Fashion

Class of 2007: The White Barons

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CLUBS Detention hall, Saturday school, Motörhead Appreciation Society

QUOTE "We’re all fuckin’ wasted. It’s one big van full of trouble, comin’ to a town near you."

"Yeah, I just rolled out of bed," Baroness Eva von Slut says when I give her a call at 2 p.m. the day after the White Barons’ show at Thee Parkside. Ah, the White Barons. The fuckin’ White Barons. They were a marketing machine of dubious T-shirt messages — rolled bills, razor blades, powder piles, and crossed keys — before they played their first show, and if I didn’t know von Slut from Thee Merry Widows, I might’ve been reticent to check them out: bands who have their swag down pat before playing out usually blow their nut before anything exciting happens.

Not so with the WBs. With von Slut on vocals, Baron Johnny One Eye and Nate von Wahnsinn from the Whiskey Dick Darryls on guitar and bass, respectively, and Baron Adam von Keys, formerly of All Bets Off, on drums, the group was pretty much a lock to achieve rock ‘n’ roll juggernaut status before playing a note.

Sure enough, when I caught them opening for the Dwarves during Noise Pop, though I thought I knew what to expect, I was laid out by their raw-boned punk ‘n’ roll brutality. I don’t mean to blow too much smoke up her ass, ’cause I’ll have to live with it when I see her around town, but von Slut’s got some goddamned pipes, like a ’65 Triumph chopper without mufflers, like Glenn Danzig if he drank more whiskey and weren’t three feet tall. Her vocals with the Barons are nothing like they are with the Widows: stripped of the comparatively genteel stylings of psychobilly, they range from a throaty wail to a flesh-peeling scream. Perhaps more surprising is that underneath the band’s power lurk solid hooks, as evidenced on this year’s Gearhead debut, Up All Night with the White Barons. The songs range from broken-hearted barnstormers like the opener, "You Never Were," with bassist Nate’s hilarious mongo-gorilla background grunts, to a battery of unapologetic drinkin’ and druggin’ party anthems — "Wicked Ways," "Champagne & Cocaine," and "How High."

So are the White Barons a one-trick-pony party band? Do you need a key bump and a shot of Jack to smell what they’re cookin’? I’d say no. In a town where people front so-called rock groups while sitting in chairs, where the vocalist’s outfit is often (intentionally) more memorable than the music, where freak folk acoustic scruffy beards in their grandpa’s shuffleboard action slacks have elbowed out the rock ‘n’ roll impulse, the Barons hearken back to a time when seeing a band live was like a good, honest fistfight, not a chess game with Noam Chomsky.

"Should I talk some shit?" von Slut says. "I would say the lamest thing about the SF music scene is some hipster-ass, girlfriend-jeans-wearing motherfuckers. That seems to have taken over — the most important thing is the image and the fashion.

"Man, we’re livin’ it. We’re livin’ the rock ‘n’ roll lifestyle. We’re down in the trenches. We’re making rock ‘n’ roll happen." (Duncan Scott Davidson)

WHITE BARONS Soapbox Derby preshow. Oct. 27, 8 p.m., call for price. El Rio, 3158 Mission, SF. (415) 282-3325, www.elriosf.com

Michelle Tea hits Sewdown

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By Michelle Tea

Last Saturday night I went to Sewdown, a fashion party that billed itself as an alternative to San Francisco’s fashion week.

Yes, San Francisco has a fashion week, and it’s OK that you didn’t know that.

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Sewdown took place at the Temple Nightclub, a place that does indeed look like a temple, for a religious sect worshipful of art galleries: the place is all white with high-ceilings and cold columns on the inside. The perfect place for a fashion show!

Me and my partner in finery, writer/filmmaker Tara Jepsen, grabbed some Cokes (no Diet Cokes? at a fashion show?) and started posing. Tara had raided the closet of an employee of Danielle Steel who gets to go on shopping jaunts to Paris, and as a result was wearing a Behnaz Sarafpour dress of silkscreened black lace and a mesh heart that framed her cleavage in a sweetly pornographic style. She also scored a knit Dolce & Gabbana purse, which we entertained ourselves with by speculating on its original price. Tara confirmed that yes undeed it does make you feel like a better person to wear amazingly fancy clothes, and I believe her because I felt like a better person just standing next to her. But this is not about me and Tara, this is about Sewdown.

Visual raids

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Kimberly Chun


1. Billy Childish Who can fathom the mind of a Childish? The insanely productive garage rock legend carves out a space in yet another medium, exhibiting the woodcuts and paintings that inspired him to cofound the stuckism art movement, a figurative response to the Charles Saatchi–championed so-called Young British Artists.

Sept. 5–30. Reception Sept. 5. Needles and Pens, 3253 16th St., SF. (415) 255-1534, www.needles-pens.com

2. "American Cuisine" To serve man? Ramekon O’Arwisters riffs on the notion that people of color will be dished at America’s last supper, cooking up sculpture and other pieces that examine the cultural codes crammed into Oreos, watermelons, bananas, and other loaded comestibles.

Sept. 14–Oct. 14. Luggage Store Annex, 509 Ellis, SF. (415) 255-5971, www.luggagestoregallery.org

3. "Cliff Hengst and Scott Hewicker: S.A.N.E." The acronym may stand for the head-scratching "something, anything, nothing, everything," but we can all relate to the bad trips, group gropes, and ritualized get-downs of psychedelic flip-outs both yesterday and today. Those are the focus, filtered through ’60s exploitation flicks, of Hewicker’s paintings and videos, while Hengst relies on handmade signs and wall drawings to explore other unhinged hues. In conjunction with the exhibit, the duo have also put together Good Times: Bad Trips (Gallery 16 Editions), a volume of ill-fated acid-gobbling accounts.

Sept. 14–Nov. 3. Reception Sept. 14. Gallery 16, 501 Third St., SF. (415) 626-7495, urbandigitalcolor.com/gallery16/galleryframe.html

4. "John Slepian: Caged" Is it an alien hedgehog or some hairy displaced and dismembered body part? The onetime San Francisco Art Institute instructor’s interactive sculpture delves into what makes us feel human and how we identify with the, ugh, other.

Nov. 29, 2007–Jan. 5, 2008. Catharine Clark, 150 Minna, SF. (415) 399-1439, www.cclarkgallery.com

5. Maria Forde Keep your peepers peeled for this follow-up to the San Francisco artist’s 2006 solo show, "A Strange 31 Years," which comprised 32 oils based on each pop culture–dappled year of her life.

Dec. 1–22. Little Tree Gallery, 3412 22nd St., SF. (415) 643-4929, www.littletreegallery.com

ALEXIS GEORGOPOULOS


1. "Bruce Conner and James Rosen" Multimedia artist and filmmaker Conner will show a number of highly detailed drawings, contrasting with Rosen’s take on the often-religious paintings of old masters.

Oct. 31–Nov. 24. Gallery Paule Anglim, 14 Geary, SF. (415) 433-1501, www.gallerypauleanglim.com

2. "Something Was There: Early Work by Diane Arbus" An exhibition of more than 60 prints highlights the otherworldly, haunting world of Diane Arbus, capturing her early years, from 1956 to 1962.

Sept. 6–Oct. 27. Fraenkel Gallery, 49 Geary, SF. (415) 981-2661, www.fraenkelgallery.com

3. "Will Rogan" The artist’s photographs work an uncanny magic as deceptively everyday subjects are choreographed in a poignant, poetic way.

Oct. 4–Nov. 3. Jack Hanley Gallery, 395 Valencia, SF. (415) 522-1623, www.jackhanley.com

GLEN HELFAND


The contemporary art world tends to get all academic and serious on us, so it’s interesting to note that a good number of fall gallery and museum offerings mine colorful, dreamy realms of spectacle, luxury, and humor — a welcome respite from all the truly problematic shit going on out there.

1. "Libby Black: The Past Is Never Where You Think You Left It" This Goldie winner may have left San Francisco for her home state of Texas, but the move has served to sharpen her handmade take on the LVMH luxury empire. Black’s new work includes a Louis Vuitton disaster-center cot, complete with deluxe valise and accessories that stow perfectly underneath, and a series of paintings that exude the pansexual myths of the West — as found in high-fashion adverts. It’s the perfect prelude to the Union Square opening of the retail dream house, Barneys New York, this fall.

Sept. 6–Oct. 27. Reception Sept. 6. Heather Marx Gallery, 77 Geary, SF. (415) 627-9111, www.heathermarxgallery.com

2. "Take Your Time: Olafur Eliasson" and "Jeff Wall" Fitting factoid: Danish artist Eliasson, the subject of a San Francisco Museum of Modern Art–organized survey, was actually commissioned by Louis Vuitton to create its 2006 Christmas windows. The works that constitute this much-anticipated show are large scale and immersive and use water, light, and scent to generate natural phenomena and delightful shifts in perception. We’re looking forward to the tunnel that will wrap around the fifth-floor catwalk. A related exhibition is a showcase for Eliasson’s BMW-sponsored hydrogen-fueled race car enmeshed in a skin of stainless steel and ice. If you need something with a different kind of theory, check out SFMOMA’s other big fall exhibit, a major survey of Wall’s glamorously, cinematically politicized light box–mounted photographs, co-organized by SFMOMA director Neil Benezra.

"Take Your Time" runs Sept. 8, 2007–Feb. 24, 2008; "Jeff Wall" runs Oct. 27, 2007–<\d>Jan. 27, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Michael Arcega: Homing Pidgin" Bay Area artist Arcega’s stock in trade is a smooth fusion of easily accessible materials (his infamous manila folder galleon) and politically barbed pun (it was called Conquistadork). As part of the de Young’s Connections Gallery program, Arcega has been rooting around in the museum’s extensive Oceanic collections, creating new display contexts that highlight colonialization and the ensuing cross-cultural visual influences. Serious stuff, but Arcega’s sure to imbue it with incisive wit.

Oct. 6, 2007–Jan. 20, 2008. De Young Museum, Golden Gate Park, 50 Hagiwara Tea Garden Drive, SF. (415) 750-3614, www.thinker.org/deyoung

4. "© MURAKAMI" Los Angeles is not such a long haul to stop you from getting a look at this humongous homage to the Japanese artist, who arguably comes closest to carrying Andy Warhol’s torch. Takeshi Murakami’s got his own factory and corporate ID, KaiKai Kiki, and with it he’s produced a sprawling range of licensed characters, sexualized manga heroes, art business strategies, and a brand-new giant self-portrait as Buddha, all of which will be included in this show, organized by Paul Schimmel, the curating impresario who brought us the notorious art spectacles "Helter Skelter" and "Ecstasy."

Oct. 29, 2007–Feb. 11, 2008. Geffen Contemporary, Museum of Contemporary Art, 152 N. Central, LA. (213) 621-1741, www.moca-la.org/museum/moca_geffen.php?

JOHNNY RAY HUSTON


1. Open Studios Yes, the museums and even some smaller spaces have epic shows planned this fall. But are any of these blockbusters as truly expansive as Open Studios, an event that’s also closer to the everyday creation of art in the city than any other? Look for an interview in our Pixel Vision blog with ArtSpan executive director Therese Martin, whose vision includes activist elements and who is bringing new facets to Open Studios.

Oct. 6–Nov. 4. Throughout San Francisco. (415) 861-9838, www.artspan.org

2. "Joseph Cornell: Navigating the Imagination" and "Douglas Gordon: Pretty Much Every Film and Video Work from About 1992 until Now" These neighboring shows should illustrate waves in the flux between film and video and spark discord and discourse about their connections to museum space. Obviously, Cornell’s legacy is broader and richer than such concerns — as the rather opaque name of his exhibition hints, maybe? As for Gordon, 24 Hour Psycho is here.

"Joseph Cornell" runs Oct. 6, 2007–Jan. 6, 2008; "Douglas Gordon" runs Oct. 27, 2007–<\d>Feb. 24, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Capp Street Project: Mario Ybarra Jr." SoCal contemporary artist Ybarra has made a metamural for our city, the result of intensive research into the history of murals and the history of the Bay Area. I can’t wait to see it.

Sept. 6, 2007–Sept. 6, 2008. CCA Wattis Institute, Logan Galleries staircase, 1111 Eighth St., SF. (415) 551-9210, www.cca.edu, www.wattis.org

4. "The Fox Sisters Crack Their Toes" Paintings that use glitter and beauty products as main ingredients are a special San Francisco treat, thanks to the polish — nail polish, that is — flair, and talent of Rodney O’Neal Austin and the late Jerome Caja. Now Jamie Vasta adds ambiguity to the practice; you’d have to be looking beneath the sparkle to figure out she’s butch and, in some cases, to realize that she’s even using something other than traditional ingredients.

Nov. 1–Dec. 15. Patricia Sweetow Gallery, 77 Geary, mezzanine, SF. (415) 788-5126, www.patriciasweetowgallery.com

5. "James D. Phelan Art Award in Photography" This year’s winners include Walt Odets. As a teen, Odets had the guts to photograph family friend Jean Renoir and the observant instinct required to do an excellent job of it. Today he discovers surprising planes of vision, details, and passages within everyday settings.

Oct. 23–Nov. 17. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

STEVEN JENKINS


1. "There Is Always a Machine Between Us" Love your laptop more than your boyfriend? Logging on more than getting off? Salvage your relationship and sharpen your carpal-tunnel vision at this exhibition of interactive works inspired by and sourced from the Internet, where Chechen secessionists, mail-order brides, hand lickers, and Morrissey-mad conspiracy theorists meet the ghosts of David Wojnarowicz and Princess Di.

Sept. 6–Nov. 17. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

2. "Take Your Time: Olafur Eliasson" From some freezing fjord located in the dreamland between Vespertine and Volta comes Icelandic multimedia artist Eliasson, whose immersive installations play with temperature, moisture, and light to icy-hot effect. This ambitious retrospective — the artist’s first major US show — promises to transform SFMOMA’s pristine galleries into hallucinatory zones of global warming and feverish desire.

Sept. 8, 2007–Feb. 24, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Hiroshi Sugimoto: History of History" A welcome follow-up to this summer’s spectacular Sugimoto retrospective at the de Young, this savvy exhibition juxtaposes the Japanese artist’s deceptively minimalist photographs with prehistoric fossils and 15th-century religious artifacts from his personal collection. Will this be a history of progress, faith, or violence?

Oct. 12, 2007–Jan. 6, 2008. Asian Art Museum, 200 Larkin, SF. (415) 581-3500, www.asianart.org

4. "Biotechnique" Featuring a hothouse of hydroponic organisms, semiliving objects, mad-professor lab equipment, bacteria paintings, easy-being-green gizmos, and Silicon Valley inventions, the creepy-crawly conceptual "Biotechnique" digs beneath the topsoil of technology to unearth decidedly unnatural growths and cultures. Or, in the words of tennis racket–<\d>wielding arachnophobe Alvy Singer, "We’re talking major spider."

Oct. 26, 2007–Jan. 6, 2008. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2700, ybca.org

5. "Marie-Antoinette and the Petit Trianon at Versailles" Froufrou flourishes pile up like buttery petits fours in this frilly, silly, splendid re-creation of Kirsten Dunst’s shopaholic alter ego’s Versailles getaway. Queeny interior decorators, slip on your pretty pink pumps, eat cake, and prepare to swoon.

Nov. 17, 2007–Feb. 17, 2008. California Palace of the Legion of Honor, Lincoln Park (near 34th Ave. and Clement), SF. (415) 750-3600, www.thinker.org/legion

Lee Hazlewood: July 9, 1929- August 4, 2007

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In honor of the late Lee Hazlewood, here is Edward E. Crouse’s unfiltered conversation with the great singer-songwriter, from the Guardian in 1998:

Love Lee
A duet over the phone with Mr. Hazlewood.

By Edward E. Crouse

LEE HAZLEWOOD writes, produces, and sings ambrosial pop songs. Ambrosial in both senses: the Greek (what the gods ingest) and the American (that picnic mystery made of canned fruits in heavy syrup and whipped cream). Hazlewood claims never to have met Serge Gainsbourg — a Gallic strategist with a similar dark, drunken heart and thick basso profundo–bizarro pipes who shares his knack for perverse idioms and knocking out hits with boy-girl, Beauty-Beast arrangements. Hazlewood is by no means as fashion-ready as Gainsbourg, which means that clubs won’t charge a premium for lacquered and booted neo-modistes to frug on his birthday, and the prospect of cats aping Hazlewood’s trademark stealth fighter–shaped mustache is doubtful.

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MIA way

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› kimberly@sfbg.com

SONIC REDUCER "This sucks."

Nope, we weren’t talking about Kelly Clarkson’s pandering public apology to Clive Davis — there’s an American idol to kowtow to. Or the minisnippet of the new Britney Spears single, "Get Back," all over YouTube, its title alluding oddly to a song by Paul "Latte Rock" McCartney’s old beat combo. Or Spears’s hoochie-widow getup for the tune’s video or her now widely reported dissolving personal boundaries, as she allegedly went pee-diddy with the bathroom door open, allegedly used designer fashion as an impromptu pooper scooper, and then allegedly absconded with enough borrowed photo-shoot finery to inspire the feel-good tab OK! to declare the pop star’s comeback moves totally "NOT OK!" in print. Get back? Why not get weirder and make like Cock ESP or Iggy Pop and start rolling around in glitter, broken glass, and mayo onstage?

Nay, sucking was the vibe as one MIA head nodded to the other, crunched in the aisles at Berkeley’s Amoeba Music, trading grime, and losing the buzz that had been building since fans started milling around the store the afternoon of July 28. MIA was in the house, but only a portion of the approximately 400 tanned, big-earringed, curly-headed baby Maya Arulpragasams, newsboy-capped dudes, arms-folded indie kids, and bobbing clubby-kins could see the Tamil Tiger spawn’s lavender cap bob in the distance — or even hear Arulpragasam’s politely low-volume raps skating over samples of the Clash’s "Straight to Hell" in Amoeba’s jazz room.

I’m straining to make out words, which are drowned out by the girl behind me, who’s complaining about the sound to a friend on her cell, and before you know it, four or five tunes and 15 minutes later, it’s all over, sent softly into the simmering Saturday sun with a toned-down little sing-along "Yah, yah, hey!" — a glance back to her first single, "Galang." Time for one of the most ethnically diverse audiences you can imagine in this, one of the most ethnically diverse places in the world, to queue up to have MIA sign their 12-inch or CD single of "Boyz," her new frenetic diss-ode to boy soldiers, stylish swashbucklers, and wannabe warlords.

About 15 minutes later, the beauteous Arulpragasam slips quietly behind a table. Her unruly pageboy is streaked blond — a far cry from the bright blue wig sported in the promo pics for her forthcoming album, Kala (Interscope), the playful new wave counterpart to Gwen Stefani’s Scarface coke-ho look of late — and her enormous eyes are open way wide, ready to take in her people, though she still needs periodic "Let’s give it up for M-I-A!"s to keep her signing hand strong as the line snakes through the aisles.

How relevant is MIA two years after her acclaimed Arular (XL/Interscope) emerged with its highly combustible, overtly politicized fusion of hip-hop, baile funk, grime, electro, and dancehall, seemingly unstopped by visa issues and MTV’s censorship of her "Sunshowers" video thanks to its PLO reference?

While Spears and Clarkson threaten to transform pop into one of the most embarrassing exercises in public self-flagellation imaginable, artists like MIA issue genuinely imaginative responses to the daily news, beyond dropping trou and racing into the surf. We actually need her voice — as slammed as it gets for clunky flow — more than ever now. And we need it for the masses who showed up at Amoeba rather than reserved for the few who managed to jump on the Rickshaw Stop tickets early on. Props to the store and MIA for making this brief appearance possible and free, but isn’t Arulpragasam breaking beyond club-size confines?

Because MIA’s appearances have been so scaled down, you have to wonder about Kala, as I did when I learned that previews have been kept for the few who can hear it at the Interscope offices in New York City or Los Angeles: does it suck too? A quick cruise online yields a clattering and polyrhythmic, wittily clucky "Bird Flu," a driving "XR2," and her infectious collabo with Timbaland, "Come Around," as well as the not-bad "Hit That," now trimmed from the disc. So why the secrecy? I thought the point of this revolution was to make it available to the people. And they continue to get it out there, regardless of the gatekeepers. *

TRUE SCHOOL

True West founding guitarist Russ Tolman ain’t bitter about the route his old Paisley Underground band took back in the day: breaking up and then re-forming without him, which is never a nice trick. He’s just happy the ’80s UC Davis combo can fire up its duel-guitar glory once again, fueled by the release of Hollywood Holiday Revisited (Atavistic). "I think some of the stuff is a little timeless," demurs Tolman, now the director of content programming at BitTorrent in San Francisco. "I’ve heard some people say, ‘Oh, is this a contemporary band?’ "

The reissue and the reunion took root last year when, Tolman says, "on a whim" they decided to play some shows. "The other guitarist, Richard [McGrath] — I thought he’d be the last guy who’d want to play with me again. He’s a great player, and I’m an OK player. But I think my role was to be the bee in his bonnet…. [Later] he said, ‘When Russ was out of the band, I was so glad that terrible guitarist was out, but then we sucked. All the chaos was gone.’ "

TRUE WEST

Sat/4, 9 p.m., $29.50

Fillmore

1805 Geary, SF

(415) 346-6000

LEAVE HOME

PAGE FRANCE


Suicide Squeeze sweethearts make tender indie pop on their new Page France and the Family Telephone. With Bishop Allen and Audio Out Send. Wed/1, 8 p.m., $12–$14. Independent, 628 Divisadero, SF. www.theindependentsf.com

PTERODACTYL


Ushered in by bird chirps, these critters protest extinction with a flurry of noise on a recent self-titled Brah LP. With TITS, Big Nurse, and Ettrick. Thurs/2, 8:30 p.m., call for price. 21 Grand, 416 25th St., Oakl. www.21grand.org

HIGH PLACES


Radness happens with the Brooklyn experimental twosome, backed by the fiery Lucky Dragons, Black Dice alum Hisham Bharoocha’s Soft Circle, and the Bay’s Breezy Days Band. Sat/4, 9 p.m., call for price. 21 Grand, 416 25th St., Oakl. www.21grand.org

MIKA MIKO


All-girl punk fury barely contained by a cute moniker. Sun/5, 8 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

TWIN AND LESBIANS


Once King Cobra, now a two-piece progressive metal combo with the Need’s Rachel Carnes on vocals and drums, Twin come to Frisky for a once-a-year visit. Erase Errata vocalist Jenny Hoyston also unleashes her latest feminist band of exes, Lesbians. Tues/7, 8 p.m., $5. El Rio, 3158 Mission, SF. www.elriosf.com

Ethics equity

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› news@sfbg.com

In the 2003 mayor’s race, Gavin Newsom’s campaign outspent Matt Gonzalez’s nearly six to one, shattering all previous city spending records and leaving the campaign committee with a $600,000 debt that wasn’t cleared for three years.

An apparent plan to pay down that debt illegally with money raised by a separate unregulated inaugural committee was the subject of several Guardian stories at the time (see “Newsom’s Funny Money,” 2/11/04) and corrective actions by Newsom treasurer Jim Sutton, although top San Francisco Ethics Commission officials tried to cover it up rather than investigate it.

It was one of several Newsom-campaign irregularities that raised red flags, including the return of dozens of checks by contributors who had exceeded the $500 limit, the failure to notify regulators in a timely fashion that the campaign had broken a voluntary spending cap, and issues related to whether the heavy campaign debt should have been considered a loan and regulated as such.

So guess whose campaign has recently been investigated and fined? And guess whose has never been scrutinized by Ethics Commission officials, who claim they don’t have enough resources to do a “global canvas” of all the campaigns from 2003, as they’ve traditionally done each year?

Gonzalez campaign treasurers Randy Knox and Enrique Pearce this month agreed to pay $3,300 in penalties to the Ethics Commission over 234 names of contributors that were filed with missing or incomplete donor information, 8 percent of the total. The agency began its review three years after it received an anonymous complaint in the days leading up to the runoff election, exactly when the Newsom camp dished the same allegations to reporters.

“It’s my fault, but it was inadvertent and not deliberate misfeasance,” Knox told the Guardian recently. The Ethics Commission concluded that no evidence proved a willful attempt to defraud the public and that most of the donors had failed to cite their street addresses or to provide complete employer information.

But to Knox and Ethics reformers we’ve interviewed for a recent series on the commission, there’s an important issue of fairness involved in this matter. Gonzalez, who did not return our calls seeking comment, was contemputf8g another run for mayor last year when he was contacted by Ethics officials and threatened with a $30,000 fine for violations that were more than three years old. “It was clearly politically motivated, to clear the field for the mayor’s race,” Knox said.

Yet even if that wasn’t the case, why didn’t Ethics Commission staffers review the Newsom campaign after they decided to pursue Gonzalez? And why did Executive Director John St. Croix order staffers not to do the normal global canvas of campaign documents for 2003 — and only 2003 — claiming the agency didn’t have enough resources and needed to “triage” its work?

“It seems odd that we would allow an anonymous complaint, which is informal, to create an exception to our triage order for 2003, especially since the [percentage] of Gonzalez contributions with info errors was apparently less than the state standard for filing officers to require mandatory amendments,” Ethics officer Oliver Luby noted to agency bosses earlier this month, according to internal memos the Guardian obtained through a Sunshine Ordinance request.

St. Croix, for his part, didn’t take over the agency until a year after the 2003 election. He told the Guardian that dozens of other complaints needed to be investigated too, but his office, with only one investigator, couldn’t do so until years after the fact.

“There was a point in 2006 where I said we’re not going to go back and begin anything new for election years prior to 2004,” St. Croix acknowledged. “We had so many backlogs. We were just hopelessly mired, and we kind of needed a fresh start.”

Sutton did not return our calls for comment, but Newsom’s campaign manager then and now, Eric Jaye, told us, “I’m empathetic to [the Gonzalez campaign]. I’m sure they weren’t intentional errors.”

He added that just because the Ethics Commission didn’t investigate the Newsom campaign after the election doesn’t mean the mayor got a free ride. “I feel like everything we do is audited and scrutinized,” Jaye said, noting that the campaign was fined $2,500 by the California Fair Political Practices Commission during the race for an illegal mailer.

Still, even if the commission won’t disclose ongoing investigations, as far as the public knows right now, the Ethics Commission has repeatedly ignored problems with the 2003 Newsom campaign and others managed by Sutton. Consider:

Several entities affiliated with a real estate outfit called Olympic View Realty made a total of $14,000 in contributions to the Newsom campaign, but filings didn’t reflect the otherwise clear association. “Newsom’s failure to report correct cumulative-to-date amounts is an ongoing violation of state law,” Luby wrote in the aforementioned memo.

The Newsom campaign’s $600,000 in postelection debt wasn’t paid off completely until late last year, much of it being carried by Jaye’s consulting firm and Sutton. Former Ethics staffer and commissioner Joe Lynn believes that could amount to an unreported loan to the campaign. “If Ethics was doing its job, it would investigate Newsom’s use of accrued debt,” Lynn told us.

The Building Owners and Managers Association of San Francisco — a key Newsom supporter — urged members in December 2003 to make unlimited donations to Newsom’s inaugural committee that would also be used, it said, to help cover “transition activities,” which should legally be subject to contribution limits. But Ethics, as far as we can tell, never probed whether inaugural committee funds were used inappropriately for the new mayor’s transition to room 200.

Newsom may have collected contributions exceeding the legal limit. During runoff elections, candidates are allowed to accept additional contributions from individual donors who have otherwise reached the maximum of $500. The total then permitted would be $750, which can be used to cover debt from the general election. As soon as general-election debt is retired, however, the candidate can no longer take advantage of the increased limit. But as far as the public can tell, there was no analysis conducted by Ethics to determine if Newsom’s campaign continued to collect $750 checks after having paid down its general-election debt.

St. Croix said most pending enforcement cases, more than ever before, were initiated by staff rather than complainants and the ideal scenario would be to emphasize aggressive earlier sweeps of all the campaigns. But unfortunately, he said, “we’re far away from that.”*

 

Church of Santino

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› johnny@sfbg.com

It’s no surprise that Santino Rice knows how to serve up a good quote. Five minutes into a phone conversation, the biggest antihero to emerge from TV’s Project Runway has already likened Nina Garcia, Heidi Klum, and Michael Kors to a "three-headed monster." Before the interview’s over, he’ll have quipped, "My everyday life and how it plays out is all the fictional stimulation I need." Since his everyday life includes an appearance at "Bad Boys of Runway" — a Castro Theatre event also featuring recent Runway winner Jeffrey Sebelia, a fashion show, and a screening of The Women (1939) he isn’t exaggerating.

But what might surprise people who think they know Rice (though really, let’s just call him Santino) is how uninterested he is in playing up to his semivillainous, semiheroic, and oft-bitchy or cantankerous image from Project Runway‘s second and almost inarguably most dynamic season. Two years on from the experience, he’s easygoing — his baritone voice often giving way to a warm laugh — and quicker to praise than criticize. Make no mistake, this is still the same Mississippian who knew he loved Los Angeles when the Rodney King riots began the day of his first visit. "Everything clicked," he remembers. "I realized [L.A.] figured in so many things I loved, from old Hollywood films to gangsta rap, from [fashion designer] Adrian’s films and MGM to Ice-T and Ice Cube and NWA." But Santino’s days of doing free design gigs for "great exposure" are over.

"Now I don’t need any more exposure," he says, chuckling at the understatement.

Yes, the Santino of today is a sunnier Santino — though it helps that our major topic of discussion is movies. Santino knows and loves his cinema. He has a passion for some of the films that follow The Women in Marc Huestis’s Fabulous Fashion in Film Festival, such as 1946’s Gilda, in which (as he says) the undergarments worn and silhouette created by Rita Hayworth add to her "amazingly sexy" image. Even when discussing a selection he doesn’t care for, such as that of last year’s Dreamgirls, he’s diplomatic, observing that it "gets a free pass" yet doesn’t match the fabulous quality of 1975’s Mahogany, a different festival film he prefers.

A glance at Santino’s MiEspacia page reveals the importance of movies within his aesthetic. When I mention that I share his love for 1964’s The Umbrellas of Cherbourg, he enthuses that "in her heyday, Catherine Denueve is the most beautiful woman ever" and proceeds to throw down for the lesser-known 1970 Demy-Denueve collaboration Donkey Skin. One mention of the flimsy yet highly imaginative fashions sported by Bobby Kendall in James Bidgood’s 1971 Pink Narcissus, and he’s ready with comments that could school critics. "[Pink Narcissus is] colorful, it’s erotic, it has surreal visuals," he observes. "The way it treats the subject matter of a male prostitute conjures up a lot of feelings. It kind of reminded me of some [Rainer Werner] Fassbinder films in the way that he can linger on certain details too long for comfort. The most recent film that’s given me that same sort of overwhelmed feeling is [Alejandro Jodorowsky’s 1973] Holy Mountain."

It’s a long road from Holy Mountain to Project Runway, and it ain’t yellow brick, but Santino has trekked it. And Project Runway may have scooped up three Emmy nominations, but Santino has already won a few Tonys — Tony Ward and Tony Duquette. In fact, the latter, who often collaborated with Adrian, is a major mentor, which makes Santino’s appearance at an event featuring a screening of The Women even more apt. After all, the centerpiece of the George Cukor classic isn’t Roz Russell’s motormouth routine, Norma Shearer’s sweet plain Jane act, or even Joan Crawford’s fierce shopgirl sexuality. It’s Adrian’s design work, on display in a fashion show sequence. "And it’s [the only scene] in color," Santino notes.

Some Project Runway devotees might be curious about the past nature and current state of Santino’s bond with Andre Gonzalo, but his tie with Ward, revealed within season two’s penultimate episode, is more compelling. Few people seemed to realize that Santino’s best friend Tony — the handsome quiet guy with the beach house — was Madonna’s lover during her wildest pop peak, the star of (and best thing about) Bruce La Bruce’s 1996’s Hustler White, and the muse of John Galliano, and is the cult figure who got into a spat with Marlon Brando when the latter was giving a zonked-out acting class late in his life.

"We met in odd circumstances," Santino says when asked about Ward. "We were flying back to Los Angeles, and the engine on the right side of the plane exploded. We had to emergency-land and had a long layover, and during that time we just talked about everything. A week after we got back to LA, he called and asked me if I’d want to create some pieces for his first fashion editorial [as a photographer], which was based on [Stanley Kubrick’s 1971] A Clockwork Orange. I made all these leather codpieces and other accessories. From that point on, we’ve hung out. He’s a great guy and a loyal friend."

My last question for Santino is a simple and direct one: what are you wearing? After an "Oh no!" punctuated by another easygoing laugh, he concedes an answer. "I have on a pair of shoes I got in Singapore that are Hiromu Takahara," he begins, slowly warming up to the query. "They look like Converse, but they fit like a cowboy boot — they zip up on the side. I’m wearing black Diesel jeans, skinny jeans, and just a T-shirt. And, of course, a hat — a black Bardolino hat."*

BAD BOYS OF RUNWAY

Featuring Santino Rice and Jeffrey Sebelia, with a screening of The Women

Fri/27, 7:30 p.m., $15–>$27.50 ($55 for preferred seats and reception at Mezzanine)

FABULOUS FASHION IN FILM FESTIVAL

July 27–<\d>Aug. 3

Castro Theatre

429 Castro, SF

(415) 863-0611

www.castrotheatre.com

For a complete Q&A with Santino Rice, go to www.sfbg.com/blogs/pixel_vision.

To the ramparts, robots

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› a&eletters@sfbg.com

Aside from having one of the most awesome health care systems in the world, the Louvre, and an overall sense of sophistication, France is responsible for Daft Punk’s entrance into the world and the subsequent rebirth of a limitless club culture. Sure, we’ve got R. Kelly and Slayer, both of whom are as culturally relevant as the Paris duo, but unlike the aforementioned American icons, Daft Punk have scaled an aesthetic fence, resuscitating what many considered a moribund French music scene in a dynamic way that exceeds tabloids and all things shredding.

With or without their now-infamous mystique as masked robots, Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo have dominated dance floors with dynamic robohouse releases like 1997’s Homework, 2001’s Discovery, and 2005’s Human after All (all Virgin), which murdered charts in the United Kingdom and France while assaulting those in the States. But it’s not the grinding electropower of "Da Funk" that’s entirely responsible for the group’s forefront standing — it’s all about the Daft Punk vision.

In a genre brimming with predictable dance floor restrictions (i.e., the same four synth sounds and 120 bpm repetitions) and an overwhelming need to crowd-please, Daft Punk have never followed 4/4 guidelines or era-aligned clichés. After an intense bidding war, signing with Virgin, and hitting megastatus with Discovery, the duo immediately began realizing their ambitions, working with Japanese animation kingpin Leiji Matsumoto for the $4 million–<\d>budgeted operatic film Interstella 5555. Released in 2003, Interstella revolves around a "discovered" robot band taken hostage in space, with a separate episode for each Discovery track. Both MTV and Cartoon Network hosted the first few episodes, and many critics heralded the band for its satirical take on the entertainment industry.

Without supporting Human after All with a series of elaborate tour dates, the duo spent time prepping another cinematic addition to their creative canon and directed Electroma, a 70-minute silent-film opus. Based on the story of two robots driving through a desert in a 1987 Ferrari on a quest to become human, the film has already been compared to endeavors like Matthew Barney’s Cremaster Cycle. Electroma is far from a low-budget, art-school project, though: the futuristic costumes, for example, were dreamed up by Hedi Slimane.

In typical Daft Punk fashion, Bangalter and Homem-Christo maintained their sacred anonymity by choosing to direct the film and hire actors to live the robot dream. For the soundtrack, the duo also enlisted France’s psych tastemaker Sebastien Tellier and selected some moody hymns by Brian Eno and Curtis Mayfield, to name a couple. There have been several midnight screenings at clubs across the globe — one at Mezzanine is forthcoming — and the DVD will be released in August by Aztec International/Vice.

Speaking of which, Daft Punk have also earned a place in electrohouse history with their ties to the new French revolution — namely, Ed Banger Records and affiliates like the aforementioned Vice. Founded by production monolith and Daft Punk manager Pedro Winter, a.k.a. Busy P, the label has become synonymous with the gritty analog sound that Daft Punk carved into dance culture. Including many young French producers like Sebastian, Justice, Mr. Oizo, and Feadz — most of whom are barely old enough to legally get hammered at a stateside club — Ed Banger has earned its place at the top of the in-demand live-act pyramid, and its crew isn’t tied to serving out bangers exclusively either. Oizo recently directed the forthcoming film Steak, which was scored by Sebastian, Tellier, and himself.

Then there’s Kitsuné Music, another Paris label, which is nestled between Ed Banger and the Rapture on the list of Daft Punk’s top MySpace friends, a lofty position for those engaged in the cybernetworking circuit. Acts like Digitalism, Crystal Castles, and Riot in Belgium have earned near-cult status through Kitsuné and its heavily rotated compilation series.

With the exception of a few Coachella dates and one-offs, Daft Punk haven’t officially toured since supporting Homework in 1997, and now the duo are tearing through the States prior to Electroma‘s launch. Playing select arena dates, the duo are performing alongside their well-groomed legion of the new French crooners, including Kavinsky, Sebastian, and the Rapture. Most of the dates are already sold out, but in homage to Daft Punk’s legacy, the James Friedman–<\d> and the Rapture–<\d>owned Throne of Blood imprint is throwing a series of after-parties including said supporting acts — no Daft Punk, sorry — in clubs rather than in enormous amphitheaters.

Whether or not Daft Punk will eventually start building sculptures, go to medical school, or return to the realm of everyday club crushing remains unknown, but their place in dance culture is as solid as Bangalter and Homem-Christo’s impenetrable robot helmets.*

DAFT PUNK

Fri/27, 8 p.m., $48.50

Greek Theatre

UC Berkeley, Gayley Road, Berk.

(510) 643-6707

www.ticketmaster.com

Editor’s Notes

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EDITORS NOTES There was a fascinating moment July 11 at the San Francisco Board of Appeals meeting, a rare and revealing look into how city planning really works — and who calls the shots.

At issue was a proposal for two condo towers at Tenth Street and Market, one of which would soar 352 feet into the air — well above current height limits for the site. The developer also wants to put in 578 parking spaces, 399 more than the city Planning Code currently allows. It’s a monster of a project that would require seven planning code exceptions, two conditional use permits, and four zoning variances.

In other words, it’s not exactly what’s envisioned in the Planning Code for that particular lot.

But that didn’t bother Craig Nikitas, the city Planning Department staffer working on the project. In fact, in a long statement to the appeals board, Nikitas announced that city planners encourage developers to defy the current planning code since the planners think it’s outdated.

"The Planning Department encourages many project sponsors for tall buildings to use [a] height exemption," he said. That leads to "a taller building but a slimmer building…. That’s the kind of urban design we’re looking for nowadays."

Well, maybe — but the Downtown Plan, passed in 1984, calls for a very different type of design. It seeks buildings with setbacks (the so-called wedding cake look). That approach, which we all fought over in hearing after hearing before the Planning Commission and the Board of Supervisors, was designed in part to maximize sunlight at street level. That look may be old-fashioned architecture; it may not be what the current generation of planners wants. But it’s official city policy, city law.

If Nikitas and his boss, Dean Macris, want to change the guidelines for new buildings, there’s a procedure for that. You recommend changes to the Planning Commission, which can hold hearings and send new Planning Code changes to the Board of Supervisors. Then we all can discuss them in our usual, moderately civil, San Francisco fashion.

But that’s not how it works. Behind closed doors, the planners decide what they want the city to look like. Then they encourage developers to fit that model and bend the codes to make it all fit.

This is nothing new, but it’s rare to get such a clear admission, on tape, of why city planning in this town is so utterly screwed up.

In other news: there’s a bill before the State Legislature that’s supported by the San Francisco Chamber of Commerce and the Guardian. Labor likes it. The mayor likes it. The supervisors like it. And it could bring the city another $71 million a year in badly needed revenue (more than enough, for example, to solve Muni’s structural budget woes).

And yet it’s hung up in a Senate committee because Don Perata, the East Bay senator who is the president pro tem, doesn’t want any tax bills to go to the floor this year.

The bill by Assemblymember Mark Leno would allow — not require, but allow — the supervisors to put before the voters a proposal to increase the license fees on cars in this city to the level they were before Gov. Arnold Schwarzenegger cut them statewide. If San Francisco voters choose to tax their own cars, they will have the option; that’s all it is. Yet Perata’s press aide, Alicia Trost, told me it won’t even get a vote.

If you think that’s nuts, you can reach the good senator at (916) 651-4009.*

Hyphy and its discontents

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› a&eletters@sfbg.com

"Hyphy is here to stay because hyphy was created in the streets and the streets will be here forever."

E-40 in an e-mail, June 28

Send a 911 to the 415 and 510: does hyphy have a pulse? Several articles in recent months have suggested the answer is no. A May 13 San Jose Mercury News article, "What Happened to Hyphy?" by Marian Liu, for example, insists that a year ago, "the Bay Area seemed poised to become the center of the hip-hop universe," when, we are told, the genre "was ubiquitous at clubs, on the streets and on local radio stations." Now hyphy is "listless, with even local popularity beginning to dissipate."

This account of the rise and fall of hyphy is exaggerated to the point of fiction. Bay Area hip-hop has, of course, been cracking for at least two and a half years, following a long post-Tupac period of commercial decline now referred to as "the drought." But while the amount of local spins Bay Area music received increased, hyphy was never anything like ubiquitous on the radio. The small number of major-label signings never threatened to displace any presumed center of hip-hop’s stubbornly regional universe nor does such an image convey what’s been at stake in the Bay’s struggle for recognition.

According to the Arbitron radio ratings system, San Francisco is the fourth-largest market in the country, after New York City, Los Angeles, and Chicago. This figure includes Oakland but not Sacramento or San Jose, which are classed as separate markets but are considered by everyone from the rappers to the media and the listeners as part of the Bay Area in terms of hip-hop regions. All Bay Area artists want is to be treated like other rappers in similar areas of the country. Rappers from smaller markets like Houston (number six), Atlanta (number nine), Miami (number 12), and even St. Louis (number 20) routinely receive local airplay, major-label deals, and national exposure.

Only the Bay is denied such opportunities. While the publicity of E-40’s 2005 signing with BME/Warner Bros. scored hyphy coverage in national media like USA Today and secured the Bay its own episode of MTV’s region-oriented rap show, My Block, the music hasn’t had a chance to blow up. With the exception of E-40 — whose gold-selling 2006 album My Ghetto Report Card (BME/Warner Bros.) ensured a Warner Bros. release of his upcoming The Ball Street Journal — no Bay Area hip-hop artist has been permitted to drop a big-label full-length in the past two years. Albums by the Pack on Jive, Mistah FAB on Atlantic, Clyde Carson on Capitol, and the Federation on Warner Bros./Reprise have all experienced frustrating delays, fostering the notion that hyphy is foundering. But not everyone agrees with this impression.

DEAD OR ALIVE?


"How can hyphy be dead when the key players are still there?" 19-year-old producer extraordinaire and Sick Wid It Records president Droop-E asks. It’s a good question, for if the short history of the hyphy movement has proved anything, it’s that there’s no lack of hot Bay Area acts, from vets like Keak Da Sneak to new artists such as FAB to rappers who came up during the drought and didn’t get to shine, like Eddi Projex (formerly of Hittaz on Tha Payroll) and Big Rich (once of Fully Loaded). Carson, the Jacka, Beeda Weeda, J-Stalin, the Federation, Turf Talk, Kaz Kyzah, San Quinn, Messy Marv: the list of major-label-level talent only begins here, and the extent to which any of the above identify as hyphy hardly matters, inasmuch as for the rest of the country, hyphy stands for Bay Area hip-hop.

Many of these rappers predate hyphy, and while the word definitely has musical signification — it’s a fast, club-oriented sound inspired by crunk but transformed by electronica and techno flourishes — its most important function has been as a marketing tool to direct national attention back to the Bay. To write off hyphy as a passé trend is, in this sense, to write off the region, leaving the Bay back where it started.

Further complicating any so-called postmortem analysis of hyphy is the fact that the term also refers to the Bay Area culture of disaffected hood youths known for white Ts, dreadlocks, and ghost riding. "Hyphy is part of the street," Droop-E affirms, noting that the culture emerged before the name was attached or the music drew attention to it. The merging of this culture and a particular hip-hop sound in a single term is what makes hyphy so potent a concept, functioning in a manner akin to the word psychedelic in the late ’60s. This union between a lifestyle and an aesthetic is the chief justification for considering hyphy a movement, however vaguely articulated.

"The hyphy movement reflects what’s going on in the streets," Federation producer and national hitmaker Rick Rock says. "That will never die, as far as that goes. The kids are going to be hyphy. But the music — you don’t have to say ‘hyphy’ to do a hyphy song. If people are saying ‘go dumb’ on 10 different songs on the radio, then you’re shooting yourself in the foot."

Traxamillion — another architect of the hyphy sound and producer of Keak’s local number one hit "Super Hyphy" — agrees the music could be "losing its edge due to oversaturation of the same topics: scrapers, purp, pillz, shake ya dreads, and stunna shades," underscoring the tension between hyphy and a region whose rappers pride themselves on originality. Yet if hyphy’s lyrics often suffer from an overreliance on now-established slang, the limitations of its subject matter hardly seem greater than that of mainstream rap; the high-fashion emphasis of East Coast rap is infinitely more tedious.

In any case, Rock’s response has been to reinvigorate hyphy through the innovative impulse that led to its current form. "That hyphy sound I blueprinted, I don’t have to stay with it," Rock says. "Hopefully people will gravitate toward the new music, and that’ll be the new hyphy."

NEW SICK SOUNDS


Rock is leading the way with the Federation’s thrice-delayed It’s Whateva — finally to be released by Warner Bros. on Aug. 14 (see sidebar) — and his production on "I Got Chips," the guitar-driven first single off Turf Talk’s West Coast Vaccine (Sick Wid It), released in June. One of the year’s most anticipated Bay full-lengths, Vaccine more than fulfills its buzz. Besides the excellence of its composition as an album, it displays Turf Talk’s tremendous artistic growth in the number of flows he adds to his characteristic bark, from a whisper to a lazy drawl to a hyperactive bellow.

While Droop-E confirms that several major labels expressed interest in Vaccine, ultimately none pulled the trigger. Yet deals of various sorts keep trickling in, most recently for Keak, whose camp confirms his recent signing to national independent Koch. Tha Mekanix production squad is negotiating a rerelease of J-Stalin’s On Behalf of the Streets (Zoo Ent., 2006) through one of the biggest independent distributors in the States, Select-O-Hits. And more major-label ice has begun to thaw, as the Team member Carson reports that Capitol is leaning toward a mid-October release of his solo debut, Theatre Music.

"It’s going to be real good for the Bay," Carson says of his ambitious project, originally conceived as one continuous track, à la Prince’s Lovesexy (Warner Bros., 1988), though Capitol has nixed this risky idea. Yet Carson insists the album "will still be one body of music." Cobranded by the Game’s Black Wall Street Records and boasting appearances by the multiputf8um rapper, Theatre Music finds Carson busting over big-time beatmakers like Scott Storch and Wyclef Jean, and it’s hard to imagine Capitol squandering such resources.

SO HARD ON THE FUNKY RADIO


Another symptom of hyphy’s alleged demise, offered in the Merc and elsewhere, is its lack of current radio play. Yet if there’s been no recent hit on the level of Keak’s "Super Hyphy," it’s because KMEL and other hip-hop stations have withdrawn support for local music.

"The radio play on the hyphy movement has definitely slowed down," Traxamillion says. "They play a few Bay joints here and there, but overall I feel a lot of the radio play is coming to a halt."

Mistah FAB, for example, has a pair of new singles, "Goin’ Crazy," highlighting Too $hort and D4L of "Laffy Taffy" fame, and "Race 4 Ya Pink Slips," with Keak and Spice 1. But you’ll never hear these on KMEL, as the station has stopped playing FAB.

"It’s the politics of radio," says FAB, who claims that since he accepted his Friday-night radio gig at KYLD, he’s been subject to an unofficial ban at KMEL, courtesy of musical director Big Von Johnson — though both stations belong to Clear Channel. "As an artist, I find this hard to accept," FAB confesses. "As a businessman, I realize why." Nonetheless, FAB was surprised that ending his radio show had no effect on the ban.

"It hurts the movement," he says, and he’s right. His 2005 radio hit "Super Sic Wit It" was one of the catalysts of hyphy, bringing other local music in its wake. "If we can’t get the support here at home, how can we expect to break nationwide?"

FAB has a point: local rap needs radio to generate sales, which in turn generate label deals. At press time, Johnson hadn’t respond to several requests seeking his side of the story, yet the Arbitron ratings speak for themselves.

In summer 2006, when it was playing hyphy, KMEL was the number two station in the market, after KGO-AM talk radio. That winter, when it began slacking off, KMEL finished at number seven, tied with KYLD. (Spring ratings aren’t yet posted.) This is difficult to reconcile with the claim that hyphy’s popularity has dissipated. Yet while hyphy — and by extension, Bay Area rap — may never break nationally if KMEL doesn’t support it, even fewer people will tune in to KMEL if the station doesn’t play it.

Nearly every Bay Area rapper I’ve met seeks what Messy Marv once called "that major label shine." Yet the lack of hyphy-era major-label-deal flash — or rather follow-through — thus far may stem more from the general decline of the corporate music system than from the strength or weakness of local hip-hop. Fewer major-label albums are being released now compared with earlier periods of pop, and those imprints are generally taking fewer chances and are often unable to move fast enough for rap. Radio, moreover, has lost at least a portion of its audience to Internet alternatives like MySpace and YouTube, both of which FAB credits with mitigating the impact of absent radio play. Given the fact that a popular independent artist can potentially make more money — at the price of much glory, perhaps — than many bigger names, it’s hard not to wonder if the major labels do hip-hop more harm than good. It’s something to consider as we wait to see if the Federation’s new album, whateva its final form, keeps hyphy’s momentum alive.*

Tune in, turn on, “Psych-Out”

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CULT FILM Some movies define a generation. Some distort a generation. Very special ones manage both. Welcome to the genius of Psych-Out, a 1968 American International Pictures epic (produced by none other than squeaky-clean American Bandstand icon Dick Clark) that remains perhaps the all-time high-water mark in cinematic hippiesploitation.

Oh, Psych-Out, Psych-Out, Psych-Out! How many times have I loved your psychedelic excesses since that fateful first viewing in the 1980s at Boston’s annual Schlock-around-the-Clock marathon? Not even my housemate’s desperate need to exchange MDA-driven warm fuzzies in the lobby could tear me from such enchantment. (She did succeed in wrangling me away that night from such additional gems as The Thing with Two Heads. A small resentment lingers.)

Psych-Out, which plays as part of the Red Vic’s commemoration of the Summer of Love’s 40th anniversary, is the least heralded of an unofficial AIP trilogy from that year, alongside The Trip (Peter Fonda drops lysergic under the tutelage of ever-levelheaded Bruce Dern) and Wild in the Streets (the US voting age is lowered to 14, resulting in Shelley Winters being sent to a concentration camp for too-old people). Those films were actual hits. Psych-Out ran through the drive-in mill and was quickly forgotten.

Stupid humans!! How could they resist a film advertised thus: "These are the PLEASURE LOVERS! They’ll ask for a dime with hungry eyes. But they’ll give you love — for NOTHING! Have you ever TASTED FEAR or SMELLED MADNESS? LISTEN to the sound of PURPLE!" Nearly 30 Susan Strasberg plays Jenny, an underage runaway searching for her brother (Dern as "the Seeker," a sort of Crazy Acid Jesus). Escaping their abusive mother — glimpsed in one genuinely disturbing flashback — the mute Audrey Hepburn–goes–mod gamine arrives in San Francisco, center of the known counterculture universe, where she’s taken in by the hipsters who constitute rock group Mumblin’ Jim: a ponytailed Jack Nicholson, barely bothering to finger-mime rip-off Hendrix riffs as guitarist Stoney; jive-talking drummer Elwood (Max Julien); keyboardist Ben (biker-flick staple Adam Roarke); bassist Wesley (Tommy Flanders); and Wesley’s shareable wife, Lynn (Linda Gaye Scott), who can’t hit a tambourine on tempo to save her life. Then there’s Dean Stockwell as Dave, the serenely weird ex-bandmate turned fountain of guru wisdom. He lives in a rooftop cardboard box.

All help Jenny look for that elusive messianic bro, at least when not introducing her to the joys of thrift shop fashion montages and Golden Gate Park Be-Ins (at which garage greats the Seeds play). Befitting this turbulent generation, distracting crises occur. Some are peacenik-versus-redneck stuff requiring hippies to kick local junkyard greaser ass. Others are drug related, as when future bad director Henry Jaglom hallucinates that his limbs need cutting off. This occasions the immortal line "C’mon man! Warren’s freaking out at the gallery!"

Psych-Out has everything: kaleidoscope visuals, STP dosing, horror-movie hallucinations, and dialogue like "It’s all one big plastic hassle." The Strawberry Alarm Clock contribute not just their signature "Incense and Peppermints" but also a theme ("The Pretty Song from Psych-Out") whose lyrics and melody encapsulate the entire plotline with a dreamy be-there-or-be-square vibe and the song "Rainy Day Mushroom Pillow," which soundtracks a particularly senseless sequence involving the soft-focus stringing of beads around a communal household. More bent yet is the scene in which Nicholson and Julien sit in a van, their nutty bloodshot eyes suggesting major real-world fry-dom.

Psych-Out was largely filmed in the Haight-Ashbury of fall 1967, lending some aspects an authenticity that concurrent Hollywood hippiesploitation flicks lacked. Yet locals reportedly greeted the crew with such hostility that they had to hire Hells Angels as guards. The end-product melodramatic hash must have induced much derisive stoner laughter among subsequent longhaired viewers.

Director Richard Rush had an odd, thwarted career that peaked with one genuinely admired film (1980’s The Stunt Man), then after a long layoff crashed fatally against the 1994 erotic thriller absurdity Color of Night (Bruce Willis as a psychiatrist stalked by a transsexual patient). On the other hand, the richly colorful Psych-Out‘s Hungarian émigré cinematographer, Laszlo Kovacs, went on to shoot all of Peter Bogdanovich’s, Bob Rafelson’s, and Dennis Hopper’s major films — plus Shampoo, Ghostbusters, and less prestigious but popular recent vehicles for Sandra Bullock and Julia Roberts.

Psych-Out is a camp classic that nonetheless makes you desperately wish you were there then. It’s a "bad" movie, yet wonderful in ways that aren’t silly or dated at all. Its freak flag is on.

PSYCH-OUT

Fri/6–Sat/7, 7:15 and 9:25 p.m. (also Sat/7, 2 and 4:15 p.m.), $5–$8.50

Red Vic

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

Kabul City

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› paulr@sfbg.com

War, although unfortunate in almost every way, can pay some ex post facto dividends in foodland. (Emphasis on post.) Would we have the Slanted Door today if misguided policies founded on ignorance and false premises a half century ago had not led us into Vietnam? War creates refugees, and if the war is an imperial one, the refugees allied with the imperial power tend to seek refuge in the home territory of that empire — homeland is the homey term we use today — often bringing with them little besides culinary knowledge. Of course, the moral equation here is absurd; who would not vote to give up the Slanted Door, and all the rest of the excellent Vietnamese restaurants that have opened here in the past generation, if by doing so we could undo the Vietnam War? But we can’t. The most we can do is look for some sort of redemption in food we might well never have heard of, let alone tried, but for the warmongering of fools in positions of power.

Fisherman’s Wharf — I speak of the neighborhood, not the pier proper — is a curious place for an Afghan restaurant, but that is where we find Kabul City, which opened in May across the street from a large open space at Beach and Taylor that should be a public square but is instead a parking lot filled with Hummers. The area is the Vatican City of local tourism; it is in but not of the city and so different from it, physically and metaphysically, as to constitute nearly a separate jurisdiction. The restaurant’s windows do afford an appealing view, from an unusual, backside angle, of Russian Hill. Better to keep one’s gaze fixed there than on the spectacle nearer at hand, with its general sense and look of cheerful vulgarity. Would these rushing tourists, I wondered, be interested in Afghan food? Afghanistan has been an unhappy place for a long time, and a great deal of travel has to do with escape from reality.

As for the locals: experience suggests that they — or we — go to considerable pains to avoid the neighborhood. Yet Kabul City is worth braving the knickknack shops and Hummers for. The restaurant’s food is distinctive, well prepared, and fairly priced, and the setting (at least once you’re safely inside) is neither grubby nor overwrought. It’s far too early to say whether Afghan cooking will find the same vogue Vietnamese cuisine has attained in this country, but it’s not too early to say that if Kabul City is a glimpse of tomorrow, tomorrow isn’t looking hopeless. (I should also note here that for the moment, Kabul City is also the only Afghan restaurant in town, since the Helmand, on Broadway at the foot of Telegraph Hill, remains closed after a February landslide. The Bay Area’s biggest Afghan community, meanwhile, is in Fremont.)

Although much of Afghan cuisine, as presented by Kabul City, turns on familiar Middle Eastern cues, there are also dishes you aren’t as likely to have seen before. In the former category are kabobs — grilled meat in various guises. Tekka kabob ($12.99; $6.99 at lunch) consists of charbroiled lamb chunks served with salad and basmati rice, while shami kabob (same prices) looks like a pair of skinless, seasoned-ground-beef sausages. The rice is good, but the Afghan flat bread (called naan but baked in square rather than round loaves) is better, especially when dipped in the accompanying yogurt-cucumber sauce.

Yogurt, in fact, is put to all sorts of clever uses. It turns up pureed with cilantro as a sauce for pakowra ($4.99), deep-fried, peppery slices of potato that look like the soles of pink bedroom slippers. It is folded into badinjon burani ($4.99 as a starter), a baba ghanoush–<\d>like mash of panfried eggplant. And it appears mixed with garlic and mint as a topping for kadu burani ($7.99), chunks of panfried pumpkin. The squash here really did seem to be pumpkin, so points for complete disclosure, but the dish would have been better — less stringy, more intensely tasty — if another orange-flesh squash, like butternut, had been used.

One of the most striking preparations on the menu is mantu ($12.99), a plateful of steamed dough pillows stuffed with seasoned ground beef and onions and presented under a blanket of yogurt sauce flecked with green peas and diced carrots. The pillows reminded me of ravioli, of course, but also — because of the their pleated tops — of shu mai, the little Chinese dumplings that so often figure in dim sum services. Afghanistan shares a border with China, so the similarity probably isn’t coincidental. It’s also landlocked, which goes some way toward explaining the lack of seafood on the menu.

The restaurant’s owner, Syed Ahmadi, presides over the front of the house with mystical grace. In theory he could have plenty to do, since Kabul City isn’t small. An entire corner of the space, in fact, is given over to a slightly elevated platform laid with beautiful rugs and pillows and set with low tables you recline rather than sit at. The Last Supper was enjoyed in this fashion, as was the infamous banquet in Kandahar in October 2001 presided over by Osama bin Laden and captured on video for a still-stunned world. Afghanistan was a battlefield then and still is today, but tomorrow, as Scarlett O’Hara once told us from the midst of our own traumatic war, is another day.*

KABUL CITY

Daily, 11:30 a.m.–9:30 p.m.

380 Beach, SF

(415) 359-1400

www.kabulcitysf.com

Beer and wine

MC/V

Pleasant noise level

Wheelchair accessible

Never mind the steampunk

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› annalee@techsploitation.com

TECHSPLOITATION If someone were to hold a knife to your throat and ask what the aesthetic sensibilities of the computer age are, you’d probably babble something about the iPod and its curvy, candy-colored precursor, the iMac. You’d think of the typical PC laptop, dumb and square and black, and you’d wonder whether this question about aesthetics was actually a trick. Because there are no computer age aesthetics.

Of course I’m exaggerating. There are a million interesting designs for consumer electronics and computers, but most don’t call attention to themselves. Computer aesthetics say "I am functional" — even the iPod Shuffle’s, whose colorful clip-on version kids attach to the gold chains around their necks as techno-bling.

But your Gateway computer, with its stalwart rectangular tower, is not the last word in how technology can look. Think of the crazy dial phones from the 1920s, with their curlicues and shiny brass and polished wood handsets. Or recall early radios, with their curving wooden exteriors meant to look like fancy furniture. And if you really want to see some seriously decorated machines, just check out pictures of devices from the 19th century, when everything from radiators to dynamos was covered in filigree and iron flowers and stamped, embossed shiny crap. For the record, I fucking love embossed shiny crap.

I think the search for an over-the-top tech aesthetic is driving the current craze for steampunk, a design and fashion style that combines Victorian sensibilities with contemporary gizmos. The ideal steampunk device would probably be a coal-powered cyborg, such as the creatures found in the novels of British fantasist China Miéville. In the real world, one of the most popular steampunk tinkerers is Jake von Slatt, who recently rebuilt his desktop computer as a vision in brass, marble, and old typewriter parts. He even offers a step-by-step guide to making your own functioning steampunk computer on his Web site, the Steampunk Workshop. Whenever von Slatt produces a new creation — a telegraph sounder that taps out RSS feeds, for example — pictures of it are always wildly popular on social news site Digg and elsewhere on the Web. Geeks who might not know what the word aesthetic means are instinctively drawn to the way von Slatt has made artifice from functionality. I expect to see cheap, knockoff steampunk computers for sale any day now.

As steampunkish critic John Brownlee has pointed out in several articles on the topic, steampunk designers tend to reverse-engineer ordinary electronics — say, a computer keyboard — and enhance them with parts that look antique. The idea is not just to create machines whose beauty goes beyond functionality. It’s also, Brownlee contends, to recall an era when amateurs could contribute meaningfully to the development of science and technology. We live in a time when no single human being can fully comprehend the Windows operating system. No wonder we’re nostalgic for the days when beachcombers could be naturalists and tinkerers could invent the telephone.

I think the popularity of steampunk also expresses our collective yearning for an era when information technology was in its infancy and could have gone anywhere. In 1880 we hadn’t yet laid the cables for a telephone network, and computer programming was just an idea in Ada Lovelace’s head. Nineteenth-century technology was often operated by factory laborers, and it meant backbreaking work and the ruination of healthy bodies. Information technology, to the 19th-century mind, would be something that set us free from brutal assembly lines.

One hundred years later, I wish it were so. Information technology has its own brutal assembly lines, mind-numbing data work that cripples our fingers with repetitive strain injuries and mangles our backs with the hunched postures required to work at a computer all day long. Seen from this perspective, steampunk is an aesthetic that tells the truth about us. We are no better off than our Victorian ancestors, bumbling into the future with crude technologies whose implications we barely understand. But let’s make our devices pretty, at least. Let’s remember the days when the machines that now cage us promised liberation. *

Annalee Newitz is a surly media nerd whose flat is full of servers and anaglypta.

No scrubs

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› cheryl@sfbg.com

Michael Moore is a divisive character, but he’s not the most controversial man in the United States. The first image in Sicko, the director’s first doc since 2004’s Fahrenheit 9/11, is of George W. Bush. But the liar in chief is only one of Moore’s targets this time around. In Sicko he goes after America’s entire health care system, examining how even folks who have health insurance are routinely screwed over by corporations that care more about profits than lives. Of course, he does it in typical Moore fashion, with big gestures, occasionally overwrought voice-overs, and a snarky humor that balance out what’s otherwise a gloomy tale.

There’s so much dejection here — babies dying because hospitals won’t treat them, Ground Zero volunteers being denied care, the exposure of corrupt insurance-company tactics, and worse — that comic relief is essential, Moore explained during a recent whirlwind visit to San Francisco. He’d just come from Sacramento, where the film was screened for enthusiastic members of the California Nurses Association.

"I’ll bet you that there are as many laughs in this film as some of my other films, but it doesn’t feel that way because there are so many sad moments," he said. "But you need that. The humor helps lead you from the despair to the justifiable anger."

Gimmicks like a Star Wars crawl to illustrate the hundreds of diseases insurance companies won’t cover lighten Sicko‘s tone, as do scenes in which Moore puts on his gee-whiz persona and travels to other countries (Canada, England, France) where emergency treatment comes quick and free and prescription drugs practically grow on trees. In France, he discovers, the government supplies nannies to do chores for new mothers — although I’m too cynical to totally accept that perk as the truth, especially since the mother interviewed is white and middle-class. Or is it my disgust with America’s shortcomings that clouds my judgment?

Disgust is what Moore is after, because it’s the kind of strong emotion that might actually motivate action. "I have to hold out some kind of hope that [change] is possible," he said. "[In Sicko, an American woman living in France] says, ‘The reason things work here is because the government is afraid of the people. In America the people are afraid of the government.’ So I’m hoping that people will stop being so afraid and apathetic and get involved."

One of Sicko‘s unlikely targets is former universal-health-care advocate Hillary Clinton — now among Washington’s top recipients of health-care-industry donations. In the film, the senator (and aspiring prez) is praised, then slammed, for her stance on the issue.

"I’ve always liked her. I had a chapter in my first book called ‘My Forbidden Love for Hillary.’ I always thought that she got a raw deal on the health thing that she tried to do. I could see instantly, as soon as she was in the White House, men were very threatened by her. There were whole Web sites devoted to her — hateful, hateful stuff," Moore said. "I have kind of a broken heart because of her votes on the war. And it was really sad, the discovery that she [later became] the second-largest recipient of health-care-industry money."

Moore, who said he’d lost 30 pounds in the past three months ("One way to fight the man!"), has high hopes for Sicko‘s long-range impact. "The whole system needs to be upended. If the American people actually listen to what I’m saying here, that we need to start rethinking everything in terms of how we treat each other and how we structure our society, a whole lot of other things are gonna get fixed, and we’re gonna be a better people. And I think the rest of the world is gonna feel a hell of a lot safer with a change of attitude."

Of course, Sicko wouldn’t be a Michael Moore movie without at least one moment that stays true to his prankster instincts. His controversial visit to Cuba has been well-documented elsewhere, so I won’t go into the details here. But I will say he was pretty delighted to ask, "Have you ever seen anyone sail into Guantánamo Bay?"*

SICKO

Opens Fri/29 in Bay Area theaters

See Movie Clock at www.sfbg.com

Ask Dr. Rock

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ASK DR. ROCK Say you’ve done a lot more practicing than primping. Your bandmates are starting to bore themselves with their uniform of New Balance kicks and give-away T-shirts with busted-dot-com logos. So how are you supposed to come up with a look or even, jeez, a show?

Dr. Rock feels your fashion-free pain and took up the issue with the party starters of Gravy Train!!!! Not for nothing did the Bay Area raunch peddlers title a tune off their new album, All the Sweet Stuff (Cochon), "The Hair Stare."

1. "Making the audience uncomfortable is a good place to start," vocalist Chunx says. "All the bands that were most memorable to me growing up were either awkward or androgynous or exuded something that made me so uncomfortable that it led me to become intrigued. Rock stars should always seem superhuman. Or alien. If you can imagine them eating breakfast, you’re probably not doing it right."

2. "I would start with fashion," says keyboardist Hunx, who also styles hair at Down at Lulu’s in Oakland. "You need to get a look down or matching outfits or at least have a theme." Absorb the high-camp retro swank of artists like the Bay City Rollers and Slade on DVD and study old dance shows to cop ideas and moves. "We don’t get inspiration from new bands," he adds. "People just dress like their neighbors. But even matching T-shirts is a start."

3. "I always like props," Chunx raves. "I think Alice Cooper beheading people on stage was genius!"

4. "This probably comes as no surprise, but I’d always advocate any overt sexuality," Chunx says. "It’s the cheapest way to go, but people like to see people get naked and overtly, crazily sexual onstage. No one’s going to want to look away — even if it’s the car-accident syndrome!"

GRAVY TRAIN!!!! July 7, 10 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

We got the answers to your burning music biz questions. E-mail Ask Dr. Rock at askdrrock@sfbg.com.

The Queer Issue: Back to the future?

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› culture@sfbg.com

I’m supposed to meet my editor, Marke B., to talk about this piece at noon at some cheap Mission restaurant that won’t bankrupt my lousy checking account. I arrive 15 minutes late; he’s running at least 30 behind. As I sit and wait for him, I can’t help but laugh — queers are always late. As a queer with a drag-queen alter ego, Felicia Fellatio, I know this is especially true — that hoary old chestnut about "running on drag time" has the ring of solid validity. Trannies are like Muni: we’re never on time.

But a growing body of scholarly queer literature suggests that the underlying cause of our tardiness may be more than simply wanting to be fashionably late. In fact, our predictable lack of punctuality might be a symptom of what many psychologists see as the gay community’s prolonged adolescence; there may be a sense of time unique to homos that exists outside heterosexual norms.

WIND IT UP


Put simply, queer temporality theory says that because our lives can’t be completely legally or socially mapped out according to the heterosexual model (getting married, having kids, sharing retirement benefits, expecting inheritance), we feel less pressure to conform to other aspirations (completing a degree, saving for a house, planning retirement) in the stereotypical Game of Hetero Life. Basically, tardiness is a form of subconscious queer rebellion. This can manifest itself as a rejection of all schedules, however quotidian. It can also lead to a profoundly different view of what the future means to queer people, especially in terms of freedom of choice. Well-known queer theorist Judith Halberstam elaborates on this theory, from a transgender point of view, in her book In a Queer Time and Place: Transgender Bodies, Subcultural Lives (New York University Press, 2005).

Some studies also posit that, because many of us grappled with the whole coming-out thing at the same time we were going through puberty, our adolescent maturation period was extended, thus stretching out our psychological development — and effectively slowing down our mental clocks. We just need more time to process things and act on them. Other queer temporality theories focus on the psychological effects of AIDS, which instilled in our community a sense of imminent mortality that negated the future and focused our attention on the present. Rather than making decisions based on what may be, we began to concentrate on what is, creating art and culture that offered immediate transcendence through humor and rage, rather than any abstract hope for the future. "AIDS quickens that sense of needing to and actually being able to draw forth from one’s spirit that work which will have resonance for other people," the late, great filmmaker Marlon Riggs said, and the recent work of performance studies scholar José Esteban Muñoz tries to show how queers have incorporated that sense of "quickening" into their lives and actions.

SPRUNG FORWARD


Of course, we may just run late for things because we’re busy, either at work (most of us rely only on ourselves for financial stability) or at play (our culture is still pretty party-centric, so we have a lot of hangovers to deal with). Plus, putting on all that makeup is practically a full-time job for us queens. Cut us a little slack so we can look fabulous. And all of the theories above seem awfully generalized — some may bristle at the suggestion that we be cast as supposed victims of a pathology that prolongs our adolescences and screws with our mental clocks. It’s not as if there aren’t queer people living as much as they can according to the hetero model, especially now that legal restrictions against same-sex marriage and adoption are relaxing in some areas.

In fact, the pendulum seems to be swinging the other way in terms of the queer rebellion against the straight timeline. As noted by broadcast journalist Tovia Smith last month on National Public Radio, in her piece "Marriage Causes Shift in Gay Culture," it seems that queers have gone "from a radical movement bent on challenging societal norms to a community now eagerly embracing those conventions as their own."

Smith drew her conclusion based on an interview with an upper-middle-class white gay couple from Cambridge, Mass. — the type of control group against which queers have traditionally defined themselves. Whatever negative connotations the phrase "prolonged adolescence" may conjure up, a case could be made that this is precisely what allows queer culture to thrive. Adolescence is when a personality is at its most fluid, and queer identity is the essence of fluidity. Halberstam sees queer temporality as a positive, radical reaction to heterosexual society’s mores, pitting it against the "time of inheritance," whose purpose is merely to shore up "the historical past of the nation" and protect "national stability." In the ’90s, a vibrant queer culture of artistic expression, political activism, and social and sexual interaction embraced the notion of prolonged adolescence.

FALLING BACK


Queercore bands like Pansy Division and Tribe 8 co-opted the in-your-face, live-fast-die-young aesthetic of punk, inviting listeners to throw off the shackles of heterosexual society’s expectations and, in the words of Pansy Division, "join the cocksuckers club." Homocore fanzines reveled in childlike graphics and gleefully reinterpreted teen fan magazines like Tiger Beat, giving them a decidedly homosexual spin. The hallmarks of puberty — geeky awkwardness, swoony crushiness, questionable outfits, wanton partying, sexual exploration — became queer fashion statements. Prolonged adolescence was also a means of connection in a time of grief and frustration, a flashpoint where queer history met the present. The AIDS Quilt used a common symbol of childhood comfort to unite and console mourners, and activist organizations like ACT UP and Queer Nation energized their members with the élan of belonging to a rebel schoolyard gang.

But that was the past, and there’s no denying that, with more access to the heterosexual lifestyle opening up for queers, the future is upon us. HIV is no longer a death sentence (for people who can afford the meds), and any evidence of necessary rebellion is awfully hard to find in young gay people these days, at least on the face of it. Prada and Beyoncé have replaced vintage clothing and queercore as coins of the young gay realm, and the psychological and social effects of the current lust for consumerism and mainstream pop culture on queers today will be for future theorists to puzzle out. To me, it represents a sad trend that aspires more toward societal acceptance than political subversion, an adjustment of our internal clocks to tick to the tired straight beat. Call me nostalgic, call me behind the times — just don’t call me late for cocktails.

Welcome to Summer Scene 2007

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Click here to go to Summer SCENE 2007: Our Guide to Nightlife and Glamour

It’s almost summer, and I feel shamelessly trendy. Not Bobby or big sunglasses trendy — or even Lindsay gray hoodie or Paris orange jumpsuit trendy (well, maybe a little). No, I wanna know. What’s going on in the wide and wicked world of fashionable nightlife? Make me care, dammit.

In New York, the wild, proudly heterosexual rich kids who run the überpopular Box are talking about opening an after-hours bathhouse. We can’t do that in San Francisco (it’s still illegal), but I love that the little downtown brats are hauling wet-het sleaze from their gilded water closets. In Syria, according to the New York Times, gentlemen’s clubs — and there really isn’t any other kind of club in Syria — have started Iraqi refugee–themed stripper nights. No, thank you. And in Europe, there are so many seven-foot-tall Danish, Turkish, and Ukrainian drag queens ruling the dance charts right now, it’s like some flamboyant aural Amazon gypsy carnival exploded. Stevie Nicks was right!

But what about here in the Bay? It seems like dance music is still going through what hip-hop went through 15 years ago — digging up the past, mixing it up with the future, dropping golden nuggets on the playlist. Pairing that turquoise off-the-shoulder cable knit with a fuzzy pink mini, tucking our leopard-print stockings into our pixie boots. Only now, at last, we’re edging our way slowly into the ’90s, with brassy neu rave air horns, sly acid bass lines, and e-fueled hyphy goofiness sidling up to the frosty early ’80s and offering to buy her a double Manhattan. My edge-of-’90s deep-dish DJ wish list for summer 2007: Leila K, "Got to Get"; Mory Kante, "Yeke Yeke"; Nicolette, "O Si Nene." And anyone who can find a way to slip on Guru Josh’s "Infinity (1990s: Time for the Guru)" with a straight face wins my vote for Queen of the Rave-iverse.

Yet things aren’t totally bass-ackward in clubland, although I fondly hope that the recent giant Vivienne Westwood fashion retrospective at the de Young fills the dance floors with gorgeous beaded corsets, golden safety pins, padded asses, ostrich feathers, crazy harlequin prints, and deconstructed plaids for years to come. (Did anyone else shed a tear when they came upon the famous sparkly platforms that made Naomi Campbell tumble to the runway? Tragic. I nearly threw my cell phone in sympathy. But that would be expensive.)

Techno’s making a huge and forward-looking comeback, ripping an electronic page from the mashup scene’s playbook and going live, helped by mind-boggling new software. It’s complicated, but it’s lovely. Indie rock DJs, like techno DJs before them, are discovering contemporary classical ("new music") and throwing rough street sounds and angular, alien textures into their sets. The dub scene is also booming, mixing high-tech breaks and ragga beats with Southeast Asian instrumentation and more than a little African flavor. And the queer kids? We’ve ceased embracing our inner Beyoncé so much and are turning to live bands and smoky cabaret to get our kicks. Rawk.

All of which just means anything goes. And lover, it’s going well. So make this summer work for you — however, whyever, whenever. It’s almost like democracy!

Poach the crowd,

Marke B.

marke@sfbg.com

X-treme Mugler

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Remember Angel? Remember flab, the folds, and the sticks and stones we called my bones? Thierry Mugler – the fashion designer who went all the way with shoulder pad fascism and added the scent of chocolate (with sublime results, if we might say so ourselves) to perfume – has evidently gone completely ape for adrenalin and weird bulgy veins in strange places, and has turned himself from a “renowned courturier to muscle-bound beast.” This according to the WOW Report.

thierrymuglerbuff-tm.jpg
Doesn’t Thierry Mugler’s head look Photoshopped onto some odd prefab Frank Frazetta-style Conan bod? Courtesy of the WOW Report

WOW continues: “We reported that the 59-year-old French designer and perfumer had been lifting weights to such an extent that he bulked himself into an unrecognizable creature that required a whole new identity. Thierry now wants to be called Manfred. ‘He’s been incommunicado since he closed his couture house,’ said a former friend. ‘What he’s done to his body is totally scary.’ We didn’t realize the extent of the damage until a friend e-mailed us a photo of the buffed and bare-naked Manfred.”

Zut alors! It’s like a big wake-up call to step away from the ‘roids, kids. If it’s real… Wake me up when it’s over.

All-consuming consumption

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› a&eletters@sfbg.com

Copping to her fashion juju at curtain rise, amid a litany of designer labels rattled off at the audience, Fe, the heroine of the sordid story to follow, makes a pretense of having broken the solemn rules of drama by giving her big secret away at the outset. In fact, there’s plenty of mystery yet in this intriguingly mercurial, restless hedonist (played by a charismatic, unstoppable Margo Hall), who anyway reverses herself in the next line when she coyly concedes the covert nature of her splendid appearance. "Face? François Nars. You can never go wrong with the French. François’s motto? ‘Makeup is not a mask.’ A load of tired crap, but I forgive him."

We never get more than a glimpse behind Fe’s mask, but then, appearances are what count — for all and nothing — in Fe in the Desert, the latest world premiere collaboration between Philippine-born American playwright, novelist, poet, and performance artist Jessica Hagedorn and Campo Santo and Intersection for the Arts. After the outwardly fearless but inwardly insecure title character reveals her deceptive fabulousness, she seeks the psychological safety of her estranged husband’s brand-new Cadillac Escalade, with its aloof suspension and promise of indestructibility, as she drives to their desert home.

Narrowly avoiding a head-on with a meat truck, Fe nearly loses her life. This puts her in an existentially acute mood for the duration of her subsequent adventure-nightmare in a seemingly empty Mojave, where she and husband Bill (a coolly flamboyant, then persuasively unhinged Danny Wolohan) are interrupted in their shaky reconciliation by two armed intruders. But even that irony is no proof against the power of the all-American Caddy to ward off bad spirits. The juju of the mighty Escalade — and of the general wealth of Fe’s ultimately helpless epicurean husband, and of showbiz, whose allure also figures significantly, if somewhat obliquely, in the narrative — may falter, but never dies.

The prequel to 2005’s Tenderloin-set Stairway to Heaven, also launched with Campo Santo, Fe in the Desert cunningly puts the usual codes of identity in playful motion (with their hierarchy of class, gender, and ethnic markers) to explore the deeper social and cultural context of Fe’s existential crisis. Indeed, the play’s spacious and opulent setting (as well as its predominantly comic mode) offers a seemingly stark contrast to Stairway‘s grim inner-city tale but in fact provides no escape from the same world of contradictions, which dramatically swoop down on the reconciling couple in the form of ex-cons Tyrone (a sophisticated sociopath with a thing for good English, smoothly played by Robert Hampton) and his volatile ghetto-Pygmalion protégé, Mook (a credibly wild Jonsen Vitug). On their trail follows an unlikely rescue party made up of a producer (Michael Torres, in an amusingly sly turn) and his foreign-born secretary (a solid Sara Hernandez).

The American desert here is at once full and all-encompassing, being the desert of capitalism, consumerism, haute culture, pop culture, and the Hollywood dream factory. This soup of oneiric consumption tends to undermine any hard-and-fast identity, including those cast in multiethnic hyphenates and hoary stereotypes. Instead, various strands of the cultures still referred to as high and low flow into one another with abandon, sometimes comically, sometimes violently, but always ecstatically.

That slipperiness partly excuses the rather thin construction of some of the play’s characters, but only partly, in a production that provides little real punch despite high-octane performances and director Danny Scheie’s ever-inspired staging of a story that loops repeatedly back in time, confutf8g multiple perspectives on the same horrific and absurd encounter. Fe, on the other hand, memorably realized by the always formidable Hall, has a certain staying power. In the desert of American dreaming, she’s at least a consummate survivor, a Prada-clad pioneer who never stops moving. *

FE IN THE DESERT

Through June 25

Thurs.–Sun., 8 p.m. (also June 25, 8 p.m.), $9–$20, sliding scale

Intersection for the Arts

446 Valencia, SF

(415) 626-3311

www.theintersection.org

Speed thrills

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› a&eletters@sfbg.com

Whither beauty? Withered on the prickly postmodern vine. Sour grapes, you say? Just look around: A chemical haze obscures formerly fragrant, now fallow fields of flowers across which long-legged lovelies strolled arm in arm under pin-striped parasols; poisonous waste washes up on the shores of previously pristine beaches where carefree bathers whiled away their weekends; and corporate conglomerates co-opt every available surface of soccer field and skating rink, once the open-air arenas of athletes for whom sport was merely child’s play dressed up in soft cotton jerseys and sensible shoes. Autumn afternoons no longer linger for a sun-dappled eternity, elegance is a disease of conceit, and Fred Astaire is long gone. With a tip of the woefully unfashionable top hat to Simone Signoret, nostalgia isn’t what it used to be.

But what good is sitting alone in your room? Slink over to the San Francisco Museum of Modern Art and spend many a restorative hour among the unknown pleasures of "Martin Munkácsi: Think While You Shoot!," a joyous retrospective that traces the rise and fall of beauty as a panacea, placebo, moral absolute, and vicious myth. The myriad surprises here refute rumors of beauty’s untimely demise, or at least temporarily revive those long-lost days of languorous lounging when everyone was gorgeous and speed meant velocity. Munkácsi’s photographs depict a world — not quite ours, but layered with remnants and reminders of what was and what again could be, when everything’s gone green — ceaselessly in motion. Neither the artist nor his subjects ever slowed down, hence the simultaneity demanded by the exhibition title. (For a guide on how best to experience the show on the first of the many visits it merits, check out the trio of would-be crooks racing through the Louvre in Jean-Luc Godard’s Band of Outsiders.)

Born in Hungary in 1896 and restlessly embarking on peripatetic journeys around the world, camera in tow, until his 1963 passing, Munkácsi was a modernist master of photography whose remarkable yet often overlooked achievements encompassed the prewar innocence of Budapest and the privileged leisure of Weimar-era Berlin. He shot mining disasters in Alsdorf and the landing of the Graf Zeppelin in Brazil, the pastoral villages of the Lengua tribe and the fabulous glamour of old Hollywood. He was everywhere and always in good company, swimming with the in-too-deep denizens of Copacabana, hobnobbing with the Hearsts at San Simeon, and marching with military troops in Liberia.

Beauty — in form and function, as hallowed intention and blessed happenstance — suited Munkácsi’s joie de vivre. His exuberant images of motorcyclists careening through the countryside, operetta starlets kicking up their heels, naked boys running into the surf at Lake Tanganyika, and Louis Armstrong letting loose with an endless smile seem the very essence of life lived fully, without worry, and with a keen appreciation for surface perfection and the complex mélange of conviviality and yearning beneath. An unapologetic aesthete, Munkácsi — Jewish and in the wrong place at the wrong time — might even have been temporarily blinded by beauty to the ugly truths that eventually sent him packing for the States. How else to explain the eerily graceful compositions of army ranks lined up like statues at the opening of the Reichstag in Potsdam, the portraits of Adolf Hitler and Joseph Goebbels tainted with a veneer of Nazi chic, or the startling shots of Triumph of the Will director Leni Riefenstahl expertly traversing tricky ski slopes? These images work as reportage, of course, but crafted with Munkácsi’s customary élan, they are nearly too revealing — and pleasing — for comfort.

Munkácsi’s wanderlust, zest, and brilliant eye — his gift for homing in on kinetic narratives and telling details greatly influenced Henri Cartier-Bresson’s crucial notion of the "decisive moment" in photography — led him to document the oddly parallel ascendancy of fascism and fashion as era-defining movements that shaped the intertwined fates of Europe and America and motivated his own travels to far-flung locales. Whether studying the drape of a Halston headdress on a beachcombing model, observing Fritz Lang at work in his Berlin apartment, or conveying the gory excitement of a bullfight simply by training his camera on the spectators’ wildly expressive faces, Munkácsi applied his groundbreaking aesthetics to epochal scenes of 20th-century life. He shot while he thought, and beauty lies bleeding. *

MARTIN MUNKÁCSI: THINK WHILE YOU SHOOT!

Through Sept. 16

Mon.–Tues. and Fri.–Sun., 11 a.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

For Christ’s sake

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The cultural divide between a supposed gay agenda and faith-based biases is well represented in several features within Frameline’s expansive 2007 program. Its representations run a wide gamut — just as the terms gay and Christian have come to encompass wildly disparate US communities.

On Frameline’s nonfiction side, Markie Hancock’s Born Again deftly mixes home movies, archival news footage, and more to chart the director’s long, often agonized journey away from being the perfect overachieving and overbelieving product of her Pennsylvanian parents’ staunch evangelical faith. At a Christian college and then in wide-open Berlin, Hancock began to question the conservative beliefs that had — along with her family’s approval — constituted her formative-years identity.

The devout Hancock clan members are models of tolerance compared to the subject of K. Ryan Jones’s Fall from Grace. That individual is none other than Rev. Fred Phelps, the leader of the Westboro Baptist Church of Topeka, Kan., a man long notorious for his congregation–cum–extended family’s outrageous displays of public homophobia. Most recently, Phelps and his followers found infamy by picketing the funerals of US soldiers killed in Iraq, a phenomenon they approve of — the notion being that these American military deaths are somehow God’s vengeance for the pipe bomb that student pranksters planted at Westboro Baptist a decade ago.

Yup, these people are cray-ay-ay-azy! Also scary. Two among Phelps’s several estranged children say he used the Bible to justify domestic violence. Unlike most hatemongers, Phelps’s small but fervent clan actually embrace the word hate. Their notion of Christianity is all hellfire and zero forgiveness or compassion. They are pseudo-Christian Antichrists.

A gentler treatment of Bible-based intolerance can be found in Rock Haven, the first directorial feature of San Francisco’s David Lewis. Its titular fictive Northern California burg (played by Bodega Bay) is where Bible college–bound Brady (Sean Hoagland) moves from Kansas with his widowed mother (Laura Jane Coles), who’s opening a Christian school. The moment Brady spies slightly older Clifford (Owen Alabado) striking Grecian postures on the beach, however, unclean thoughts — then nekkid actions — put him on a collision course with his mom’s values.

Deeper yet less serious in tone, writer-director-star Pete Jones’s delightful Outing Riley is a comedy in the Judd Apatow vein, often raucously funny without sacrificing warmth or character dimension. Jones plays Bobby, a 30-ish Chicagoan who loves his Cubs and his beer. And also his male lover — but that is a secret kept well hidden from his three Irish Catholic brothers (including one priest), with whom he’s still best buds. Their sister, Maggie (Julie Pearl), is one among several folks urging him to come the hell out, for Christ’s sake. But doing so doesn’t go down too well at first, not even with the designated bad-boy bro (the wonderful Nathan Fillion, of Waitress and Firefly). Ultimately, things turn around in an agreeable fashion that doesn’t cut corners for cheap uplift.

The result is one of those rare gay movies that should or could be shown to all the straight dudes in America who claim they "can’t really deal with that gay shit." Incredibly, Outing Riley doesn’t have a theatrical distributor yet. Catch it at Frameline, or may the Lord help ya. (Dennis Harvey)

BORN AGAIN (Markie Hancock, US, 2007). June 21, 7 p.m., Victoria

FALL FROM GRACE (K. Ryan Jones, US, 2007). Mon/18, 7 p.m., Roxie; June 20, noon, Castro

OUTING RILEY (Pete Jones, US, 2004). Fri/15, 9:30 p.m., Castro

ROCK HAVEN (David Lewis, US, 2007). June 21, 9:30 p.m., Castro

Hit it or quit it

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Black White and Gray (James Crump, US, 2007) If Andre Téchiné’s The Witnesses colors the early ’80s red, this documentary about Sam Wagstaff (and by extension Robert Mapplethorpe) opts for a relatively bloodless palette. Though its voice-over shows class chauvinism in asserting that Patti Smith brought validity to punk, Black White and Gray perceptively uses its enigmatic subject as a window onto the changing role of photography within the art world. (Mapplethorpe’s objectification of black men is left uncriticized.) Crump brings in some excellent sources, such as Hanuman publisher Raymond Foye. He also brings in at least one horrible blabbermouth: spewing bitter opinion, historian Eugenia Parry deserves every hearty hiss she’s going to get from a Frameline crowd. The film ends on a flat note by allowing Smith to recite one of her pedestrian recent lyrics, but otherwise she’s a trustworthy and likable source on the relationship between Wagstaff and Mapplethorpe. Maybe the DVD version will bring more of her reminiscences and less of Parry. (Johnny Ray Huston)

June 21, 7 p.m., Victoria

DarkBlueAlmostBlack (Daniel Sánchez Arévalo, Spain, 2006). The term Almodóvarian is being thrown around these days with almost the same frequency as the term Hitchcockian (Almodóvar’s Bad Education was called Hitchcockian) and just as vaguely, but screenwriter-director Sánchez Arévalo’s DarkBlueAlmostBlack is Almodóvarian, resembling his postscrewball phase: it has melodrama without histrionics, likable characters doing absurdly unlikable things and vice versa, malleable (different from queer) sexuality, and near-incestuous family dynamics. The only thing missing is a hideously decorated apartment. In a world littered with the fruits of vacant and wild-eyed Almodóvarians (see — or don’t — Frameline 30’s unintentional disaster film The Favor), a disciple with some chops is cause for applause. Bitterly funny and narratively exciting — it toys with an amiable glibness that always comes back from the brink with devastating human emotion —Sánchez Arévalo’s dark but not quite jet-black comedy could be one of Almodóvar’s strongest films. (Jason Shamai)

June 20, 9:30 p.m., Victoria

Finn’s Girl (Dominique Cardona and Laurie Colbert, Canada, 2007). While other lesbians in the fest ponder whether to start a family, in Finn’s Girl conception is a fait accompli. How exactly it was accomplished is a bit of a mystery, but more pressing questions present themselves. One is whether Finn, a workaholic running a besieged Toronto abortion clinic and mourning the death of her wife, will get her head blown off by antichoice snipers — apparently, religious wingnuts live in Canada too. Another is whether she’s up for single-parenting the charming, precocious, enraged, and increasingly unmanageable Zelly, whose expressive 11-year-old eyes are particularly off-putting when narrowed above the smoke of a joint. Finn’s Girl covers a lot of terrain (grief, reproductive rights and technology, the travails of parenting, tween sexuality) with a fairly light tread, though Zelly’s scenes carry a particular charge of unpredictability. The result is a somewhat involving, sometimes sketchy picture of a family in transition. (Lynn Rapoport)

Sun/17, 12:30 p.m., Castro; Tues/19, 6:30 p.m., Parkway

Fun in Girls’ Shorts (various). Excluding Filled with Water, a smart, beautifully shot animation about a woman who falls for a TV-enclosed ballerina, and Succubus, a semicomedic film about a lesbian couple struggling to have a child, adolescent identity issues and anxieties constitute the major themes of this short-film compilation. With its attractively blurry cinematography, Pariah, about a 17-year-old black girl who keeps switching identities to please her parents and friends, is the most complete example of the suffocative effects that the suppression of one’s identity can have on a person, let alone a teen. (Maria Komodore)

Sat/16, 1:45 p.m., Castro; June 24, 11:30 a.m., Castro

Homos by the Bay (various). Though uneven, this program of shorts by local filmmakers does boast some standouts, including a stop-motion pair by Samara Halperin (who notably queerified Beverly Hills, 90210 in 2001’s Sorry, Brenda): the minute-long rhapsody on hot dogs, Plastic Fantastic #1, and Hard Hat Required, featuring two Lego men who do more than construction on the job. The Clap’s Gary Fembot uses his DJ skills for Mondo Bottomless‘s delightfully vintage pop soundtrack, a perfect match for its 16 minutes of cavorting men in bathing suits. And Nao Bustamante has a joyful punk-rock awakening in the black-and-white suburban fantasy The Perfect Ones. (Cheryl Eddy)

June 23, 1:15 p.m., Victoria

Jam (Marc Woollen, US, 2006). This is a fantastic, fascinating Roller Derby doc about Tim Patten, a local HIV-positive man who ferociously attempted to revive the sport after its virtual demise in the ’70s and, with it, the legendary Bay Area Bombers team. In San Francisco in the late ’90s, Bombers matches at Kezar Stadium were the hottest after-dark tickets in town, uniting swing revivalists, rockabilly fans, queer hipsters, and anyone into exquisitely goofy WWF-type antics but not into scary WWF crowds. Director Woollen takes us behind the scenes of those derby matches, delivering plenty of colorful history and personal drama (along with a few trade secrets) and uniting the disparate stories of the eccentrically flamboyant gang of wheel-heeled dreamers who signed on to Patten’s dream into a rollicking tale of subversive triumph. Now that’s a party. (Marke B.)

Mon/18, 7 p.m., Victoria

No Regret (Leesong Hee-il, South Korea, 2006). If you like movies about sexy orphans who become male prostitutes, you have at least two options at Frameline this year: Twilight Dancers and No Regret. Neither really addresses the issues it promises to (class politics, sex politics, et al.). But No Regret — essentially Pretty Woman for gay male depressives — is at least a better time at the movies. The South Korean film successfully tricks us into thinking its condom-thin melodrama is worthy of our tears, which is nothing to sneeze at. Just don’t expect to come out of the theater having unpacked the psyches of mopey Adonises for hire and their equally mopey rich lovers. (Shamai)

June 22, 10 p.m., Victoria

On the Downlow (Abigail Child, US, 2007) Some of the best pure moviemaking in this year’s festival can be found within this documentary by Abigail Child. Reflecting Child’s background as an experimental filmmaker, On the Downlow finds a lot of poetry and grit in urban Cleveland: a shot of a hooker moseying across the street and a sequence set at a barbecue are great examples of the poetry in motion that can happen when a talented woman with a camera looks at another woman. (Shot by men, these sequences would almost unfailingly be presented in a crude fashion or simply left ignored.) Of course, the main subjects here are men. Child also films them well, adding portraiture to talking-heads segments. On the Downlow‘s somewhat frustrating paradox is that it can’t really directly present its title subject — the guys talking here are either in love with DL guys who aren’t interviewed or they’re young gays- or bi’s-to-be taking awkward first public steps toward an out identity. (Huston)

June 23, 6 p.m., Victoria

Tan Lines (Ed Aldridge, Australia, 2006). The Aussie surfside ensemble drama has deep roots, stretching at least from preasshole Mel Gibson’s 1977 feature debut, Summer City, to last year’s superb, as-yet-unreleased (at least here) crime docudrama Out of the Blue. Landing somewhere between Gus van Sant and shark-bait territory, director Aldridge’s first feature focuses on the few days when 16-year-old surfer Midget (Jack Baxter) falls in first love — or at least first lust — with his best mate’s briefly returned, gay-disgraced brother, Cass (Daniel O’Leary). With its cannily used nonprofessional actors and streaks of absurdist humor, Tan Lines is an offbeat delight for half its length. The charm fades a bit thereafter, but this is still worth a look. (Dennis Harvey)

June 23, 3:30 p.m., Castro

Tick Tock Lullaby (Lisa Gornick, UK, 2006). Flirting with the idea of having a child and confronted with the difficult question of how to go about having it, Sasha (Gornick) and Maya (Raquel Cassidy), a lesbian couple living in London, set out on a sperm escapade. Inspired by the thought process that Sasha goes through as the couple’s hunt progresses, three additional stories emerge and intermingle, representing variations on the potential of becoming a parent. Shot with a beautifully fluid camera, Tick Tock Lullaby is an intimate, complex, and elaborate exploration of sexuality, relationships, and most important, parenthood. (Komodore)

Sat/16, 9:30 p.m., Castro

For more short takes on Frameline 31, go to www.sfbg.com/blogs/pixel_vision.

Pet projects

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› gwschulz@sfbg.com

"If you have men who will exclude any of God’s creatures from the shelter of compassion and pity, you will have men who deal likewise with their fellow men."

St. Francis of Assisi

His name is Sylvester. He’s quite handsome and charismatic, for a cat.

Sylvester is believed to be about eight years old, and the San Francisco Society for the Prevention of Cruelty to Animals has been his home since last July. He’s a simple domestic shorthair, with a jet-black coat aside from some snow-white blotches on his chest and left arm.

Also doing time at the SPCA is a slightly bashful orange tabby named Jitters, who has awaited a home since April. A long-haired tortie named Minna, with somber green eyes and a splash of umber on her nose, has been at the SPCA for a year and a half.

In many cities Sylvester, Jitters, and Minna would be on death row. In San Francisco they’re guaranteed a chance to live until they find a family, as long as they’re deemed adoptable by the SPCA and don’t develop a life-threatening disease or unmanageable behavior traits. They are the legacy of pioneering former president Richard Avanzino, regarded by most as the originator of the national "no-kill" movement.

Avanzino spent 20 years making the San Francisco SPCA a national leader in saving animals, including forging a pact with the city in 1994 to work toward guaranteeing every adoptable cat and dog a home, a remarkable promise during a time when few places across the nation were willing to make saving the lives of companion animals a priority. Most shelters euthanized tens of thousands of kittens, puppies, dogs, and cats every year to save space and money. Quite a few still do.

But after Avanzino left in 1998 to spread his no-kill philosophy nationally through the Alameda-based nonprofit Maddie’s Fund, the local SPCA has steadily retreated from the cutting edge. Rather than continuing to push toward the goal of saving all the animals, the two presidents who succeeded Avanzino have focused the organization on a private hospital project that has turned into an expensive boondoggle that’s sapped the organization’s energy and resources and angered the local veterinary community.

"San Francisco likes to say it’s the safest city in the United States to be a dog or cat," said Nathan Winograd, a widely recognized proponent of the no-kill philosophy and former director of operations for the SPCA, who left the organization in late 2000. "That is no longer true. There are other cities that are doing much more in terms of lifesaving. That’s one of the reasons I chose to leave San Francisco."

The SPCA’s eighth president, Jan McHugh-Smith, finally arrived in April after the shelter had spent nine months with an interim head, and the question now is whether she can turn this troubled yet still revered organization around.

Only in recent years have cities nationwide begun enacting policies intended to stop — or at least dramatically slow — the senseless slaughter of animals that are the defenseless victims of the public’s love of adorable newborns and specialized breeds. That trend started in San Francisco.

Avanzino calls welfare groups like the SPCA "safety valves" that relieve pressure on animal control officers and traditional municipal shelters. In an editorial last year for Maddie’s Fund he wrote that saving healthy and treatable shelter pets is the "minimum no-kill standard" and that communities today should strive to go beyond no-kill.

"Tompkins County, New York is a case in point," he wrote. "The Tompkins County SPCA maintains a 92 percent live-release rate. It saves all of the county’s healthy and treatable shelter pets and feral cats. Should this be our life-saving goal? I think it should."

Tompkins County, it turns out, is exactly where Winograd went after leaving the San Francisco SPCA in frustration. "When I left, we just had to save 500 or 600 more treatable dogs and cats every year, and we would have been just about there," Winograd said. "We were a whisper away."

Edwin Sayres, who succeeded Avanzino as president, told the shelter’s board of directors that the SPCA could remain in the vanguard of reducing pet overpopulation and saving abandoned animals while at the same time building a prestigious, state-of-the-art veterinary hospital that would rival one of the few other comparable facilities anywhere in the United States, Angell Memorial Hospital in Boston.

The Massachusetts SPCA, however, spends millions of dollars more each year simply running its three Angell facilities than the San Francisco SPCA’s entire budget. Originally expected to cost just $15 million, the price tag of the latter’s Leanne B. Roberts Animal Care Center has now shot to $32 million. The SPCA will finally break ground on the new facility in October.

Critics feared the hospital idea was a potential disaster, and they complained that the nonprofit had become top-heavy under Sayres. They pointed to the shelter’s money trail, detailed in its required annual tax-exempt disclosure forms, to emphasize where they believed the shelter’s priorities now rested.

While earning $200,000 a year in salary and benefits, Sayres created new executive positions that cost the shelter hundreds of thousands of dollars more in compensation than was spent during Avanzino’s tenure. That might not have seemed like such a big deal in 1997, when the nonprofit was taking in several million dollars more in donations from the public than it was spending to cover operational expenses.

But by the end of the 2002 fiscal year, when donations to the SPCA and many nonprofits were lagging, the shelter had fallen $2 million short of covering its $14 million in expenses, which had climbed by the millions annually.

At the same time, the city failed to reach its goal of releasing alive 75 percent of the animals it impounded; 2,075 animals were killed that year for a variety of reasons, according to city records. The SPCA also missed its target that year for the number of animals it would take in from the city’s municipal shelter and make available for new homes through its unique adoption center.

Meanwhile, several cities across the country were embracing the no-kill cause, inspired at least initially by San Francisco’s example. They did so with considerable help from Winograd, who worked briefly as a Marin County prosecutor before traversing the nation to help shelters come as reasonably close to no-kill as they could.

Tompkins County; Charlottesville, Va.; and Reno are all boasting live-release rates of around 90 percent after promising to find homes for adoptable and treatable animals, the latter a key category that includes animals with behavior problems, serious illnesses, and injuries that require extra care.

In other words, as San Francisco struggled to maintain its sense of direction, other communities began to implement and even redefine the meaning of no-kill. San Francisco has averaged a 70 to 80 percent save rate annually for several years — and the difference between this and what Winograd and others have hoped for the city of St. Francis means hundreds of animals being killed each year.

While avoiding any searing critique of the shelter, Avanzino told the Guardian that he perhaps would not have promoted the hospital scheme. However, he said, plenty of his own bold ideas at the SPCA once made him a target of criticism, like the shelter’s posh $7 million adoption center, composed of 86 kitty condos and doggy apartments.

"I know it sounds like I’m ducking the issue, and I am," Avanzino told us. "But the bottom line is that new leadership and the policy makers for the organization believe with everything in their being that this is an important next step for the San Francisco SPCA and [that] it is going to do more to help the animals. They have not kept me in the loop."

Nonetheless, when Sayres led the nonprofit, between 1999 and 2003, it spent at least $1.7 million just on architects and veterinary consultants moving the planned hospital forward. Meanwhile, programs like humane education and law and advocacy, the latter at one time a half-million-dollar program, saw deep cuts in their budgets or simply shriveled up and disappeared altogether, while public relations and promotional expenses retained brisk support to the tune of at least $1 million annually for several years before those expenditures were finally trimmed too.

Further, the shelter’s 17-member board of directors granted Sayres a $400,000 home loan and gave him 30 years to pay it off, although he cleared the debt before leaving for a new job in June 2003 at the American SPCA, which is independent of the San Francisco SPCA.

As the summertime explosion of kittens loomed in the spring of 2003 and Sayres prepared to leave, he sent an e-mail to the SPCA’s nearly 1,000 volunteers blaming the economy’s ongoing downturn and a 10 percent drop in public donations for the shelter’s money woes. The jobs of at least 15 employees were cut, and others were merged into one, including two major volunteer-coordinating positions.

In e-mails circuutf8g at the time, copies of which we’ve obtained, volunteers agonized over whether to inform the press of what was going on internally, nearing the point of insurrection over cuts in shelter services — including a one-of-a-kind dog behavior and training program. The truth, some feared, would turn donors away. Some argued that executive salaries should be trimmed to save money before ground-level staffers were dispatched with pink slips. Others were furious over the planned hospital’s burgeoning costs.

"I certainly think a new center is exciting and overdue," a volunteer wrote to Sayres. "But it annoys me [to] no end to see billboards all over the city about the center and nothing about the situation we’re in."

Sayres never responded to several detailed questions sent to him by e-mail and was unable to make time for a phone interview. But he admitted in a 2002 San Francisco Business Times story that he’d "tried to move forward with my vision too quickly."

"I should have taken more time to listen and absorb the culture," Sayres said in the story. "Now I’m more mindful of the contributions that people have made here over the decades."

New president McHugh-Smith insists the shelter can still balance the hospital plan’s most recent incarnation and a continued focus on the agency’s raison d’être: preventing cruelty to animals.

"One thing I’m really proud of is our hospital provides one and a half million dollars’ worth of charity care to homeless animals and people who can’t afford veterinary care for their pets," McHugh-Smith said. "What a critical service for this city. There are a lot of people here who can’t afford the care their animals need. They shouldn’t have to give up their pets for that."

Recent troubles aside, even the SPCA’s fiercest critics contend that much of the nation still lives deep in the shadows of its extraordinary achievements.

The San Francisco SPCA was officially chartered in 1868 as the first humane society west of the Mississippi River. But more than a century later, in 1978, its leadership had grown tired of the organization’s serving dual roles as a killer and a savior of animals.

Backing out of its long-standing shelter contract with the city meant losing more than a fifth of its annual budget, but then-president Avanzino felt the group’s agenda no longer fit with the city’s mechanized handling of hapless animals. Thousands were still being killed by the city each year.

"For 101 years, the reputation of the SFSPCA was, ‘That’s the place where animals are killed,’" Avanzino said in a 2000 interview he gave to Maddie’s Fund. "That was not the purpose of our organization. You can’t be the animals’ best friends and be their principal killer."

The city was forced to create a separate municipal shelter, known today as the Department of Animal Care and Control, which cites abusers, seizes dangerous dogs, and maintains its own adoption program. The SPCA then proceeded to vastly expand its spaying and neutering services, particularly for juvenile animals, as well as its medical facilities and treatment for animal behavior previously regarded as severe enough to warrant a trip to the death chamber, in which dozens of animals were killed at once. A technician withdrew oxygen from a decompression room until they died.

The SPCA led the way in taking animals waiting for adoption out into the community, and while some early skeptics feared mobilized adoptions would inspire impulse buying and high turnovers, many groups nationwide started to follow Avanzino’s lead after seeing how well it worked here.

On its sweeping Mission property at 16th and Alabama streets, where the SPCA has been located for almost a century, the shelter did away with cell-style kennels, which encourage erratic behavior and reduce the chances that an animal will find a home. In 2004, the most recent year for which figures are available, the city found homes for 4,500 dogs and cats, with the SPCA handling three-fourths of those adoptions.

And guaranteeing homes for cats and dogs defined as adoptable, let alone those who are arguably treatable with the right commitment of energy and resources, was almost unheard of in the mid-’90s, when San Francisco made its promise. Under San Francisco’s agreement with the SPCA, animals considered adoptable include cats and dogs eight weeks and older, those without "temperamental defects," and those not suffering from life-threatening diseases or injuries.

However, while a 100 percent adoption rate is probably not possible, Winograd and others worry that the bedrock of the nation’s no-kill movement has failed to reach its full potential since Avanzino left, and they say the San Francisco SPCA could at least aspire to a save rate of more than 70 to 80 percent.

"I think the agency went through some times they weren’t used to, not having a long-term leader that really understood the history of the organization and the goals of the organization," Carl Friedman, director of Animal Care and Control, said of the SPCA. "But that happens everywhere. I think it took a little bit of a toll on the organization."

Friedman worked at the SPCA for several of its most memorable years before moving to the city’s municipal shelter in 1988, after the SPCA relinquished its role as the proverbial dogcatcher. He says that most euthanized animals in San Francisco are cats and dogs struck by automobiles or those suffering from parvovirus and distemper, both preventable with early vaccinations.

It’s worth noting that the agreement between Friedman’s office and the SPCA forbids each of them from speaking critically of the other, and many of the people we talked to balked at speaking on the record.

"People are afraid of getting sued, and they’re afraid of what will happen," Winograd said. "There are people in San Francisco who need these agencies. They’re not willing to be forthright, because they’re afraid. I’m a lawyer, so anybody who wants to sue me, good luck. But the truth is the truth."

The shelter’s problems that started under Sayres continued under his handpicked successor, Daniel Crain. And they reached a zenith in August 2004 when one of the SPCA’s leading veterinarians, Jeffrey Proulx, committed suicide in horrific fashion, delivering a psychic blow to longtime SPCA volunteers and staffers.

The morning Proulx was discovered, a Marin County coroner found an empty box of Nembutal injectable solution on the kitchen counter of his San Rafael home. Nembutal is a barbiturate used in physician-assisted suicides, but it’s also used to euthanize animals, and a bottle of it was missing from the shelter’s medicine cabinet the day Proulx died.

Proulx was the hospital’s chief of staff and was overseeing the expansion project. The task was apparently wearing him down, and on the day of his death, he threatened to resign.

Groundbreaking was supposed to occur in 2004. Then 2005. Then 2006. In the meantime, a private animal hospital providing 24-hour emergency care — San Francisco Veterinary Specialists — moved into the neighborhood, just blocks away, casting doubt on whether the facility’s service load could justify the project.

After Proulx’s death, the SPCA announced that it had chosen another architectural firm to take charge of the hospital: Rauhaus Freedenfeld and Associates. By then the organization had spent nearly $4 million on veterinary consultants and architects, according to tax records, and even today hardly a single wall has been erected.

A previous architecture firm, ARQ Architects, which designed the shelter’s adoption center, has earned more than $2 million from the SPCA since 2000, but there’s no telling what happened to any of the designs the firm crafted. Nonetheless, according to the shelter’s newest tax records, provided at the Guardian‘s request, Rauhaus was paid more than $500,000 last year, and another $330,000 went to a project manager, CMA. A new veterinary consultant was paid $90,000 last year as well, after a previous consultant, Massachusetts-based VHC, was paid at least $925,000 over a three-year period.

After Proulx died, Crain lasted just two more years as president. He left last August, and attempts to reach him at various phone numbers, a fax number, and a last-known San Francisco address in Bernal Heights were unsuccessful.

Crain joined the shelter in 1999 as a human resources director but quickly — despite little evidence of nonprofit management experience and only a brief stint running human resources — became the SPCA’s vice president under Sayres, earning well into six figures. In 2003, after Sayres’s departure, he became the SPCA’s top administrator following a board vote, which brought his compensation to more than $200,000 a year.

Ken White, director of the Peninsula Humane Society, said he never forged the bond with Crain that he did with the leadership of Marin County’s municipal shelter and its major East Bay animal welfare counterpart. White worked for nearly a decade at the SPCA, until 1989, when San Francisco created the separate animal-control entity that exists today.

Although reluctant to speak critically about the SPCA, White explained that the Peninsula shelter treats about 1,000 injured wildlife animals from San Francisco annually under a very modest contract with the city that’s nowhere near enough to cover his costs. The SPCA focuses primarily on cats and dogs, and the Peninsula shelter has more space.

People like Winograd, who now directs a nonprofit in San Clemente called the No Kill Advocacy Center, say the shelter’s campaign to build a modern but almost prohibitively expensive hospital diverted funds away from "God’s work": caring for animals so they may be adopted out.

"I didn’t feel the city needed another specialty hospital," Winograd said, "and my fear was that the energy and dollars and all the effort that would be put into the hospital would pull the agency away from its core mission of patching together the sick and injured dogs and cats."

"They still think that’s the next big thing," said Karin Jaffie, a former public relations coordinator and longtime volunteer. "For the cost of the hospital, you could have trained a lot of people’s dogs or spay-neutered the city’s pit bull population for free."

An early plan for the hospital included 24-hour emergency care and critical services like oncology, cardiology, and neurology — services that shelter execs argued pet owners would never pursue otherwise to help save their animals.

Yet the plan had a significant catch: it called for aligning the hospital’s nonprofit component with a for-profit network of veterinary specialists who would lease space inside the facility and help cover its overhead by paying some of the utility bills. Private specialty veterinary care was among the fastest-growing segments of the industry at the time, and the SPCA’s eager citywide promotional campaign for the hospital raised the ire of private vets working in the Bay Area, including their industry group, the California Veterinary Medical Association.

McHugh-Smith admitted that "after much evaluation" the complex for-profit plan was scratched completely, and the shelter had to more or less start over after spending millions. "It wasn’t going to help our mission, so that project was put to rest," she told us.

Not everyone was quick to offer a negative opinion of the shelter’s past leadership. Kelley Filson, a former humane-education director, said that all nonprofits experience periodic lulls in funding and that her program was never short of the resources it genuinely needed to help Bay Area youth understand why it’s necessary to treat animals humanely. Like in K-9 behavior training, she says, SPCA supporters should focus on the shelter’s historic milestones.

"It was not a direct-care program," Filson said of humane education, which endured budget cuts in recent years. "When there are 10 puppies that need medicine and treatment, that’s a very immediate need, so I think that people [misunderstand] when an organization has to look at the immediate needs of suffering animals versus education goals. Until you’re in the position of running that organization, you don’t often understand the decisions that are being made."

Skepticism aside, the shelter’s existing 70-year-old animal care hospital, where it treats injured and abandoned animals, could certainly benefit from a makeover. It still provides a range of services for a relatively minimal fee, including limited emergency care for the pets of some low-income San Franciscans. In 1978 the shelter’s spay-neuter clinic was the first in the nation to provide the service at a reduced cost, and it continues to alter feral cats brought in by a citywide network of caretakers for free.

"The demands on that hospital have grown large over the years," McHugh-Smith said. "Our surgical [unit] is on the second floor, and we have to carry the animals upstairs…. It’s just not very efficient or effective any longer."

The emergency and specialty hospital San Francisco Veterinary Specialists now does what the SPCA originally hoped to. Previously at odds with the SPCA’s for-profit scheme, the private vets will now donate certain specialty services that the SPCA isn’t able to cover under its current plans. Dr. Alan Stewart, a founder of SFVS, told us they’ve already helped several animals.

Construction on the Roberts Center is slated to begin in October. McHugh-Smith promises the new plan will enable San Francisco to expand its definition of a treatable homeless animal by expanding the range of treatment the city can administer. Now the $32 million will go toward simply renovating a massive warehouse on the shelter’s campus and giving its current facility another 40,000 square feet of space. The feral cat project, which today operates out of a former lobby, will get its own designated area, and McHugh-Smith says the shelter will also act as a university hospital where veterinary students can learn to treat the approximately 25,000 animals that pass through annually.

McHugh-Smith, the shelter’s first female president, has worked in animal welfare for more than two decades. She spent 12 years as CEO of the humane society in Boulder, Colo., and built that city’s live-release rate up to 86 percent.

Because of the Bay Area’s supercharged political tendencies, she faces constant and varying obstacles. Wildlife supporters loathe the SPCA’s long history of backing feral cat populations and off-leash dogs on federal parkland such as the Golden Gate National Recreation Area.

Even the phrase "animal welfare" is politically loaded — it’s often used specifically to separate pet lovers and the wealthy benefactors of big nonprofit shelters from "animal rights" factions perceived as too radical. Plus, there’s the fact that higher save rates translate into greater challenges in dealing with the final 20 or 30 percent of animals, which can require treatment before being adoptable.

"The higher you get, the more difficult it gets, and the more resources you need," McHugh-Smith said of the city’s save rate. "Hence, the hospital is going to be a really critical part of that."

Avanzino says San Francisco could still do a much better job presenting records to the public of which animals are killed and why. Are hyperthyroid or feral cats untreatable? Are otherwise healthy pit bulls made "unhealthy" merely by irresponsible owners? For years, transparency in terms of what constitutes a treatable or healthy animal has been a major tenet Avanzino has advocated.

"If we’re really going to empower the public to be part of the solution and see that the job gets done, we’ve got to give them the data," he told us. "Are the dogs and cats that we call family members getting justice from us? If not, then we have failed them, and in San Francisco that should never happen. It’s the city of St. Francis." *

Little green burners

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› steve@sfbg.com

GREEN CITY Today’s environmental problems — global warming, peak oil, drastically dwindling biodiversity, an unsustainable economic system that pollutes and consumes too much — are big. And there are many big solutions proposed by big governmental bodies, big individuals, and big corporations.

A major commitment is truly needed, but perhaps it’s the million small innovators and gestures that are most likely to add up to the most fundamental shift. Could these people, linked together, with enough freedom and support to pursue their visions, save the planet?

Burning Man founder Larry Harvey threw a stone into this pond last September when he chose Green Man as the theme for this year’s event, a decision that has rippled through the thousands of creative, capable people who spend much of the year tinkering in workshops around the Bay Area and across the country. People like Jim Mason.

Mason heeded Harvey’s call in his typically exuberant fashion, developing an innovative gasification system that turns biomass waste products into a usable fuel similar to natural gas. Collaborating with fellow artists and engineers in the Shipyard space that he created in Berkeley, Mason has been doing groundbreaking work.

The group converted a 1975 pickup truck owned by impresario Chicken John to run on substances like wood chips and coffee grounds, and Mason and John have been working principally with artists Michael Christian and Dann Davis to develop a fire-spewing, waste-eating, carbon-neutral slug called Mechabolic for Burning Man this year.

"Chicken’s shitty truck is going to be sitting in front of the Silicon Valley’s big alternative-energy conference for venture capitalists," Mason told the Guardian on May 22 as he headed to the Clean Technology 2007 confab, an illustration of the place little innovators are starting to find amid the big.

The New York Times featured Mechabolic in a technology article it ran earlier in May about the Green Man theme, and the project has been a centerpiece of the green evangelizing being done by Burning Man’s new environmental director, Tom Price.

Price has been working with hundreds of innovators like Mason to turn this year’s Burning Man, at least in part, into a green-technology exposition where creative types from around the world can exchange ideas. "It’s the Internet versus the big three networks" was how Price compared the big and small approaches to environmental solutions. "The goal is to show how easy and do-it-yourself profound solutions can be."

But ragtag approaches like Mason’s don’t fit well into institutional assumptions about art and technology, as he discovered May 11 when Berkeley city officials ordered him to shut down the Shipyard or bring it into immediate compliance with various municipal codes.

"They need to temporarily leave while they seek the permits that ensure it’s safe to be there," Berkeley planning director Dan Marks told us May 18. He criticized the Shipyard for using massive steel shipping containers as building material, doing electrical work without permits, and not being responsive to city requests.

The move stopped work on gasification and other projects as the Shipyard crew scrambled to satisfy bureaucratic demands — but it also prompted a letter-writing campaign and offers of outside help and collaboration that convinced Mayor Tom Bates and city council member Darryl Moore to meet with Mason on May 21 and agree to help the Shipyard stay in business.

Berkeley fire chief David Orth and other officials fighting the Shipyard say that Bates has asked for their cooperation. "A request has been made to see what can be done to keep the facility there but bring it into compliance," Orth told us.

All involved say the Shipyard has a long way to go before it’s legal and accepted by the city. Among other things, Mason must prove that the old, recycled oceangoing shipping containers (which enclose the Shipyard and other Bay Area artists’ collectives) are safe. But he and others are hopeful, driven, and convinced that they’re onto something big.

"Places like the Shipyard, which is a cauldron of ideas, don’t fit into the traditional model of how a city should work," Price told us. "The fringes, where the rules are a little fuzzy, is where surprisingly creative things happen." *

Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.