


Sex writer Violet Blue is one of the best things at the Hearst-run SFGate website, an authentic local voice singing the praises of sex-positive San Francisco. So of course, the soulless and snarky hacks over at the SF Weekly felt compelled to try to knock her down a few notches, sneering at the notion that many of us are accepting of sex workers. And for that, they have been rhetorically bent over and pegged by the lovely Mistress Blue in a blog post earlier today.
You’ve really got to read this thing, which is more investigative in nature than your average flame. She brings up the Weekly’s weird history of fake journalism on another sex story, and digs up some good dirt on the latest perpetrator, freelance writer Benjamin Wachs. Now, we couldn’t verify the rumors about Wachs’ efforts to start a right-wing news site in San Francisco (hey, Ben, good luck with that one). But our research does show the guy moved here a year ago from Rochester, NY, which might come as a surprise to the Brighton-Pittsford Post in New York, where he’s supposedly a local columnist.
Messages to Wachs and the Weekly went unanswered — no surprise — but I’ll update if I hear anything new. Or if you see Ben around town…

…maybe you can ask him why he wanted to live in San Francisco if he has such a problem with our values.
History
SF Weekly sneers at sex work
Lit: Erick Lyle on rehab for Newsom and SF, the awful flair of Willie Brown, book box mansions and life in the City
This week’s Lit features a review of Erick Lyle’s new book On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95). Liam O’Donoghue recently talked with Lyle, who will be appearing at Get Lost Travel Books on June 4th and AK Press Warehouse in Oakland on June 5th:
By Liam O’Donoghue
SFBG: The phase “secret history” is in the subtitle of your book and the term “urban archeology” is used to describe it. Did it feel like an archaeological project — like you were digging up this buried history of the city — when you were compiling the book?
Erick Lyle: When I moved to San Francisco I was lucky enough to be around a lot of older folks who told me their stories about the city and I fell in love with this place instantly. I feel like I’ve got all those stories filed away in my mind, so that when I’m out, riding my bike around the city, if I’m at a certain intersection, for example, I’ll think, “Oh, this is where that punk club was in 1988, but it’s also where so-and-so broke up with her boyfriend in 1995 and there was that one time when a guy tried to hit me with a 2×4.” But I can see all these layers simultaneously in my mind, and for me, part of the enjoyment of living here for awhile is seeing how these layers fit together over time. It gives an added dimension to, for example, a protest event you might be doing, to understand how that event fits into the longer history of the area.
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Erick Lyle, in his secret mansion enjoying the high life
As far as thinking about it as archeology at the time, I wouldn’t say that we were so self-conscious that we would do generator shows in the street so we could say, “This is history.” But if we don’t write this shit down, no one is, it’s not making it in the Chronicle or anywhere else. The things that happen in the doorsteps of the Mission or on the dance floor at the punk club or are spray-painted on the walls: these are the things that make up our lives. That’s the fabric of life in the city.
Mixed doubles
› a&eletters@sfbg.com
A new work by Robert Lepage is always a major event. In theater, the Quebecois director, actor, and filmmaker stands with the likes of Robert Wilson or Peter Sellars at the pinnacle of theatrical invention and global acclaim. Little wonder that, like Wilson and Sellars, Lepage has found opera a logical outlet for his extraordinary capacities and grand, all-encompassing visions. (His last Bay Area bow was in November 2007 at the San Francisco Opera, where he staged Stravinsky’s 1951 opera The Rake’s Progress.) But while he is a truly international force wielding the largest of canvases, there’s an intimate and personal side running through much of his work, perhaps nowhere more poignantly than in his stunningly staged solo plays The Far Side of the Moon (2003) and The Andersen Project (2005). The latter, which slyly folds layers of personal and cultural doubt (as well as biting cultural satire) into a glancing exploration of Danish storyteller Hans Christian Andersen’s troubled psyche, makes its local debut courtesy of Cal Performances.
As with Far Side, Andersen was developed with Lepage playing dual roles that together define a kind of split personality and serve as starting point for a series of thematic dyads. In this case, the main characters are a corrupt French opera director and a French Canadian musician-songwriter named Frédéric Lapointe, who arrives in Paris on a commission to write an opera based on an Andersen story. Also as with Far Side, Lepage eventually handed off the roles to Yves Jacques. An extremely gifted theater and film actor in his own right (probably best known to Americans through several Denys Arcand films), Jacques shares a history and affinity with Lepage (they’ve known each other since their twenties) that make him the best, and perhaps the only, person capable of stepping into these demanding, idiosyncratic solo shows, with their half-hidden strands of autobiography and fraught national identity. I recently spoke with Jacques by phone from Montreal.
SFBG Before Andersen, you took over another Lepage solo play.
YVES JACQUES It started with Far Side because it was a story very close to him. So he wanted someone with the same sensibility. I was able to understand his feelings about [the subject matter]. So afterward he said, ‘Why not continue with The Andersen Project?’
SFBG Was it at all intimidating to take over these plays from their originator?
YJ Oh, yes. I felt a big responsibility to be at least equivalent to Robert just to reach the level of the acting he puts into the show. But he liked [what I was doing] and was very happy because for once he could see his own work. When you play in a solo show you don’t always understand what you’re doing. Now he could see himself, or himself through me.
SFBG How did you approach the part?
YJ I never feel I’m doing a one-man show; I’m doing a play. I’m doing the yin and the yang of the same character, in a way. Far Side was the story of two brothers, and this is quite the same. You have the director of the Paris Opera and then you have Lapointe. They’re very different but they’re played by the same actor. In a way, it’s the yin and the yang of the same personality, which is Hans Christian Andersen. Lepage is using two different characters to describe [the complexity of] Andersen. It’s very clever. You see Andersen only twice in the show but he’s not talking; he’s just a silhouette. The only way to know him is to understand the other two.
SFBG The assertion of a Quebecois identity against the dominant Anglo culture of Canada is a theme in much of Lepage’s work.
YJ Lapointe comes to Paris because he wants to be approved of by Parisians [but] he says at the end, I came here for the wrong reasons. I came here for approval, and we shouldn’t do that. We should be proud of what we are. And Andersen had the same problem in his own country. People in Denmark loved his fairy tales but they didn’t take him seriously as a writer because he was writing for children. So he needed to come to Paris as well, and be approved of by Balzac or George Sand or Victor Hugo just as we need to be approved of by the old country. It’s like being in a colony sometimes [laughs]. That’s why I’m very proud of working with Lepage, because he [raises] Quebec to another standard. His work is totally amazing. *
THE ANDERSEN PROJECT
Wed/28Sat/31, 8 p.m.; Sun/1, 3 p.m., $62
Zellerbach Playhouse
Bancroft at Dana, UC Berkeley, Berk
(510) 642-9988
Tales of the shitty
› a&eletters@sfbg.com
REVIEW San Francisco is larger than the stories written about it. This is out of necessity: if we all tried to write down everything that happened here, our arms would get tired. And while the city itself is physically and culturally in thrall to many disparate groups, its history is surprisingly open, belonging most often to those who have nothing more than the inclination to take out a pen and start writing.
Exhibit A: Erick Lyle, a punk kid from Florida who makes zines about pulling off petty scams at chain stores. Mix Lyle and San Francisco and something interesting happens he becomes a bard of the Tenderloin, distributing his missives (written under the name "Turd Caen") out of a stolen newspaper box. He quietly stocks the shelves of the San Francisco Public Library main branch with his work, leaving clippings and photographs in the library’s archives and inserting his zines in the periodicals section.
Lyle’s new book, On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95), is more likely to end up in the general collection of the library through official channels. After all, it’s reasonably book-size and reasonably book-shaped. It has an official-sounding title and one that, charmingly, betrays a Tales of the City-like solipsism.
On the Lower Frequencies reminds me of Armistead Maupin’s early work in other ways too. Both are emblematic of the times in which they were written. Maupin’s characters fret about sex and identity (mostly sex) while squeezing melons at the Marina Safeway, while Lyle and his friends steal from Safeway and worry where to live next. The threat of eviction hovers over Lyle and his friends like an anvil, and they cope with a campy lightheartedness that is almost Judy Garland-esque. All they really want to do is throw parades, play music, paint murals, drink cheap beer, interview the mayor, and look for ancient steam vents. To achieve those ends, they live on the cheap and squat in building after building, often in the half-second before its conversion into condos (in one case, a wrecking ball almost takes out a few of them.)
None of these are uncommon tropes in punk writing, except for the "interview the mayor" part. The stories around that encounter and the other interactions that the group has with city government made me realize how insular and formulaic much zine content can be: interviews with bands x and y, a few squatting and train-hopping stories, and maybe one about hooking up with a girl who has a pet rat. Lyle’s writing is unusual in its intense curiosity about various subcultures and its sheer enthusiasm for discovering how the city does (and doesn’t) work.
Long-time fans of Lyle’s writing should note that virtually everything here has already been self-published, and that more than a little is lost in the transition to placid, even typography. It’s too bad On the Lower Frequencies didn’t get the warts-and-all reprint treatment that Last Gasp gave its Cometbus anthology. This book is for lending. Your earlier copies of Scam, if you have them, are for hoarding. The original format just feels, in some indefinable way, more secret. It’s hard to describe. Let’s just say that it’s the difference between exploring a building you’ve always been interested in under legitimate circumstances, and walking by that same building one night and finding the door unlocked. And that there’s a party going on inside. *
Pixel Vision: an interview with Erick Lyle
Rich and useless
Some kinds of artistic ostentation possess a breadth of scale and insularity of purpose that have everything to do with privilege. Matthew Barney is responsible for some enormously pretentious cinematic objects, but even he hasn’t dreamt as self-indulgently big as the mono-monikered Tarsem (birth name: Tarsem Singh) does with The Fall. Shot in 20 countries from Chile to Fiji to Namibia to Romania to all over his native India, plus plain old Hollywood it’s perhaps the ultimate "Why? Because I can" movie, sumptuous and useless to equal degrees.
The film’s story (inspired by an obscure 1981 Bulgarian children’s film called Yo ho ho, something the filmmakers haven’t gone out of their way to acknowledge) is a haphazard clothesline on which to hang two hours of pictures. Collected in a coffee-table book, these images might suggest that The Fall is the greatest surreal epic ever an update of Alejandro Jodorowsky’s 1973 magnum opus The Holy Mountain.
Actually watching the thing, however, is a different experience.
You might remember or might still be trying to forget Tarsem as the director of 2000’s J-Lo vehicle The Cell, an odious serial killer tale tricked out in the biggest wholesale cribbing of Art History 101 imagery since the more enjoyable Altered States (1980). He also directed numerous TV commercials and music videos (most notably REM’s 1991 "Losing My Religion"), two forms of media that suit his empty pictorial flash. The Fall is like an endless high-concept shoot of extravagant fashions no one could ever really wear, presented against backdrops few could ever visit unless, like this movie’s director, they’re the kind of global citizen who (according to biographical notes) "lives in London, Italy, Los Angeles, and India."
If The Fall‘s exotica had something, anything a heart, a point, some philosophical intent behind it, Tarsem’s movie wouldn’t end up seeming like such monumental upscale baloney. But this director has no feel for pacing, actors, or tone; he wobbles from labored whimsy to maudlin realms before abruptly opting for nasty violence.
Just who is The Fall‘s cold pageant-cum-travelogue for? People who wish they had Tarsem’s life, I guess. Perhaps this is his way of sharing it with the proles. Isn’t that generous.
THE FALL
Opens Fri/30 at Bay Area theaters
Is growth good?
› tredmond@sfbg.com
I heard one of the greatest environmental writers in San Francisco history speak last week, and his message was a bit different from what environmentalists are taught to believe today.
Harold Gilliam was born almost 90 years ago, and was writing influential articles and books about the Bay Area and the urban environment long before most of today’s activists were born. He was an opponent of nuclear energy in the 1950s when most of California, including his employer, the San Francisco Chronicle, thought this wonder of postwar technology would provide power that was "dependable, safe, and too cheap to meter." He was against developers filling in the Bay in the early 1960s. He was writing about the problems with freeways when that was heresy. When I first arrived in San Francisco in 1982, I was amazed that the Chronicle would print some of the stuff he was saying. The guy is a genius and a local treasure.
And at the annual San Francisco Tomorrow dinner, where he was honored with the Jack Morrison Career Achievement Award, he had a few things to say.
After a brief talk about his early career (and giving thanks to his editors for allowing him to infuriate Chronicle publishers), he told us he wanted to challenge conventional wisdom for a moment.
He talked a bit about the Transbay Terminal project, which he said would be a wonderful, crucial part of the city, a transportation hub for the future and maybe someday the home of a fast train to Los Angeles. Then he asked if the price was worth it.
Since nobody in California wants to pay taxes, the only way to fund this kind of grand civic project these days is to sell off the skyline, to let developers build giant high-rise towers that make the city more congested, more rich, and less pleasant. A lot of people think tall buildings mean progress; even a lot of environmentalists think building up is good. "And I remember," Gilliam said, "when everyone thought filling in the Bay was the way to grow."
Actually, Gilliam said, we all ought to question for a second whether growth is always good, or if it’s worth the cost.
Something to think about.
On Memorial Day, see “The Visitor”
By Bruce B. Brugmann
On Memorial Day, see the movie now playing called “The Visitor.” We saw it at the Empire theater yesterday and it broke our hearts. It’s an honest poignant indictment of callous Bush detention and deportation policies of illegal immigrants that have largely gone unnoticed in the mainstream media.
A young Syrian “visitor” seeking political asylum is grabbed on the New York subway by the INS, slammed into an anonymous detention building in Queens with 300 or so other “visitors,” treated harshly, kept virtually incommunicado from his mother, partner, and an economics professor who gets pulled into the story and is trying vainly to help. Then the young man is jerked out of the building and sent summarily back to Syria to face probable political persecution. Bang, just like that. All done in INS bureaucratic secrecy, without due process or even the semblance of fairness or justice or sunshine.
Is this what our good service men and women are fighting for?
On Memorial Day, read the dispatch sent to me from Carolyn Schmidt, a free lance writer in Cedar Rapids, Iowa. She writes:
“The NYTimes story is the first piece I’ve seen on the big raid–the nation’s largest, according to reporters– on illegal immigrants at a Postville, IA kosher meat packing plant on Monday, May 12. (The May 24 NYT story was written by Julia Preston and headlined “270 Illegal Immigrants Sent to Prison in Federal Push.”
“St. Bridget’s Catholic Church opened its doors to the family and friends left behind when the INS (now called the ICE) swept into the plant, loaded people on buses, and transported them to the National Cattle Congress grounds in Waterloo.
“Our Cedar Rapids Gazette and the Des Moines Register have had stories about it all this past week and a half, but it is finally making it out to the national media.
The packing plant was abusing many of the workers–not even allowing them to take bathroom breaks, working 14-hour days, and paying them below minimum wage. So far the plant hasn’t been charged with anything, but charges MAY be coming. The Register story indicates that the company’s New York plant has been charged repeatedly.
“The people who are immediately prosecuted, of course, are the workers recruited to come up here and given false documents that they are now being prosecuted for having. Iowa is not the state you think of when the immigration issues are raised, but a similar raid was carried out in Marshalltown in January 2006. The Bush administration has found an easy way to make a statement, evidently. The attorneys representing the immigrants and the judges given this timetable by the feds all seem to be doing the best that they can.
“But running these people through hearings in groups of 10 and 20 does not seem like justice, in spite of what the attorneys say about their clients understanding the charges and being treated fairly. This is the biggest raid and the shortest time to accomplish it in U.S. history. The real culprit is the packing plant that recruited these workers to come here illegally, then abused them and underpaid them because the company knew they couldn’t complain to anyone in authority. So far the company has not been charged with anything. That is the travesty.”
Is this what our brave service men and women are fighting for?
Iowa made history by doing the right thing, voting Obama, and giving him the momentum that has carried him to near victory in the presidential primary. And now the ultimate irony is that the Bush administration, in this critical moment in the campaign, is making the case even stronger for Obama in the state where it all began.
It’s time for a change in Washington. ASAP. Support Obama. And support the GI bill, opposed by Bush and McCain with maddening duplicity and wrongheadedness. This is the bill that would show that this country on this Memorial Day and thereafter really remembers our fighting men and women throughout the years and really supports the troops fighting this Godawful war without end in Iraq for Bush and McCain.
Bruce B. Brugmann, a proud cold war veteran who ended up in l959-60 as a specialist 5th class, writing for Stars and Stripes in Yongdongpo, Korea
Cluster luck
› a&eletters@sfbg.com
Lünenburg Heath is a vast, moorland-like tract in northwest Germany, between Hamburg, Hanover, and Bremen. Its low-growing vegetation, gnarled shrubs, and dry soil form the scar tissue left by medieval deforestation. SS leader Heinrich Himmler was secretly buried there. And despite its springtime swatches of wildflowers and family-friendly theme parks, it is a landscape whose beauty stems from its air of desolation.
"Don’t get lost on Lünenburg Heath," intones Brian Eno in a nursery rhyme monotone atop a cortège of synth chords. They are the only words sung on Tracks and Traces, a 1997 Rykodisc reissue of a 1976 collaborative recording session between Eno and Harmonia, the veritable ’70s German supergroup composed of Neu! guitarist Michael Rother and kosmiche godfathers Cluster.
I have always pinned Cluster as the dark stars in the krautrock universe, based on the drifting, feverish, synthesizer-rich improvisations of core duo Hans-Joachim Roedelius and Dieter Moebius. So I can easily imagine their protean music whistling across Lünenburg at dusk, haunting the ears of daytrippers a strange and seductive admixture of sprightly pop and forlorn ambient improv reflecting the landscape’s more recent transformations and less-than-sunny history.
Having regrouped in 1997 after a decade-long hiatus from working together, Moebius and Roedelius are once again touching down for a rare series of US dates, including a May 23 trancefest at Henry Miller Library in Big Sur and a May 25 show at the Great American Music Hall in San Francisco. And despite Eno’s cryptic warning, it’s hard not to lose one’s way amid the hazy vistas and plaintive melodies of Cluster’s music.
Their expansive discography which includes a recombinant cast of regular, notable collaborators such as Eno, Can bassist Holgar Czukay, and überproducer Conny Plank provides a few signposts. Roedelius and Moebius initially teamed up with fellow electronic musician Conrad Schnitzler in 1969 as Kluster, releasing three explosive documents of improvisation that rapaciously incorporated elements of 20th-century classical music, jazz, and rock. Important Records’ recent release, Vulcano: Live in Wuppertal 1971, paints a vivid picture of this early period.
Schnitzler left the group in ’71, taking the hard "k" with him. From then on, Cluster recalibrated its keyboards toward a more subdued and, at times, even pretty and poppy aesthetic. Improvisational jams gave way to shorter songs, and the lurking menace of 1972’s Cluster 2 (Brain/Water) was followed by the double about-face of drum machine confections on Zuckerzeit (Brain/Lilith, 1975) and the pastoral miniatures of Soweisoso (Sky/Captain Trip, 1976).
Still, dark patches are a consistent hallmark of Cluster’s terrain, even when they choose to let the sun shine through. The superficial pleasantness of their two collaborations with Eno released at the time, 1977’s Cluster & Eno (Sky/Water) and 1978’s After the Heat (Gyroscope), belies the affective force what could be described as a low-simmering melancholy of certain songs. The slow progression of blue notes that form the woozy melody of "Für Luise," from Cluster & Eno, linger long after they have decayed into the Gershwin-like piano of "Mit Simaen." Cluster & Eno‘s cover photo returns us to a field though not Lünenburg. A lone microphone stands at attention against a faint mother-of-pearl sky, which ends at the smudge of shadowy foliage at the bottom of the frame. It’s near twilight. Cryptic and evocative, meditative and inexplicably sad, the image provides a visual analog to Cluster’s chimerical output. The visual is also suggestive of Moebius and Roedelius’ openness to the chance encounters and unforeseen possibilities that arise from improvisation, as if to say: if you find yourself lost in a dark wood, just stop and listen. *
CLUSTER
With Wooden Shjips and Arp
Fri/23, 7:30 p.m., $22
Henry Miller Library
Highway 1, Big Sur
(831) 667-2574
Also with Tussle and White Rainbow
Sun/25, 8 p.m., $19$22
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
Flying Luttenbachers sax on auction block

Care to grab a slice of experimental rock/no-wave history? Flying Luttenbachers impressario, XBXRX player, and no wave authority Weasel Walter is putting his Conn C-Melody saxophone up on the eBay action block here. The Bay Area musician and fire-starter says he played the instrument on such recordings as the Flying Luttenbachers’ Revenge and Gods of Chaos as well as To Live and Shave in L.A. 2’s The 300 Dollar Silk Shirt.
Says WW: “I got this horn in 1988 and played it (terribly) on a lot of my high school 4-track recordings (the best of those were released on CD by Savage Land Records in 2006). After I moved to Chicago I got the beast fixed up and repadded and played it a lot more. This is a working instrument, and you can basically take it out of the box and play it. Basically bills must be paid and I really don’t pursue playing saxophone at all anymore – let’s leave it to the pros! – so I’m selling it off.
“To some elite weirdos i suppose it’s a small piece of history. Let the bidding begin.”
(You can also catch Weasel Walter at events for the book **No Wave,** alongside author Marc Masters. Those happen Sat/24, 2 p.m., free. Amoeba Music, 1855 Haight, SF. With Death Sentence: Panda and Ettrick. Sat/24, 9 p.m., pay what you can. 21 Grand, 416 25th St., Oakl. Sun/25, 5 p.m., $6. Artists’ Television Access, 992 Valencia, SF.)
Ammiano: Off to the bridal shop
Yesterday’s Ammianoliner:
I can’t come to the phone right now. I’m off to the bridal shop. Hmmm. Care to smell my bouquet, Reverend Sheldon?
Sniff. Sniff.
(From the home telephone anwering machine of Sup. Tom Ammiano on Thursday, May l6, the day the California Supreme Court in a 4-3 vote made history by striking down the law that bans marriage of same sex couples.)
Hurray!
Personal note to Tom: Watch those sniffs. I thought at first you said tsk tsk. b3
Joey Ramone Day birth bash deets

Good to know Joey Ramone Day marches on – just as it was fun to hear, at last night’s Eric Lyle reading/event at CounterPULSE for his new book, On the Lower Frequencies: A Secret History of the City, the Guardian contributor talk about his own personal observance of Joey Ramone Day – playing Ramones songs on a boombox through the streets, meditating on the frontman.
Well, it happens on every coast. This just in – the details for this year’s Joey Ramone Birthday Bash on May 19 in NYC:
“Celebrating what would have been the 57th birthday of punk-icon Joey Ramone, the annual Joey Ramone Birthday Bash will take place Monday, May 19, at the Fillmore New York at Irving Plaza. Mickey Leigh, event organizer and brother of Joey Ramone, has announced that, as part of the eighth annual Bash, fans will be treated to a special reunion appearance from Manitoba’s Wild Kingdom featuring Handsome Dick Manitoba, Andy Shernoff, Ross the Boss, and JP Thunderbolt.
Food and the city
When we talk about "regional" cuisines or cooking, we often find ourselves talking about some quarter of Italy. For centuries, Italy was a politically fragmented land a jigsaw puzzle of kingdoms, duchies, principalities, serene republics, and city-states and did not become a modern nation-state until the 19th century.
Yet what politics could not achieve, food could. As John Dickie demonstrates in his engrossing Delizia! The Epic History of Italians and Their Food (Free Press, $26), trade among the peninsula’s cities in the late Middle Ages became the foundation for the distinctive cuisine we know today as Italian. Cooking in the Italian cities was more similar than not, Dickie suggests, and it was immeasurably better than what was to be found in the impoverished countryside, where peasants were practically boiling weeds for soup. In our time, a love of rustic Italian cooking is just one of many food fetishes mostly harmless, but maybe not quite, since under the guise of lauding a rural bounty and style that never really existed, it subtly reinforces an American prejudice against cities. We already have Jeffersonian myths about our own countryside as a redoubt of wisdom, rectitude, health, and happiness that reach back beyond the founding of the republic.
We have myths about our cities too, but most are of the if-only variety. Urban utopians the people who think cities would be little paradises if only we could rid them of homeless people or cars or Republicans or loud partiers would do well to consider Dickie’s portraiture of Italy’s cities across eight centuries. Like all cities, always and everywhere, they are full of dirt, noise, and disease as well as cruelty, wealth, vanity, status consumption, insecurity, and vicious politicking. They are nasty and exciting, as we would expect from any sort of social experiment that concentrates large numbers of human beings in a small space.
The lesson of cities, then, is that they are marketplaces not only of goods and services, but of ideas. They are messy with conflict among innumerable worlds and subworlds. And much of that conflict is pointless or even counterproductive but not all of it. Sometimes a random spark will catch and burn brightly, and then we all say huzzah, or buon appetito.
Paul Reidinger
› paulr@sfbg.com
Flowers for Kathleen Edwards
Being of so-called American Indian and African descent, I have never believed in borders. These imperial lines have only wreaked havoc and sealed our fate. Still, I’m always amused by just how much Canadian roots rockers seem to out amber-wave many Americana acts in the Lower 48. From the Band’s part-Mohawk Robbie Robertson penning classic anthems about Southern history ("The Night They Drove Ole Dixie Down"), to Neil Young’s prurient praise-songs, to my much-removed kinswoman "Pocahontas" and beyond, there’s an outsider quality shared with my outlaw peoples, a sense of being on the margins that triggers keen lyrical and sonic focus. Add to this lineage Young’s aspiring heiress, Kathleen Edwards: on tracks such as the barroom gothic "Goodnight, California," she certainly makes that skill plain.
Edwards has bubbled under since her 2003 debut Failer (Socan/Factor), widely celebrated by music cognoscenti with reliable ears. But her world-weary folkie moves reminded me of Lucinda Williams and other sepia-tone, anachronist comers of the period. With Asking for Flowers (Zoe/Rounder), her finest album to date, she has finally distinguished herself from much of alt-country’s fringe-fetish ghetto . A cinematic sweep and fine Los Angeles sessioneering frame its road songs ("Buffalo") and polemical tales from the heartland ("Oil Man’s War"). "O Canada" revisits themes of drugs and mayhem from Tonight’s the Night (Reprise, 1975), by Young and his famed, unvarnished backing band Crazy Horse. I reckon we’ll be dancing round the ole maple this spring, crowing "B is for bullshit" from Edwards’ "The Cheapest Key" as it abounds on the ever more absurd campaign trail. Other Edwards lyrics should be reserved for rocker girlfriends and women saddled with tired-ass boyfriends. "I’ve been on the road too long to sympathize / With what you think you’re owed."
Nowhere is Edwards’ inherited Great North gift of odd insight more evident than on the disc’s best song: "I Make the Dough, You Get the Glory." One could almost see Ellen Burstyn’s Alice singing, "You’re cool and cred like Fogerty, I’m Elvis Presley in the ’70s" to Kris Kristofferson in some meta-American vérité that is, if much current US indie cinema wasn’t vastly inferior to films like Sarah Polley’s Oscar-nominated Away from Her (2006). Just as Polley kicked creative ass and Feist has been anointed the "New Joni" by worshipful black Atlantic male musicians, Edwards looks poised to be this year’s sweetheart of the rodeo although nowhere nearer to Music Row than before. Happy trails, gal.
KATHLEEN EDWARDS
With the Last Town Chorus
Tues/20, 8 p.m., $18
Independent
628 Divisadero, SF
(415) 771-1422
The Internet dystopia
› annalee@techsploitation.com
TECHSPLOITATION A couple of weeks ago I went to the annual Maker Faire in San Mateo, an event where people from all over the world gather for a giant DIY technology show-and-tell extravaganza. There are robots, kinetic sculptures, rockets, remote-controlled battleship contests, music-controlled light shows, home electronics kits, ill-advised science experiments (like the MentosDiet Coke explosions), and even a barn full of people who make their own clothing, pillows, bags, and more. Basically, it’s a weekend celebration of how human freedom combined with technology creates a pleasing but cacophonous symphony of coolness.
And yet the Maker Faire takes place against a backdrop of increasing constraints on our freedom to innovate with technology, as Oxford University researcher Jonathan Zittrain points out in his latest book, The Future of the Internet and How to Stop It (Yale University Press). After spending several years investigating the social and political rules that govern the Internet and spearheading the Net censorship tracking project OpenNet Initiative Zittrain looks back on the Net’s development and predicts a dystopian future. What’s chilling is that his dystopia is already coming to pass.
Zittrain traces the Net’s history through three phases. Initially it was composed of what he calls "sterile" technologies: vast mainframes owned by IBM, which companies could rent time on. What made those technologies sterile is that nobody could experiment with them (except IBM), and therefore innovation related to them stagnated.
That’s why the invention of the desktop PC and popularization of the Internet ushered in an era of unprecedented high-tech innovation. Zittrain calls these open-ended technologies "generative." Anybody can build other technologies that work with them. So, for example, people built Skype and the World Wide Web, both software technologies that sit on top of the basic network software infrastructure of the Internet. Similarly, anybody can build a program that runs on Windows.
But Zittrain thinks we’re seeing the end of the freewheeling Internet and PC era. He calls the technologies of today "tethered" technologies. Tethered technologies are items like iPhones or many brands of DVR they’re sterile to their owners, who aren’t allowed to build software that runs on them. But they’re generative to the companies that make them, in the sense that Comcast can update your DVR remotely, or Apple can brick your iPhone remotely if you try to do something naughty to it (like run your own software program on it).
In some ways, tethered technologies are worse than plain old sterile technologies. They allow for abuses undreamed of in the IBM mainframe era. For example, iPhone tethering could lead to law enforcement going to Apple and saying, "Please activate the microphone on this iPhone that we know is being carried by a suspect." The device turns into an instant bug, without all the fuss of following the suspect around or installing surveillance crap in her apartment. This isn’t idle speculation, by the way. OnStar, the manufacturer of a car emergency system, was asked by law enforcement to activate the mics in certain cars using its system. It refused and went to court.
Zittrain’s solution to the tethering problem is to encourage the existence of communities like the ones who participate in Maker Faire or who edit Wikipedia. These are people who work together to create open, untethered technologies and information repositories. They are the force that pushes back against companies that want to sterilize the Internet and turn it back into something that spits information at you, television-style. I think this is a good start, but there are a lot of problems with depending on communities of DIY enthusiasts to fix a system created by corporate juggernauts. As I mentioned in my column ("User-Generated Censorship," 4/30/08), you can’t always depend on communities of users to do the right thing. In addition, companies can create an incredibly oppressive tethering regime while still allowing users to think they have control. Tune in next week, and I’ll tell you how Zittrain’s solution might lead to an even more dystopian future.
Annalee Newitz
JROTC must go now
OPINION In November 2006, San Francisco made history when the school board made this the first big city in the nation to ban JROTC [Junior Reserve Officer Training Corps]. The board’s resolution, which called for phasing out JROTC from high schools this June, stated that “JROTC is a program wholly created and administrated by the United States Department of Defense, whose documents and memoranda clearly identify JROTC as an important recruiting arm.”
A poison pill was added to the resolution at the last minute: it called for a task force to be set up to find an “alternative” program to JROTC. The school district administration, in a particularly despicable move, set up the task force with more than 10 members supporting JROTC, and only one member opposed.
Surprise! After sitting for almost a year, the task force failed to come up with an alternative, so the school board rolled over and, except for two courageous members — Mark Sanchez and Eric Mar — voted last December to extend JROTC for another year.
In 2005, San Franciscans passed Proposition I by almost 60 percent, declaring it “city policy to oppose military recruiting in public schools.” That same year, by the Army’s own report, 42 percent of JROTC graduates across the nation signed up for the military. As this country enters its sixth year of the illegal occupation of Iraq and Afghanistan, it’s time for the school board to go back to its original decision to kick the military out of our schools.
The school board must end JROTC — now. JROTC is currently scheduled to be “phased out,” but not until June 2009. By then both Sanchez and Mar will be off the school board, and there will be little to prevent the military from orchestrating a vote to extend JROTC indefinitely. If, on the other hand, the school board votes to end JROTC this June as their original resolution required, JROTC would be gone.
Two progressives on the board must be convinced to send the military packing: Kim-Shree Maufas and Green Party member Jane Kim.
Both received endorsements from progressives. To convince them that they risk such endorsements in the future, the JROTC Must Go! Coalition is circuutf8g the following statement: “We will look very closely at the next school board vote on JROTC and will consider the votes carefully when making any endorsements for future candidates.”
Within a week, the Tenants Union, the Harvey Milk LGBT Democratic Club, and the San Francisco Bay View newspaper signed the statement. If Maufas and Kim join Sanchez and Mar, we’ll make history again.
Riva Enteen is the former program director for the National Lawyers Guild and the mother of two San Francisco school district graduates. Tommi Avicolli Mecca is a southern Italian queer atheist writer and activist. For more information contact the JROTC Must Go! Coalition: (415) 575-5543 or JROTCmustgo@gmail.com.
Poesia
› paulr@sfbg.com
Since my Italian is limited to a few cuss words plus "prego," I was not able to follow the ins and outs of the Italian film being shown, Foreign Cinemastyle, on the rear wall of Poesia, a lovely restaurant opened by Francesco D’Ippolito in March in one of the Castro’s most haunted locales. The movie looked like a close relation of The Dick Van Dyke Show, to judge by the costuming and black-and-white cinematography, and it lacked both sound and subtitles not necessarily a huge loss for Anglophone diners who prefer to keep their attention trained on their dinners and on one another, instead of on the movie’s progress and whether or not the actors are swearing in Italian.
The movies at Foreign Cinema generally include subtitles and are not limited to Italian provenance. In these respects, Poesia is a not-quite-direct descendant of that highly successful, highly atmospheric Mission District restaurant. Nonetheless, the new place’s ancestry is plain. It’s also welcome, and I speak as someone who resists the multimedia antics that make too many restaurants too stimuutf8g to be pleasant these days. Poesia’s second-story digs, across the street from the venerable Midnight Sun, have recently been home to Ararat and La Mooné, a pair of worthy ventures that seemed to get lost in the Castro shuffle. This can happen when people can’t easily find you. A staircase is a slim sidewalk presence for any restaurant. So, sweeten the deal with a movie! Screen it, and they will come.
And if they come hungry, all the better. Poesia’s food is rich in friendly elegance and would be worth seeking out even without a cinematic enticement. It also reminds us that classic Italian cooking doesn’t (on the one hand) need tinkering with but (on the other) does accept flourishes, even California-style ones, without losing its essential honesty. I particularly liked the glasslike slivers of flash-fried green garlic that served as a bed for a trio of arancini ($6), risotto fritters aromatic with a stuffing of smoked mozzarella cheese. Once the arancini were gone, it was as if we’d been transported to the scene of an auto break-in, with shards of translucent green all over the place. The arancini themselves were sensually, addictively creamy, though short-lived. But we found ourselves nibbling at the green garlic as a satisfying coda.
Fennel root (finocchio) has been a player in Roman Jewish cooking for two millennia, and it clearly matters to Poesia’s kitchen too, at least at this time of year, the crest of the season of roots. The bulbs turned up quartered, breaded, and lightly fried ($7) as an appetizer a kind of frito misto without the misto and, shredded, in a salad ($7.50) tossed with arugula leaves and mandarin-orange sections and dressed with a blood-orange vinaigrette. Fennel root is often mentioned as an interesting substitution for celery, but these two dishes, whether considered separately or juxtaposed, suggest that it’s far more than a stand-in for a simple staple.
If not finocchio, then radicchio the claret and white chicory leaves with the bitter edge which turned up as a bed for a sophisticated seafood salad ($14). The seafood consisted of peeled shrimp, sea scallops, squid, clams, and mussels, simmered in a marinara sauce and laid atop the radicchio, whose leaves had been softened and made less sharp by braising. And since finocchio and radicchio need not be mutually exclusive, the plate (a long and narrow rectangle like a sushi platter) was finished with a salad of intertwined carrot and fennel-root ribbons at the far end.
Veal is among the most ethically problematic of meats the calves it’s obtained from are largely a consequence of the none-too-pretty dairy industry (only pregnant cows lactate) but it’s also mild-flavored and sublimely tender and buttery if handled with care. At Poesia the sautéed medallions ($19) were bathed in a pizziaola sauce, a puree of tomatoes charged with garlic, oregano, and hot pepper, and dotted with halves of pitted black olives. The rest of the dish was finished simply, with quarters of roasted new potato and heap of sautéed broccoli rabe, dark green and glistening.
Desserts, like the savory courses, are variations on classic themes. Tiramisù is beyond cliché now, but Poesia’s version ($7) uses Grand Marnier, for a hint of oranginess, and it doesn’t have the typical tiramisù’s sloppy-lasagne-square look but instead resembles a striped lampshade. Cannoli ($7) is more conventional in appearance a flute of crisped pastry and is filled with chocolate chipstudded whipped cream, while an honor guard of strawberry slices stand at attention to one side.
The restaurant’s layout remains unchanged from earlier incarnations. There is a bar in a cozy corner, but you can’t watch the movie if you’re sitting at it: bad angle. The dining-room windows still offer a commanding view of a festive block of 18th Street, although the windows’ bareness is disconcerting. People peeking out from on high at passersby prefer a bit of cover, some curtains or drapes or even miniblinds. I speak from some personal experience on this point. Window treatments also relieve starkness, as experienced from inside. But it’s early, and perhaps D’Ippolito will get to such matters at some point.
He’s a busy man, though, working the dining room, supervising the service staff, and offering customers the occasional tutorial in conversational Italian or Italian film history. I tried out a few of my swear words, and they met with nods of approval, even if we both knew we weren’t dealing in poetry.
POESIA
Dinner: nightly, 5:3011 p.m.
4072 18th St., SF
(415) 252-9325
Full bar
AE/MC/V
Noise under control
Not wheelchair accessible
Whining at the Weekly
My old pal Andy Van De Voorde is back. Village Voice Media, which owns the SF Weekly and is now pleading poverty, managed to fly Van De Voorde and the two top comany executives, Mike Lacey and Jim Larkin, in to San Francisco for the hearing Friday on our lawsuit. And Van De Voorde, writing as The Snitch, has put forward a remarkable work of journalistic whining.
Oh, dear, says Andy; Judge Marla Miller is prepared to accept the jury’s verdict after a five-week trial and follow the law by issuing an injunction. Requiring the Weekly to follow the law would violate the First Amendment.
There are a couple of key points that he misses.
One is that courts have found consistently over the years that newspapers, despite their First Amendment protections, are also businesses — in some cases, big businesses — and have to follow the same sorts of basic regulations as all other businesses. It costs money to comply with OSHA rules, the National Labor Relations Act, and environmental laws. It’s costing the Guardian (and, I assume, the Weekly) a bit of cash to comply with the city’s new health-insurance law. Should those laws be invalidated because complying with them means I as an editor have less money to spend on reporters and freelancers?
Be serious.
The other point that he misses is that the Unfair Practices Act, the Progressive Era law designed to keep small business from being destroyed by giant predatory competitors, actually promotes the goals of the First Amendment, which, history tells us, include the notion that a broad variety of voices in the marketplace of ideas make for a healthy democracy.
Preventing one large media company from driving a locally owned competitor out of business is a positive result.
See, the Weekly can whine about the First Amendment all it wants, but a jury found that the 16-paper chain, with revenues of some $150 million a year, that owns the Weekly, was trying to silence a First Amendment-protected local San Francisco voice. The Weekly wanted to shut us down, in part because the owners of the chain don’t like what we have to say and the way we say it.
Um, Andy, isn’t there a First Amendment issue there?
If the Weekly now wants to whine about the size of the verdict, let me say for the record that we have warned these folks repeatedly, going back more than five years, that they were violating the law. When we first sent a warning letter, we asked for no damages at all; all we wanted was for the predatory activity to cease. We filed suit only because we had no other choice — and even after years of litigation, the jury found that the below-cost selling continued, up to the moment of the verdict.
And now we have no choice but to ask for an injunction, to do what we tried to do from the start: Make these guys follow the law.
Now the Weekly and its parent, Village Voice Media, have resorted to trying to overturn the Unfair Practices Act and complain about their First Amendment Rights.
Boys: As my late grandfather, the Honorable James C. O’Brien, a New York State Supreme Court judge, used to say, you made your bed — now eat it.
SFIFF notebook: Ludivine Sagnier x 2
By Jeffrey M. Anderson
That blond firecracker Ludivine Sagnier, 28, turned up at the festival to accompany her new film A Girl Cut in Two, directed by the French new wave filmmaker Claude Chabrol, and she was gracious enough to sit down with me for a chat. Sagnier is happy to talk about her character Gabrielle Deneige (or “Gabrielle Snow” in the English subtitles), a television weather girl who becomes torn between two men, an older, married author and a younger, rich, spoiled brat. But she’s tickled to tell stories about her legendary director.
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Ludivine Savignier times two.
“It was amazing,” she says. “I thought I would never work with him because I didn’t have that high society profile. I wasn’t bourgeoisie enough to work with him. I actually felt like I was suddenly printing my name in the history books. Chabrol is such a monument in France. Not even working with him, but only talking with him was amazing. He would talk to me about Alfred Hitchcock: ‘Oh Alfred asked me if I wanted to shoot a sequence in this movie.’ Suddenly he’s speaking about something that’s far away, that belongs to history, but it’s next door. Those were privileged moments to be able to share all those stories with him.”
Fig-headed
› a&eletters@sfbg.com
It’s 1792 and the Terror reigns in Paris, the euphoric overthrow of the old regime in the name of universal brotherhood having given way to a fiesta of bloodletting and fear. Hiding out from the revolutionary mob, just a stone’s throw from the Bastille, a weathered aristocrat, Count Almaviva (Dominique Serrand), and his reluctantly loyal and much put-upon servant Fig (Steven Epp) carp and cavil and niggle at each other, poking old wounds and replaying the past. In Theatre de la Jeune Lune’s West Coast premiere of Figaro (adapted by Serrand and Epp), this adds up to an extremely agile blending of Mozart, Pierre Beaumarchais’ three Figaro plays, a bit of real-life biography (that old aristo holed up in a half-empty mansion resembling Beaumarchais himself), and something more besides that verges on poignant modernist doubt.
Berkeley Repertory’s massive Roda stage, left largely bare, provides ample scope for Jeune Lune’s audacious production, which includes operatic performances by a talented 10-member cast, the 7th Avenue String Quartet in the pit (conducted by pianist Jason Sherbundy), and actor-director Serrand’s wall-size video designs, which alternately cast the impression of once-lavish, now destitute surroundings and channel a live feed for some extreme and affecting closeups. The Minneapolis-based company (last here in 2006 with a memorable production of The Miser) proves adept at keeping several theatrical balls in the air, not least the music (Mozart’s The Marriage of Figaro being well served), commedia dell’arteinflected physical comedy (a representative gesture of Serrand’s Almaviva is a half-squat, with hands jutting back directing an unseen servant and chair assward), and several narrative lines looping through a series of flashbacks.
The central relationship between master and servant carries the most charge, as well as humor Epp’s Fig is a hilariously affronted and rather naïve exponent of newfound democratic values. (Boasting of the newborn United States, he says: "They have a president, not a king who sits on the throne just because his daddy did. His name is George, um … something with a W.") Serrand’s marvelous Almaviva, meanwhile, is as astute in his political cynicism as he is childish in his pampered sense of entitlement. But the ingenious text soon loses the thread of their rich relationship among the several narrative strands that necessarily enter from the wistfully, painfully recollected past. For all the success of Figaro‘s ambitious and expert mix and the transporting music, dynamic staging, and expert performances something is sacrificed in not pursuing the crucial relationship between the Count and Fig more rigorously.
Clearly something more than Beaumarchais or Mozart is at stake. Epp’s multifaceted text seems to include, among other things, a sidelong glance at Samuel Beckett. Fig (a Beckett-like moniker for sure) and the Count, despite the weight of their shared history, sound thoroughly modern. Locked in a terrible if comical reciprocal bind, master and servant here lend the play an enticingly far-reaching metaphor. Just behind the obligatory if piquant jabs at Bush and Iraq, a larger theme looms, suggesting the limits and contradictions of modern liberal democracy itself. Those great booming flashes of cannon fire that finally punctuate the action seem to simultaneously signal a new order and an apocalypse, as if, there at the inception of the modern, the Revolution has revealed itself as both a cradle and grave in one.
FIGARO
Through June 8
Tues and FriSat, 8 p.m. (also Thurs and Sat, 2 p.m.)
Wed and Sun, 7 p.m. (also Sun, 2 p.m.), $13.50$69
Berkeley Repertory, Roda Theatre, 2015 Addison, Berk
(510) 647-2917, www.berkeleyrep.org
SON UP, SON DOWN: SON OF SAM I AM
The playful title of PUS’s ("Performers Under Stress") program of Samuel Beckett shorts denotes the sequel to last season’s Beckett program, Sam I Am. But the mingling here of Dr. Seuss’s nursery school rhymes with serial killer élan seems nothing if not apt. The formerly Chicago-based PUS continues to offer worthwhile if uneven stagings of otherwise rarely seen pieces. The selection this time is another uneven affair, but concludes with the essential monologue Krapp’s Last Tape, featuring a sure and absorbing performance by Skip Emerson as the aging Krapp reviewing the reel-to-reel recordings of his impossibly distant younger self. Emerson conveys the despairing character’s many colors: the clown, the buffoon, the baboon with his banana, the poet, the pretentious "I" of the tapes, all impossibly disconnected somehow from the man onstage. (Avila)
Of Katie Couric and Dan Rather
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One female anchor is losing her job; another, her clothes
By Leslie Griffith
When Katie Couric was given the title of “America’s sweetheart it was a death knell. America relishes devouring its sweethearts.
If the news magazines and newspapers are correct, Katie Couric’s career at CBS, much like Dan Rather’s, is toast. The last chapters of this complex and revealing human drama are not written yet. But the plot, the sub-plots, the dialogue, the public’s perverse interest, and the motivations are nothing if not Shakespearean.
Two years ago, Couric was the first woman to anchor the evening news broadcast on one of the big three networks. On that day, I was called by local reporters for a quote. My own career in television began 26 years ago, about the same time as Couric’s. “It’s about time,” I told the newspaper reporters.
Couric and I have a few things in common. Bay Area viewers watched as I grew up before their eyes just as Katie Couric grew up in full view of the nation. Wives use to say in various ways, “You are the only other woman I will let my husband bring into the bedroom.” The intimacy of television is still very real, but the truth tellers of old are becoming history.

