Feminism

Hot sexy events: September 28-October 4

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In her soon-to-be-released look at the Bay Area BDSM scene, Techniques of Pleasure: BDSM and the Circuits of Sexuality (2012, Duke University) Margot Weiss raises some tough questions for those that would tout the pansexual “new guard” scene – the techie, mostly white, mostly hetero clique in the Bay’s BDSM panoply – as subverting societal norms. 

In its reliance on expensive classes and even more expensive gadgetry as condition for entry, she sees silent class division. When familiar societal situations are re-enacted on the kink stage, Weiss sees not a refutation of incest, slave auctions, and male dominance over females, but instead a neoliberal refusal by the practioners involved to accept their position in society.

Weiss would probably be down, then, with this week’s Arse Elektronika tech-sex syposium (Thu/29-Sun/2). The event raises tough issues like whether having the lifestyle that allows one to enjoy kink is a luxury, class struggle among perverts, and the fossil footprint of a technologically-assisted orgasm. There will be talks and workshops, inventions and performance – go to question the meanings of desire. 

 

The League

A hint of Barbary Coast class, please: this is Mission Control’s cigar club night. Regardless of the gender you walked in with, tonight’s an opportunity to go dapper dandy (ascots and pinstripes), or va-va-voom (backseams and lace straps). 

Thu/29 8 p.m.-midnight, $20 free membership required

Mission Control

www.missioncontrolsf.org

 

Arse Elektronika

This symposium on issues surrounding the politics and point of alt sex takes place from the Center of Sex and Culture to Chicken John Rinaldi’s Chez Poulet. Check here for a full schedule of events. 

Thu/29-Sun/2 $10-50

Various locations, SF

www.monochrom.at


“An Afternooon Delight with Reid Mihalko and Susie Bright”

What don’t you know about sex activist Susie Bright’s work? The woman’s done more than most for sex-positive feminism — even writing woman-friendly erotica reviews for Penthouse in the 1980s. Today, she sits down with sex educator Reid Mihalko (who, by the way, submitted a rambunctious threesome story to our call for Bawdy Storytelling’s greatest hits). 

Sun/2 1-3 p.m., $10-40 sliding scale

Center for Sex and Culture

1349 Mission, SF

www.sexandculture.org

 

Rites of Love and Math

Last time we wrote about Berkeley math professor Edward Frenkel and the erotic movie he made and starred in, the film played to a packed house. “We had to turn away more than 100 people,” Frenkel wrote to us in an email announcing his next Berkeley screening, which is coming up on Sun/2. Inspired by Yukio Mishima’s samauri movie Yukoku, this skin-heavy film has scared up its fair share of controversy in radical-prude Berkeley.

Sun/2 7:05 p.m., $15

Landmark Shattuck Cinemas

2230 Shattuck, Berk.

(510) 843-3699

www.berkeleyvideofilmfest.org

 

Muslim and proud (and hilarious)

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THEATER Onstage, a woman and her father battle over modern sensibilities versus religious tradition. The father leads with a left jab and the mantra “in the Koran, in the Koran, in the Koran,” which the daughter counters with a roundhouse punch and “third-wave feminism.” Both characters are being played by Zahra Noorbakhsh, a feisty, spirited, thoroughly modern woman — and a Muslim, an important part of her identity she’s not about to let anyone forget. But believing in God doesn’t mean your interpretation of “God’s law” is going to be the same as your parents’, and her notion that her long-distance, white, atheist boyfriend Duncan ought to move in with her, purely for reasons of economy of course, is not a prospect her devout Iranian parents can whole-heartedly embrace.

“It’s against the Koran, man,” her father states definitively. “What you want me to do?”

What he will do is the greatest draw of the show, provocatively entitled All Atheists Are Muslim, which made its New York International Fringe Festival debut to a sold-out house on August 12, weeks away from the tenth anniversary of 9/11 — a date most New Yorkers are all too aware of. Not that Iran has anything to do with that particular date (even George W. wouldn’t go that far), but the intricacies of Islam are nonetheless of enduring topical interest.

“Growing up Muslim-Iranian, I had to constantly, vehemently defend my faith, my culture, and my family everyday,” Noorbakhsh reminisces. Even today, people she is close with freely equate “Muslim” with “terrorist” in polite conversation — even people who have seen her show and know her personally.

Deciding to apply to the New York International Fringe Festival seemed like a logical way to bring her comedic message of tolerance and inter-cultural exchange to New York, especially after having accompanied her director W. Kamau Bell to the 2009 Fringe to run tech for his show The W. Kamau Bell Curve: Ending Racism in about an Hour. After several months of meeting deadlines for program blurbs, participant fees, and tech specs, Noorbakhsh and her “Authorized Company Representative” (also her atheist boyfriend) have been tirelessly navigating the Fringe from the clusters of black-box theaters that dot the brownstone landscape of the East Village.

Working the post-show crowds of her own and others’ shows, Noorbakhsh exudes big sisterly camaraderie and casual confidence rather than rehearsed marketing speak, and a good percentage of her audiences has been made up of fellow performers — a true sign of Fringe success. Of course the run hasn’t been without its surprises. One front-row audience member abruptly refused to be “converted” (“It says right on the postcard that the first three rows will be converted to Islam,” Noorbakhsh points out with amused exasperation). Along those lines, the emphasis placed on handing out postcards as marketing strategy was a surprise; “in San Francisco, it’s a faux pas,” she says of the practice in the local comedy club scene. Above all, her major sense of frustration has come from trying to attract fellow Persians to the show, a difficulty she has not experienced in California.

“In San Francisco I’m an active member of the Persian community,” she explains. “I’m vocal and participate in many organizations. [In New York], nobody knows me outside of this very bold, divisive, and controversial title.”

That many Iranian-Americans she knows identify as atheist rather than Muslim, distancing themselves as much as possible from Iran’s Islamic regime, is certainly part of the obstacle. It seems it’s not just misguided Caucasian theatre-goers who are guilty of confusing “Muslim” with “terrorist”

“This fear of the word Muslim has to stop,” Noorbakhsh opines. “We’ve got to point out how much people flinch at just the word and how horrifyingly racist and damaging that demonization is.”

At Noorbakhsh’s last show of her New York run, a record 20 people are turned away at the door (including, alas, the long-awaited Persians), and the packed house roars appreciatively at her lovingly-skewered portrayal of her foul-mouthed father (“What the shit hell is this, man?”) and her winsome mother, who offers to buy her a Persian rug if she’ll just get married already. Leading the audience through the terms of the compromise they all agree to in order to preserve the peace, Noorbakhsh makes it possible for the audience to fall in love with her tradition-bound family despite their initial resistance to Noorbakhsh’s American-born sensibilities.

And how do her parents feel about Noorbakhsh’s audiences? “They usually sell my tickets,” laughs Noorbakhsh. “They love it.”

ALL ATHEISTS ARE MUSLIM

Through Oct. 1, $20

Opens Thurs/1, 8 p.m.

Runs Thurs.-Sat., 8 p.m.

Stage Werx Theatre

533 Sutter, SF

(415) 517-3581

www.brownpapertickets.com

On the Cheap Listings

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On the Cheap listings are compiled by Jackie Andrews. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 1

Wicked Plants indeed Conservatory of Flowers, 100 JFK Drive, Golden Gate Park, SF; (415) 831-2090, www.conservatoryofflowers.org. 6:30-8pm, $10. Meet botanical rockstar Amy Stewart, author of the bestselling book Wicked Plants: The Weed that Killed Lincoln’s Mother and Other Botanical Atrocities – which happens to be the inspiration for the Conservatory’s current exhibition, also called Wicked Plants. Hear about a tree that sheds poison daggers, a red seed that stops the heart, a shrub that causes paralysis, a vine that strangles, and a leaf that triggered a war.

THURSDAY 2

“Bestia Mundi” art opening Bone Room, 1573 Solano, Berk.; (510) 526-6262, www.boneroompresents.com. 7-9pm, free. Check out the latest work of Ron Pippin, the artist who creates museums of “wunderkammers” – specimens of an empyrean other-world consisting of boxes and skeletons articulated with strange machinery – at his opening for “Bestia Mundi.” Of course, given the venue, you will be able to peruse the wonders of natural history as well as the oddities that the Bone Room has to offer.

FRIDAY 3

Small space, big taste Books, Inc., 2551 Chestnut, SF; (415) 931-3633 , www.booksinc.net, www.biggirlssmallkitchen.com. 7pm, free. Having a large kitchen, especially in San Francisco, is not always an option. Quarter-life Cooks Cara Eisnepress and Phoebe Lapine understand all too well and have got you covered with their new cookbook to accompany their cooking blog, Big Girls Small Kitchen. They teach you everything from buying your first spatula to must-have kitchen essentials and recipes that reflect a twenty-something and cramped-for-space point-of-view.

SATURDAY 4

Eco-urban festival Union Street between Gough and Steiner, SF; www.unionstreetfestival.com. Sat/4 and Sun/5, 10am-6pm, free. This year the Union Street Festival promises to be even more focused on on health, green education, and sustainable living. Dine at the many healthy food booths, cafes, and bistros, and peruse the local green vendors while listening to live entertainment featuring jazz, classical and swing music. But be sure to leave your brown bags at home – this year the festival is alcohol-free.

King of RPGs launch party Cartoon Art Museum, 655 Mission, SF; (415) CAR-TOON, www.cartoonart.org. 5:30-7:30pm, free. Celebrate the release of the second volume of this popular Graphic novel, King of RPGs, a tongue-in-cheek tale of nerd rage due to a crippling World of Warcraft addiction. Tonight, writer and manga expert Jason Thompson and artist Victor C. Hao meet and greet fans with beverages, light food and a talk about the process of making professionally published manga.

SUNDAY 5

Dance church el Rio, 3158 Mission, SF; (415) 282-3323, www.elriosf.com. 11am-3pm, $3-$5 suggested donation. Its parties like this that helped save Lyon Martin Health Services from closure, but that doesn’t mean you have to stop showing the love. This Sunday’s Dance Church – a booty dancing, bloody mary drinking alternative to traditional church – will be donating the cover charges to the much needed health clinic. There will be breakfast, bloody marys (of course,) and a queer communion on the back patio.

MONDAY 6

The Lazy Gourmet book launch party Bazaar Cafe, 5927 California, SF; (415) 831-5620, www.twolazygourmets.com. 6-9pm, free with drink purchase. Help celebrate the launch of Robin Donovan and Juliana Gallin’s new cookbook, The Lazy Gourmet: Magnificent Meals Made Easy, and learn how even the most unmotivated person with an empty stomach can make simple, elegant, and delicious dishes. Come hungry, buy a book, and sample the recipes prepared by the authors themselves.

TUESDAY 7

Viral Time Cowell Theater, Fort Mason Center, SF; (415) 752-5537, www.longnow.org. 7-8:30pm, $10, free for members. This installment of the Long Now Foundation’s monthly series called “Seminars About Long-term Thinking” features science journalist Carl Zimmer as he discusses blazingly fast and ancient viral time in his new book, A Planet of Viruses. Whole Earth Catalog founder Stewart Brand hosts this discussion about these microscopic organisms – some good, some bad – that are a major engine for the evolution of all other life on the planet.

Whore! Magazine release party Casanova Lounge, 527 Valencia, SF; www.whoremagazine.net. 7-10pm, free. The second issue of Whore! Magazine – the quarterly publication that celebrates the women who define themselves outside of the status quo – features vagina fashion, women of the French Revolution, feminism (duh!), and more. Kick back with a cocktail among like-minded feministas and give cheers to another issue of this provocative magazine.

 

 

iPod voyeur: YACHT looks into the future of the past

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The future has potential to be totally fun. Eco-friendly flying cars, new friends from outer space and moon parties sound like a great way to spend the year 3000, but these are only amateur, optimistic predictions. The Portland-bred dance duo YACHT has been surveying the possibilities for years, taking notes and spacey tips from musical scientists of days past. And today, a retro-futuristic playlist has been born. 

Don’t panic– the near future still looks hot. YACHT is currently touring its upcoming album, Shangri-La, their follow-up to 2009’s See Mystery Lights, coming out on DFA in June. And they’re playing a yet to be sold-out show at Bimbos (Wed/13) this week. 

Beyond that, there’s good news and there’s bad news. Looks like band members Jona Bechtolt and Claire L. Evans aren’t thinking things will turn out so hot, hence their own new song, Dystopia, a totally amazing African-inspired electronic track about upcoming apocalyptic events. The good news: they’re not scared of fire nor jackals. I’m thinking they have a collection of magic lasers and protective suits prepared. 

The Guardian has requested proof of their research in playlist form; their current top 10 most-played tracks. Take note, drink water and wear comfortable shoes.

 

Zager & Evans, “In the Year 2525”

This song is the musical equivalent of one of our favorite books, Olaf Stapledon’s “Last and First Men,” a science-fiction future history that tells the tale of the next two billion years of time, touching on eighteen distinct versions of the human race, from regular flesh-and-blood people to birdlike creatures living on Neptune. Zager & Evans only go about ten thousand years into the future, put they hit some classic sci-fi themes on the way, like genetic engineering, mechanical automation, and test-tube babies.  

 

Chromium, “Fly On UFO”

This is a sentiment we at YACHT can all get down with. You see a UFO in the sky, beaming with promise, lights in primary colors like an 80s movie, and you yell up to the sky: “Come back later!”

 

Incredible String Band — Way Back in the 1960s

A psychedelic future-past ballad, about an old-timer looking back fondly on the 1960s — a time before World War three, before England “went missing and we moved to Paraguay,” and we still used the wheel. 

 

Cerrone. “Supernature”

In a world of depleted resources, the ambitions of science have no limits. Wouldn’t we do anything to feed the starving masses? Including poison the world with chemicals that would create mutants “down below”? If Mary Shelley  was a French disco producer, “Frankenstein” would have sounded like Supernature.

 

Hawkwind. “Silver Machine”

Simplicity is king. This song has the best lyrics in the world: “I just took a ride/ in a silver machine/ and I’m still feeling mean/I got a silver machine.” This is like ZZ Top for space hogs, an all-night truckin’ jam for the long haul to Alpha Centauri.  

 

Ganymed, “Future World”

Sick, almost disgustingly slick space disco from a band whose whole deal was wearing full-deck silver space costumes. 

 

Dee D. Jackson, “Automatic Lover”

Amid a soft pink haze, Miss Jackson looks at the erotic robot in her bed, polished chrome gleaming under white satin sheets, come-hither, raises her perfectly glossed lip in a snarl, and utters: “Your body’s cold.”

 

Marvin Gaye, “A Funky Space Reincarnation”

Is the future going to be a cold impersonal landscape dictated by the efficient will of our machine overlords? Or, light years ahead, are you and me going be getting down on a space bed, smoking some new shit from Venus? The prophet Marvin Gaye proposes the latter. 

 

Toni Basil, “Space Girl Blues”

Toni Basil is known for “Hey Mickey (You’re So Fine),” a song so ubiquitous in the brain of kids who grew up in the 80s that it doesn’t even seem like it should have an author. She also did this bonkers cover of Devo’s “Space Girl Blues,” perfectly embodying the new-wave space girl, cold as ice, destroying your mechanism. 

 

Charlie, “Spacer Woman”

Neo, neo, neo, neo, neo, neo, neo-feminism. In 2096, what wave will we be on?

 

YACHT
w/Bobby Birdman and DJ Pickpocket
Wed/13, 7:00pm
Bimbo’s 365 Club
1025 Columbus Ave, SF
www.Bimbos365Club.com

Choose or lose

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arts@sfbg.com

FILM With its plentitude of female political stars, the Tea Party finds U.S. feminism at an interesting if inevitable developmental stage — wherein people who never would have gotten this far without liberationists’ path-clearing reject progressivism altogether. They no longer identify with a historically oppressed viewpoint, but rather from an angry, gender-neutral stance of entitlement allegedly stolen by cunning have-nots and slippery liberals.

They’ve never felt enough second-class citizenry to see gender as “the” issue. Yet right-wingers’ international panic button, “Islamic fundamentalists,” are also all about family values. Christian nations dominated world politics for so long it’s understandably hard for Westerners to grasp, let alone accept, that a different age-old faith looks set to control that discourse in our immediate future. (Buddhism, where are you? Oh yeah: busy ignoring all this.)

And the driving forces aren’t assimilationist, like those presumably nice folks whose mosque peacefully shares my Lower Polk neighborhood with a famous tranny nightclub and fire house. Rather, they are the pissed-off rank citizens, recruited by more privileged leaders to relatable activity outrage toward a deep disapproval of perceived Western moral decay. Just like Sarah Palin!

Does she see women’s issues as a significant concern? Most unlikely. She’s never been constrained by her family — more likely, as copious public exposure suggests, she’s been Santa-whipping its cadre of very stupid reindeer toward some destination, even if off a cliff (hello, Bristol, hello).

Palin would doubtless be horrified at the injustices dramatized in potent German drama When We Leave. It’s about Umay (Sibel Kekilli from 2004’s Head-On), who leaves a seriously abusive Istanbul husband with their young son Cem, seeking shelter from her Turkish family in Berlin. Initially welcoming, they grow hostile once the shame of her spousal abandonment ripples endlessly outward.

To keep Cem from being kidnapped and taken “home,” she eventually moves into a safe house. She gets a job, potential new boyfriend (the endearing Florian Lukas from 2008’s North Face), new apartment. But the pull of family is inexorable, and no location-shifting games are ultimately able to protect her.

Feo Aladag’s feature writing-directing debut goes out on a narrative limb with an improbable risk Umay takes at the two-thirds point. It strains credulity, but does heighten dramatic tension. It’s no spoiler to reveal that When We Leave‘s first moments reveal it deals with that near-unbridgeable cultural gap known as honor killings. Still, it might spoil something to say Aladag subsequently licks, seals, and otherwise pushes her emotional envelope to an excessively manipulated degree — D.W. Griffith himself might cry melodrama’s corn level exceeded.

Nonetheless, the real-world realities are more than real enough. Twenty years ago the 1991 Sally Field vehicle (imagine a world in which such things existed!) Not Without My Daughter struck many as suspect and kinda racist for dramatizing a real-life American woman’s attempt to flee her husband’s Iran with their child. Now When We Leave comes as no surprise.

Today, notions of the roles and rights of women in a just society differ painfully around the world, “developed” and otherwise. A basic tenet of U.N., E.U., and other bodies’ diplomatic interventions is that women be given equal rights — or at least legal freedom from domestic violence, rape, underage marriage, and other abuse. After so many decades of progress, it now seems the driving planetary political tide no longer pushes that-a-way.

When We Leave is a flawed drama that nonetheless underlines an increasing, confusing divide between ideological extremists “East” and “West.” How can we be on the brink of global chaos when both most-agitative sides basically agree women should be barefoot and pregnant? Excepting the exceptional women now in political power — too many are often silent, whether due to compromise or sheer denial.

WHEN WE LEAVE opens Fri/4 in Bay Area theaters.

Holy high whoreiday

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caitlin@sfbg.com

SEX It started with a serial killer. Porn star-feminist Annie Sprinkle was reading about mass murderer Gary Ridgeway slaughter of, on his count, 71 prostitutes in the 1980s and ’90s. She came across this in Ridgway’s explanation of his choice of victims: “I picked prostitutes because they were easy to pick up without being noticed. I knew they … might never be reported missing. I thought I could kill as many of them as I wanted without getting caught.”

It was a wake-up call for Sprinkle. “We don’t have equal protection,” says the busty self-termed “ecosexual,” who was a sex worker for 20 years and now serves as a role model to many in the radical sex community. Sprinkle reacted by organizing the first International Day to End Violence Against Sex Workers on Dec. 17, 2003. It’s an event that is now recognized in cities around the world.

In San Francisco, Sprinkle’s “whore holy high holiday” will be marked by a City Hall vigil for all the sex workers affected by discrimination and violence this year and performance art, followed by a march to the Center for Sex and Culture (sexandculture.org). All the events are free and open to anyone who wants to stand up for those that get paid to lay down.

This year, event organizers have a dangerously prude city policy in their sights: the toxic San Francisco Police Department practice of checking suspected prostitutes’ pockets for condoms to serve as proof of intent to have sex for money. It’s a policy that Mayor Gavin Newsom and the state’s first Latina attorney general, Kamala Harris, support. Sprinkle finds it completely at odds with the mission of promoting safe sex among anyone who could be walking down the street with a rubber in their pocket, as well as dangerous to sex workers. “It’s nasty, and really stupid, and so counterproductive — is that the message that we want to be sending?”

Which is not to say that Friday will be devoid of sweet, sexy joy entirely. After all, where would be the fun in gathering up SF’s sex-positive community if no one got naked? Later that evening, the Center for Sex and Culture will host a special edition of the national literary series Naked Girls Reading showcasing — yep — naked girls reading literature written by those who spread their legs to make their living.

“It’s a great opportunity for feminism and art,” says event organizer Lady Monster, who heard about Miss Erotic World 2005 Michelle L’amour’s original Naked Girl Chicago series and thought it a perfect fit for our pervy-intellectual burg. She held the first event in April and “it took off like wild blazes,” packing venues across town.

An ex phone sex operator who dabbled in private peep shows in her home state of Ohio without being told that the work was illegal, Lady Monster notes that the poor economy and demise of Craigslist escort ads in response to outside pressure has introduced even greater risks to sex workers, pressure that can lead them to accept unsafe working conditions. She feels that the nationwide observance of Dec. 17 “is a way to give people an opportunity to celebrate sex workers’ rights.”

On stage, her reading event will celebrate their contribution to arts and literature. Sexologist Dr. Carol Queen will be leafing through a book at the night’s nudie show; as well as burlesque star Dottie Lux; sex worker activist Robyn Few; Lady Monster herself (who’ll be reading from Some Girls, the memoir of Jillian Lauren, the American who lived and worked in a Brunei harem); and Sprinkle, among others. Lady Monster says the requirements needed to be onstage fall into three categories: readers must be accomplished writers, have public speaking experience, and — perhaps the most obvious — they’ve got be down to make the scene in the all together.

“Three hundred and sixty-four days a year we talk about how much we like our work, and one day a year we take time to realize that there are real victims out there,” Sprinkle says. It may be the oldest profession, but even in Gomorrah by the Bay, sex work is still a far cry from society’s respected elder.

INTERNATIONAL DAY TO END VIOLENCE AGAINST SEX WORKERS

Fri., Dec. 17

4 p.m., free

City Hall

Civic Center, SF

www.swopusa.org

NAKED GIRLS READING

9 p.m., $15–$20

Center for Sex and Culture

1519 Mission, SF

(415) 552-7399

www.nakedgirlsreading.com/sanfrancisco

 

Holy high whoreiday

0

caitlin@sfbg.com

SEX It started with a serial killer. Porn star-feminist Annie Sprinkle was reading about mass murderer Gary Ridgeway slaughter of, on his count, 71 prostitutes in the 1980s and ’90s. She came across this in Ridgway’s explanation of his choice of victims: “I picked prostitutes because they were easy to pick up without being noticed. I knew they … might never be reported missing. I thought I could kill as many of them as I wanted without getting caught.”

It was a wake-up call for Sprinkle. “We don’t have equal protection,” says the busty self-termed “ecosexual,” who was a sex worker for 20 years and now serves as a role model to many in the radical sex community. Sprinkle reacted by organizing the first International Day to End Violence Against Sex Workers on Dec. 17, 2003. It’s an event that is now recognized in cities around the world.

In San Francisco, Sprinkle’s “whore holy high holiday” will be marked by a City Hall vigil for all the sex workers affected by discrimination and violence this year and performance art, followed by a march to the Center for Sex and Culture (sexandculture.org). All the events are free and open to anyone who wants to stand up for those that get paid to lay down.

This year, event organizers have a dangerously prude city policy in their sights: the toxic San Francisco Police Department practice of checking suspected prostitutes’ pockets for condoms to serve as proof of intent to have sex for money. It’s a policy that Mayor Gavin Newsom and the state’s first Latina attorney general, Kamala Harris, support. Sprinkle finds it completely at odds with the mission of promoting safe sex among anyone who could be walking down the street with a rubber in their pocket, as well as dangerous to sex workers. “It’s nasty, and really stupid, and so counterproductive — is that the message that we want to be sending?”

Which is not to say that Friday will be devoid of sweet, sexy joy entirely. After all, where would be the fun in gathering up SF’s sex-positive community if no one got naked? Later that evening, the Center for Sex and Culture will host a special edition of the national literary series Naked Girls Reading showcasing — yep — naked girls reading literature written by those who spread their legs to make their living.

“It’s a great opportunity for feminism and art,” says event organizer Lady Monster, who heard about Miss Erotic World 2005 Michelle L’amour’s original Naked Girl Chicago series and thought it a perfect fit for our pervy-intellectual burg. She held the first event in April and “it took off like wild blazes,” packing venues across town.

An ex phone sex operator who dabbled in private peep shows in her home state of Ohio without being told that the work was illegal, Lady Monster notes that the poor economy and demise of Craigslist escort ads in response to outside pressure has introduced even greater risks to sex workers, pressure that can lead them to accept unsafe working conditions. She feels that the nationwide observance of Dec. 17 “is a way to give people an opportunity to celebrate sex workers’ rights.”

On stage, her reading event will celebrate their contribution to arts and literature. Sexologist Dr. Carol Queen will be leafing through a book at the night’s nudie show; as well as burlesque star Dottie Lux; sex worker activist Robyn Few; Lady Monster herself (who’ll be reading from Some Girls, the memoir of Jillian Lauren, the American who lived and worked in a Brunei harem); and Sprinkle, among others. Lady Monster says the requirements needed to be onstage fall into three categories: readers must be accomplished writers, have public speaking experience, and — perhaps the most obvious — they’ve got be down to make the scene in the all together.

“Three hundred and sixty-four days a year we talk about how much we like our work, and one day a year we take time to realize that there are real victims out there,” Sprinkle says. It may be the oldest profession, but even in Gomorrah by the Bay, sex work is still a far cry from society’s respected elder.

INTERNATIONAL DAY TO END VIOLENCE AGAINST SEX WORKERS

Fri., Dec. 17

4 p.m., free

City Hall

Civic Center, SF

www.swopusa.org

NAKED GIRLS READING

9 p.m., $15–$20

Center for Sex and Culture

1519 Mission, SF

(415) 552-7399

www.nakedgirlsreading.com/sanfrancisco

Libidinous literature with Naked Girls Reading

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I had asked Lady Monster, over a pair of red wine glasses and the pleasant buzz of nearby patrons at Revolution Cafe, to tell me what story she’d read at the Halloween installation of her Naked Girls Reading literary series. We were chatting in anticipation of her International Day to End Violence Against Sex Workers edition of NGR (Fri/17) which will take place at the Center for Sex and Culture after the day’s City Hall vigil and march.

The curvaceous redhead is quite the story teller, even clothed. “I did the elevator scene from The Shining,” she told me, launching into a brief summary of the Torrance family’s elevator travails. By the end of it I had the crap scared out of me – and she was fully clothed! Imagine what this lady can get done in the buff – surely, a live literary luminary not to be trifled with.

Lady Monster first heard of the Naked Girls Reading series circa its Chicago inception by burlesque showgirl Michelle L’Amour in 2009. The series sits down sex-positive female role models (SF’s chapter features sexologist Carol Queen, sex activists, and burlesque beauty Dottie Lux among others) for a theme night of literary lustiness. The event struck a chord (books and boobies yay!), and not just among Chicago pervs – the series has been featured on the Carson Daly show and has spread to nine other cities. “Like wild blazes,” says Monster.

“Almost immediately Michelle had people wanting to franchise the series,” she continues. Naked girls getting brainy? Lady Monster had an inkling that her own San Francisco community would gag for a NGR chapter of their own. She scheduled NGR’s SF breakout in May of this year and the show’s played to packed houses every two months since – and will score a regular monthly gig at Viracocha come the new year. “It’s so much fun, so silly. It’s all about being comfortable in your own skin,” Monster asserts.

That’s something that she’s had little trouble with – even growing up on an Ohio farm, Monster started hosting her (initially PG-13 rated) play parties in fifth grade. “I’d have all my friends over and make sure everyone was coupled off. Then we’d go into my room and close the door. At first we’d all just make out, but as we got older it got more serious. I was my own sexually liberated role model!” With a little help from some open-minded parents, of course. “They didn’t bother us, they let us have our time together.”

From grade school groping, Monster graduated to more advanced expressions of sexuality. She worked the graveyard shift at a phone sex line and loved the intimacy and honesty she could find in horny men just getting home from last call. “I wanted to hear their secrets all the time,” she confesses. But she wanted it to happen face to face, so she tripped her way into a job doing “legal escort work.” Private peep show stuff, for which Monster would strip or faux-masturbate for a paying customer. 

Only it wasn’t legal, a fact that her employer neglected to tell her. And even though she was getting face to face time, the sexual intimacy she’d felt with men on the other end of the phone line was gone. “There was no talking! Yeah, the money was a lot better but I had to get out of there.” All the way to San Francisco, in fact – where Monster has put her open sexuality to work in service to SF Sex Information and pens sex stories and erotic poetry. She’s also a long time performer in the burlesque scene – she’s been known to create her own astronomically-inspired LED-lit costumes and accesorize with glitter-dipped viking axes. Oh, and she toured with Ministry.

Like NGR, The International Day to End Violence Against Sex Workers was created by an empowered sexual superstar and has grown into a far-reaching event, marked by vigils in cities around the globe and marches of men and women carrying red umbrellas (the adopted symbol of the movement). It was started by the Bay’s own feminist porn star Annie Sprinkle, an ex-sex worker who Monster counts amongst her role models: “she’s not really a mother figure, more like a respected aunt,” Monster says.

“Sex workers need protection,” she continues, noting that Sprinkle started the annual day of memorial after reading a serial killer’s confession that he killed over 40 prostitutes because he knew they were less likely to be reported missing or inspire dedicated police investigations.

Lady Monster’s convinced that sex worker safety is an issue that carries particular import this year for a variety of reasons. First: shitty profits. “Business is definitely being affected by the economy,” she says. “And on top of that the market’s flooded,” with all the men and women out of work in other industries. Lack of work can make it harder to avoid risky working situations that put sex workers at risk of withheld wages, assault, or rape. The shut-down of Craigslist’s casual encounters listings has made it more difficult to find clients in the first place, and in the midst of all of this, SFPD has adopted an evidenciary policy that discourages condom usage: if cops find a rubber on a suspected prostitute, they’ll use it as evidence of intent to have sex for money. 

That’s why Monster’s event Friday (which follows a vigil and march from City Hall that starts at 4 p.m.) will give voice to those that often go unheard in our society. Monster, her regular NGR cast, and Sprinkle will all read from literature penned by sex workers, including Jillian Lauren’s memoir of her time in the prince of Brunei’s harem and Scarlet Harlot’s account of becoming a radical prostitute, Unrepentant Whore.

“This is such a great opportunity for feminism and art,” Monster says. Undeniably, giving naked women a stage on which to talk about reclamation of body and sex issues is a unique approach. NGR, sex worker edition: sure to be a hot night, but also a reflection of the power of corpus woman when framing its own literary discourse. 

 

Naked Girls Reading: International Day to End Violence Against Sex Workers 

Fri/17 9 p.m., $15-20

Center for Sex and Culture

1519 Mission, SF

(415) 255-1155

www.nakedgirlsreading.com

 

Mädchen gone wild

1

Every nation had its distinct cinematic response to the sexual revolution of the 1960s and ’70s. Germany’s was characteristic in offering the pretense of order, “scientific” educational value, and encouraging a healthy collective morality — even if all this was usually mere gloss over the usual, more marketable qualities of copious T&A.

Encouraged by Scandinavian films already tearing down censorship barriers worldwide, Deutschland screens (the free-Western ones only, needless to say) began addressing the matter directly in 1968. Then, Oswalt Kolle, a psychiatrist’s son and tabloid journalist turned celebrity sex educator, commenced making features like Sexual Partnership (1968), The Sensual Male (1970), and Your Child, That Unknown Creature (1970). These fairly sober mixtures of documentary and dramatized “case histories” were as widely translated as his writings. (Nonetheless, Kolle and his family relocated to Amsterdam, citing constant harassment by conservative German politicians and media as the cause.)

Such success inevitably attracted imitation. Dr. Gunther Hunold’s Schulmädchen-Report had made best-seller waves with its collection of interviews with 14- to 20-year-old women about their sexual experiences and opinions. Enter Wolf C. Hartwig of Rapid Film, producer-distributor of such savory titles as Satan Tempts With Love (1960) and Your Body Belongs to Me (1959). He bought the book’s film rights, retaining Hunold as co-scenarist and consultant for 1970’s Schoolgirl Report: What Parents Don’t Think Is Possible, which proved so enormously popular that an entire national subgenre was born.

The resulting series of Schoolgirl Report features stretched through the entire Me Decade. All 13 are being issued on DVD by the Impulse Pictures label of South San Francisco’s CAV Distributing Corporation, a project that reaches its precise midpoint next month with 1974’s Schoolgirl Report Volume 7: What the Heart Must Thereby …. Watching too many of these interchangeable vintage sexploitation “documentaries” in close succession can be hazardous to your mental health, but in moderation — as with most things – — they prove instructive.

Volume 1 set the mold, sometimes in stone: factors like the groovy Farfisa-acid guitar-flute rock instrumental theme by Gert Wilden and His Orchestra (whose original soundtracks would continue to run a delightfully dated gamut from go-go discotheque to cocktail jazz to Mantovani-like schmuzak), cheap production values, Ernst Hofbauer’s on-the-nose direction, the wooden acting (despite allegedly “starring many anonymous youths and parents”), and an entire opening credits sequence would scarcely budge in film after film. More flexible within a limited range were the bodies bared by 20-something actors playing teens (seldom convincingly) and the framing devices for each installation of variably comic, dramatic, and tragic vignettes.

The first movie started with a flower-decal-covered VW full of hippie chicks and dudes driving by as a female voice says “That’s us: today’s youth. We want a new morality without hypocrisy.” Then an actor playing a reporter announces this “effective and spontaneous documentary shows our youth as they really are. [It] will open many parents’ eyes.”

More likely the Schoolgirl films opened a lot of men’s pants. For all the earnest jabber about “sexual prejudice and why German families hang on to it,” Hartwig, Hofbauer, scenarist Gunther Heller (Hunold split after the series’ launch) and company weren’t interested in liberating minds — let alone promoting feminism — so much as wrapping age-old male fantasies in a cloak of socioanthropological inquiry.

Women are occasionally victimized in the Schoolgirl universe: a lone black girl is set up for gang rape by racist classmates, a country lass is forced into prostitution by loutish dad, etc. But such instances usually end up with the protagonist rescued by a convenient Prince Charming, often as our narrator urges us to question whether they brought the abuse on themselves.

The overwhelming majority of tales present a brave new world of brazenly aggressive females demanding satisfaction whenever, wherever, with whomever. Particularly with older men, including priests, teachers, bus drivers, family friends, guest workers (Rinaldo Talamonti often appears as a comedy-relief Italian stereotype addressed in terms like “Hey, spaghetti! Show us your macaroni!”), even sexy older brothers.

Their behavior sometimes edges from fantasy fodder into the fanatical, as when a married fencing instructor tells his obsessed student, “You must be reasonable!” and she replies “I’ll be reasonable when I’m 75!” Or when another underage lassie brags that beyond regular partner sex, “I also do myself four or five times a day.” Most disturbing is a frequent refrain of blackmail, almost invariably used by nymphets on a reluctant authority figures to maintain a sexual relationship (and/or good grades). In the ickiest instance, Volume 5‘s 15-year-old Margit seduces Grandpa, saying if he refuses she’ll say he raped her; three months of action later he confesses to parents and police rather than endure more shame.

Ostensibly celebrating women’s newfound sexual freedom, the Schoolgirl Reports often seem to regard that as a menace to society as well. (At one curious point we’re informed “They’re all reading Valerie Solanas’ SCUM Manifesto, which turns men into slaves and a necessary evil for sex.”) Needless to say, the series’ major off-camera collaborators were an entirely penis-bearing roll call.

These films made tens of millions, not just in Western Europe but in overseas locations where their copious full-frontal nudity (nearly all female, of course) required cutting or fogging to meet local standards. Entries appeared around the globe under titles like Campus Pussycats, Smartie Pants, Further Confessions of a Sixth Form Girl, and Super Sexy Show. The 1980 final chapter didn’t hit American screens until three years later as Making Out — quite the reduction from an original German title translating as Don’t Forget the Love in Sex. Meanwhile Germany had been flooded with copycat “reports” (housewife, schoolboy, nurse, etc.), and in 1975 saw the legalization of hardcore porn. So a once ubiquitous, now quaint and bizarre example of mainstream softcore slowly petered (ahem) out.

The Impulse-CAV discs are notably stingy with extras — there aren’t any, not even trailers or a horrible-English-dubbing option — but in a way that suits their blunt appeal. After all, one shouldn’t expect many frills from movies wherein a dessert-spooning virgin (sex aside, ice cream appears this generation’s predominant onscreen indulgence) muses that a passing motorist “could help me get rid of that bothersome hymen,” or the “pathological dream world” of a girl troubled by incestuous thoughts features psychedelic imagery of Daddy menacing her nubile naked self with a shish kabob.

Pin Up Clinic strike a pose for the Pap

2

A while ago, I wrote about Briggite Berman’s Hugh Hefner documentary, about how it highlighted a debate between Hef’s lecherous man-fans and his well-cinched feminist critics. I suggested that there was a third view Berman missed: that of women who understood the pin-up mentality and how it could work to female power and strength. 

Well hang on to your hats, because here comes Pin Up Clinic, whose pin-up calendar release party is at Homespun Bikes Sat/13.

The group has put together a calendar with 12 months worth of alternative lovelies from around the Bay Area, with all proceeds going straight to Women’s Community Clinic. Amanda Kennedy, the mastermind behind the project, had inspiration strike her when she was asked if she’s like to examine a part of a woman’s body that not even Miss August shows off in the calendar.

“The doctor asked me if I wanted to see what my cervix looked like… handed me a mirror and a flash light and had me sit up and take a look at my self. It is a pretty profound experience to see inside your own body like that.  The female body is amazing and we don’t get to appreciate ourselves enough,” Kennedy told us of an appointment at Women’s Choice Clinic in Oakland in an email to SFBG. 

Miss August gets back to school you on what feminism can look like. Photo by Tiffany Black of Blackbird Photo

Later, Kennedy and friends decided that they wanted to give back to the professionals that had done so much to take away the mystery and shame women can feel about their bodies. And what better way to do that then by showing off, in all it’s glory, the female form? “The pin up calendar was a way for us each to appreciate ourselves and share it with others,” Kennedy recalls.

So there you have it. Only problem was that the Women’s Choice Clinic had closed in the interim, but that didn’t stop Kennedy and gang. They elected Women’s Community as their back up beneficee because it shared the same empowering philosophy as the first clinic — as Kennedy puts it “women treating women, which helps to create a safe space for so many people who have had negative experiences with heath care.”

What to say to those that find the concept of pin-up posters demeaning, anti-women productions? “Redefining beauty is important. By controlling our images we get to share our ideas of beauty,” Kennedy tells us. Included in her project are luscious images of kink educator Tina Horn and Lubricated Zine “jack of all trades” Vanessa Jean. 

In teaser shots assembled on Pin Up Clinic’s website, Vanessa Jean sits and lies in a pile of her self-published creations wearing a torn Ramones tee. The images show her as an actively imagining individual, but there’s no denying those flannel-printed boy shorts hug some curves that’d make Hef proud. 

“There are so many schools of feminism, some think we should never be sexualized and I understand that,” Kennedy says. “It’s so frustratingly common for people to criticize how a woman looks before they comment on what she is doing. I’m glad that both groups are around, because an important part of feminism is that women should be free to do whatever they want, express themselves to the fullest and stand up for what they believe in.

And who doesn’t believe in unembarrassed, convivial reproductive health care? Pin Up Clinic has printed up 1,000 calendars to be snapped up at $15 a pop on their website or at Saturday’s party, which will feature live music, a photo booth, and fortune telling.

I predict you’ll want to buy one of these for someone on your holiday shopping list, but maybe that’s just me hinting that I want one. 

 

Pin Up Clinic’s 2011 Calendar Release Party

Sat/13 7 p.m., free with purchase of $15 calendar

Homespun Bikes

494 Wesley, Oakl.

pinupclinic.blogspot.com

 

Mirrors and masks

0

arts@sfbg.com

LIT/VISUAL ART At a time when everyone is bemoaning the death of the book from either Kindle or just plain old lack of interest, I stand up for our old friend and former conveyance. There’s something about it — the smell of fresh ink, the feel of the yellowed-pages of a well-worn paperback, that gentle “crack” of the spine of a new volume — that can never be replaced by some black-matte gadget. As a writer and lover of all things book, I’ve been impressed by a few this year that may reignite your love for what’s laying between the covers, just waiting for your return.

Julian Bell’s Mirror of the World: A New History of Art (Thames and Hudson, 496 pages, $34.95) is an unassuming tome. Clocking in at just under 500 pages, this softcover textbook-looking marvel has become a mainstay on my research shelf and bathroom magazine rack. Gathering full-color plates of some of the most lush (Delacroix’s Death of Sarandapulus), confrontational (Donatello’s David), and demanding (Jane Alexander’s Vissershok) images in Western art over the last 500 years, Bell has managed to do what so often seems like the impossible in the art world: he’s included damn near everybody. To Bell, Nok terracotta, Chinese Master Guo Xi, and Dogon carvings have as much influence on contemporary art as Warhol, Pollack, and Manet. “I want to believe,” he says in the introduction, “that works of art can reveal realities that had otherwise lain unseen, that they can act as frames for truth.” Mirror to the World does just that, framing a more-true, inclusive history of art while providing a nifty little timeline in the back to play catch-up.

Speaking of timelines, I’m grateful that Simone Werle’s 50 Fashion Designers You Should Know (Prestel, 160 pages, $19.95) has one! As a latecomer to the world of fashion, I know what I like, but sometimes have no idea why, or where it came from. The designers profiled in this book are given full- color spreads featuring their most signature pieces. Armani, Prada, and Dolce and Gabbana are explored at length, while conceptualists such as Yohji Yamamoto and Rei Kubokawa are not overlooked. From early-20th century designers like Coco Chanel and Andre Courreges to contemporaries such as Vivienne Westwood and Tom Ford, this guidebook is handy and dandy.

One of the most beautiful books I’ve gotten my hands on this year is also one of the most challenging and provocative. Martin Eder’s Der Blasse Tanz/The Pale Dance (Prestel, 320 pages, $64.95) is a formidably luscious soft-focus bomb waiting to go off in the reader’s psyche. The German painter walks the thin line between fantasy and reality, nightmare and saccharine dream, child-like infatuation and barely-legal obsession. With a technical prowess to rival Renoir and Botticelli, Eder uses watercolors to draw us into this uncomfortable in-between, turning us into admirers and voyeurs at the same time. From the plush feel of the slightly weathered cover-stock, to Isabel Azoulay’s introduction and its insights regarding feminism and erotic art, everything works together, making Der Blasse Tanz an artifact that tells our oh-so modern story in a way that only a well-made book can.

But if there is any book out there right now that truly justifies why art and photo books still exist, it’s got to be Phyllis Galembo’s Maske (Chris Boot, 208 pages, $46). I love this book! In it, ordinary people turn into mythic figures and magicians, tricksters, and gods through fantastic costumes in African and Caribbean rituals and celebrations. Striped bodysuits that cover the entire body, including the face, conjure both Sesame Street and Freddy Kruger. Outfits are made entirely of bunched greenery. A lacquered wooden mask topped with a headdress and a full-body model doubles and then triples a small boy’s mass. The images themselves are striking, statements on both fashion and fetish. Knowing that there are 180 of them, and explanations for each one, makes the imagination take off on plywood wings.

More on the “whore” gaffe

By now, you’ve probably heard about the campaign gaffe in which an unidentified female associate of Jerry Brown (possibly Brown’s wife) called his opponent Meg Whitman a “whore” during a conversation that neither realized was being recorded over voice mail.

The comment was made in reference to Whitman’s offer to cut a deal over the pensions of a police officer’s union in exchange for an endorsement. Soon after the tape went public, Whitman’s campaign seized the opportunity to issue a press release slamming the remark as “an appalling and unforgivable smear,” and a slur. Sparks flew over the comment at Tuesday’s gubernatorial debate.

Yet a number of reactions from feminist organizations and bloggers suggest that despite Whitman’s ire, women haven’t started hating on Brown as a result of the dumb mistake. And in the meantime, the controversy has generated some pretty interesting discussions out there in the blogosphere.

Shortly after the remark went live, Brown secured the endorsement of the California chapter of the National Organization of Women (NOW), which in turn prompted conservative bloggers everywhere to start foaming at the mouth, madly accusing NOW of being partisan and anti-woman.

“We definitely felt that putting the announcement out today was important to refocus on the real issue in the campaign,” such as “what are the two candidates going to do for women and their families,” the chapter’s president, Patty Bellasalma, told the Sacramento Bee. “The use of the word ‘whore’ is offensive,” she added. “There’s no mincing words about that.”

Chloe, a blogger at Feministing.com, had this to say:

“When candidates and their aides use highly gendered derogatory terms to refer to the opponent, and when that opponent responds by appealing to women’s personal-is-political feminism, we are having a national discussion about gender. … But it doesn’t feel like a particularly productive one — it’s more a case of one camp screwing up by revealing underlying sexism and the other capitalizing on that mistake to score a few points. It’s not an honest discussion of structural and cultural sexism in America and how it affects people of all genders. I want to make it clear that I think what Jerry Brown’s aide said was unacceptable, as was Brown’s seemingly tacit endorsement of the word. It’s not acceptable, obviously, to call anyone a whore. But I’m trying hard to remember what Jay Smooth taught us: condemn the action, not the person, or the campaign.”

Hanna Rosin, a blogger writing for Slate.com and the DoubleX factor, had this take on it:

“Now it’s unclear exactly what the aide meant, but it’s perfectly clear he or she did not mean that Whitman was a hussy who had slept with half the legislators west of the Mississippi. Since this was an endorsement call, he or she meant that Whitman was whoring herself for the endorsement. In one way, we could see this as progress, that the word ‘whore’ is so far removed from its original sex-shaming role that it gets thrown around in the context of political power trading.”

But if the phrase weren’t so wrapped up in sexism, would we even find ourselves in the midst of this controversy? Technically, “whore” can be used to refer to a man or a woman, and it can also mean “a venal or unscrupulous person” or some one who is “considered as having compromised principles for personal gain.” But do alternate definitions remove the sting of an offensive word?

A few questions. Should the gender of the person using the word (in this case, a woman) change our analysis of how it was used? When the remark has everything to do with politics and nothing to do with sex, should it be taken as a sign that we’re making progress on gender equality? Or would real progress be when the term “whore” goes the way of an archaic insult you’d find in a Shakespearean play?

There are signs, meanwhile, that the word “whore” isn’t universally regarded as a gendered insult. Just check out the roughly 200 definitions offered on Urban Dictionary. Like this one, posted by some one named Megan:

“Minor annoyance. You’re not really mad at them, but still kinda pissed.
‘Hey, who ate the last doughnut?’
‘I did.’
‘Whore.’”

Past presence

0

arts@sfbg.com

LIT/MUSIC/VISUAL ART A present from the past — the paradox within that phrase is as close as one might get to pithily describing hauntology. The term was coined in 1993 by the French philosopher Jacques Derrida to describe utopian specters within capitalist society. But more recently, the music writer Simon Reynolds has specifically applied hauntology — literally, ghost logic — to music, using the term to describe the playfully eerie studio-as-séance-site releases on the British label Ghost Box, and similar recordings.

Since his early days as a journalist for Melody Maker, Reynolds has cannily related French theory to musical phenoms in practical and illustrative ways, whether applying the feminism of Hélène Cixous to Throwing Muses, ideas about jouissance to the sonic innovations of My Bloody Valentine, or Deleuze and Guattari to the jones for acceleration in rave culture. With the release of Reynolds’ most recent book, Totally Wired: Postpunk Interviews and Overviews (Soft Skull Press, 464 pages, $16.95), I thought the time was right to turn the tables and interview him about hauntology and the related library music genre — especially since the current Berkeley Art Museum exhibition “Hauntology” cites him while putting forth a hauntological theory of visual art.

SFBG What do you think about the current interest in library music as culture grows ever more digitized? To me it seems there’s an intrinsic push-pull between searches for rare objects in far reaches, and then their incorporation into digital or online spheres.

Simon Reynolds Certainly there are some music bloggers who specialize in library [music] and go about it in an extremely systematic manner — they aim to upload or share or post every single Bruton or Peer International Library or Chappell release. They work their way through the entire catalog, number by number. These are super-obscure records, and there doesn’t seem to be any kind of discography for a lot of the labels — I guess they weren’t precious about their own output. That must be both attractive and maddening (attractively maddening?) for a certain kind of obsessive-compulsive collector.

People are building a body of knowledge about library music, in the same way that reggae collectors did with the similarly chaotic and massive output of record labels in the ’70s. But it still has the aspect of an unmapped zone, a zone of discovery, which you can’t say about many other areas of music.

SFBG What aspects of library music appeal to you, and what aspects don’t?

SR I like the electronic stuff done by people moonlighting from the BBC Radiophonic Workshop, or by oddball figures like Ron Geesin. Or Eric Peters and Frederick G, who did stuff — electronic weirdness, or effects-laden goofy production-type tracks — for Studio G among other library labels. The Studio G stuff on the Trunk compilation G-Spots is just so luxuriant sounding.

In library music, the weird combination of anything-goes experimentation and un-precious functionalism creates good results, especially when you factor in brevity. Most library tunes are really short. So you get the same alien buzz as from experimental music, but without being detained for 20 minutes to an hour.

I also like the whole mythos and vibe around library music, the idea of all these studios in Wardour Street and thereabouts in central London churning stuff out, with top session players or underemployed composers earning a bit of dough on the side. And of course the packaging, with its uniform artwork for different series and wonderfully distilled evocative track descriptions (“pathetic, grotesque”; “relaxed swing-along”).

The downside is that some library music is just anodyne. A large proportion is sub-music, just splinters of mood or feeling that aren’t developed because they’re meant to underscore or mood-tint brief moments in a movie or TV show. I’m also less interested in the breaks end of library music, the “groovy scene in swinging discotheque” redolent tunes favored by some beat headz.

SFBG How would you characterize or define the relationship between library music and hauntology?

SR What people would consider the classic era of library music — the ’60s and ’70s, when there were groups of musicians in the studio, as opposed to the ’80s and thereafter, when it increasingly became one composer using a digital synthesizer to play all the parts — has heavy associations with the popular culture of that period. Especially TV programs and radio, and particularly children’s TV. Library music was used when there wasn’t a budget to get a soundtrack made, so you got this off-the-peg stuff.

If you’re a child of the ’60s or ’70s, this music has a potent memory-stirring effect, but in a nonspecific way. You hear certain kinds of lite-jazz chords, or melancholic orchestrations, or certain analog synth sounds, and it sets off reverberations inside you, but you can’t place them. (A later generation will probably have the same relationship with digital-era music — we’re maybe getting that with the vogue for video game sounds in a lot of dance music now.)

When hauntologist artists use this material, they can trigger all these emotions. They can also mess with the “science of mood” in library music by making emotions clash and mingle in strange combinations.

The formality and institutional vibe of library releases has a similar appeal to the “benevolent state” stuff that the hauntologist artists are into (like polytechnics, new towns, the BBC when it believed in elevating and educating the common man, etc.). Even though the library labels were commercial ventures, the aura of them is oddly similar to government or educational institutions: kind of stuffy and prim. The artwork relates to the way Penguin and Pelican books looked. It has that “lost Britain” quality.

SFBG Have you heard responses from theorists about your application of Derrida’s concept of hauntology to music?

SR No. I really just stole the word off Jacques because I liked the feel of it. It’s Mark Fisher of k-punk who’s done the more serious mapping of hauntology as a theory onto the music. I think there are definitely some parallels and connections, but Derrida’s thing seems very much bound up with Marxism and philosophy.

SFBG What is particularly hauntological about the Ghost Box label’s recordings, and what are some notable hauntological recordings over time?

SR The “haunty” aspect to the Ghost Box stuff relates to the reverberations I just described. They use samples from the era’s library or incidental music and TV or Radiophonic Workshop scores. Or (in the case of more composed-and-played recordings by Belbury Poly or The Advisory Circle) they write new melodies and motifs that are evocative of that era or in the style of that music.

I think there’s an intrinsic musical appeal and value to this stuff that works on people who don’t have the nostalgic connection. For instance, I know some quite young Americans who really like Ghost Box’s stuff. But if you are of the demographic, it has this extra layer of meaning and effect. It can be bound to a generation, and also to nationality. (Interestingly, it appeals to Australians, who get a lot of the TV from the U.K., and thus have a similar pop cultural matrix of memory).

The Ghost Box artists have a “haunty” aspect in the sense that they’re interested — in a simultaneously playful and serious way — in all kinds of pop culture to do with the supernatural and horror, from the Algernon Blackwood/Arthur Machen tales of cosmic horror, to the Hammer House of Horror movies, to Doctor Who, to ghost stories. Again, there’s a nostalgic aspect in the sense that these things, first encountered as a child, have a profound effect. British children’s TV had some really creepy and macabre stuff on it. In retrospect, you wonder, “What were they thinking broadcasting this stuff to under-10-year-olds?”

Ghost Box has fun with the cultural associations of all this stuff. There is a really pleasing clash of the campy and the genuinely disquieting in the way they handle it. It’s not some goth/industrial scary thing, which I think is where people get confused — they put on the Ghost Box records and discover they’re quite pleasant and enjoyable.

I like the main three Ghost Box groups very much — The Focus Group, Belbury Poly, and The Advisory Circle. And Roj made a cool album, The Transactional Dharma of Roj. The label’s most fully realized, brilliant record is Advisory Circle’s Other Channels. But in terms of individual peaks, I’d say certain tracks on Focus Group’s Hey Let Loose Your Love and Belbury Poly’s The Willows are among the most remarkable music of the past decade. For me they find this place between idyllic and eerie that just presses all my buttons, especially when you add the overall framework — the design and the concepts have this dry, poker-faced humor to them.

A similar vibe is going on in the records by Moon Wiring Club and Mordant Music, who are the other two central hauntologists for me. The Caretaker, a.k.a. Leyland James Kirby, has also done some really great stuff, but it’s more amorphous and drone-y.

SFBG Inside and outside of a deployment of library music, does hauntology appeal to you more than “retrofuturism” as an idea and a practice?

SR They are similar, or they overlap. The Ghost Box guys and Mordant Music are into the whole nostalgia for the future trip. Part of the appeal of something like the BBC Radiophonic Workshop is the futurism of it, the alien impact it had on impressionable ears, now inevitably filtered through a scrim of bygone charm and quaintness.

SFBG What future forms might hauntology take?

SR It may well be that every generation will come up with some kind of working-through of its recent past, the stuff that affected it most intensely as children. If you look at Ariel Pink and all the people he’s influenced who’ve come through recently, it’s bound up with a different memory-set: ’80s pop, MTV, and radio.

HAUNTOLOGY

Through Dec. 5

(Oct 29, 6-9pm “Hauntology at L@te Event with Interdisciplinary Intro Panel and musical performances Indignant Senility, Barn Owl, and Jim Haynes)

Berkeley Art Museum

2626 Bancroft Way, Berk.

(510) 642-0808

www.bampfa.berkeley.edu


 

Voters are pissed

0

By Guardian News Staff

news@sfbg.com

After spending more than $70 million, two big corporations failed to convince Californians to vote their way. After spending nearly $70 million, the former head of a big corporation easily convinced Californians to vote her way. And that outcome is not as schizophrenic as it sounds.

On one level, the outcome of the June 8 election was a sign of the anti-corporate anger seething through the California electorate. “BP, Goldman Sachs, PG&E — anything that seems connected to a big corporation is in serious trouble right now,” one political insider, who asked not to be named, told us.

Yet two candidates who were very much corporate icons — Meg Whitman and Carly Fiorina — won handily in the Republican primaries and now have a real chance to become the state’s next governor and junior senator. What’s happening? It’s fascinating. The voters in the nation’s most populous state are pissed off — at big business, at government, at the oil spill, at 10 percent unemployment, at Washington, at Sacramento, at Wall Street. It’s an unsettled electorate, uncertain about its future and looking for something new, and definitely despising power.

There’s a populist fervor out there, and it’s going to define this fall’s expensive, dirty, and high-stakes battle for California’s future.

 

THE MAYOR GOES STATEWIDE

Addressing a crowd of supporters gathered at Yoshi’s San Francisco on election night, San Francisco Mayor Gavin Newsom — who easily beat opponent Janice Hahn to claim the Democratic nomination for lieutenant governor — said he was excited to be part of a crucial political year for the Golden State.

“We’re very proud to be in a position to be the Democratic nominee and to work with the other Democratic nominees,” Newsom told supporters. He lavished praise on the Democratic nominee for governor, Jerry Brown — the man who just last year he was trying to beat in a primary — telling stories about his father’s long relationship with the former governor and expressing his admiration. “I couldn’t be more proud to quasi- be on a ticket with Jerry Brown,” he said.

The race for lieutenant governor may prove one of the most interesting this election season — and not just because a victory for Newsom would transform San Francisco politics. Newsom’s opponent is Abel Maldonado, a moderate Republican who enjoys popularity among the growing, influential Latino community, and who Newsom’s team said will be a formidable challenge.

The campaign could revolve around an intriguing question. At a time when the Republican Party has been taken over by virulent anti-immigrant politicians — Whitman and Fiorina have both made harsh statements about illegal immigrants and vowed never to support “amnesty” (that is, immigration reform) — will Latino voters go for a white Democrat over a Latino Republican?

“You talk to them about all the same issues you talk to all voters about: jobs, education, and health care,” Newsom political strategist Dan Newman said when asked whether Newsom could win over Latino voters. “Latinos, like all voters, will appreciate someone with a proven record of success.”

Pollster Ben Tulchin also downplayed the trouble Newsom could encounter in winning the Latino vote. “With what’s going on in Arizona, they are very wary of Republicans,” Tulchin said, but then added: “We don’t want to underestimate the challenge we have. There’s never been a moderate Latino on the statewide ballot.”

Newsom sounded another alarm. If Whitman decides to help Maldonado, the race will get even tougher. “We’re running against Meg Whitman’s checkbook,” the mayor said.

“Expect to see Meg and Abel together a whole lot in the next few months,” one consultant predicted.

If Newsom wins, San Francisco will get a new mayor a year early — and the district-elected Board of Supervisors will choose the person to fill out the last year of Newsom’s term. Technically, the current board will still be in office then, but the task may well fall to the next board — which makes the local November elections even more important.

“Everyone is gaming this out and trying to figure out what happens,” political consultant Alex Clemens said during a post-election wrap-up at the San Francisco Planning and Urban Research Association office. “There will be a lot of dominoes to fall and deals to be cut.”

Meanwhile, Newsom’s nomination for lieutenant governor places many San Franciscans in an uncomfortable position, one that was illustrated well by Newsom’s victory speech, in which he proudly rejected taxes. Although most San Francisco progressives are disenchanted with their fiscally conservative mayor, few would rather vote for Maldonado.

Tim Paulson, the SF Labor Council president, was at the Newsom event gritting his teeth as he talked about the opportunity progressives now have to work with “a mayor of San Francisco we have issues with.” Now, he noted, “There is going to be a real campaign around this man. It could establish a narrative for what California is about.”

 

POWERFUL WOMEN

At Delancey Street on election night, San Francisco District Attorney Kamala Harris talked about getting “tough and smart on crime,” addressing gang-related criminal activity but also focusing on corporate criminals. She talked about cracking down on predatory lenders, supporting health care reform, and protecting California’s environment. And she made a point of dragging in BP.

“It must be the work of the next attorney general to ensure that the disaster and tragedy that happened in the Gulf of Mexico never happens in California,” she said, warning of attacks on AB 32, which set California’s 2020 greenhouse gas emissions reduction goal into law in 2006.

Of course, Harris now has to take on her southern counterpart, Los Angeles DA Steve Cooley, who is a moderate but comes in with much stronger law enforcement support. If Harris wins, it will go a long way to prove that opposition to the death penalty isn’t fatal in California politics, and that voters are finally ready for a women of color as the top law enforcement official — a first in state history.

But she and Newsom will both have to overcome likely attacks for the San Francisco’s crime lab scandal, one of many hits to be magnified by the size of Whitman’s war chest.

Whitman, who trounced opponent Steve Poizner in the primary, is riding the crest of a new wave of Republican-style “feminism,” starring her, Fiorina, and Fox news pundit Sarah Palin as female champions of the right-wing agenda. A few short months ago, it looked as if Brown was in serious trouble. But that was before Whitman and Insurance Commissioner Steve Poizner got into an $85 million bloodbath that left the winner of the GOP primary badly wounded. Whitman wants to play off the populist uprising by portraying herself as an outsider running against a career politician; Poizner gave her a huge scare by hammering her ties to Goldman Sachs.

That Wall Street narrative is one Democrats will push against Whitman and Fiorina. “I think it is stunningly politically tone deaf to nominate two Wall Street CEOs to the top of the ticket,” Newman said. Voters will decide whether they are fresh voices with new ideas or corporate hacks who laid off Californians and made fortunes with dubious stock market deals.

Brown leads in the polls — narrowly — but he’s vulnerable. He’s taken so many stands over so many years and Whitman’s fortune will hammer any openings they see. Brown is only slowly getting into campaign mode, but it’s no secret what he has to do. If the campaign is about Jerry Brown, unconventional politician, against Meg Whitman, Wall Street darling, then he wins.

But to take advantage of that, Brown has to offer some concrete solutions to the state’s problems — and he has to start acting like the progressive he once was. “If I were him, I’d run hard to the left,” a consultant who isn’t involved in any of the gubernatorial campaigns said.

The conventional wisdom had Barbara Boxer in trouble, too — but she’s a savvy campaigner who has beaten the odds before. And while the senator appears ripe for attack — almost 30 years in Washington, a voting record perhaps a bit more liberal than the state as a whole — her opponent, Fiorina, has baggage too.

For starters, Fiorina’s entire pitch is that she — like Whitman — would bring business-world savvy to politics. But as CEO of HP, “she was about perks and pink slips,” Newman said. “She laid off Californians and shipped those jobs overseas while enriching herself.”

Her own primary pushed her far to the right (at one point, in an embarrassing sop to the National Rifle Association, she actually argued that suspected terrorists on the federal no-fly list should be able to buy handguns). And speaking of feminist values, her anti-abortion positions won’t help her in a decidedly pro-choice state.

 

PROP. 16 GOES DOWN

The defeat of Proposition 16 will go down in history as one of the most remarkable campaigns ever. It was, Sup. Ross Mirkarimi noted, “a righteous win:” The No on 16 campaign spent less than $100,000 and still captured 52 percent of the vote. Another narrow corporate-interest measure, Mercury Insurance’s Prop. 17, faced a similar fate.

One reason: PG&E’s $50 million campaign backfired, making voters suspicious of the company’s propaganda. Another: it lost overwhelmingly in its own service area, the company rejected by those who know it best.

Now PG&E CEO Peter Darbee, who pushed to mount the expensive campaign, must return to his shareholders empty-handed — and that’s going to cause problems. “I assume the leadership of PG&E will be called to task,” Clemens said. “They truly rolled the dice.”

The day after the election, PG&E shares dropped 2.2 percent, a possible sign of shaken investor confidence. Mindy Spatt of the Utility Reform Network (TURN), a nonprofit that worked on the No on 16 effort, described the situation succinctly. “Peter Darbee’s got egg on his face,” she said. “Big-time.”

Mirkarimi has witnessed other battles with PG&E, and said this probably wouldn’t be the last. “PG&E, every time we want to have a seat at the table, tries to take us out, like assassins,” he said. “If they were smart, they would take us up on what we asked many years ago, and that is to abide by peaceful coexistence.”

On the statewide level, the bold and expensive deceptions pushed by PG&E and Mercury Insurance were countered by only a handful of super-committed activists and a broad cross-section of newspaper editorials, a reminder that newspapers — battered by the economy and technological changes — are neither dead nor irrelevant.

One of the wild cards of the election was Prop. 14, which will eliminate party primaries for state offices — and potentially shake up the state’s entire political structure. “This is a big deal even if we don’t know how it’s going to play out,” consultant David Latterman said at the SPUR event.

Interestingly, the only two counties that voted No on 14 were the most progressive — San Francisco — and the most conservative, Orange.

Progressives did well in San Francisco, expanding their majority on the Democratic County Central Committee. “In an environment where it was about hundreds of millions of dollars from PG&E and Meg Whitman and Chris Kelly outspending us, we showed that San Francisco is San Francisco and we support San Francisco values,” DCCC chair Aaron Peskin told us.

Money used to define the debates in San Francisco, but the dominant narratives are now being written by the coalition of tenants, environmentalists, workers, social justice advocates, and others who backed a progressive slate of DCCC candidates, which took 18 of the 24 seats on a body that makes policy and funding decisions for the local Democratic Party.

“This time it was the coalition that really made the difference,” DCCC winner Michael Bornstein said on election night. “Frankly, our people worked harder.”

Board of Supervisors President David Chiu agreed, telling us, “For the Central Committee, the message is people power wins.”

The lesson from this election is that people are starting to get wise to corporate deceptions. And they’re realizing that with hard work and smart coalition-building, the people can still prevail.

Steven T. Jones, Rebecca Bowe, Sarah Phelan, and Tim Redmond contributed to this report.

 

Uproot: Feminism and the food movement

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By Robyn Johnson

Peggy Orenstein’s essay “The Femivore’s Dilemma” has caused a bit of a dither, but then gender issues never make for easy conversation. Some light mocking has arisen over Orenstein’s coinage of the term femivore, which, as has been pointed out in innumerous blog comments, means one who eats women. But yes, I think we can agree it’s intended as a portmanteau of feminist and locavore. And it’s the relationship that she draws between these two movements as a way to redefine homemaking that has many people talking.


Orenstein writes:

“Femivorism is grounded in the very principles of self-sufficiency, autonomy and personal fulfillment that drove women into the work force in the first place. Given how conscious (not to say obsessive) everyone has become about the source of their food — who these days can’t wax poetic about compost? — it also confers instant legitimacy. Rather than embodying the limits of one movement, femivores expand those of another: feeding their families clean, flavorful food; reducing their carbon footprints; producing sustainably instead of consuming rampantly. What could be more vital, more gratifying, more morally defensible?”

And this had been troubling for both feminists and food movementists. Do homemakers need to be legitimized by raising their own chickens instead of shopping at Safeway? Do these gender roles even matter anymore for third-wave feminism? Is this just useless “hand-wringing” over what is really a non-issue in terms of food politics?

I, myself, am a little uncomfortable at drawing a more feminist-than-thou distinction between the urban homesteader and the regular Walmart-patronizing stay-at-home mom. But I understand the anxieties that Orenstein discusses, and I would lying if I said that never experience doubt time to time when I do traditionally sanctioned “women’s work.” The legacy of the previous waves runs deep for a lot of us.

I also agree that this conversation needs to happen as more and more dialogue, like this NYT piece by Michael Pollan, addresses the problems of processed food by imploring both sexes to return to the kitchen, a place, still very symbolically loaded for many women, that will need redefinition.

What do you think?

Events listings

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Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 3

Confessions of a Teenage Jesus Jerk City Lights Bookstore, 261 Columbus, SF; (415) 362-8193. 7pm, free. Attend this reading and book signing with local author Tony DuShane about his experience growing up as a Jehova’s Witness, a novel which he anticipates will get him shunned from his family still involved in the church.

Susan Stamberg Jewish Community Center of San Francisco, 3200 California, SF; (415) 292-1233. 8pm, free with pre-registration. Listen to NPR Special Correspondent Susan Stamberg speak on everything from Jewish mothers to the little-known story of the Jews of Shanghai.

Understanding the Opposition to Same-Sex Marriage San Francisco Center for Psychoanalysis, 4th floor auditorium, 2340 Jackson, SF; (415) 563-5815. 7:30pm, free. Attend this lecture where Gary Grossman, Ph.D. will discuss the psychological impact of marriage on lesbian and gay couples, in addition to the role of homophobia, prejudice, and unconscious anxieties in arguments supporting traditional marriage.

BAY AREA

Practical Applications of Mythology Northbrae Community Church, 941 The Alameda, Berk.; (510) 526-3805. 7:30pm, free. Hear Dr. Carolyn West discuss the role myths play in the human psyche and in art, music, poetry, and ritual.

THURSDAY 4

Alfonso Gatto Italian Cultural Institute, Suite 200, 425 Washington, SF; (415) 788-7142 ext.18. 6:30pm, free. Celebrate the 100th anniversary of painter, poet, essayist, critic, editor, and film actor Alfonso Gatto. Jack Hirschman and actress Antonella Soldaini will read a selection of Gatto’s poems from the anthology Magma, the first major English translation of poems by Gatto.

My Refuge House Project 1, 251 Rhode Island, SF; (415) 938-7173. 6pm, free. Attend this fundraising event for My Refuge House, an organization devoted to the rehabilitation of people freed from sex trafficking.

FRIDAY 5

"Challenges and Possibilities in South Asia" California Institute of Integral Studies, 4th floor, room 425, 1453 Mission, SF; (415) 575-6254. 6:30pm, free. Hear Meenakshi Ganguly, from the Human Rights Watch, discuss the possibilities for advocacy in South Asia when examining the human rights violations that occur there and the possibilities for justice.

"Foursquared" Project 1, 251 Rhode Island, SF; (415) 938-7173. 7pm, free. Enjoy the work of local artists at this opening for this collaborative exhibit "Foursquared," featuring a mural created using differing mediums by artists Chorboogie, Jet Martinez, David Choong Lee and Apex.

Girldrive: Criss-crossing America, Redefining Feminism Modern Times Bookstore, 888 Valencia, SF; (415) 282-9246. 7pm, free. Hear Nona Willis Arnowitz and Emma Bee Bernstein discuss their cross country road trip where they chronicled the struggles, concerns, successes, and insights of young women grappling to define and fight for gender equality.

Monster Drawing Rally Verdi Club, 2424 Mariposa, SF; (415) 863-2141. 6pm, $10-$20 donation. Observe over 130 artists in the act of creation and get the opportunity to purchase each work of art for $60, minutes after its completion, at this fundraiser to support Southern Exposure’s exhibitions and artists in education programs.

SATURDAY 6

Babylon Salon Cantina SF, 580 Sutter, SF; (415) 398-0195. 7:30pm, free. Attend this reading and performance series featuring authors Peter Orner, Toni Mirosevich, Kemble Scott, and more reading and discussing their recent works.

"Beyond Breast Cancer" Golden Gate Club, 135 Fisher Loop, Presidio, SF; 1-888-315-5988. 8am, $20. Hear cancer experts and survivors controversial mammography guidelines, the latest treatments, side-effect management, and more at this conference for breast cancer survivors, their families and friends, and medical professionals.

Crystal Fair Fort Mason Conference Center, Building A, 99 Marina, SF; (415) 383-7837. Sat. 10am-6pm,Sun. 10am-4pm; $6. Enjoy this exhibition and sale of crystals, minerals, beads, jewelry, and other accessories of the healing arts.

"Embracing the Cycles of Womanhood" Women’s Building, 3543 18th St., SF; (415) 469-5425. 2pm, $10-$25 sliding scale. Join in a body, mind, and spirit celebration of being a woman at this Women’s Day celebration featuring information about menstrual cycle hormones, salsa dancing, first period stories, and how to go with the flow of your period.

Miraloma Cooperative Nursery School St. Mary’s Cathedral, St. Mary’s Event Center, 111 Gough, SF; (415) 585-6789. 6pm, $15. Help raise funds for this parent-run cooperative with an auction of items like getaways, tickets, and activities.

BAY AREA

March Madness Craft Sale Knit One One, 3360 Adeline, Berk.; (510) 420-8706. 10am, free. Find nifty, unusual gorgeous goodies from crafters including Bead Origami, Leon Leaf, Panoply, Eristotle, Kimono Momo, Papa Vert, and more.

SUNDAY 7

Heeb Magazine at the Oscars Elixir, 3200 16th St., SF; (415) 552-1633. 5pm, free. Celebrate the year in Jewish and Israeli cinema, including Inglourious Basterds, A Serious Man, and Ajami, at this Oscar- watching party sponsored by Heeb magazine featuring drink specials and a live broadcast of the Oscars.

BAY AREA

How to Defeat Your Own Clone Diesel, A Bookstore, 5433 College, Oak.; (510) 653-9965. 3pm, free. Hear Kyle Kurpinski and Terry D. Johnson, two bioengineering experts, discuss their new funny and informative book on how to survive and thrive in an age of weird science.

MONDAY 8

Howard Zinn Herbst Theater, 401 Van Ness, SF; (415) 392-4400. 8pm, $20. Join Alan Jones to celebrate the life and work of Howard Zinn, historian, activist, social critic, and award-winning author of A People’s History of the United States.

A look back at the 2010 Sundance Film Festival (part one)

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Over the years, the Sundance Film Festival has become known for its superior documentary selections, exciting experimental programs, mumblecore masterpieces, a few foreign delights, and buzz-worthy indie flicks that eventually become the year’s most under or overrated. The 2010 festival was no exception. Make sure to mark down any of these movies that sound interesting for the upcoming year — for some reason, post-Sundance film releases seem to be shorter, smaller, and becoming even non-existent. (Johan Renck’s decade-defining Downloading Nancy, which screened at Sundance in 2008, was finally released straight to DVD this past month.) Read on for the first in a series of posts detailing my top picks at this year’s fest.

Drake Doremus’ aptly titled Douchebag achieved the festival’s greatest achievement: I heard the word “douchebag” being used in every Utah restaurant, shop and theatre. Luckily the film also does a bang up job as it follows a beardo older brother (on the verge of his wedding) who takes a wild road-trip to find his younger brother’s fifth grade girlfriend. Not only will it cause you to mutter the word douchebag multiple times, the film perfectly captures the dominating and destructive characteristics of certain family members. Even the couple sitting next to me who said they “hated mumblecore films” loved Douchebag. David Dickler’s debut performance as the titular d-bag older brother should have been recognized when awards night came around.

Dickler also edited the film, a fact which brought attention to his quiet career in the medium. He edited Me and You and Everyone We Know (2005), Borat (2006), and Anvil! The Story of Anvil (2008). And at a compressed running time of 81 minutes, Douchebag is the most fun you’ll have hating a character this year.

One of Sundance’s hottest ticket was for Lisa Cholodenko’s The Kids Are Alright. Cholodenko won Sundance’s screenwriting award for her first film, High Art (1998); her latest is a pitch-perfect family drama for the Y2teens. Two kids who were raised by two different type of mothers (Annette Bening and Julianne Moore) track down their surrogate father (Mark Ruffalo) and find him to be a progressive, free-wheeling lone wolf. The film’s progression is presented with such confidence and sensitivity that the film transcends its sign of the times vibe, giving the viewer the feeling that it’s predicting the future.

Coincidentally, John Waters’ new film, Fruitcake, starring Johnny Knoxville and Parker Posey, also follows a boy (who runs away from home after his parents are busted for stealing meat at the grocery store) who meets up a with a girl who was raised by lesbian parents and who is looking for her surrogate father.

Pipiloti Rist’s Pepperminta is an inspired, unofficial remake of Czech New Wave director Vera Chytilova’s Daisies (1966). Its psychadelic set and color design felt like an episode of Pee Wee’s Playhouse wrapped up in feature-length Skittles commercial. Many audience members were overwhelmed by the film’s aesthetic, but those who finished it were rewarded with a killer quest through anarchy, feminism, and fearlessness. For anyone who’s been inspired by the music of Kate Bush and Björk, or the children’s books starring Madeline and Pippi Longstocking (after whom the director was nicknamed), this is the movie for you. Rist brings an excitement and inventiveness not only to the screen (and her wardrobe, showcased during the movie’s Q&A), but also to the multimedia exhibit that she also created to compliment the film. Don’t miss seeing Pepperminta in a theater.

Following his previous features I Stand Alone (1998) and Irreversible (2002), enfant terrible Gaspar Noe has now taken the digital revolution to a psychedelic hell with Enter the Void. The warning signs to epileptics upon entering the theater that a strobe effect was used throughout the film kicked things into overdrive right off the bat. Utilizing first person digicam, Noe takes the audience into strobing sexual scenes, deafening drug benders, and all-around supernatural swirly stuff … for two hours and 41 minutes! The film will eventually be released in two versions: a director’s cut and a commercial cut, which will run one reel shorter (by 20 minutes).  Pondering if this epic journey was made to watch while you are on drugs or instead of doing drugs is almost as debatable as the final moment of the voyage (it truly is worth it to make it all the way through to the end!)

Zeina Durra’s The Imperialists Are Still Alive explores a group of Manhattan socialites who by day, talk and make self-righteous Post-Modern art, but by night, wander the city looking for late night parties and showing off their audacious new dresses. Asya (played with a perfect balance of ignorance and irony by Elodie Bouchez) is not only participating in this scene, she’s also worrying herself sick about a kidnapped friend in Lebanon (the film takes place during the 2006 Israel-Hezbollah conflict). While Variety pointed out that the film’s title is taken from Jean-Luc Godard’s La Chinoise (1967), it’s the consistent ironic undertone that feels truly Godardian; no doubt it’ll  put off many audiences (more than half of the audience in the press screening left early.) The director was slammed after her introduction for being too pretentious and proud of her work. But that is exactly what rings so true to me about this mini-masterpiece, that reflection of our current contradiction that many of us living in big cities find ourselves in: We know and “care” so much about world events, yet seconds later we’re arguing about the Academy Award nominations. Irony is alive and well.

Coming tomorrow: Jesse Hawthorne Ficks’ top five picks and honorable mentions from the 2010 Sundance Film Festival.

Our Weekly Picks

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WEDNESDAY 17

MUSIC

“Dig This! Local Only Live Showcase”: C U Next Weekend

A kick flip here and a hip-hop, indie combo there, C U Next Weekend is hands down the Oakland version of the corporate-backed, top 40 favorite Gym Class Heroes that hit the radio a few years back. The pack of adorable Berkeley boys rock hard and fit into their skate shoes as the perfect party band. Pirate Cat Radio presents “Dig This! Locals Only Live Showcase” at the Uptown every Wednesday. Along with C U Next Weekend, this week’s show includes the ambient, soothing sounds of the Blind plus Black Balloon’s electric rock. (Amber Schadewald)

9 p.m., free

Uptown Night Club

1928 Telegraph Avenue, Oakl.

(510) 451-8100

www.piratecatradio.com


THURSDAY 18

FILM

“Freaks, Punks, Skanks, and Cranks: Target Video Presents”

Kick-starting this five-part film series on weirdos and wackos is a look-see into Target Video’s vast collection of live shows by and interviews with late 1970s and early ’80s underground hardcore, punk, and art bands. Launched in 1977 by SF’s own Joe Rees, these pre-MTV VHS documents offer a much-needed source of inspiration and revitalization for today’s defused and confused punk scenes. But if the distant sounds and visions of Devo, Throbbing Gristle, Mutants, and the Screamers don’t whet your nerves, then surely Rees — a veteran who understands effective affects from defective redux — who’ll be appearing live, in the flesh, will. (Spencer Young)

6, 8 and 10 p.m., $8–$10

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

 

MUSIC

Joshua Roman

“The High School of Cello Playing” sounds like a weird mashup of Vivaldi and the Ramones, but it’s actually a suite of 40 lively, adventurous etudes by overlooked Bohemian composer David Popper (1843-1913). Hot-hot 26-year-old cello sensation Joshua Roman is currently updating the piece for a digital age, using his laptop to record himself performing each etude at random spots on the globe. He’ll be joining the SF Symphony to play Haydn’s bracing Cello Concerto No. 1. (Beethoven’s fab Eroica is also on the menu.) But if you hear some expert fingering in one of the bathroom stalls afterward, don’t be alarmed. It’s art. (Marke B.)

2 p.m., $15–$145 (also Fri. and Sat., 8 p.m.)

Davies Symphony Hall

201 Van Ness, SF

www.sfsymphony.org

 

MUSIC/FOOD

The BASSment

Fans of funk, soul, and new directions in hip-hop can take a trip into the BASSment, largely inspired by the innovative Soulive band and its counterpart, Lettuce. Kevin Wong, the leader of this talented quartet, holds down the keys and Hammond sounds with his right hand while his left picks up the bass lines. Guitarist Nate Mercereau adds insight with tasteful nuances and nasty solos. On the drum set, Clarence Lewis IV has his pockets full of funk. Also on the bill is Daniel Casares, tenor saxophonist from SF’s Jazz Mafia. Enjoy an evening of classic Italian cuisine and music that will have you dancing. (Lilan Kane)

8 p.m.-midnight, no cover (reservations encouraged)

Enrico’s

504 Broadway, SF

(415) 982-6223

www.enricossf.com

 

MUSIC

Dessa, P.O.S.

A hip-hop artist, poet, and former medical writer, Dessa (a.k.a. Maggie Wander) is the sole female member of Doomtree, the Minneapolis, punk-inspired collective with a thick hometown following. The pen is her sword, lover, and an extension of her analytical soul. Her first album, A Badly Broken Code (Doomtree), dropped earlier this month, bringing dark ideas and dissected theories wrapped in rust-bitten beats. Fellow Doomtree crew member P.O.S. closes the show. (Schadewald)

8:30 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.myspace.com/dessadarling

 

MUSIC

Zapp

Founded by Ohio brothers Roger and Lester Troutman in 1978, Zapp soon signed to George Clinton’s Uncle Jam Records. In 1980, they released their first single, “More Bounce to the Ounce.” Coproduced by Bootsy Collins, that song put them on the map, peaking in the top 20 of Billboard’s pop chart and No. 2 on the soul charts. Zapp has had a considerable impact on the G-funk era — Roger Troutman’s imaginative use of the talk box and hand-clapped drumbeats make “More Bounce to the Ounce” one of the most sampled songs in hip-hop. “Computer Love” and “Cutie Pie” are still popular staples in dance clubs for a reason. (Kane)

8 and 10 p.m. (also Fri/18–Sat/19), $18–$30

Yoshi’s SF

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 


FRIDAY 19

EVENT/MUSIC/VISUAL ART

“L@te Friday Nights @ BAM/PFA: Skank Bloc Bologna”

It isn’t every night you can see a Scritti Politti cover band. If you love pop music at its smartest and most melodic, you know what I’m talking about. And if you haven’t heard them, tonight is your chance, since they figure in the DJ list, and local artists Cliff Hengst, Scott Hewicker, and Karla Milosevich are performing Scritti songs. If that’s not enough, the evening also includes fencing, Pier Paolo Pasolini, and Derek Jarman. (Johnny Ray Huston)

7:30 p.m., $5

Berkeley Art Museum

2626 Bancroft, Berk.

(510) 642-0808

www.bampfa.berkeley.edu

 

EVENT/MUSIC/VISUALART

“Renée Green: Endless Dreams and Time-Based Streams”

Renée Green’s art has traveled the world, the past two decades engaging with feminism, history, and the subject of travel itself in the process. This show is a homecoming of sorts for the artist, who lives in SF. It’s her first major U.S. exhibition in 15 years. Wear a blue shirt, dress, or costume to the opening night, which includes live music by Oakland’s Colossal Yes and L.A.’s Wounded Lion. (Huston)

8 p.m., $12–$15

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org


SATURDAY 20

EVENT/MUSIC/FILM

An Evening of Indian Music: From the Classical to Bollywood with Robin Sukhadia

Undeniably the most successful film in Bollywood history, Sholay (1975) follows two small-time criminals hired by a bounty hunter to capture a reckless dacoit. With a soundtrack composed by RD Burman fusing Latin and Afro-Cuban sounds with classical Indian music, it’s no wonder this film became a national sensation. Tonight local tabla musician Robin Sukhadia delves into the work of Burman and discusses how his music made this Western–style flick come to life. A performance of entrancing rhythms and beats on the tablas by Sukhadia and Jason Parmar follows the lecture. (Elise-Marie Brown)

6:30 p.m., free

Southern Exposure

3030 20th St, SF

(415) 863-2141

www.soex.org


MUSIC

Vitalic

French musician Vitalic, a.k.a. Pascal Arbez, is no longer as enigmatic as certain French electronic acts. Nonetheless, a scarcity of output lends his releases an air of mystery. Like peers Justice and Daft Punk, he’s known for his use of distortion, coming off a bit more like rock than trance. But in order to remain relevant among Ed Bangers and DFAs, one has to adapt. In his first studio album since 2005, Flashmob (Different/PIAS), Arbez sidestep-tackles a new genre — disco. Not post-Saturday Night Fever cheese, but groovy Moroder-esque rhythms as subtle as they are heavy. Arbez has proven that his selective output is mirrored by his choosiness about playing live, so if you miss him now, be prepared for a long wait. (Peter Galvin)

With Sleazemore and Nisus

9 p.m., $13

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

DANCE

MUSIC

Max Raabe & Palast Orchester

Max Raabe & Palast Orchester take the songs, styles, and instrumentation of the Weimar era into the 21st century. Performing with a clever, coolly detached demeanor, Raabe wows the listener with his vocal abilities, then forces laughter with deadpan jokes between songs. The elegant 14-piece orchestra plays traditional German pieces and classics such as “Singin’ In The Rain,” as well as tongue-in-cheek covers of more contemporary pop tunes. Britney Spears’ “Oops! …I Did It Again,” Tom Jones’ “Sex Bomb,” and Queen’s “We Will Rock You” will get a jazzy makeover. (Sean McCourt)

8 p.m., $25–$75

Paramount Theatre

2025 Broadway, Oakl.

(866) 920-5299

www.sfjazz.org

 

MUSIC

Ragga Muffin Festival: Barrington Levy, Gregory Isaac

Barrington Levy is a reggae legend, having established his distinct brand of dancehall music during the Jamaican industry’s 1970s boom. Despite his sweet sounding vocals and trademark almost scatting, Levy’s workhorse-like output never earned him the U.S. success of other reggae icons like Bob Marley. An unpredictable crooner able to convey romance and rage, he performs at the 29th annual Ragga Muffin Festival, along with a man every bit his equal, the talented Gregory Isaacs. Come prepared to stay Irie. (Galvin)

With Capleton, Cocoa Tea, Tarrus Riley, Sister I-Live

6 p.m., $39.50

Fox Theater

1807 Telegraph, Oakl.

(415) 625-8880

www.thefoxoakland.com

 

DANCE

Sonya Delwaide

Ever since French-Canadian choreographer Sonya Delwaide hit the Bay Area in 1996, her work — often seen on AXIS Dance Company — has been striking for its skill and breadth of imagination. This double bill is a welcome opportunity to see what’s going on these days in Delwaide’s head. The two-part Je me Souviens (I Remember) explores personal and collective memories. She choreographed it on Peiling Kao and former ODC dancers Andrea Basile, Brandon Freeman, and Yukie Fujimoto. Delwaide is joined in this concert by L.A.-based, South Korea-born Holly Johnston, whose Politics of Intimacyfor six dancers — examines personal and societal norms. (Felciano)

8 p.m. (also Sun/21), $15–$18

Also Sun. Feb.. 21

ODC Dance Commons

351 Shotwell, SF

(415) 863-9834

www.odctheateer.org/buytickets

 


SUNDAY 21

EVENT/LIT

TRY! Magazine Fundraiser

In publishing TRY! Magazine every other week for an extended period of time, David Brazil and Sara Larsen didn’t just try to do it, they did it — it being they united an ever-growing bunch of great writers from the Bay Area and beyond in print. TRY! is ready to make a next step into the future, but to do so, a fundraiser is more than in order. It’s hard to think of a local DIY publication that deserves it more, and this should be a hell of a party. (Huston)

6 p.m., $10

21 Grand

416 25th St., Oakl.

www.newyipes.blogspot.com

 


MONDAY 22

MUSIC

Fanfarlo

For many bands, downtime consists of playing video games, staying out all night, or sleeping the day away. For Fanfarlo, discussing the works of Henry David Thoreau is an ideal way to spend free time. After three years of limited edition singles, these indie darlings from across the pond finally released their debut album, Reservoir (Atlantic/WEA), in late 2009. Reminiscent of Beirut, its blend of mandolins, trumpets, melodicas, and accordions can be astonishing. You might find yourself singing their hypnotic harmonies in your sleep for weeks to come. (Brown)

With April Smith and the Great Picture Show

8 p.m., $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 


TUESDAY 23

FILM

“Four by Nathaniel Dorsky”

Two years ago, the late, great critic Paul Arthur praised Nathaniel Dorsky as “a formalist with a brimming, elegiac soul.” In the new film Compline, this extends to emulsion itself — it’s Dorsky’s last film in Kodachrome, the stock having been discontinued last summer. His evocations of night — pooling dark, skimming auroras — dazzle. Dorsky has called over a late addition to this program, his first in-color negative, Aubade. Philip Larkin wrote a poem of the same name, and though quite different in spirit from Dorsky’s work, one passage matches my picture of the San Francisco filmmaker: “Waking at four to soundless dark, I stare/ In time the curtain-edges will grow light.” (Max Goldberg)

7:30 p.m., $9.50

Pacific Film Archive

2575 Bancroft, Berkeley

(510) 642-1412

www.bampfa.berkeley.edu

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Alerts

0

alerts@sfbg.com

THURSDAY, FEB. 11

Let BART know


Protest the upcoming BART Board meeting, which follows BART attorney Dale Allen’s announcement that BART intends to "vigorously fight [a lawsuit brought by friends of Oscar Grant] based on their contributing actions to the tragic accident." Ex-BART police officer Johannes Mehserle is being tried for murder in the case.

9 a.m., free

Kaiser Center

20th St. Mall, third floor

344 20th St., Oakl.

indybay.org/oscargrant

Responding to Mein Kampf


Attend this exhibit by French artist Linda Ellia, where pages of Hitler’s book Mein Kampf (My Struggle) have been transformed by artists, youths, and citizens into transformative artistic responses to the text creating a new book, Notre Combat (Our Struggle).

11 a.m., $10

Contemporary Jewish Museum

736 Mission, SF

(415) 655-7800

She wrote it


Attend the first lecture in the Radical Women’s 2010 Feminist Theory Series for a discussion with author and socialist feminism pioneer Clara Fraser on her book Revolution, She Wrote.

7 p.m., free

Radical Women

625 Larkin, Suite 202, SF

(415) 864-1278

V-Day East Bay


Celebrate the diversity and strength of local women at this performance of Eve Ensler’s play The Vagina Monologues starring local women. Proceeds benefit global women’s organizations.

8 p.m., $10

La Peña Cultural Center

3105 Shattuck, Berk.

(510) 849-2568?

Eat right


Dine and do good. Pick up a copy of Young Workers United 2010 Restaurant Guide to Guilt-Free Eating, which recognizes restaurants in San Francisco that provide good working environments and delicious food.

6:30 p.m., $5–$10 suggested donation

Women’s Building

Audre Lorde Room

3543 18th St., SF

(415) 621-4155

FRIDAY, FEB. 12

Black Rock


Attend this screening of the Kevin Epps film, The Black Rock: The Untold Story of the Black Experience on Alcatraz, which chronicles the role of African Americans in the history of Alcatraz.

8 p.m., $6

Artists’ Television Access

992 Valencia, SF

www.blackalcatraz.com

SATURDAY, FEB. 13

Save Stowe Lake Boathouse


Enjoy free festivities and snacks for the whole family at this historic boathouse building and help send a message to the SF Recreation and Park Department that you oppose the take-over of the top floor of the boathouse for an indoor, privately-owned restaurant. Rain cancels.

11 a.m., free

Stowe Lake Boathouse

Golden Gate Park

50 Stow Lake Drive, SF

www.savestowlake.org

TUESDAY, FEB. 16

MTA Not ATM


Protest Muni’s service cutbacks and fee hikes at this rally and press conference preceding a 2 p.m. MTA board meeting. Demand that the city implement progressive taxes instead of "taxing" the people who rely on Muni to get to work.

1 p.m., free

Steps of City Hall

1 Dr. Carlton B. Goodlett Place, SF

(415) 821-6545

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

alt.sex.column: Clip show

0

It’s a decade’s worth of last-week-of-the-year concerns!

1999

Q: Is it true that a small quantity of alcohol is increasing the sexual pleasure of the couple?

A It may be increasing the pleasure, but it may also be affecting the performance or making the sleep.

2000

Q: Felching, in fact, is the act of expelling flatus in another’s mouth. Surely you’ve already been notified by one of your other seven readers.

A: The word you actually want may be “eproctolagnia,” and it may not, but it certainly isn’t “felching.” We’ll ignore your last crack, which is unworthy even of you.

2001

Q: Male G-spot?

A: Words for female things and female people (including, of course, “female” itself) are traditionally back-formations of words for male things and male people. “Male G-spot” is an intrinsically ridiculous phrase, but it’s delightfully ass-backward. The proper term is “prostate gland,” but that doesn’t sound anywhere near as much fun.

2002

Q: Do I just tell my boyfriend I’ve been faking it?

A: There’s a sort of little half-lie that might work. (Oh, pleeaase people, don’t write and tell me that lying is always wrong. Nothing is always anything.) You could tell him that you thought you were coming all this time, and you guess you were, but this was some big breakthrough— you never thought it could feel like that!— and now you realize what you’d been missing, yada yada yada. This actually happens.

2003

Q: Should I try to share my boyfriend’s (he calls us best friends) hobbies: porn, strip clubs, and used panties?

A: I don’t think sharing his (formerly) secret life with him is the way to make him happy, not that I’ve dedicated my life to making your boyfriend happy or anything. I think he’s in the habit of pursuing a solitary sex life based on voyeurism and other people’s underwear, and that’s the way he likes it.

2004

Q: (Various opinions about the guy’s wife who blew an “alpha male” Chippendale in the parking lot)

A: Phrases like “alpha male,” with their shiny aura of scientific certainty, don’t mean nearly as much as people hope they do. Who is the alpha male? In the wolf pack, where the concept belongs, he’s probably easy enough to spot. (Not being one of those women who run with the wolves, I couldn’t tell you.) In human society, though? Is it the strong guy? The rich guy? The guy who is probably neither but looks good in a thong?

The writer’s wife didn’t blow the pretty-boy because he was the alpha Chippendale; she blew him because she was bored and had gotten drunk and it seemed like a good idea at the time.

2005

Q: “While going down on me he suddenly asked me to shit on his face.”

A: If one wrote me (oh, they have, they have) wondering how to broach the subject with a would-be partner, I’d probably say, “Whatever you do, don’t do what that girl’s date did.”

2006

Q: “Polyamory works for those committed to the hard personal work needed make it work. Of course, the same could be said of all other forms of relationships.”

A: Of course a good relationship requires attention and occasional maintenance — what living creature does not? — but the constant harping on work, work, work makes me tired and suspicious. The tired part needs no explanation; the suspicious part, well, what is paying a therapist if not “working on it?” I may be lazy (OK, I am lazy) but I maintain that you can tell you have a good relationship when it pretty much runs itself. “Oh, we work on our relationship constantly!” does not make me think, “Oh, good for you guys!” It makes me think, “Oh, bro-ther.”

2007

Q: Lap-dancing, etiquette, and feminism.

A: If you’re going to be a sex worker, you deserve to be treated with respect and decency, and what you say goes as far as who’s allowed to touch where with what and so forth. But come on. Into each stripper’s life a little semen must fall. If that’s absolutely not going to work for you, dance behind glass or get your Realtor’s license or something.

2008

Q: New Year’s resolutions.

A: Most of the “ew, yuck” reactions to your supposedly kinkier sexualities come from lack of information and fear of the unknown. So much of kink and fetish turns out to be harmless and often endearingly nerdly on closer inspection. Look behind the flames-of-hell clipart on any S–M information site and you’ll find a lot of software professionals and librarians earnestly comparing notes on how not to hurt each other playing with whips and chains.

2009

And so to bed. Happy New Year.

Return to Cougar Town

0

andrea@mail.altsexcolumn.com

Dear Readers:

I was going to write more this week about body size, body image, and sex, but I’m stupid sick, so here’s an older one ["Cougar Den," 10/22/08] about age instead. It’s all connected anyway. Don’t get the flu.

Love,

Andrea

Dear Andrea:

Fourteen years ago, when I was 26, I met my husband, who was then 58. We’ve stayed together through thick and thin and we love each other enormously. It has pained me over the past decade to realize that, even when the woman in question has her own accomplishments and is not a "bimbo," and even when the man in question is appealing and interesting (not a Donald Trump or a philandering cad) — still the nasty stereotypes abound. British comedian Graham Norton, for instance, refers to Catherine Zeta-Jones as "that gold-digging Welsh whore."

I find that otherwise thoughtful women I meet, acting on a mixture of feminism, anger, and what I infer to be unacknowledged personal pain or fear, seem too willing to continue such stereotypes, and I hesitate to open up to women I would otherwise think of as potential friends. I have hoped that as increasingly empowered women realize that they can date younger men if they choose, the rage over the double-standard and fear of abandonment and dwindling romantic options will begin to fade.

Then SNL comes along with, among other bits that belittle older women, their despicable new "Cougar Den" skit, mocking sexually-active older women as ridiculous and disgusting. Fuck you SNL!

These mean-spirited portrayals are destructive. I’ve attempted to convey this message through other venues and have been ignored. I remember a few years ago you wrote that the only regrettable mixed union between adults is "the always unfortunate nice person/asshole combo" — so maybe you’ll see my point and print this.

Love,

Love My Older Spouse

Dear Love:

Ha, that’s a pretty good line. Thanks for remembering it.

I hadn’t even thought about SNL in years until the recent gratifying return of Tina Fey, but now that you mention it (you didn’t), I have conceived a visceral loathing for Sarah Palin so intense that I couldn’t even watch the debate for fear of feeling too sick to cook dinner. And yet I’ve still managed to be offended, feministically-speaking, by some of the endless harping on her supposed babe-itude. Can we not leave her legs (slender and therefore officially babe-ly) and Secretary of State Clinton’s, which have been judged unacceptably stumpy, and everyone else’s out of the equation and judge the candidates on their merits? Gov. Palin, for instance, doesn’t have any. We win!

As for cougars, I have puzzled over the sudden emergence of the stereotype and the unquestioned assumption that the women it is applied to deserve ridicule. After a spate of popular-media articles in the 1990s about older women and their younger men, I suppose some degree of backlash was inevitable. Still, I, like you, am nonplussed by the degree of venom spit at any woman of a certain age who dares not only to date above her age-determined station but to do anything for fun at all beyond book-club, knitting, and golf.

Don’t you think, though, that the reaction of some older women to a young one seen with a man old enough to be the first woman’s first husband is understandable? We can claim the right to date younger men all we like, but who’s to say most younger men will be interested? And there are still legions of old coots advertising for "fit, slender" young things in the personals. There is still a media-driven double standard keeping George Clooney in the "sexy lead" seat while Glenn Close and Cybil Shepherd have to play doughty moms and, yes, cougars. Even the accolades heaped on the glorious Helen Mirren in recent years have a faint aspect of the freak show about them: "Step up and see the 60-something woman who is still sexually attractive!" These forces are still powerful enough to make your fond wish for a time when older women will inevitably gaze upon your union with one of their own with bland approval still a bit of a pipe dream. As long as older women with a sex drive and indeed any juice at all left in them are laughed and pointed at, some will still look at a young woman who scoops up one of the few available men in their bracket as whatever the opposite of a cougar might be. Minx. Bitch. Gold-digging (Welsh) whore. Sad, and frustrating, but human.

Incidentally, I was curious about the origin of "cougar" in this context and found an article dating it to the founding in 1999 of Cougardate, an online dating site. A book, Cougar: A Guide for Older Women Dating Younger Men, by Valerie Gibson, came along in 2001. As you can see, these were guides for women, so the term, even with its "rapacious animal" connotations, wasn’t even meant pejoratively. The nastiness accrued to it gradually, it seems, and inevitably. If it’s about women actually wanting sex, that’s gonna happen.

OK, Now I’m mad too.

Love,

Andrea

See Andrea’s other column at carnalnation.com.

alt.sex.column: Return to Cougar Town

0

By Andrea Nemerson. Email your questions to andrea@mail.altsexcolumn.com. Read more of Andrea’s columns here.

AltSex_Icon.jpg

Dear Readers:

I was going to write more this week about body size, body image, and sex, but I’m stupid sick, so here’s an older one ["Cougar Den," 10/22/08] about age instead. It’s all connected anyway. Don’t get the flu.

Love,

Andrea

Dear Andrea:

Fourteen years ago, when I was 26, I met my husband, who was then 58. We’ve stayed together through thick and thin and we love each other enormously. It has pained me over the past decade to realize that, even when the woman in question has her own accomplishments and is not a "bimbo," and even when the man in question is appealing and interesting (not a Donald Trump or a philandering cad) — still the nasty stereotypes abound. British comedian Graham Norton, for instance, refers to Catherine Zeta-Jones as "that gold-digging Welsh whore."

I find that otherwise thoughtful women I meet, acting on a mixture of feminism, anger, and what I infer to be unacknowledged personal pain or fear, seem too willing to continue such stereotypes, and I hesitate to open up to women I would otherwise think of as potential friends. I have hoped that as increasingly empowered women realize that they can date younger men if they choose, the rage over the double-standard and fear of abandonment and dwindling romantic options will begin to fade.

Fat lot of good

0

andrea@mail.altsexcolumn.com

Dear Andrea:

I have a feeling this is not the best way to get a sympathetic response from you, but it’ a real problem for me and I like your advice, so I thought I might as well give it a try. Here goes.

My boyfriend and I have been together eight years. I can’t say I’m as cute now as I used to be, but I’m OK. "Brian," on the other hand, has gained weight every year due to a desk job and, I guess, just normal metabolism stuff. By now, he’s actually fat. And I just don’t feel attracted the way I used to. I still love him, but I’m really not feeling it in the sex department. Do I try to get him to lose weight, or just put up with a no-sex partnership (forever?), or try to find someone I do have the hots for? Help!

Love,

Size Matters

Dear Size:

Before we even consider getting into the hopelessness of pinning your future on weight loss — yours or anyone else’s — let’s talk about relationships at the seven- or eight-year mark. This is not, generally speaking, a high point. So common is the "seven-year itch" that sociobiologists have attempted to explain it, alleging that it takes seven years for a man-cub to achieve enough independence to survive without two parents regularly provisioning it. Thus, the hormonal glue that holds a couple together need last no longer than that. And it doesn’t. There are several obvious holes in this theory (it takes longer than seven years to conceive and rear a child to the age of seven; couples historically would have had more than one child, etc.) Plus, the most compelling recent research makes a strong argument against the nuclear family as the essential unit of protohuman and early human society. (See Sarah Blaffer Hrdy’s Mothers And Others [Belknap, 2009], where she demonstrates, very persuasively, that it takes a village — and always has.)

But we don’t need sociobiology to convince us that relationships often beach themselves on the rocky shoals of not-quite-a-decade together. Six or seven or eight years out, the very last of the initial biochemical rush we call "falling in love" has finally dissipated. Real life is in ascendance. And real life is nowhere near as much fun. Six-seven-eight years is also enough time for individual priorities to deviate from the original, couple-led mandate, which was basically "be together as much as possible and have lots and lots of sex." Careers, families or origin, children yea or nay or present, all conspire to pull you apart unless you make all possible effort to cleave unto each other. Have you done enough cleaving?

You can blame the wad of adipose tissue that has attached itself to your beloved’s abdomen (and I’m not saying the wad does not bear some responsibility here), but I don’t think it’s the whole story. Are you sure you do?

Now: his fat. I don’t have to tell you that he has probably noticed it himself, correct? That your pointing it out is not going to come as some great revelation? So either he does not wish to "do anything" about it; has tried, and, like nearly everyone who attempts to diet off excess poundage, has succeeded only in making himself miserable and possibly fatter; or he will take on the project in his own good time. In any event, nagging him, shaming him, even attempting to inspire him ("We’ll go running together!") are all pretty much doomed to fail. Fail you, that is. He may lose the weight. He may not. But it is his fat, his body, his life, and, well, your problem. Sorry.

I was recently reading over at Kate Harding’s Shapely Prose (kateharding.net) and if you, that is the collective "you," not, you know, you, haven’t read her, you probably should. She and her co-bloggers have the sharpest and funniest take out there on the "obesity epidemic," misogyny, feminism, and fat. Kate also recently answered this question, and she isn’t even an advice columnist. She was just fed up with the way people who are advice columnists have historically bungled it.

Dear Not Attracted to Your Spouse Anymore (writes Kate):

Get over it or get a fucking divorce. And I truly mean you should consider both options seriously. If you believe it is actually possible for you to get over it — by which I mean, you find a way to reframe the way you look at your fat partner, find him attractive again, and go back to whatever you both agree is a normal sex life — then by all means, work on that (provided everything else in the marriage is good and worth saving, which it probably isn’t if you’re not even a little bit attracted to him anymore).

If, however, you’re so hung up on your partner’s weight that you can’t even conceive of being attracted to him anymore? Get a fucking divorce already. (Writes Kate, who is not an advice columnist.)

Hear hear, say I, who am.

Love,

Andrea