not returned.

"From the get-go I had a sense that this investigation was being conducted in a fashion that doesn’t shed a very good light on the SFPD," Nix told the Guardian. "I was the one who had to call the parents and tell them their son was dead."

Two police officers kicked open the back door of 462 Linden on the morning of June 2 after a neighbor discovered blood dripping off de la Plaza’s front doorknob, with spattered pools of it leading from the threshold. They found de la Plaza lying on the floor, stabbed multiple times amid a grizzly scene of more blood that spread from the bathroom up the hallway to the kitchen and into the living room, where it soaked the coach and a television was knocked over.

De la Plaza had recently purchased land in Argentina, earned a promotion at work, acquired a new laptop, and made plans for the upcoming week — all things friends say a man considering suicide wouldn’t have done. But Nix said he had been frequently dating online, and it’s possible that an estranged lover or someone’s boyfriend attacked him.

The night of June 1 he’d met with a friend from work at SF Underground in the Lower Haight after going on a date to an art gallery with another transplant from France.

Nothing significant appeared to be stolen from his apartment after he made it home after last call, and both the front and back doors were locked when the two officers arrived. Immediately, police and officials from the Medical Examiner’s Office suspected a suicide. But Nix and others close to de la Plaza believe that persistent assumption has allowed the case’s trail to grow cold despite evidence suggesting he was murdered.

"It’s fucked-up in retrospect," said Orion Denley, a friend and neighbor who was briefly questioned by police the day de la Plaza was found. "I kept thinking, ‘How come they aren’t asking me if I heard anything?’ All they did was ask over and over again if he was suicidal, like they had already made up their minds that he had committed suicide."

No one from the Police Department contacted him again, but Denley said he heard de la Plaza’s front door slam three times, followed by two crashes and the sound of a distinct set of footsteps on the stairs leading from the apartment.

"It was definitely someone exiting the building," he said, "because you could hear the footsteps getting quieter as they ran away."

There was no suicide note or apparent weapon, nor was there an immediate suspect. Police found a knife in the sink with trace substances that could have been de la Plaza’s blood. They’ve since missed at least two promised deadlines for the completion of a DNA analysis, and now there’s no telling when the results will be available. It’s the only real piece of evidence left allowing investigators to regard de la Plaza’s death merely as suspicious rather than a murder.

"It’s something that I don’t think Hugues would have ever considered doing," Nix said of the suicide theory. "He had his ups and downs. He was a very private person. But if he were going to kill himself, he would probably write a letter. He was very precise and particular about how he conducted his life."

But there’s no doubt the pressure’s on. Sup. Ross Mirkarimi has vocalized his disapproval of the way skyrocketing homicides in his district — which includes the Hayes Valley neighborhood, where de la Plaza lived — are being handled by the Police Department, and District Attorney Kamala Harris has paid special attention to the case. Her chief assistant met twice with de la Plaza’s family, who visited for several weeks earlier in the summer.

The family also met with Inspector Tony Casillas and bureau captain Kevin Cashman but returned to France largely empty-handed. They’ve since discussed using insurance money they received after de la Plaza’s death to establish a support group in San Francisco for the families of victims whose murders go unsolved.

"Is that what it takes in San Francisco? Hire a private investigator and involve a foreign police force?" Nix wrote to Mayor Gavin Newsom in July. "If so, shame on the leaders of San Francisco. If so, God help those in your city who do not have such resources."

“American Dirge”

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REVIEW I confess: despite having a disproportionate appetite for ’60s leftovers — from the children of Coca-Cola and Marx to the Mamas and the Papas, I eat it all up — I’ve felt my enthusiasm flagging in the past couple of weeks. Is it Summer of Love indolence? Brightblack ballyhoo? Regardless, what a stirring relief to come upon "American Dirge," a solo show at Tartine Bakery spotlighting the charmed collages of local up-and-comer Ryan Coffey. Using cutouts summoning fashion and the occult — shades of Kenneth Anger — advertising, and rebellion, Coffey isolates the decade’s ephemera against a clean white backdrop. Arranged into mysterious pyramids and ovals, his collages are simultaneous efforts in decontextualization and reanimation. As a whole, the collection emits an unmistakably mystic aura — echoing watercolor drips suffuse the show with a heavy, droning undertow befitting its title.

In his notes to "American Dirge," Coffey draws inspiration from Jimi Hendrix’s version of "The Star-Spangled Banner," itself a primary document of the notion of artist as alchemist. Given our culture’s inclination to neatly package the ’60s, Coffey’s scrambling of the era’s colors, poses, and moods seems almost radical: rather than emphasizing generic catchalls — peace and love, wild in the streets, Vietnam time — he keeps his eye on the more abstract side of the equation, the epoch’s discord and dream life. That "American Dirge" is as much about the incantatory act of looking back as it is about finding a kind of past-present communion is clear from the work’s healthy imperviousness to simplistic interpretations.

AMERICAN DIRGE Through Oct. 3. Mon., 8 a.m.–7 p.m.; Tues.–Wed., 7:30 a.m.–7 p.m.; Thurs.–Fri., 7:30 a.m.–8 p.m.; Sat., 8 a.m.–8 p.m.; Sun., 9 a.m.–8 p.m.; free. Tartine Bakery, 600 Guerrero, SF. (415) 487-2600, www.tartinebakery.com

Swede ‘n’ hoedown

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› superego@sfbg.com

SUPER EGO Bad gay hair is back! From Chris Crocker’s "Leave Britney Alone!" bilevel blond bob apocalypse to Perez Hilton’s ever-changing lamebow of neon locks (bitch looks as though the Planet Unicorn creatures from YouTube exploded on her giant head), the homo hair horrors of the past are rising like silk-shirted, Daisy Duked zombies, tearing through a screen near you. Pull up a Rent-a-Center white vinyl sectional and dig into a plate of fried wig. These are the Famous Gays of Our Moment. This is our culture. So fuck your stinkin’ herbal Fructis — plaster me with Queen Helene, suck me into Manic Panic, pump me up like L’Oreal. I wanna be fa-mousse.

Speaking of Planet Unicorn: I went to Oakland. This column’s become San Francisco–centric (not to mention gayer than a third grade playground), and I almost feel guilty. There’s a Bay full of hot boys out there! So, over Labor Day weekend, me and Hunky Beau saddled up the ol’ BART — which, in a windfall for stoned revelers, was running 24 hours a day — and high-tailed it to Bench and Bar, Oakland’s premier queer downtown dance palace for lusty Latinos.

There we found a proud brown Urban Cowboy wonderland. Saturdays play host to La Bota Loca, an overflowing evening for lithesome vaqueros in white Stetsons and kicky Tony Lamas hopping to regional Mexican hits and line-dancing to the Spanish version of "Achy Breaky Heart" ("Mi Pobre Corazón"). I recently bemoaned the lack of queer club nights where I could polka my pixie boots off to norteño and banda music. This is where I finally got a joyous earful of Sinaloense, Duranguense, and "Hey, what’d he say?" I’ve got to learn española.

The 3 a.m. BART ride home was a party. Hazy hyphy kids, tattooed punk nymphs, cowboy-hatted queens, and various future rehabbers piled on to cause unique havoc on the SF streets. Unfortunately, the car with the portable DJ setup was packed — we’d have to squeeze in next to the drunken Cal rugby team, stripping off their shirts and challenging one another to wrestling matches. Hurriedly we acquiesced.

MUCHO MACHO MALMÖ Much like the "Gabbo is coming!" ads on The Simpsons, a mysterious, gaudy poster has been plastered about the city, causing much flurry and flutter. On it, a slick-mulleted playboy with an Angelina-forearm-thin mustache is flanked by two busty blonds in spandex strips. Giant text screams "Günther — LIVE!!!" Who? What? Why?

"Is this some kind of joke?" Hunky Beau asked aloud when he first saw it. But really, isn’t that the cry of a dance floor generation?

In the tradition of, er, Fischer Spooner and Junior Senior, Günther traffics in the kind of poker-faced genius ambiguity that kicks your ass on the dance floor while shoving your tongue far enough into your cheek to block your bowels. (Although maybe that’s the coke.) Günther’s first huge release, "The Ding Dong Song," rides an infectious beat so stereotypically generic techno that it comes out the other side of awful, emerging into brilliance. It’s about his dick. He calls his dick his "tra la la." His press release describes it as a "gangling manhood." I e-mailed him immediately.

"My massage is love," he wrote back from Malmö, Sweden, where he resides. "I start my day off surrounded by Sunshine Girls" — his writhing lesbotronic backup vocalists — "have a champagne breakfast, and spread my massage of champagne, love, sex, glamour, and respect! I have always lived my own glamorous, sexy life of fun!!!" Who could argue? Other bouncy songs — and videos — of head-scratching wonder include "Teeny Weeny String Bikini," "Tutti Frutti Summerlove," and, yes, "Christmas Song." Sweeede

SEWN UP Fashion Week is more over than irony, but you still need a look. Hit up Thread, an underground fashion blast featuring a plethora of killer local togs, no-host bar grog, and something about lots of great DJs that ends in og. Best part: discounts! OK!*

LA BOTA LOCA

Saturdays, 9 p.m.–2 a.m., $20

Bench and Bar

2111 Franklin, Oakl.

www.bench-and-bar.com

GÜNTHER AND THE SUNSHINE GIRLS

Sat/22, 10 p.m., $30

Sound Factory

525 Harrison, SF

www.gunthernet.com

THREAD

Sat/22, noon–6 p.m., $10

Festival Pavilion

Fort Mason Center

Marina at Laguna, SF

www.threadshow.com

These charming men

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› kimberly@sfbg.com

SONIC REDUCER Last night I dreamed that Morrissey played San Francisco. And waking, stumbling out of the top bunk, and triggering an avalanche of promo CDs, I was happy in the haze of that Estaban-drunken hour, but heaven knows I’m wondering, what difference does it make when that charming man has teased us so often before? Now I know how Joan of Arc felt, charging into Mr. Steven Patrick Morrissey’s onetime Los Angeles hood to flyer his street with mash notes. And on the cusp of Mr. Smith’s first San Francisco–<\d>proper shows since his two-night stand at concrete box Maritime Hall in 1999, I can’t help but wonder, my PETA poster child, why you have ignored your acolytes so, playing seemingly everywhere but here since canceling your 2004 Now and Zen Fest turn due to sinusitis and laryngitis. Do we make you sick? Is it my forlorn fashion sense? Our inability to untangle your artful Gordian knots of pop-song allusion? Is it my Kahlua breath?

Pop professionalism is such touchy subject these days — poke it with a stick and turn it over to find the now-chastened Britney Spears. Give it another nudge and find, on the other shining side, perhaps Prince and Morrissey, who’s fired away at his share of prefab stars who have no business fingering the hem of his tear-away dress shirt. Regardless of his latent music- and cultural-crit tendencies, Mr. So-Called Bigmouth is one of the greatest performers alive. I finally saw him in 2002 at Berkeley’s Greek Theatre, opening for Los Jaguares and utterly besotting the seething mass with "The World Is Full of Crashing Bores," "There Is a Light That Never Goes Out," and plenty of scrumptious previews of his You Are the Quarry tunes, and his magnificent feints and swoons, his fetal and Christlike poses during "Meat Is Murder," his heartfelt "Mexico," and the moment he tossed his shirt to the snatching crowd made me badger anyone who’d listen to give Morrissey a regular Vegas gig, years before Prince held down a brief lounge act there. So all those who have been missing the King (or are so green they don’t even remember one) or never believed he left the building, take (Irish blood, English) heart — Morrissey carries forth his flaming rock ‘n’ roll torch, embodying all the sexiness, expressionism, originality, professionalism, and subversion of long-gone rock regents like Elvis Presley. If you are a follower, this will only fan the fire. If you’re not a fan, you will be. Maybe Brit would have been forgiven if she had mumbled, "Gimme Moz," instead.

SOUNDING OFF James Murphy of LCD Soundsystem knows of what I speak, rasping amiably from New York City before embarking on a tour with the Arcade Fire. Hot on the heels on the infectious electro rock ‘n’ disco of Sound of Silver (DFA/Capitol), Murphy talked up the forthcoming vinyl and CD release of his "Nike thing," 45:33 (DFA) ("It was just a download thing, which infuriates me because MP3s sound like shit!") and a comp EP of remixes evocatively titled A Bunch of Stuff (EMI). Why the release frenzy — add in a Fabriclive mix CD by Murphy and LCD drummer Pat Mahoney — when the DFA Records cofounder could be enjoying his downtime watching The Fashionista Diaries and Ultimate Fighting with the missus?

"I don’t like things coming out on difficult formats," Murphy, 37, grumbles. "I don’t like it if something’s not on vinyl or CD, so I kinda regularly remember my roots as a big Smiths fan, scrabbling around. I know they put out [Louder Than] Bombs and Hatful of Hollow, where they compile all the little things so that you can find them on the right format. I try to diligently do that."

At least he can look forward to some carefree, cutthroat fun with the Arcade Fire. "We have band crush!" raves Murphy, who’s expecting to battle Win and Will Butler over a steaming croquet set. "Win is very competitive — there’s no i in team, but there is one in ‘Win’!"

Not to mention a declarative "Win." But what does the a in "James" stand for? "Aaayiii!"

MORRISSEY

Sun/23–Mon/24 and Sept. 26–27, 8 p.m., $65

Fillmore

1805 Geary, SF

www.ticketmaster.com

LCD SOUNDSYSTEM

With the Arcade Fire

Fri/21, 6 p.m., $26–$46

Shoreline Amphitheatre

1 Amphitheatre Parkway, Mountain View

www.ticketmaster.com

For more of the interview with James Murphy, go to the Noise blog at www.sfbg.com/blogs/music.

PARTY WITH ME, PETA

SAMARA LUBELSKI


The mind-morphing NYC psych songstress partners with Tom Carter and Christian Kiefer in Oakland and Giant Skyflower Band, Glenn Donaldson’s "bummer psych" outing, in San Francisco. Wed/19, 9 p.m., sliding scale. 21 Grand, 416 25th St., Oakl. www.21grand.org. Thurs/20, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

DIPLO


After editing the film Favela on Blast, Wesley Pentz touches down in Jessie Alley with collaborator Switch. Sat/22, 10 p.m., $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

JOHN MCLAUGHLIN


The fusion guitar maestro offers a taste of the SFJAZZ fall season. Sat/22, 8 p.m., $25–$80. Nob Hill Masonic Center, 1111 California, SF. www.sfjazz.org

OAKLEY HALL AND MIST AND MAST


The Dead live! Brooklyn’s bucolic sing-alongers strum along with Oakland’s indie chantey rockers Mist and Mast. Sat/22, 10 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Freddy Krueger: song-and-dance man

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Jason had a bigger knife, and Michael Myers got the trendy Rob Zombie treatment. But ol’ razor-hand had the best musical moments by far. The highlights:

Dokken, “Dream Warriors” – Is Patricia Arquette scared of Mr. Krueger — or Don Dokken’s fashion?

The Fat Boys, “Are You Ready for Freddy?” – Clad in striped sweaters, the Fat Boys are enticed to spend the night in “Uncle Frederick’s house.” Plus: Freddy raps!

There’s no YouTube video of DJ Jazzy Jeff and the Fresh Prince’s “A Nightmare on My Street.” So here’s a truly bizarre karaoke version. Some context for this performance might help … though it’s kind of more amazing without.

You go, I go, we all go for Viggo

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A painter, poet, jazz musician, and political activist, Viggo Mortensen is a mass of complicated, sometimes conflicting energies and interests. He’s as macho and swarthy as they come, but with a contemplative thirst for truth. He’s shy, but a bit of a motormouth (and can run on in at least six different languages). Mortensen is a matinee idol with a philosopher’s soul — Jean-Jacques Rousseau trapped in the body of Rudolph Valentino.

When I interviewed him last month during his stop in San Francisco to promote the David Cronenberg–directed thriller Eastern Promises, it became clear that the strong-yet-delicate thing isn’t just a clever shtick. Looking tan and lean and sporting an impressive ‘stache, he was soft-spoken and friendly. It didn’t hurt that he came bearing gifts — before I even sat down, he placed a shrink-wrapped copy of Exene Cervenka’s book of collage, 666, on the table in front of me. (Mortensen’s boutique company, Perceval Press, publishes the book by the artist and X frontwoman, who is not so coincidentally his ex-wife and the mother of his teenage son, Henry.)

What sometimes gets lost in the Viggo-induced swoon is that the man is a fine actor. Mortensen is often the best thing in his movies, though in the past that sometimes wasn’t saying much. After delivering what should have been a star-making performance in Sean Penn’s 1991 directorial debut, The Indian Runner, he languished in B-movie hell (American Yakuza) and dud big-budget productions (Boiling Point, Daylight). Peter Jackson might have given him the exposure he was due in the Lord of the Rings trilogy, but it took a weirdo genre director eager to flex more commercial muscles to give him the roles he was born to play: sensitive, soul-searching, primordial beasts.

In Eastern Promises, his latest collaboration with said weirdo director, Mortensen plays Nikolai Luzhin, a driver and all-around henchman for the notorious Russian organized crime syndicate Vory v Zakone. During its making, Mortensen helped literally and figuratively to flesh out the idea for what became a major thematic refrain — the detailed prison tattoo work found all over Nikolai’s body. "[Tattoos were] mentioned in the original script in passing," he noted. "But like everything else, I wanted to know what that meant. A friend of mine, Alix Lambert, made a great documentary called The Mark of Cain, where she went into maximum-security prisons in Russia and learned about Russians and Ukrainians and Georgians — men and women — who have identified themselves with these symbols. I learned, among other things, that symbols and text — religious or other — that seem to mean one thing on the surface actually mean something quite different. It’s a CV, a résumé, that they have on their bodies."

Mortensen studied Russian for the role and traveled to the country for research. "I checked with people who had backgrounds not dissimilar to the character I was playing. Once they realized I wasn’t trying to mock them or wasn’t going to do yet another clichéd Russian or be critical of them — I was just trying to get it right — then they were very helpful. So the tattoos were correct."

Mortensen acknowledges that his comfort level with Cronenberg has freed him to do things he might normally be hesitant to do — for instance, fend off an attack from two mobsters in a bathhouse while wearing nothing but the aforementioned tattoos. He has done full-frontal nudity before, in The Indian Runner, but never in such a physically demanding, exposed fashion. In an intricately choreographed scene destined to be one of the most talked about of the year, Mortensen brutally yet balletically propels his body through the frame in mostly long shots. Like the climactic (ahem) sex scene in A History of Violence, this is Eastern Promises‘ defining physical act, a turning point that irrevocably alters the emotional predicament of its central character. And it’s a doozy.

"We talked about it long before shooting and as we were working out the choreography," Mortensen said. "And I said, you should just shoot it like you do the rest of the movie — for real. It shouldn’t be limited. You shouldn’t have to try to make the body look glamorous or avoid seeing the whole body as much as possible. Forget about the fact that people are going to do screen grabs. It’s just the way it is." (Michelle Devereaux)

Somewhere over the White Rainbow

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Adam Forkner’s creativity is now almost entirely unfettered. Performing and recording as White Rainbow, the onetime Yume Bitsu member today experiences few blockages between said creativity and the musical end product, and as a result he’s "finally understanding how to make music that [he’s] proud of." It’s a rather surprising sentiment considering his bang-up musical pedigree: ((((VVRSSNN)))), Dirty Projectors, Jackie-O Motherfucker — none of which are even slightly inhibited in the invention department.

This newfound creative clarity, which Forkner describes over the phone from his home in Portland, Ore., is thankfully not confined to the depths of the White Rainbow DAT machine. His music — a droney assemblage of syncopated rhythms and looped, tripped, and delayed instrumental layers — humbly offers the vibes of its healing ambience to all listeners.

Inspired chiefly by Terry Riley’s delayed keyboard pieces, White Rainbow’s music is mostly flat-out improvised. Live, Forkner employs a guitar, a microphone, a hand drum, and various looping devices and effects pedals to shape wispy, winding riffs and layered rhythmic patterns into wholly organic, psychedelic drone grooves. Earlier recordings, most of which are collected on 2006’s five-CD, single DVD Box (Marriage), reflect this purely improvisatory approach. His upcoming album for Kranky, Prism of Eternal Now, was constructed in a different fashion than before, as Forkner found himself using computers, with which he "deeply went in, sculpted, and added parts" to provide a more precise shape for his pieces.

This week’s beneficiaries of White Rainbow’s sonic balm will unfortunately not be treated to Forkner’s White Rainbow Full Spectrum Vibrational Healing Center, an occasional long-form live format that he cherishes: beneath a canopy, lights and video accompany his live instrumentation over several hours, during which listeners are free to come and go. "The motivation is to create a calming environment for me to be able to explore sound with people," he explains.

Yet isn’t this "healing center" business a bit hippieish for someone so indie rock? Forkner admits to "exploring his place in the New Age continuum," but his affinity for playing in odd outdoor or tented spaces shouldn’t be misconstrued as the sign of an impending Yanni career move à la Live at the Acropolis — dude just feeds off environments other than rock clubs, dig? With its music so deftly constructed and brilliantly serene, White Rainbow’s space is a place many might want to drop in on. (Michael Harkin)

WHITE RAINBOW

With Dirty Projectors, Yacht, and Sholi

Wed/12, 8 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Slow art movement

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› a&eletters@sfbg.com

PREVIEW If you didn’t experience The Weather Project, Icelandic artist Olafur Eliasson’s 2003 installation in London’s Tate Modern, chances are you’ve seen images of it in any number of nonart publications or photo blogs. The piece — a dramatic emulation of an amber sun’s atmosphere, created with such simple elements as a bank of lights and a mirrored ceiling — reportedly attracted two million visitors, many of them repeat customers, who sprawled on the public floor, pondered their reflections on the ceiling, and basked in the glow. It was, to say the least, a popular work of art. But high visibility and big crowds, in art world circles, are usually viewed with skepticism or met with critical intimations of diluted intentions, easy punch lines, or sellouts.

Eliasson’s work — the subject of two concurrent exhibitions, including a midcareer survey and a presentation of a frozen BMW hydrogen-powered race car made as part of the car company’s high-profile art program, that open at the San Francisco Museum of Modern Art this week — is that rare animal that manages to appease a broad public as well as art cognoscenti. His experiential and frequently sublime projects are usually created with exceedingly common, immaterial, and noncommodifiable elements, including air, water, light, and water, though in their sophisticated deployment, Eliasson — who operates a studio employing 30 architects, scientists, researchers, and fabricators — makes art that is the antithesis of funky. The artist harnesses natural and perceptual phenomenon, alludes to environmental concerns, acknowledges an artistic connection to the California Light and Space artists of the 1960s and ’70s, and taps into the allure and resources of high-end luxury brands. He rigorously engages in thorny intellectual dialogues on the nature of art in the 21st century. In short, Eliasson is an unlikely candidate as a popular artist.

In his case, approachability is only one component of very layered intentions. "I’ve always been very proud of being a mainstream artist and not trying to be on the outskirts of society," Eliasson confessed to me during a recent visit to the city to supervise the labor-intensive installation of his SFMOMA-originated show. "I have no interest in being avant-garde in the sense that it means I’m not part of society. There’s a great value to be found in feeling a part of society."

In fact, Eliasson’s works are notable for the way the viewer’s participation makes them complete. His installations rely on perception and immersion. It’s not for nothing that his survey exhibition is titled "Take Your Time."

The exhibition entailed a major transformation of the fifth-floor gallery at SFMOMA from an expansive, open room to an elliptical warren of spaces to let visitors experience such self-descriptive pieces as Room for One Color, 360 Degree Room for All Colours, Moss Wall, and One-Way Colour Tunnel, the latter an elaborate new piece in which the museum’s skylight bridge becomes a kaleidoscopic passageway from one direction, a monochromatic one from the other. Eliasson had much to do with the layout of the show, which is designed to slow down the experience, and the word temporality and the idea of its manipulation are invoked frequently in conversation.

"The reason I think the sequence of my installation here is so crucial — and my involvement with it is about implementing temporal ideas into the show — [is] a lot of the pieces are actually slow," he said. "The tunnel [over the bridge] has no central way of looking at it. You have to walk through it one way and then another to experience it. The whole idea of all these long tunnels — the show is really a show of corridors — is another way of mediating temporality."

Eliasson’s work is concerned with the act of engaging in the present moment. His car, Your Mobile Expectations: BMW H2R Project, for instance, is an iced vehicle, presented as the separate exhibition "Your Tempo" in a room-sized freezer that chills to 14 degrees Fahrenheit.

The vehicle is presented by the museum’s Department of Architecture and Design, attesting to the latitude of Eliasson’s work, which has been seen through the lenses of art, fashion, architecture, design, and environmentalism. He emphatically stresses the means. "I don’t think art is that fragile," he said. "Art can easily go out and work like a virus."

TAKE YOUR TIME: OLAFUR ELIASSON

Sept. 8, 2007 Feb. 24, 2008

YOUR TEMPO: OLAFUR ELIASSON

Sept. 8, 2007–Jan. 13, 2008

Mon.–Tues. and Fri.–Sun., 11a.m.–5:45 p.m.; Thurs., 10 a.m.–8:45 p.m.

$7–$12.50 (free first Tues.)

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

Spaghetti eastern

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› cheryl@sfbg.com

How many times am I gonna have to rave about Exiled before you go see it? It’s been a year since I first caught it at the 2006 Toronto International Film Festival; the 2007 TIFF starts Sept. 6 and features Mad Detective, Johnnie To’s latest collaboration with Wai Ka Fai (Fulltime Killer). Needless to say, I’ll be first in line at that flick — and perhaps, like Exiled, it’ll play the San Francisco Asian American Film Festival before finally opening in theaters. So you missed Exiled at the Asian fest, and you missed To’s Triad Election when it rat-a-tatted through town a few months back. I hope you’re paying attention now, because you’re getting another big-screen crack at Hong Kong’s most exciting director since John Woo skedaddled for Hollywood. Don’t sleep on it.

If you’ve seen Exiled, of course, you know what I’m jawboning about. A sort-of sequel to what was previously held to be To’s best film (excluding 2001’s wondrously wrong Love on a Diet), 1999’s The Mission, Exiled happens upon a group of gangsters at a crossroad. Control of Macau is about to be handed to China, and triad kingpin Boss Fay (Simon Yam) is determined to maintain his position in the underworld. Meanwhile, outcast foot soldier Wo (Nick Cheung) has ill-advisedly returned to town with wife (Josie Ho) and baby in tow. Dispatched by Fay to take him out are Wo’s former compadres Blaze (Anthony Wong), Tai (Francis Ng), Cat (Roy Cheung), and Fat (Lam Suet). He’s their bro, so they don’t wanna kill him. These are assassins with hearts as generous as they are deadly. A compromise is reached: before Wo dies, the band will reunite for one last crime — the spoils of which will set his family up for life.

Of course, even the simplest plan is destined to go awry in a milieu geared toward staging as many balletic sequences of slo-mo gun-fu as humanly possible. As our antiheroes ride a hail of bullets through coincidences tragic and unbelievably convenient, To charges the action with an inspired array of spaghetti western motifs. World-weary Blaze needs only a cowboy hat (he rocks sunglasses instead) to be Lee Van Cleef’s fashion heir. The soundtrack twangs with plaintive guitars. Tables are upended in a restaurant shoot-out that mirrors the kind of Wild West brawl a hunchbacked Klaus Kinski might set off. A gold heist (because it’s good to be bad, or even ugly sometimes) is discussed. A harmonica emerges from a pocket while a campfire blazes.

To say much more about the plot would spoil its breakneck twists and turns, but know this: Exiled makes its lasting impact with its tone, which is palpably shaped by the tension of uncertainty and moral ambiguity. Plus, it doesn’t get much better than a movie that balances hair-trigger violence with moments of gentle humor, as when a battle royale segues into an impromptu dinner party — and the realization that spent bullets are floating in the tea.

Though Yam makes an over-the-top villain — and the actor playing the region’s police sergeant, who is predictably days from retirement, trowels on the whiny smarm — the film’s core ensemble of gangsters speaks little and expresses less, at least overtly. Wong’s face barely changes expression throughout. Still, it’s evident that the bond between the men transcends triad politics; when they gather for a snapshot at the film’s beginning, it’s contrasted with a photo of the group as cocky youths. Clearly, a lot’s happened since then. We don’t know precisely what, but friendships that go beyond who’s been ordered to kill whom have been well established — even as the code of the gangster is understood as law. "I have to kill you," Blaze tells Wo without affect. And Wo knows.

Wong — a Hong Kong superstar who’s slated to appear in the next Mummy film, forebodingly subtitled Tomb of the Dragon Emperor, alongside Brendan Fraser and Jet Li — gives a subtle performance that’s Exiled‘s heart. Though much screen time is given to Ho’s anxious wife, Wong’s quietly resigned hit man carries more power. His greatest moment of emotion comes when he realizes that the gang, seemingly on the brink of freedom, is obligated to follow through on a promise made to a fallen partner in crime. It’s a dilemma fit for any good pistol opera — and Exiled just happens to be a great one.<\!s>*

EXILED

Opens Fri/7 in San Francisco theaters

Socked and odd

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› le_chicken_farmer@yahoo.com

CHEAP EATS Sockywonk’s sister Sisterwonk made Socky a sock monkey with multiple piercings and horns, so she named it after herself. She named it Socky. Now I have to call Sockywonk "Wonk" for short, to avoid confusion. We made a fine pair, the three of us — me, Socky, and Wonk — in Kansas, and at Cracker Barrel, and all along the Loneliest Road in America.

Truck stop to truck stop we did not get beat up or even pointed at, we three freaks: the tranny chicken farmer, the punkish weirdo, and the devilish sock monkey with a fetish for road kill. Well, one little kid cried when Wonk showed Socky to him, and that was it.

Yes, you heard me right: Cracker Barrel. It wasn’t my idea, but I admit to being down with it. All I needed to know was fried okra, and Sockywonk kept saying it, like a mantra, "fried okra, fried okra, fried okra." Then when we finally found one she said, "Prepare to be shocked and awed."

I didn’t know about shocked. I didn’t know about odd. All I needed to know was fried okra, and that was what I ordered with my chickens and dumplings. They give you three sides, and I chose okra, okra, and okra. None of them were really worth writing about. I’m not going to write about the chickens and dumplings, either. Don’t worry.

The only thing remarkable about Cracker Barrel, besides the novelty of it, for me, was sweet tea and real butter.

And what Sockywonk really wanted more than mushy beige food, I figured out later, was to be able to call her mom and dad and say, "Guess what! We ate at Cracker Barrel!"

There are some things in life that I understand.

Other things, I am learning, like how to not always look like a chicken farmer. We went into a lot of thrift stores, and Sockywonk played big sister, fashion checking all my purchases. She did let a bit of gingham slip through, but other than that, weather permitting, I am now going to be leggier and chestier than I used to be. Just to warn you. If you see a totally hot chick walking around town without any chickens, say hello because that’s me.

I’m back! Safe, and unsound.

The day after our return, I waited for the Wonk to leave, and then I donned my new gingham pants and orange "I Rock It Old School" tank top, painted my toenails neon green, and drove up to the woods to a chicken coop dedication party. I took my steel drum with me, and my country buddy Mountain Sam, who was stuck in the city and kinda could use a ride home.

We stopped and bought a watermelon. We stopped and got a rack of baby backs, a bag of potato chips, and two big beers. I can’t tell you how happy it makes me to be back in the Bay Area, y’all, and in particular to be back in my beloved Sonoma County, west county, in the redwoods, sitting on a stone wall with the Mountain, and sucking down a rack of ribs. There was a blue grassish band called the Wronglers, and they were playing "Red River Valley," "Home on the Range," and other ideal soundtracks to pork and beer on a stone wall in the woods.

For now, I still live in Noe Valley. But my new favorite barbecue is in Petaluma. It’s called Lombardi’s and they have a whole chorus line of barrel smokers in front, kicking out chickens and ribs and tri-tip, salmon, burgers and dogs, and even nonmeat grillables like corn, asparagus, and mushrooms.

I can speak for the baby backs: excellent! We saved some for Veronica. I dipped potato chips into the leftover sauce. Between sets, I whipped out my steel pan and played a handful of chicken farmerly songs, like the one about how I first became a chicken farmer, and the one about how my chickens drink my bath water, and the one about how I want to be a chicken, and the one about how when I die, I’d like for my chickens to eat me, please.

And all the while I didn’t have a single chicken in the world, and lived in a yardless basement apartment with grocery store eggs in the fridge.

Still, kids and old folks loved me. Our hostess said she was going to name one of their new baby chicks after me, and then I knew that I had made it.

LOMBARDI’S

Daily: 10 a.m.–8 p.m.

3413 Petaluma Blvd. N., Petaluma

(707) 773-1271

Beer and wine

AE/DISC/MC/V

Class of 2007: The Passionistas

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SUPERLATIVE Most Likely to Succeed

QUOTE "We want the fashion line and the fragrance."

"We’d like to be pro — in the sense that we’d like to not work and have lots of money," Aaron Sunshine says of the Passionistas. Based on the group’s Kelley Stoltz–produced debut, God’s Boat (New and Used Records), Sunshine, fellow songwriter Myles Cooper, and bandmate Andrew Lux have earned the right to think big. Yeah, it’s hard to draw blood from a stone, but it’s even tougher to mine new blood from old rock music. Yet that’s exactly what the Passionistas do. If you’re a 21st-century modern lover, ready for post-Y2K "12XU" anthems, and you know you can’t hide your love forever, your dream soundtrack is ready. The Passionistas are so new and so classic they could revirginize an ancient whore.

They’ve got the punk smarts to cover Yoko Ono’s conflicted "No No No," to know fucking is a hot word not used often enough in rock lyrics, and to realize that it’s impossible for a song named "Teenage Jesus" to be lame. But make no mistake: the Passionistas have huge pop potential. They love Lil’ Wayne (Cooper: "He really frees himself of history to say what he feels"), they think Beyoncé’s aggressive shrillness is a sign of the times (Sunshine: "B-Day is like a hardcore album"), and they worship Aaliyah (Sunshine: "She and R. Kelly and Timbaland had this crazy alternative vision that is what we now think of as R&B"). Tom Sneddon is their antichrist. "We supported Michael Jackson through his entire trial," says Sunshine, a young man with a mission born and raised in the Mission. "We have a drum that has ‘Free the King of Pop’ painted on it."

The agnostic-to-atheist Cooper and Sunshine met in a math class at City College of San Francisco. They took the title God’s Boat from a speech by a contestant on Missy Elliott’s reality show The Road to Stardom. If their road to stardom is flooded, they’re ready to go the Noah’s ark route, or perhaps catch a ride on the American whales — seal-bullying orcas sporting stars and stripes — that are part of the Bay Area vista on their album’s Photoshopped back cover. Never descending into what Cooper disdainfully calls a "brofest," the Passionistas’ studio recording with longtime fan Stoltz is ready for the canon. "One Foot on a Banana Peel" is the best grandma-dis track ever, "Fucking Cold" is a boy-raised-on-riot-grrrl tantrum that makes the absolute most of leaping an octave, and if Lou Reed hadn’t turned into such a bore, he’d undoubtedly wish that he’d written "Going Gay." There’s nothing else to motherfucking say. (Johnny Ray Huston)

THE PASSIONISTAS With the Happy Hollows and the Dont’s. Thurs/30, 9 p.m., $7. Make-Out Room, 3225 22nd St., SF. (415) 647-2888, www.makeoutroom.com