Interview

The tender line

2

arts@sfbg.com

THEATER A couple of days after the opening of the Cutting Ball’s documentary play, Tenderloin, I spotted independent filmmaker Rob Nilsson crossing the street at Taylor and Eddy, less than a block from the theater. Drawn to the neighborhood and its residents for decades, Nilsson is one of the more prominent artists who have found inspiration, collaboration and a kind of authenticity in the Tenderloin, long among San Francisco’s poorest and liveliest districts.

Director-writer Annie Elias and her Tenderloin team continue this tradition, with a clear concern to do right by their subjects (among whom happens to be Nilsson himself, played by actor Tristan Cunningham). The action emerges from an opening tableau of street life, featuring the colorful sights and harrying sounds of a rowdy inner-city intersection (nicely augmented by sound designer Matt Stines). Upstage rises scenic designer Michael Locher’s ceiling-high mound of furniture and bric-a-brac, which is fronted by two rows of hanging photographs, loving portraits of local people and places whose panels double as projection screens establishing context for each of the scenes that follow.

The play presents a spectrum of Tenderloin denizens whose stories reflect the dire straits normally associated with this congested low-income slice of downtown, but also the sense of freedom and community some have found there. We hear from the desperate and lonely but even more often from people who have grown to prefer the Tenderloin to more stifling environs.

That positive note lands too forcefully at times, especially when it comes from relatively privileged members of the commuting class (the plugging of the neighborhood by some middle-class patrons at the Nite Cap bar, for instance, begins to sound a little like an ad from the visitors bureau), or professional advocates like Reverend Karen Oliveto (played by Leigh Shaw) at Glide Memorial Church.

By contrast, the play excels when the voices are both genuinely local and agenda-free, as is the case with the story by a man from Sixth Street who haplessly agrees to accept responsibility for a newborn baby from an acquaintance on her way to jail (a story as charming and resonant as a well-crafted short story, and beautifully recreated by actor Michael Kelly).

A set of discrete interviews naturally runs the risk of becoming an aimless narrative, especially without a single dramatic episode or storyline at the center (as is the case with the better-known works in the docudrama genre, such as Tectonic Theater’s The Laramie Project). Elias sets out to mitigate this problem in several ways, first of all by casting well — in terms of both the selection of interview subjects and the delicate portrayals marshaled by her exceptional ensemble of actor-documentarians (aided by additional writing from David Westley Skillman).

In addition to Michael Kelly’s standout performance throughout, Rebecca Frank does particularly subtle work with a number of memorable personalities, including Leroy B. Looper, the (recently deceased) owner of the Cadillac Hotel, who appears here with wife and longtime business partner Kathy (played gracefully by David Sinaiko). (Siobhan Doherty rounds out the production’s admirable ensemble.)

Elias also relies on dynamic staging, often setting a couple of interviews in alternating tension with one another, a technique that generally serves the production well — as in a sly point-counterpoint between former Tenderloin police captain Gary Jimenez (Kelly) and a homeless person (Cunningham) — even if some scenes prove unnecessarily busy.

But the narrative that emerges, which lays a heavy emphasis on “stripping back the layers” and revealing the truth of the much-maligned district, suffers from the accumulation of a familiar liberal slant toward tolerance and understanding. To the extent it undercuts outrage at a larger system of extreme and degrading inequality, such a slant obscures as much as it reveals. *

TENDERLOIN

Through May 27

Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm, $10-$50

Exit on Taylor

277 Taylor, SF

(415) 525-1205

www.cuttingball.com

 

Who is the brick thrower?

14

Yael@sfbg.com

The brick-throwing man whose projectiles hit two protesters at the Occupy San Francisco takeover of a Turk Street building on May Day has helped spark intense internal debates in the movement about the use of violence.

But nobody has heard the alleged hurler’s side of the story.

Jesse Nesbitt, 34, was arrested on the scene, and is accused of felony assault, assault on a police officer, and vandalism. I interviewed Nesbitt in San Francisco County Jail May 3. He spoke of his associations with drug addicts and revolutionaries; his previous stints in jails, prisons and psych wards; and his countless arrests on the streets of San Francisco for illegal lodging.

What emerged was a picture of a homeless Army veteran who suffers from untreated mental illness and substance-abuse issues — someone who found a degree of help and solace in the Occupy movement but has never fully escaped his problems. His story is, unfortunately, not unusual — there are many thousands of vets who the system has utterly failed.

Nesbitt told me he was diagnosed as schizophrenic at 16. “From bad things happening, my mental illness has snowballed since then,” he explained.

Nesbitt said he grew up in the projects outside Pittsburgh, Pennsylvania during the 1980s. “It wasn’t too nice,” he explained. When he was 18, he joined the Army.

“I wanted to join the military all my life. That’s what I wanted to do,” he said. The schizophrenia could have stopped him — but “I lied my way in.”

His tour in Korea was during peace time, but he says he still saw combat. “We were supposed to be at peace with North Korea, in a ceasefire. But whenever they got a chance, they shot at us. And whenever we got a chance, we shot at them.

“It hardened my heart. And it gave me a sense of duty to uphold our Constitution.”

Nesbitt returned from South Korea in 1996. Afterward, “I hitchhiked from coast to coast twice. I got married three times. I have a kid in Pennsylvania. I went to jail in Pennsylvania for — being young and stupid,” he said.

Later in the interview, he expanded on his prison time in Pennsylvania. “I did four years and eight months for aggravated assault, theft, and possession of an instrument of crime,” said Nesbitt. “I also did time in Georgia for assault. And I did time in Alameda County for vandalism and weapons.”

In fact, as he tells it, Nesbitt’s time in Berkeley was spent mainly in jail, before he got involved with Occupy Berkeley.

“I don’t know how much time I did in total in Alameda County. I’d be in jail two, three weeks, get out five, six days, then get arrested again. That was from last April to July,” he says.

On the days when he was free, “I was doing what I normally do,” said Nesbitt. “I’d squat somewhere. In the daytime I’d panhandle, go to the library. I was doing a lot of drinking. Then I started getting arrested a lot when I started doing meth.”

That was his life before joining Occupy. “A friend of mine who was shooting heroin at the time said, let’s go join the revolution. It will help clean you up. It helped pull me out of a drug addiction and keep me healthy,” said Nesbitt.

But that wasn’t the only reason he joined.

“I’ve always had revolutionary beliefs,” he says. He spoke of his friends in Pittsburgh. They wouldn’t let him go the G20 protests in 2009, fearing he would be incited to violence.

“I’ve been involved with anarchists for a long time. They pointed out documentaries I should watch, things I should read,” said Nesbitt.

But the example he gave me isn’t your classic Emma Goldman. Nesbitt remembered “The Esoteric Agenda” — a conspiracy-theory film that connects stories about corporate greed with apocalyptic prophecies.

“The education was getting me ready for something,” he said.

At Occupy Berkeley, even while Nesbitt recovered from his meth addiction, he continued to live in a cycle of violence.

“It was in Berkeley out at the Occupy camp. I got into a fight with somebody, I was in a black out. It took six cops to hogtie 135-pound me, so I was talking shit. While I was hogtied, they dropped me on my head. I went from talking shit to unconscious. I slept for the next two weeks,” Nesbitt told me.

His involvement with Occupy San Francisco increased after the Occupy Berkeley encampment was taken down.

Occupy San Francisco, however, didn’t quite progress the way he had hoped. “When they started raiding us in December, I was hoping the numbers would go up. Instead they dwindled,” said Nesbitt.

He was part of a small group of people continuing the “occupation” tactic outside the Federal Reserve Building at 101 Market St. Back in the fall, that sidewalk was a spot where dozens of people held protest signs and meetings all day and many slept throughout the night. After a series of police raids, and as most of those organizing with Occupy moved on to different tactics and projects, some decided to remain there.

Even when the Justin Herman Plaza camp was in full functional form, it was derided as “nothing but a homeless camp.” There were homeless people there, but many found food and other resources, as well as security from both police and other people they feared on the street, leading many to devote themselves to the goals of the protest movement.

The 101 Market camp that emerged in February was mostly a homeless camp — and, although the people there remained fiercely political in their convictions, they certainly didn’t enjoy the safety that the Justin Herman camp once provided.

Nesbitt was one of those people. “The SFPD not letting us sleep, telling us sitting on cardboard was lodging, sitting under a blanket to stay warm was lodging, you can only take so much of it,” he said. “They slammed my head against the back of a paddy wagon last time they arrested me for sitting underneath a blanket.”

His story is not unusual.

“Veterans continue to lead the nation in homelessness,” explained Colleen Corliss, spokesperson for the veterans-aid nonprofit Swords to Plowshares. “There are a lot of factors at play. Those who go to war have a higher instance of mental illness and substance abuse, which ultimately can lead to a vicious cycle of homelessness,” she said. “Even if you serve during peace time, you can still have really traumatic experiences.”

Nesbitt’s experience with the city’s mental health facilities wasn’t enough to break this cycle. “I did get 5150-ed,” he said, describing the term for involuntary psychiatric commitment. “I was in the hospital less than 24 hours, they kicked me out.”

Why? “I threatened to kill a doctor,” said Nesbitt.

Nesbitt’s 24-hour stay was in the overburdened, short-staffed psych ward at San Francisco General Hospital. When the psych wards began closing beds in 2007, it was comprised of four units, each with 30 beds; it is now down to one unit, according to Ed Kinchley, a social worker in the medical emergency department at General.

There’s also a floor in the behavioral health center for psychiatric patients with 59 beds, but “they told the staff last week that they’re planning to close 29 of those beds.”

“Since [the beds] are full almost every day, the bar or the standard for who stays there or who goes in-patient is a lot higher than it used to be,” said Kinchley.

Whatever the reason, Nesbitt was not getting treatment the day of the alleged brick-throwing — and he was having problems. “I was getting an episode the day before it all happened,” he said. “I was afraid to go by myself to sleep because I was hearing voices. Normally those voices tell me to hurt people. I try to keep around people I love and trust that wouldn’t let me do anything.”

Mixed with his schizophrenia is a brand of Constitutionalism that’s not common on the left.

“When you join the military or the police department, you take an oath swearing to defend the United States Constitution against all enemies foreign and domestic,” Nesbitt said. “Now they’re passing the NDAA, Patriot Act, and other bills I don’t know about. They’re intentionally taking away our constitutional rights. We’re supposed to defend those rights, not lie down and take it.

“I think Abraham Lincoln said, if the government betrays us, we’re supposed to take them out.” Nesbitt insists he’s “not a terrorist. No matter what they might say about me in the Chronicle or whatnot, I’m not a terrorist. What is he, then? “I’m a freedom fighter,” said Nesbitt. “I’m fighting for the freedom of everyone.”

Obama’s mistake

4

By Gabriel Haaland and Laura Thomas

Last month, Obama came out swinging against medical marijuana in an interview, defended his raids of law-abiding clubs, and is currently positioning himself to the right of former President George Bush — despite the fact that nearly 75 percent of Americans support legalized medical marijuana.

In Northern California, Melinda Haag, Obama’s US Attorney for the Northern District of California, is resolutely determined to shut down medical marijuana access. Her district starts in the Bay Area and runs up the California coast to the Oregon border. Ironically, her district may have the strongest support in the entire country for medical marijuana, from voters, law enforcement, elected officials, businesses, and community members. Why is she so obsessed with shutting down the clubs? She claims that it’s because she is protecting the children of California. Really. So the next time someone is dying of cancer and they don’t have legal access to medical marijuana, we will be sure to remember that the children of California are safe. And let’s be clear: She is going after regulated clubs and the idea of a regulated industry — regulations that communities, sheriffs, Boards of Supervisors, and health departments have built.

Haag is targeting community leaders, such as Richard Lee, the chief promoter of California’s effort to legalize marijuana, and Oaksterdam, the area where most of the medical dispensaries are in Oakland. She also shut down Mendocino’s ground-breaking regulation of marijuana growers — literally driving past illegal grows to one recently inspected and certified by Mendocino sheriff’s deputies. She subpoenaed Department of Public Health records used to issue licenses for dispensaries here. She is going after dispensaries in San Francisco that are in full compliance with local and state law, merely because they are within an arbitrary distance from a school or park, even if the park is unused, or the school opened after the dispensary did.

Her actions are not protecting children from the harms of marijuana. She states that dispensaries attract crime, which is not proven by any evidence. What does cause crime is the black market, especially the black market for marijuana imported from Mexico, where 50,000 people have been lost in prohibition-related violence. The less people can produce, purchase, and consume marijuana grown here in California, the worse things get for Mexico. She also seems oddly concerned about the evils of capitalism, worried that people may be making a living from the medical marijuana industry. While we may not be the biggest fans of capitalism, we don’t think closing small businesses (or even large ones) in these economic times is a great idea. Haag’s actions have put thousands out of work and eliminated tax revenues for localities and the state. She’s using taxpayer resources to make the local economy a little bit worse. Thanks.

In San Francisco, elected officials including the mayor, the Board of Supervisors, the district attorney, the city attorney, Assemblymember Tom Ammiano, State Senator Mark Leno, the Democratic County Central Committee, and most recently, Democratic Congressional Leader Nancy Pelosi, have all spoken out against Obama’s efforts to undermine legal, regulated medical marijuana in California. The San Francisco Chronicle has run not one, but two editorials in the last month on the topic, plus a column from conservative columnist Deb Saunders. There have been rallies, protests, petitions, meetings, and letters asking her to stop going after medical marijuana.

What will it take to get Obama to wake up to the fact that his effort are not supported by three quarters of the country and that, in particular, Melinda Haag is obsessed with shutting down any regulated medical marijuana business? She is making things worse: leaving patients to the black market to find their medication, undermining law enforcement efforts to work with medical marijuana producers, and exacerbating the violence in Mexico.

But instead of reining her in, Obama is doubling down one of the most popular causes in America.. Medical marijuana is far more popular in the U. S. right now than Congress, the president, or Republican candidate Mitt Romney. The most serious moment at the Correspondents Dinner in Washington, DC last week was when comedian Jimmy Kimmel asked Obama point-blank why he was going after medical marijuana. None of it makes much sense. How much evidence is needed to convince Obama and Haag that their actions are creating harm, not eliminating it? How much evidence is needed that this is not what the voters and taxpayers want? What kind of data do they need that regulation reduces crime? How many patients need to tell their stories? What will it take to change her actions?

And when will Obama wake up to the fact that he is making a huge mistake? 

Gabriel Haaland is a member of the San Francisco Democratic County Central Committee. Laura Thomas works with the Drug Policy Alliance.

Bucky lives! More from SFIFF 2012

1

Read Sam Stander’s earlier San Francisco International Film Festival report here.

Sam Green’s The Love Song of R. Buckminster Fuller, which he performed twice on Tuesday, May 1, with live accompaniment from Yo La Tengo, is technically a documentary. But it’s a sort of gonzo documentary, a piece of performance art that emphasizes Green’s enthusiasm for his subject, the bespectacled architect-prophet Bucky Fuller.

On Tue/1, Green stood at the bottom left of the screen with a microphone; the three-piece band was opposite him. This format, which Green developed for his previous “live documentary” Utopia in Four Movements, allows for him to interact in the moment with his audience as well as his footage. In one particularly fun moment, while introducing a filmed interview segment, Green timed his commentary so that the onscreen figure’s face seemed to respond to his words, drawing big laughs.

Yo La Tengo’s score was often unobtrusive, rolling beneath the surface of the recorded sound of video clips to add atmosphere. But at key moments it burst into action, as with the clip of Fuller’s demonstration of his Dymaxion Car, where percussive rumbles highlighted the explosive potential of the invention while also foreshadowing its equally drastic end (the car would crash, killing its test-driver, at a later demonstration). In a Q&A following the performance, the band indicated that Green’s temporary score for the work featured a lot of its recorded music, giving it a sense for what sounds to use in the final live version.

One of the most exciting aspects of the “live documentary” format is the focus it places on Green as storyteller and explorer. He’s infectiously enamored of Fuller’s utopian ideas – something that came across abundantly in my interview with him before the San Francisco International Film Festival, but which might get lost in a static documentary striving to convey objective facts. With Green on the stage, emoting and expressing his thoughts, the inherent subjectivity of any documentary effort is liberated, allowing him to be the voice of Fuller’s ideas in an inspiring twist on the medium.

Bay Area local Green has expressed a desire to continue developing and performing the piece, so catch it if you can.

Q&A: Alaina Moore of Denver’s Tennis

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Some people look to surf pop as their go to summer soundtrack. But what if, for once, you were to venture off the shore and in to the deep blue sea? You will need a sailboat and a perfectly warm, hazy breeze to put wind to your nautical journey.

Tennis — made up of husband and wife duo Alaina Moore and Patrick Riley along with drummer James Barone — is an indie-rock band from Denver that began on board during the couple’s eight-month sailing expedition.

In anticipation of the band’s sold-out show tonight at the Independent, Moore talked with the Guardian during a phone interview about how their post-college nomadic experiment turned in to a band.

SFBG
How did you and Patrick first meet?
Alaina Moore Patrick and I met in college in a class where I happened to be one of the only two girls in the entire class — so the odds were in my favor I suppose. We became best friends, and years later, here we are.

SFBG
Why “Tennis?”
AM No reason really. I would tease Patrick a little bit about playing tennis seriously when he was growing up because I grew up in a neighborhood where there wasn’t even a tennis court in sight — people only played basketball.

But besides that, it literally means nothing. When we named our band, we didn’t even consider ourselves to be a band and there were no plans on playing on stage ever.

SFBG What motivated you to make music, and more specifically, these types of retro-styled records?
AM I had a rediscovery of 1950s pop music during our sailing trip. The Shirelles song, “Baby It’s You,” happened to be playing in a bar. And I mean, who doesn’t love that song?

But that night, I started noticing the way the voices sound, the ways the song was mixed, and how the drums were recorded — I never noticed those nuances from an old song before. We started making music emulating analog recording techniques from the ’50s and ’60s, and it unraveled in to us writing a record of our sailing trip.

http://www.youtube.com/watch?v=0drdwulrmqs

SFBG A sailing trip with just you two?
AM Yeah, we went on a trip around the Eastern Seaboard of the North Atlantic. Patrick and I had been together for about a year when we started trading literally every material possession that we had for a sailboat. We were poor college students then and didn’t have that much, so we sold every single thing, emptied our bank accounts, and traded our entire lives for the trip. 

SFBG Did you start writing songs for the first record at sea?
AM We didn’t really write anything that was meant to be a song until six to eight months after we came back from our trip. But a lot of the lyrics for the first record were taken from my ship log. I took very careful journal entries. And in that sense, the narrative of Cape Dory is very straightforward and linear.

SFBG The mood for your songs are pretty breezy and light-hearted.  I can’t imagine the entire trip was smooth sailing though. Were there any rocky moments?
AM Oh, there were plenty. The most difficult part of the experience for me was how trying and often scary ocean sailing turned out to be compared to what I imagined romantically in my head.

Sailing is technically, psychologically — really hard in every possible sense. I would say an even mix of the lyrics of Cape Dory reflect some of these dark parts of the experience.

SFBG
Do you still find time to sail now that you’re on tour?
AM We still have our sailboat and think that it’s a great way of turning our lives upside down. And by that, I mean that it feels like a clean slate whenever we come back from a trip. Being on tour and living on the road, in a bus, is a really weird lifestyle that makes us increasingly more misanthropic. But then we go sailing for even a month and we become hopeful and optimistic about humanity again.

SFBG
How is it working with your husband?
AM We’ve learned that two cooks in the kitchen is all we can handle as far as song writing goes. But it is honestly really hard at times to have this intimate of a relationship and work together too. So on the road and on stage, it’s very important to have a full band with other creative minds involved in translating our songs from paper.

SFBG Has the success of Cape Dory influenced the way you two produced Young and Old?
AM The writing process for our second record was a continuation of our experience with Cape Dory. We’re still figuring out what “success” even means to us, because everything is so relative. In music, sometimes all others can do is compare you to other musicians.

And it’s hard even for us to wrap our heads around our own position because of how ambiguous music is. So we try to look inward, keep writing songs as long as it feels good to us, and produce what we’re happy with.

 

Tennis
With Wild Belle
Mon/30, 8pm, sold out
Independent
628 Divisadero, SF
(415) 771-1421

www.theindependentsf.com

Why austerity sucks

8

European nations are starting to take some of the same steps that Republicans are suggesting for the US — reductions in the public sector, cuts in benefits, etc. And Joseph Stiglitz, an economist who actually knows what he’s talking about, argues that it’s a terrible idea — and that goes for the United States, too. Check out this fascinating interview.:

When you look at America, you have to concede that we have failed. Most Americans today are worse off than they were fifteen years ago. A full-time worker in the US is worse off today than he or she was 44 years ago. That is astounding – half a century of stagnation. The economic system is not delivering. It does not matter whether a few people at the top benefitted tremendously – when the majority of citizens are not better off, the economic system is not working.

More:

The European: What do you say to someone who argues thus: Demographic change and the end of the industrial age have made the welfare state financially unsustainable. We cannot expect to cut down on our debt without fundamentally reducing welfare costs in the long run.
Stiglitz: That is absurd. The question of social protection does not have to do with the structure of production. It has to do with social cohesion or solidarity. That is why I am also very critical of Draghi’s argument at the European Central Bank that social protection has to be undone. There are no grounds upon which to base that argument.

The thing about Stiglitz is that, unlike many academic economists, he’s been right most of the time over a stellar career. And he’s right now.

Letters from Hole guitarist Eric Erlandson

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As the guitarist for Hole, Eric Erlandson was at the center of the alternative rock explosion of the early 1990s, a member of one of the most popular and controversial bands of the time, and a friend and confidant to one of the scene’s most influential players, Nirvana’s Kurt Cobain. With the 18th anniversaries of both the suicide of Cobain and the release of Hole’s hit record Live Through This passing this month, Erlandson has just released his first book, Letters To Kurt (Akashic Books) a touching and enlightening collection of prose poems addressed to his departed friend.

During a phone conversation from Los Angeles, Erlandson — who will be appearing at several events in the Bay Area this week — touched on the creative and cathartic process of writing the book, the release of Hit So Hard, a documentary about Hole drummer Patty Schemel, an impromptu on-stage reunion with Courtney Love, and the recent news stories about a supposed Kurt Cobain solo album.

SFBG: Your book “Letters To Kurt” is not your standard rock n’ roll memoir — what was the impetus for going the route that you did?

Eric Erlandson: When I was writing it, I was doubting it and resisting it the whole way through, now when I’m presenting it, I’m still unsure; ‘Is anybody going to get this?’ It is a strange book, it’s not your normal memoir, it’s disturbing to read for me still, so it’s weird to be talking about it in public and reading from it.

I was inspired by Jim Harrison’s book Letters To Yesenin, I started a process in my journal writing out my own letters to people, and then once I let go of my hesitation of using Kurt, the first letter in the book was what came out, and the voice was strong, powerful, and different than anything I’d ever written.

I just kept going with it — when you start writing about the past, the past starts to come back into your life and affect you, and that’s what happened until I got to that 52 number. I thought it felt right, it’s resolved, it’s complete — as much is it can be complete, at this point.

Bringing the issue of suicide on the table, and keeping that as part of it — that’s the bigger picture, it’s not just a book about my views on life, or my relationships, or my ramblings, it’s trying to connect to the universal, that they’re all connected, and that suicide is something that affects us all.

SFBG: The documentary “Hit So Hard” is also getting a wide release this month, and you’ve been appearing at screenings with Patty Schemel — what has it been like seeing your old bandmates again?

EE: Patty’s movie just happens to come out the same time as my book, it wasn’t planned — it was her journey and then my journey. With the fact that they are both being released to the public at the same time, I started to try to put them together at some events.

Patty, Melissa [Auf der Maur] and I played at an event, and from that, it felt so good, it felt like we were back in 1992 in a basement in Seattle playing covers. It just felt really fun, we were free to do whatever we wanted to do, there was no pressure, there was no machine, no business behind us pushing us to do anything, so that was really kind of a liberating experience for us.

We then did another performance for the Hit So Hard premiere in New York, and of course, Courtney lives in New York, and got wind of it, showed up, and it was spontaneous.

If you face the past, if you stop shoving it under the rug, and you start thinking more about what’s happening to your relationships, then you’re able to resolve them, or experiences will happen that will force you to resolve them—or will give you an opportunity to do so at least.

I’m hoping that is where things will go; it can be a positive by-product of the book that I hadn’t even expected.

SFBG: You’ve been away from the mainstream music scene for quite awhile—can fans expect any new music from you in the future?

EE: I’m planning on doing a soundtrack to the book, I just ran out of time, I couldn’t get it out at the same time as the book, but I plan to get it out this year.
That should be really fun, to go back and use all my musical influences and not have it be tied to a band project.

SFBG: There was a flurry of news articles in the last couple of weeks quoting you as saying that Kurt Cobain had recorded a solo album before he died, his “White Album”— were those comments taken out of context?

EE: It was definitely taken out of context, misquoted, and misinterpreted. I think that Courtney had mentioned in like 1995 or 1996, that there was some sort of White Album — or somebody did, I remember hearing it, it’s nothing new to me.

I think the writer chose to present that in a way that there was some hidden gem, or secret being revealed, but there is no secret being revealed, it was me speculating on what I had heard—which is what many people have heard, which is [the song ] “Do Re Mi.” It just had a different mood to it. I was speculating that that’s probably where he was headed, and said something about that White Album comment that somebody had made in the ‘90s — but I was tying it into the topic of suicide, and that’s the thing that he didn’t present in his interview.

I was saying that when someone commits suicide — and I’m not criticizing someone that feels suicidal — by going into that tunnel, and suffering in that way, once you choose to take that huge act of taking your own life, you’re affecting everybody’s lives. This is nothing new, and we all know this, but I was bringing it back to music; by taking your own life, by self-destructing using drugs, by checking out, then you’re taking your gifts away from the world.

I’m not dropping anything that world doesn’t already know. I never claimed that he was making a solo album; I was speculating that if he had continued, he might have made a solo album.

In Kurt’s case, who knows where that music would have gone.

Wed/25, 7:30pm, free
Moe’s Books
2476 Telegraph, Berk.
(510) 849-2087
www.moesbooks.com

Thu/26, 7pm,free
City Lights Bookstore
261 Columbus Ave., SF
(415) 362-8193
www.citylights.com

Fri/27-Sat/28, 7:15 and 9:30pm, $10
Roxie Theater
3117 16th St., SF
(415) 863-1087
www.roxie.com

On the scene: SFIFF, week one!

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Guardian film critic Sam Stander was among the crowds this past weekend as the 55th San Francisco International Film Festival kicked off its programming. The festival continues through May 3 at the Castro Theatre, 429 Castro, SF; Pacific Film Archive, 2575 Bancroft, Berk.; SF Film Society Cinema, 1746 Post, SF; and Sundance Kabuki Cinema, 1881 Post, SF. Check out additional Guardian coverage here, here, here, and here. Remaining festival playdates (and additional screening info) are noted after each review below.

The Day He Arrives (Hong Sang-soo, South Korea, 2011) Perhaps the seed was planted by the festival programmer who introduced the screening with a mention of Woody Allen, but this latest black & white film from the South Korean auteur feels akin to Stardust Memories (1980) and 8 1/2 (1963), a cleverly convoluted exploration of an artist’s anxieties. When lapsed filmmaker Sungjoon returns to Seoul to visit a friend, his encounters with compatriots and lovers old and new spiral into repetition and absurdity; the truth of any given situation is essentially inaccessible, leading to often uproarious contradictions, especially with a sympathetic audience like that at the Kabuki Fri/20. This is what one might call a movie-movie, a trip through deception of self and others through the medium of cinematic expression. Mon/23, 9:30pm, Kabuki; April 25, 9pm, PFA. Also plays SF Film Society Cinema May 4-10.

Bonsái (Cristián Jiménez, Chile/France/Argentina/Portugal, 2011) Adapted from Alejandro Zambra’s acclaimed novella, this cleverly structured and sweetly sad film positively wallows in literary allusions. Julio is supposed to transcribe the newest work by novelist Gazmuri, but when he’s passed over for someone cheaper, Julio writes his own manuscript and tells his girlfriend it’s Gazmuri’s. The film flips back and forth between Julio’s college years (the grist for his novel) and his present life, full of anxiety and ennui. He and his lost love, Emilia, used to read every night before bed, and a running joke about Proust serves as a charming framing device. The bonsai tree of the title plays a relatively small role, more a metaphor than a filmic image, but Jiménez’s presentation of how one man tries to shape his own story like a bonsai is touching, if sometimes emotionally simplistic. Tue/24, 6:30pm, PFA.

Oslo, August 31 (Joachim Trier, Norway, 2011) Heroin movies are rarely much fun, and Oslo is no exception, though here the stress lies not in grisly realism but visceral emotional honesty. Following an abortive, Virginia Woolf-esque suicide attempt during evening leave from his rehab center, recovering addict Anders visits Oslo for a job interview. He reconnects bittersweetly with an old friend, tries and fails to meet up with his sister, and eventually submerges himself in the nightlife that once fueled his self-destruction. Expressionistic editing conveys Anders’ sense of detachment and urge for release, with scenes and sounds intercut achronologically and striking sound design which homes in on stray conversations. A late intellectual milieu is signified throughout, quite humorously, by serious discussions of popular television dramas, presumably an update of similar concerns addressed in Pierre Drieu La Rochelle’s 1931 novel Le Feu follet, on which the film is based. April 27, 9:15pm, FSC.

The Source (Jodi Wille and Maria Demopolous, USA, 2012) Remembered for its health food restaurant and musical recordings, the early-’70s cult known as the Source Family was at once an archetypal utopian post-hippy community and a bizarre, unique twist on the notorious subcultures of that era. Charismatic leader Jim Baker, a.k.a. Father Yod, experimented with various branches of mysticism and philosophy, and surrounded himself with over 100 followers at the society’s peak. Eventually casting himself as a god on earth, Yod’s relationship with his “family” became increasingly complex and problematic, but some of his followers still subscribe to his teachings. Among them is family historian Isis Aquarian, whose photos and footage provide the backbone of this engrossing documentary, along with the images taken by other family members. The filmmakers successfully present Yod as an exceptionally powerful personality without valorizing him unduly – a great feat, presenting a not-too-worshipful biography of a self-proclaimed deity. April 27, 3pm, Kabuki; April 29, 6:15pm, FSC.

The Queen of Versailles (Lauren Greenfield, USA/Denmark, 2012) Photographer Lauren Greenfield set out to document the life of the Siegel family, a timeshare dynasty in the process of building the biggest house in America, a palatial edifice inspired by Versailles. But what she stumbled upon was a much richer story, as Westgate Resorts founder David Siegel and his wife, former computer engineer and beauty queen Jackie Siegel, fell on hard times when the economy crashed in 2008. Their maddeningly luxurious lifestyle has suddenly become a strain on their resources; the lives of their seven children and one niece, as well as their domestic staff, change drastically as they struggle to adjust. David’s financial turmoil over the megalithic PH Towers in Las Vegas provides a backdrop to their tumultuous family life, but what emerges is a mix of ironic humor and biting tragedy, and a surprisingly persistent familial bond. Theatrical release, summer 2012.

Even more from the tUnE-yArDs interview

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Despite a relentless touring schedule, and an intense side-project, scoring the upcoming SFIFF-presented evening of Buster Keaton shorts at the Castro Theatre with Oakland-based guitar virtuoso Ava Mendoza, Merrill Garbus, the artist otherwise known as tUnE-yArDs, gave us a great interview, and not all of it could fit in this week’s print feature on Garbus and St. Vincent.

While currently living in Oakland, Garbus hails from the East Coast, and has also lived in Kenya and Montreal, a combination of influences that allows her and her singular, quixotic music to avoid falling into a trap of regionalism or simple categorization. Catch tUnE-yArDs with Ava Mendoza at the Castro on April 23, and at the Fox Theater April 24, in concert with St. Vincent.

SFBG: You spent time studying music in Kenya, what elements of your current musical style do you attribute directly to that experience? What are some of your other influences?

Merrill Garbus:
I mostly was very humbled in my study of music there. I studied taarabu (Taarab music) and I was a pretty weak student at the harmonium. So much of that music is based on the Swahili poetry, which was so complex linguistically that I hardly understood it.

But studying any music is a way of absorbing it, as well as a way of practicing those basics of musicianship: playing by ear, repetition on an instrument, playing with other people.

It was also the experience of listening to the popular music in Kenya at that time that really influenced me, specifically pop music from Congo, which they called Lingala in Kenya. I had never heard music like that, and especially that kind of music that compelled a person to dance so instantaneously.

SFBG: What made you decide to use the uke as your primary instrument instead of the fiddle or guitar or something more “traditional” as a lead?

MG: The ukulele is so unassuming; it sounds nice when you’re not even trying – it even has a charm when it’s really out of tune, I think. It makes a space for itself. As a guitar player one has to really prove themselves, to stand out among all the other guitar players of the world and of the past. The ukulele made the songs the focal point, instead of putting pressure on me to be particularly virtuosic on an instrument.

SFBG:
Tell me a little about your previous vocal training.

MG: I studied a bit of classical singing in high school, and sang with a madrigal group which taught me a lot about blending with other voices. I sang in a college a cappella group which was great performance training and is more about belting and volume, which has certainly helped me; and I took some opera lessons when I wrote a puppet opera.

Theater training gave me a lot of vocal skills, too, particularly studying with members of the Roy Hart Theater and doing work with Viewpoints and Suzuki (Theater Suzuki, different than the musical training.) Through the theater work, I learned to expand the palette of vocal sounds that were accessible to me.

SFBG: I’d love to hear a little more about your theatrical background, and how you think it influences your approach to staging.

MG: I think it’s more than staging, although recently we’ve been talking about stage props and lighting and all of these other things that bring me right back to undergraduate theater studies…I know a lot of bands who struggle with live performance because it’s a secondary thing to writing songs, and for me I’m realizing how primary it is to consider the performance. Even in the studio, even in front of my computer doing busy-work editing, it’s a kind of performance, an improvisation of sorts, following my instinct in the moment.

SFBG: You have a fondness for creative spelling, not just with alternating caps, but also with dropping the “r”’s at the end, adding “z”’s, etc. What’s your intention there?

MG: I like to play with spelling because poor spelling is, most of the time, associated with ignorance and being wrong, but as we learn from Black culture, misspelling and screwing around with language is often an intentional reappropriation, to turn the language of the over-powering forces into a language of one’s own.

In Swahili, there are certain words, like “taksi,” which are Swahili spellings of things that didn’t exist before the language of the colonizers appeared, so what’s left is a British/Western idea, a British/Western word, with an African spelling.

I tend to use spelling and pronunciation as a humbling force, for instance, people feel slightly stupid every time they say, “Pow-a.” It makes people uncomfortable, and there’s a sense the friction: they have to make a choice. Do I say, “Pow-er” or “Pow-a?” Which makes me look like less of the asshole?

SFBG: You take a playful approach towards video-making, especially in regards to face-paint/costuming. But are you ever afraid people will misinterpret your style as some sort of cultural appropriation? Do you think worries about “cultural appropriation” are even still relevant in this hyper-connected, global-mashup day-and-age?

MG:
There have been instances where tUnE-yArDs was associated with a kind of cultural appropriation that I wasn’t cool with, such as when an artist used a Native American-style headdress on a poster for one of our shows. It wasn’t my decision, and I didn’t see the poster before it went out, but of course, there’s my band’s name on the poster, and the well-intentioned artist who didn’t think hard enough about that particular choice, and a whole bunch of offended people. However, I try to concern myself less with being politically correct and not stepping on anyone’s cultural toes, and more with righting things, in the limited ways I have to do that…

(But) yes “cultural appropriation” is an important thing to consider carefully for an artist like me…I, as a white woman with a college education and access to the world of pop music and all of its resources, have a lot of power. I can rip off not only the style but the note-for-note music of another culture, and get away quite easily without having to justify or explain that. It’s really up to me: will I use these tense moments of cultural appropriation, which I believe are inevitable in this time we live in, to draw attention to those with less power and less of a voice, or will I skirt the issue completely?

SFBG: Who are some of your favorite Oakland/Bay Area-based artists at the moment?

MG: Beep Trio is my favorite Oakland band. It is but one example of the brilliant, creative, avant-garde, jazz-influenced bands in the area. Dominique Leone and Ava Mendoza are a couple of others. Mwahaha and Kapowski are great friends of ours and great up-and-coming bands, more on the pop end of things. And V-Nasty.

“This was such a wipeout psychologically”: Mirkarimi tells the story Lee didn’t want to hear

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As Ross Mirkarimi and his legal team prepare for a trio of legal hearings that could determine the future of his career, the suspended sheriff sat down with the Guardian for nearly two hours in his first extended interview recounting what happened during that fateful New Year’s Eve conflict with his wife, their actions in its aftermath, and whether any of it should cost him his job.

As the story continues to unfold, and the facts come out, it’s becoming more and more clear that neither of two central players – Mirkarimi’s wife, Eliana Lopez, and the neighbor who called the police, Ivory Madison – had any idea how this would play out, or, apparently, any desire for the incident to bring down the elected sheriff.

Mirkarimi has been in a bind for much of the last four months: Because of a pending criminal case, he hasn’t been able to tell his side of the story. And since he pled guilty instead of going to trial, his version of events is only now beginning to trickle out.

And the interview made clear that the man who has in the past been accused of arrogance has lost a lot of his ego.

“This was such a wipeout psychologically,” Mirkarimi said. “It makes me immensely insecure and has left me in vulnerable state.”

He looks it – the elected sheriff’s face is drawn, almost haggard. His once-frequent smile and laughter is almost gone.

>>Read our full Mirkarimi coverage here.

He’s a politician who freely admits he had marital troubles, was in some ways a bad husband, treated his wife poorly and, in an incident sparked by his own anger, physically hurt her. He knows he’s let down his supporters and damaged his once-bright political future.

He’s struggling to keep his job, arguing that the incident has been blown out of proportion and inappropriately used to remove him from elected office, with Mayor Ed Lee showing a reckless disregard for the truth before making the rare decision to institute official misconduct proceedings.

And you don’t have to endorse Mirkarimi’s actions or even agree that he should stay in office to find indications that the mayor’s case against him is shaky and at times clearly unfair.

Judge Harold Kahn will hear arguments today [April 19] that the City Attorney’s Office should be barred for overseeing the official conduct proceedings, and the next day he will hear Mirkarimi’s main challenges to Lee’s actions, including the arguments that the city’s official misconduct statute is unconstitutionally broad and that Mirkarimi was denied due process before being suspended without pay.

Then, on April 23, the Ethics Commission will convene to discuss procedures for handling the case.

Some key issues that could affect the outcomes of the city and court processes involve what Mirkarimi actually did – as opposed to what others have suggested he did. The whole thing may hinge on whether the sheriff did anything to hinder the domestic violence investigation, what his plea deal to official misconduct entailed – and whether the mayor made efforts to differentiate between fact and rumor.  

But let’s start at the beginning, just before lunchtime on New Year’s Eve, with a story that Mirkarimi told in great detail as we peppered him with questions seeking details on what happened, what his motivations and thoughts were at critical junctures, and what it all meant.

Around 11:45 am on Dec. 31, Mirkarimi, Lopez, and their nearly three-year-old son, Theo, got into their red 1998 Dodge Caravan to go to lunch at Delfina Pizzeria. Just before leaving their house on Webster Street, the couple had started talking about how Lopez wanted to take Theo on a trip to her native Venezuela to visit her father, who is battling cancer.

“It was not an unfamiliar topic,” Mirkarimi said, recounting how it had become an issue of increasing concern by him after her three previous trips had each been extended. They had been having marital problems, and he told us he was concerned that she might not come back – or that Theo could be at risk of kidnapping.

“We didn’t have a plan and there was no permission,” Mirkarimi said, with “permission” meaning his written permission to take their son out of the country, which he had learned from a lawyer was required. “The body of our quarrel on Dec. 31 is we need a plan.”

But Lopez told him in the car than she had also talked to an attorney and she contested that it was as clear-cut as Mirkarimi claimed. He later learned that the “attorney” Lopez was referring to was their neighbor, Ivory Madison, a writer who had attended law school and noted her “legal training” on the www.redroom.com website she ran with her husband, lawyer Abraham Mertens. But Madison hadn’t taken the bar exam and wasn’t licensed to practice law in California.

“This was a sucker punch, it really walloped me,” Mirkarimi said of the news that Lopez was speaking with an attorney, and it made him angry. “I was acting inappropriately, I swore at my wife and said ‘where is this coming from?’ So I could have handled it better.”

“I decided, because we were quarreling, to make the unilateral decision against Eliana’s wishes to turn the car around,” he said.

This, he contends, was the act that constituted false imprisonment, the misdemeanor charge that he pled guilty to last month in exchange for prosecutors dropping misdemeanor charges of domestic violence, dissuading a witness, and child endangerment. Mirkarimi contends this was the only point in their conflict in which he restrained his wife’s freedom. Other reports suggest that he didn’t let her leave the house shortly after the conflict, which he denies.

Mirkarimi’s criminal attorney, Lidia Stiglich, told us false imprisonment is a very broad term, and because it was such low-level charge, there wasn’t a specific action it covered. In other words there’s nothing factual in the legal record or anywhere supporting the notion that Mirkarimi actually held his wife against her will.

“You don’t need to agree to a factual basis to plead to a misdemeanor,” Stiglich said, noting that Mirkarimi’s interpretation is reasonable, but prosecutors might mean something different by it. “We can agree to disagree,” she said, although she acknowledges that vagueness has opened him up to a variety of interpretations in the political arena.

In other words, the notion that a sheriff, who oversees the jails, has pled guilty of false imprisonment looks just terrible, and has been been played up in the press. But it’s not clear that he actually imprisoned anyone, beyond refusing to take his wife and son to lunch. It’s an oddity of law, and the nuance doesn’t play well in a scandal-crazed media.  

But back to the day of the incident.

“I was loud, I was gruff, I was just pissed off, and I am ashamed of my behavior,” Mirkarimi said. By the time they got back home, the sheriff-elect had calmed down, but Lopez was getting increasingly angry at being mistreated.

He said she quickly got out of the car and was brusquely trying to remove Theo, who was crying and upset over his parents’ conflict, from his car seat. “I got scared because Theo was in danger a little bit,” he said, his voice choking up and eyes filled with tears, saying that he reached back and grabbed Lopez’s right arm, with three fingers under her arm, while he was still seatbelted into the front seat.

“Eliana reacted like, get away from me, and she tugged her arm,” he said. “The incident was minutes.”

Inside the house, tensions quickly de-escalated, he said, and they didn’t discuss the conflict again that day. They went grocery shopping together, brought home takeout for dinner, and Lopez went out briefly that night while Mirkarimi stayed home with their son.

But the next morning, she showed him the bruise that had formed on her right bicep where he grabbed her. “She said, ‘Look,’ and it just crushed me,” Mirkarimi said, adding that he apologized for hurting her and that he agreed to go to couples counseling.

Lopez had been asking her husband to seek counseling for some time, he acknowledged, and he’d been putting it off. “I take full blame that that didn’t happen earlier,” he said.

Then, mid-morning, Lopez told him that she was going to talk with their neighbors, Madison and Mertens, who Mirkarimi considered “nice people. They were supporters during my race, but I didn’t know them that well.” He said that he didn’t think much of it or worry that she might talk about the previous day’s incident, although he said he did make the connection after she left that perhaps this was the “lawyer” Lopez has referred to the day before – something she later confirmed.

From Mirkarimi’s perspective, the next few days were uneventful. The family left for a long-planned vacation to Monterey the next day, staying at the Intercontinental Hotel and taking Theo to the Monterey Bay Aquarium. He said they talked “a little” about their New Year’s Eve conflict. “We were trying to gauge each other and our comfort level in talking about this,” he said. 

But Mirkarimi didn’t know about the storm that was brewing. He said he had no idea that Lopez had heeded Madison’s suggestion on Jan. 1 to make a video in which Lopez tearfully recounted the grabbing incident and displayed her bruise. Lopez, a former Venezuelan soap opera star, has consistently denied publicly that Mirkarimi ever abused her and has said, directly and through attorney Paula Canny, that the video was intended solely to be used in child custody proceedings if their marriage continued to devolve and that Lopez assumed she was getting legal advice and that the communications were private and subject to attorney-client privilege.

But Madison, who has not returned calls from the Guardian or other media outlets, wrestled with whether to go to the police and sought counsel on the question from several people, as information obtained by Mirkarimi’s team during discovery showed, including Phil Bronstein, the former editor for the Examiner and Chronicle who now chairs the board of the Center for Investigation and Bay Citizen.

Madison had two phone conversations with Bronstein, the veteran journalist told us. He said he knew Madison socially and “she gave me a brief narrative of the events.

“I said you should do whatever you think you should do to keep Eliana safe,” Bronstein told us.

Bronstein said he doesn’t know what happened between Mirkarimi and Lopez, but he understood from Madison that she was acting on behalf of Lopez, that the two women were communicating by text and e-mail, and that “I got the impression that Eliana was still trying to figure out what she wanted to do.”

“Eliana was continuing to e-mail with Ivory, saying he was being nicer now,” Bronstein said, but Madison was still concerned enough that she didn’t want to let the incident go, so Bronstein said she decided to call the San Francisco Police Department on Jan. 4 to get information on whether domestic violence incidents could be reported several days after they occurred, a decision he learned about after the fact.

“Ivory called the police hotline hypothetically to get information on when they can file,” Bronstein said, recounting a phone conversation they had on the afternoon of Jan. 4. But he said Madison was told by police that she could be charged with obstruction of justice for not reporting a crime – which isn’t exactly true under California law – and that SFPD had sent officers to her house to discuss the matter.

Shortly after that visit from police, Madison called Bronstein to tell him the story. “She was surprised that an inquiry had triggered a police investigation,” Bronstein said. Madison’s initial refusal to turn the videotape over to police, who needed a court order to seize it, is another indication that perhaps she didn’t want this case to explode the way it did.

In one version of events that Bronstein has discussed, Madison told him she wanted to help Lopez get in touch with three people who might be able to talk to Mirkarimi and convince him to seek counseling. Madison asked Bronstein if he had phone numbers for Aaron Peskin, Mike Hennessey and Art Agnos.

The odd thing about that is that Lopez already knew the three, and that their contact information was in the couple’s house.

But Mirkarimi had no idea any of this was going on, or even that his wife had discussed their conflict with Madison and made the videotape. “Everything happened on the 4th of January and literally I was the last one to know,” Mirkarimi told us.

Months later, Mertens wrote an op-ed for the Chronicle (“A neighbor’s side of Ross Mirkarimi case,” 3/20) in which he alleges Mirkarimi “paid a team of lawyers to relentlessly attempt to discredit, dissuade, and harm my wife,” although he didn’t return Guardian calls seeking comment or clarification of what he meant.

“The last time I spoke to Eliana was when she called me on Jan. 4. I recognized what I thought was Ross’ voice in the background as Eliana pressured me to destroy evidence and lie to the police. Then she repeatedly called Ivory, demanding that Ivory destroy the video, e-mail and texts from Eliana about the incident,” Mertens wrote. The allegation was parroted in the city’s official misconduct charges against Mirkarimi, which claim he “or his agents” sought to destroy evidence and obstruct the investigation.

But Mirkarimi and his lawyers say the charge is simply untrue. “The idea that he sought to get the videotape back or destroy it is nonsense,” Waggoner said, noting that Mirkarimi wasn’t even home as these events unfolded – on that fateful January day, he attended a ceremony marking the demolition of the old jail and then was in a long Budget Committee meeting, followed by a farewell celebration from the Local Agency Formation Commission. In other words, he couldn’t have been “in the background” during that call.

In fact, as far as we can tell, there is no evidence anywhere that Mirkarimi ever contacted Madison or Mertens. “I never talked to Ivory Madison and I never talked to her husband, Abraham Mertens, after any of this happened,” Mirkarimi said.

Mirkarimi said that Lopez first told him that she had told Madison about the grabbing incident by phone on the afternoon of Jan. 4, shortly after Madison told her in the street that she had called the police and they were on the way. Lopez didn’t know what to do and wanted to come meet her husband near City Hall. The officers that came tried to talk to Lopez, but she refused.

“She was panicked because she thought things were getting out of control with this neighbor and she asked for my recommendation,” Mirkarimi said, noting that Lopez literally ran from their home to City Hall and met Mirkarimi outside on Grove Street. It was then, he said, that Lopez first told Mirkarimi about making the videotape.

Mirkarimi said he greeted the news with stunned disbelief, and that his first instinct was to try to help his panic-stricken wife, but that he didn’t know what to do. “She was petrified about what was going on…She was frantic and I was getting frantic too,” he said. “I didn’t have a remedy, except oh my God, I think we need an attorney.”

They made a couple calls to find an attorney, and he said Lopez had the idea of having their friend, Linnette Peralta Haynes, a domestic violence advocate with the Our Family Coalition, reach out to Madison about why she had gone to police and what could be done at that point. “I had no idea what they were going to talk about,” Mirkarimi claims. Peralta Haynes didn’t return our calls and she is reportedly being sought as a witness by the City Attorney’s Office in the official misconduct proceedings.

Mirkarimi is adamant that he never did anything to gain possession of the videotape, dissuade his wife or any other witnesses from talking to police or prosecutors, or otherwise interfere with the investigation, even though Lopez was appealing to him to do something.

“She really wanted me to stop it, and I was like, dear, this bell has already rung and I don’t think we can unring it,” Mirkarimi said.

Lopez has said publicly that she felt betrayed by Madison, and Canny filed motions to suppress the video on the grounds of attorney-client privilege, conflicts that seem to have soured the relationship between the two women and fed feelings by Mertens that Madison was wronged for doing the right thing during the media circus that followed.

As a result, as part of Mirkarimi’s plea deal last month, the District Attorney’s Office insisted that Mirkarimi publicly apologize to Madison. It was an odd demand, since nobody (other than an op-ed writer in the Chron who gave no substantiation for his charges) had ever said that Mirkarimi had any contact at all with Madison.

DA’s spokesperson Stephanie Ong Stillman explained the insistence to us this way: “Ivory Madison’s actions were courageous. She found herself in a difficult situation trying to protect a friend who was in danger. In a surprising and disappointing turn, she was vilified for this act of courage. She suffered much unnecessary public scrutiny.”

Stillman wouldn’t deviate from that prepared statement when we asked specifically what Mirkarimi had done to Madison – or if there was any indication that the sheriff had ever done anything to “vilify” her – but she did said that the insistence on that direct apology was about encouraging witnesses of domestic violence, an underreported crime, to come forward. “We didn’t want other witnesses to be discouraged from reporting crimes after seeing what Ivory Madison went through,” she said.

Yet Stiglich said Canny’s motions and the divisions that developed between Lopez and Madison had nothing to do with Mirkarimi: “There were lot of actions taken by Eliana’s lawyers that caused a backlash that affected Ross.”

It’s not a minor issue: The allegation that Mirkarimi attempted to dissuade witnesses and used his official position to gain advantage is central to the mayor’s formal misconduct charges. But Mirkarimi and Stiglich maintain that there is nothing in the public record that supports the charge that he dissuaded witnesses or that he used his position as sheriff to gain advantage either before or after the incident.

“I was very surprised to see the allegation from the Mayor’s Office about dissuasion [of witnesses or interfering with the investigation] because there was no evidence of that,” Stiglich said. “He was the last person to know there was a video and that police were involved.”

It appears that Mirkarimi thought his guilty plea would end the case – and it was crafted not to give the mayor any grounds for removal. “I would not have entered a plea in a way that would inhibit my ability to be sheriff,” Mirkarimi said. “This was a very lucid conversation.”

In fact, he said, his instinct was to fight the charges all the way. “We were dying to go to trial,” Mirkarimi said.

But the cops and the DA’s Office did an excellent job of creating pre-trial publicity that made it almost impossible for Mirkarimi to get an impartial jury pool. Jury surveys showed that more than 70 percent of the potential jurors had already formed a negative opinion about Mirkarimi based on news coverage, he said.  

He has belatedly sought to address other oft-repeated misimpressions, disputing telling his wife that he would get custody because “I am a powerful man” (he says he told her the U.S. has powerful child custody laws) and saying journalists have distorted his comment that the conflict was “a private matter.”

In a charge that will be central to the upcoming legal battles, Mirkarimi and his attorneys say Mayor Lee wasn’t interested in hearing from Mirkarimi or discovering the truth about what happened before deciding to suspend Mirkarimi without pay and bring official misconduct charges against him. That, they say, denied the elected sheriff his due-process rights.

In his sworn affidavit in the case, Lee characterized his March 19 meeting with Mirkarimi – which he began by asking Mirkarimi to resign within 24 hours or be suspended – this way: “I explained to Sheriff Mirkarimi that I wanted to give him an opportunity to talk to me about this issue. It was a free flowing conversation with no time constraints. Sheriff Mirkarimi told me that he has not yet told his side of the story. I said, Okay, and waited for him to tell me his side of the story. He did not. Instead, after pausing, he asked me whether the suspension was based on his conduct as Sheriff. I responded that it was based on his conduct as a public official. I paused again and waited for Sheriff Mirkarimi to give me whatever information he thought important. He did not. Instead, Sheriff Mirkarimi asked me whether the suspension would be with or without pay. I told him it would be without pay. After giving him another chance to ask questions or give more information, I told Mr. Mirkarimi to consider my instruction to resign over the next 24 hours.”

But Mirkarimi said that narrative isn’t accurate or complete. He had sought to talk with Lee the previous week to explain what happened, but Lee refused. And when he showed up to talk to Lee on the March 19, he brought Sheriff’s Department legal counsel Freya Horne with him and asked that she be included in the conversation, but Lee refused, so there were no witnesses to the conversation.

“I went into that meeting with the express purpose to tell the mayor everything…As soon as I walk in the door, he gives me a little bit of preamble and then asks me to resign,”Mirkarimi said. “I said I’d really like you to talk to Eliana, can I give you her phone number? Nothing…I was asking questions and I wasn’t getting answers.”

Asked why he didn’t just start telling the full story, as Lee’s narrative indicates he was ready to hear, Mirkarimi insists that Lee simply informed him of the decision he had made and didn’t want to hear anything else. “He wanted the meeting to end after a minute, and I dragged it out by asking questions,” Mirkarimi said of the 15-minute meeting. Asked why he didn’t take a more forceful position, insisting on Horne being there or telling his full story, Mirkarimi said, “I’m the guy who’s trying to be contrite, not the one to walk in there with muscle.”

But now that those lines have been drawn, Mirkarimi says he intends to mount a vigorous defense, and he has some serious muscle on his legal team, including Waggoner and Shepard Kopp, who has worked on a variety of high profile cases.

Waggoner said the mayor’s affidavit, which he made under penalty of perjury, “is not truthful,” noting the inconsistency between telling Mirkarimi that he had made a decision to suspend him and saying he wanted to hear his side of story.

“That claim is undermined by his statements after when he describes how the meeting went down,” Waggoner said, saying he’s hopeful that the courts will agree that Lee acted inappropriately. “All that language undermines his initial claim that the purpose of the meeting was to gather information.”

That’s a central question: Did the mayor give the sheriff a chance to defend himself before making the highly unusual decision to suspend him? Or did Lee base that decision on evidence (like Mertens’ opinion piece) that lacked substantiation without giving Mirkarimi a chance to rebut it?

In other words, was Lee’s decision already made when he met with Mirkarimi? And if so, did the city’s chief executive deny another elected official the basic legal right to a fair hearing?

That’s what the courts will address.

Then if the case moves forward, the Ethics Commission will hold hearings –and again, Mirkarimi is at a disadvantage. The Mayor’s Office, through the city attorney, is already sending subpoenas to witnesses and preparing testimony. The defense can’t do that – because there are, at this point, no rules of evidence, no rights for the defense to compel testimony and, frankly, nothing for Mirkarimi’s lawyers to go on.

Four of the five members of the Ethics Commission are lawyers. At some point, they’re going to have to find a way to make this case comply to the rule of law.

Alter egos

13

arts@sfbg.com

MUSIC At first blush the music of St. Vincent, the alter-ego of accomplished guitar hero Annie Clark, and that of live looping sensation tUnE-yArDs, born Merrill Garbus, don’t appear to have a lot in common.

Sure, they share a gender, a label, and an impulse for quirky alias and chimerical shape-shifting, but Clark’s complex guitar-and-synth driven compositions and Garbus’ polyrhythmic ukulele and percussion spree emerge from completely different musical impulses and backgrounds.

Even so, their upcoming double-header at the Fox Theater promises to be a thrilling combination, as both ladies share a reputation for explosive stagecraft and are currently creating some of the most uniquely stylized pop music in the country.

Annie Clark aka St. Vincent, may have hit the cover of Spin‘s “Style” issue, but in interviews Clark is more likely to refer to herself not as fashionista but as a “nerd”. As in, a prog-rock-loving, guitar-shredding, architecture of music kind of nerd.

Her third solo album Strange Mercy (4AD, 2011), an oblique reflection on old traumas and fresh starts is characterized by contrast. Bell-clear vocals edging towards the ethereal, meaty guitar riffs ricocheting in from unexpected directions, and soaring organ and mini-Moog fills contributed by acclaimed gospel musician, Bobby Sparks, (easily the second most striking musician on the album).

http://www.youtube.com/watch?v=6eOt1GWD7gU

A study in contraposition both as a musician and as a media personality,Clark admits to a fondness for playing with character — further evidenced by her stage alias and deceptively delicate off-stage physicality, which belies the raw power of her live performances — but is equally quick to assert ownership of all of her public faces.

“Whenever you walk onto a stage you are fundamentally yourself,” she explains over email. “It’s just that you hold a mixing board to your personality and turn up some aspects and turn down others.”

http://www.youtube.com/watch?v=sB3dBiD5Bj4

It’s almost impossible to speak of Oakland-dwelling Merrill Garbus, or tUnE-yArDs, without referencing the time she spent studying Taarab music in Kenya. The frenetic, border-blending polyrhythms on w ho k i l l (4AD, 2011) transport the listener into an experiential space in which music and body are inextricably enmeshed.

In the current ranks of American pop-makers it’s difficult to find an act to compare her to, though TV on the Radio’s Tunde Adebimpe does occasionally rise to mind, particularly in the context of vocal phrasing and politicized lyrical content.

No less of an onstage powerhouse than labelmate Clark, Garbus’ personal aesthetic skews more towards that of performance artist than rock star. With a fondness for facepaint, explosive vocalization techniques, and the rubber-mask facial tics of Lily Tomlin, Garbus’ previous training in the theater arts still serve as a springboard for her approach to performance, as well as composition.

“The music stems from how I can envision myself performing it,” she explains. “I like to think of the music in terms of…altering space, and transformation, and the experience of the group.”

Whether onstage or in the studio, Garbus flows smoothly between laying her own rhythm tracks, pounding fiercely on her uke, and charging into the musical fray with her battle cry vocals, but her personal fascination is with uncomfortable moments — highlighting them as absurdities and working thorough them with her audiences. Her other proclivity — that of an almost exaggerated playfulness — is less a spontaneous expression of id than an intentional construction of a persona who unifies the many strands of Garbus’ transcontinental influences and obsessions into one cohesive force.

“There is power in the facepaint, and in the performance, and of a warrior stance of sorts,” she opines. “I’m not using ‘tribal fashion’ in an ironic, disconnected and aloof way. I’m a freaking badass. And I wear face paint.” *

 

Can’t get enough of that tUnE-yArDs character? Look for extended interview highlights with Merrill Garbus online at sfbg.com

 

MERRILL GARBUS OF TUNE-YARDS WITH BUSTER KEATON SHORTS

Mon/23, 8pm, $20–<\d>$25

Castro Theatre

429 Castro, SF

(415) 621-6120

www.sffs.org

 

ST. VINCENT/TUNE-YARDS

With Kapowski Tue/24, 7:30pm, $29.50

Fox Theater

1807 Telegraph, Oakl. (510) 548-3010 www.thefoxoakland.com

Talking with Etgar Keret (supposedly)

0

You can’t imagine the writerly crisis I experienced typing up the questions for my Etgar Keret interview. What responses could I possibly elicit from Israel’s most prominent fabulist that would rival the odd, sparkling stories of his latest, Suddenly, a Knock on the Door (FSG Originals, 208pp, $14)? Better just to publish one of his pieces, perhaps the titular account of a man forced at gunpoint to overcome writer’s block or the story of the guy who falls (via a buried gumball machine) into a world populated by characters from the fibs he’s told over the year.

But running through the — dare I say — whimsy of his work, there is a metallic vein of reality about life in the Middle East. Far be it for me to deprive Guardian readers of the chance to hear original thought from Keret. And so I wrote, and he wrote back, and I wrote again, and he wrote back again, and so it went until we had fashioned a call-and-response that just nearly did justice to his books. He’ll be in town, in conversation with Michael Chabon at the Jewish Community Center on Mon/23. That’ll be a fun thing to hear, also.

>>Ira Glass reads the titular story from Suddenly, a Knock on the Door. For more information on the book’s star-studded audio release featuring Willem Dafoe, Ben Marcus, Gary Shteyngart, Michael Chabon, and others, click here

SFBG: Hi Etgar. We’re conducting this interview via email, can you please tell me how my readers and I know it’s really you answering the questions?

EK: Well, to be honest, it isn’t really me answering this. It is the same guy who writes my stories. He is really good and hardworking and starting June 1 he’ll start walking the dog and playing with the kid too.

SFBG: Speaking of language boundaries. Do you ever chat with the folks who translate your work before they start? What advice do you give them?

EK: I always try to have a dialogue with my translators. Some of them are happy with it, others openly admit that they prefer translating dead authors who are not trying to befriend them or send them 15 consecutive emails about a story’s title. The bottom line is that translator is the boss but I’m very happy to help if they are willing to let me. 

SFBG: How do Israeli and United States audiences react to the work? Can you sense a national difference in its reception?

EK: There is something very intimate with a Israeli audience, the most common Israeli question I get is if a certain story is about a guy that served in the army with them. It is fun to be close to your readers but it is also very rewarding to have a dialogue with readers who come to my stories tabula rasa and who don’t personally know your mom.

SFBG: You went through a spate of writer’s block before writing Suddenly, a Knock on the Door that you once attributed to the change in lifestyle you underwent when you became a family man. How did that writer’s block feel?

EK: Most of the time I didn’t feel it. But there were those moments when I thought I had a story to write but when I sat down in front of the computer I found out I didn’t, which felt very much like a phantom pain.

SFBG: How did you pull out of it?

EK: I’m not sure. After a very long time thinking that I have a story to tell and then discovering I don’t know how to tell it, I sat down next to a computer and a story did come out.

SFBG: Have you gone through spates since in which you weren’t inspired?

EK: I hardly wrote any fiction in the past 18 months. But know, after I’ve overcame a block, it feels slightly less fatal. (But it is still very scary.)

SFBG: Do we get the full experience of your stories when we read them in English?

EK: They read very differently in any language which isn’t Hebrew. The thing I like the most about Hebrew colloquial speech is that it allows you to switch between registers mid-sentence. A typical Hebrew slang sentence would be reconstructed both from ancient biblical words and from Russian, English, Arabic, or simply made-up ones. There is something about this tension between the ancient and the traditional on the one hand and the chaotic and the contemporary on the other that creates an amazing and explosive energy in almost any random sentence. Many times my stories intentionally and unintentionally tap into that energy and this is one thing that inherently doesn’t pass translation. I couldn’t wish myself for better translators to English but there are times in which the only thing that we can all do after looking together at some Hebrew sentences is to start crying or to bang our head into a wall.    

SFBG: Tell us about your writing routine. Has it changed over time?

EK: For me, the term “writing routine” sounds like an oxymoron. It is a bit like saying “having-a-once-in-a-lifetime-insight-which-makes-you-want-to burst-into-tears routine.” There has never been anything routine-like about writing for me. I sit down and start writing only when I have a story in mind. In my 20s this could have happened three times a week, these days it happens much less often but when it does, it feels much more like getting an unexpected present than like something I actually initate.

Etgar Keret in conversation with Michael Chabon

Mon/23 7pm-8:30pm, $17-$25

Jewish Community Center

3200 California, SF

(415) 292-1200

www.jccsf.org

Live Shots: Melvins at Great American Music Hall, 04/12/2012

0

Though the lightning storm delayed my +1 who was coming in from California’s stoney north coast, we arrived at the Great American Music Hall just in time to see the sludgy gods take the stage. Charging through every era of their deep and never-sucking catalog, Buzz and Co. were breaking necks from front to back. They closed out with Coady Willis and Dale Crover trading 8’s, then 4’s, then 2’s, before standing on their stools and striking a pose like the gladiators they are (filling in for Unsane’s Vinnie Signorelli, who was hospitalized). (Matthew Reamer)

For more on the Melvins go to Emily Savage’s interview with King Buzzo.

Mirkarimi claims Lee didn’t care what really happened

129

UPDATED BELOW Did Mayor Ed Lee ask Ross Mirkarimi what really happened in the conflict with his wife before removing him as sheriff? That question is not only important to understanding Lee and whether he was interested in the truth, but it could also be central to next week’s court hearing on whether Mirkarimi was denied due process before being suspended without pay.

In an interview published today in the New York Times, and in statements made today to the Guardian, Mirkarimi maintains that he sought to tell Lee the full story but that the mayor wasn’t interested. “He was clear that he was not interested in events or details, which were represented by me, even when I encouraged him,” Mirkarimi told The Bay Citizen, whose content the Times runs. “It was more than one occasion I offered to tell him my side of the story. If I had, it could have dramatically changed the mayor’s understanding of the situation.”

Yet the affidavit by Lee that was submitted to the court this week – which is written under penalty of perjury – paints a very different picture: one of the two men sitting in uncomfortable silence rather than Mirkarimi seizing the chance to shape Lee’s understanding of the situation.

“I asked Sheriff Mirkarimi to meet with me, because I felt that I needed to hear from him and consider what he had to say,” Lee wrote of the March 19 meeting where he gave Mirkarimi 24 hours to resign or be suspended, noting that he had reviewed the court records and “it appeared to me that he had engaged in official misconduct.”

“I explained to Sheriff Mirkarimi that I wanted to give him an opportunity to talk to me about this issue. It was a free flowing conversation with no time constraints. Sheriff Mirkarimi told me that he has not yet told his side of the story. I said, Okay, and waited for him to tell me his side of the story. He did not. Instead, after pausing, he asked me whether the suspension was based on his conduct as Sheriff. I responded that it was based on his conduct as a public official. I paused again and waited for Sheriff Mirkarimi to give me whatever information he thought important. He did not. Instead, Sheriff Mirkarimi asked me whether the suspension would be with or without pay. I told him it would be without pay. After giving him another chance to ask questions or give more information, I told Mr. Mirkarimi to consider my instruction to resign over the next 24 hours,” Lee wrote.

In an exchange of text messages with the Guardian, Mirkarimi maintains that Lee wasn’t interested in hearing from him or his wife, Eliana Lopez, what happened during the New Year’s Eve altercation or in its aftermath.

“On more than one occasion I offered details to Lee. He was either mute or changed the subject. Think about it – why else would they have DHR Miki Callahan [the city’s deputy human resources director] try to depose me after I was suspended without pay – they shoot first, then realize they better ask questions,” Mirkarimi wrote.

We asked why he didn’t use the opportunity of his meeting with Lee to tell his story.

“As I said, I did try. More than once. He wasn’t interested. In fact I told him how painful it’s been to not have contact [with Lopez, whom the court has barred him from contacting] since January 13, and encouraged him to get an independent account from my wife, Eliana; offered her phone number. Lee didn’t take it,” Mirkarimi said.

Paula Canny, Lopez’s attorney, has also said that Lee never tried to reach her and didn’t seem interested in what really happened. But the city’s official misconduct complaint makes a number of unsubstantiated allegations about that incident and what happened since that Mirkarimi and Lopez deny.

For example, the complaint claims that Mirkarimi “or his agents” asked Ivory Madison, the neighbor who helped Lopez make a videotape of her showing a bruise on her arm inflicted by Mirkarimi, to “destroy evidence,” a charge her husband, Abraham Mertens, made in a Chronicle op-ed. But in her own subsequent op-ed, Lopez says that wasn’t true and that Mirkarimi wasn’t even aware of the existence of the tape until after Madison had called the police and told them about it.

In the Times article, Mirkarimi also disputed another key allegation from the formal charges against him: “Sheriff Mirkarimi misused his office, and the status and authority it carries, for personal advantage when he stated to Ms. Lopez that he could win custody of their child because he was very powerful.”

That allegation also came from Madison, who hasn’t responded to calls from the Guardian, the Times, or other media outlets. But Mirkarimi told the Times that what he really told his wife was that California has “powerful” child custody laws that would make it difficult for her to take their son back to Venezuela if they divorced.

“I never said, ever, that I’m a powerful person,” he said. “It’s not even my style. I was quoting in the context of what had been a very familiar and painful reminder that, six months earlier, Eliana had been out of the country with Theo for two and a half months. I was referencing family law.”

Other news broken in the Times story was Mirkarimi disputing that he called the case a “private matter, a family matter,” saying that statement that so outraged domestic violence groups was “distorted by the press.” The article also quotes journalist Phil Bronstein minimizing the phone conversation he had with Madison before she decided to report the Mirkarimi-Lopez incident to the police, saying he only helped Madison contact “three people who Ross was close to” for reasons that weren’t clear. Bronstein, who hasn’t returned our calls on the issue [SEE UPDATE BELOW], was on the witness list for Mirkarimi’s domestic violence trial before Mirkarimi pled guilty to the lesser charge of false imprisonment.

The City Attorney’s Office isn’t commenting on the case, and when we asked the mayor’s Press Secretary Christine Falvey why Lee didn’t seek an account of what happened from Lopez or Mirkarimi, she told us simply, “The Mayor met with Ross Mirkarimi twice to discuss this.”

In the city’s response to Mirkarimi’s lawsuit seeking reinstatement of his pay and position until the official conduct hearings are resolved, which will be heard in Superior Court on April 20, they claim, “The Mayor met personally with Petitioner to discuss his intentions and has repeatedly invited Petitioner to tell his side of the story, an invitation Petitioner has repeatedly declined. But even more fundamentally, the due process claim fails as a matter of law. The constitutional right to due process is triggered only when the government works a deprivation of a legally recognized liberty or property interest.”

The city says caselaw is clear that elected officials can’t claim their office belongs to them. “A public office is always a public trust,” the city argues. But Mirkarimi’s attorneys say all employees have a clear property interest in their salaries, and they say it was illegal, coercive, and unfair to deprive Mirkarimi of his while he goes through the months-long official misconduct process. Police officers are almost always paid during their suspensions.

UPDATE 4/16: The message that I left for Bronstein seeking to speak with him about his conversation with Madison was nearly two weeks ago, and he called to take issue with my statement that he didn’t call back and with my characterization that he “minimized” his conversation with Madison in the New York Times article, although he did characterize their conversation as brief and fairly insignificant.

“Ivory Madison called me to say there were three people that Ross trusts and Eliana might want to get ahold of them, do you have their contact information, and I said I could probably get it,” Bronstein told us, noting that he never contacted any of them on her behalf. Sources tell us the three people were Aaron Peskin, Art Agnos, and Michael Hennessey. “No one was contacted, no information was passed, that was the extent of the conversation.”

Bronstein left those comments in a voicemail. I’m still waiting to talk to him about whether the conversation included talk of the incident and whether police should be involved, and I’ll update this post when I hear back.

Louis Dunn: UC-Davis: Where real education begins

0

Madeline Perez, our ace correspondent who reported the UC-Davis pepper spraying story from her tent on campus,  flashed the word that the long awaited and much delayed investigation report would be released Wednesday (4/11/2012).

The Louis Dunn cartoon, featured on this blog, summed up eloquently the pepper spraying incident then and the report now.  The cop, in full riot  gear, holding the spray can at the ready, with the caption: “UC-Davis, Where real education begins.”  Some educational points:

The Chronicle front page head: “Pepper spraying is called improper.” 

Subhead: “UC-Davis police conduct faulted in panel’s report.” 

The lead on the excellent  Nanette Asimov story: “The infamous pepper spraying of UC Davis student protestors by University of California police in November ‘should and could have been prevented,’ says a new report that strongly criticized campus and police handling of the incident.”

Second paragraph: “The decision to use the chemical irritant was neither justified by events on campus nor authorized by policy, says the long-awaited report, released Wednesday.”

Significantly, the story pointed out that the investigators were unable to interview the key pepper sprayer, Lt. John Pike, who was seen on videos shown around the world spraying orange pepper spray on students for about 15 seconds.  Campus police had sued to keep the report secret and court hearings delayed the release of the report for more than  a month. The university agreed to remove the names of most  policers from the report. No UC police officers participated at the hearing.

Chancellor Linda Katchi, who was strongly criticized in the report, has apologized for the pepper spraying.  But she was not present at the hearing and  provided only  a written statement that she and campus leaders would study the report”s recommendations “and develop a detailed response and action plan.”

Sophia Kamran, a philosophy major who was pepper sprayed, was quoted by the Chronicle as saying, “She’s not even here today! What’s going on?”

Asimov’s story ended with an appropriate quote from Alan Brownstein, a UC-Davis law professor on the task force. “Some have asked us if we thought it would be better to use pepper spray than batons. We want to develop a community where the police don’t use either.”

Everyone applauded, the story noted.  B3

 

 

 

 

Found in translation

4

Ludwig Wittgenstein once said “the limits of my language mean the limits of my world.” So for the sake of expanded horizons, let’s say thank you to professional translators, the diligent souls who dedicate their lives to the subtleties of language. When interpreters dissolve linguistic barriers, we are able to peer into the worlds articulated in literature of distant lands to understand them as our own.

But how do they do it? Surrealist Japanese author Haruki Murakami’s translators Jay Rubin and J. Philip Gabriel have taken apart prose, sentence by sentence. Without their efforts, Murakami’s mystic, cryptic worlds could not have become available to audiences in the United States and elsewhere. Rubin and Gabriel spoke with the Guardian in a phone interview preceding their Center for the Art of Translation presentation on the art of translation last week at 111 Minna.

San Francisco Bay Guardian: How were you introduced to Haruki Murakami?

Jay Rubin: By an American publisher in 1989. I was absolutely knocked out by him and stopped reading everyone else for a good 10 years after that. I was just so swept up in Murakami’s world.

J. Philip Gabriel: I was living in Japan and a friend recommended his work. I became interested in translating his short stories, and one of the translations was published in The New Yorker a few years later. I became a regular translator from then on.

SFBG: How do you align yourself with the author so that even the subtlest aspects of their work are communicated?

JR: Maybe I’m not doing that. You never know, do you? I’m always saying that people shouldn’t read translated literature, they should learn the language themselves. One way you can build up trust is by reading the translation and feeling to see if it moves you in the same recognizable ways as reading in your native language. There’s never a guarantee that you’re getting the unalloyed original. But if a piece of literature is able to make you afraid or delighted in some way, it’s fairly likely that there’s something in the original that does that too.

JPG: I work with writers who are fortunately still alive. I have the option of asking a question for clarification. Murakami’s English is really good, and he is a translator himself, so he understands the challenges at hand and is happy to give suggestions.

SFBG: Humor often becomes diluted between languages, especially since a lot of humor is word-based. How do you retain the original comic flow?

JR: When you have languages as different as Japanese and English, it’s virtually impossible to preserve a pun. You just simply have to make up wordplay that seems to work in a similar way. And since Murakami has obviously been influenced by Western literature, his humor is not too hard to convey.

JPG: Japanese culture has a huge appreciation for humor, but translated literature often ends up being serious or dark. You do the best you possibly can when translating humor, but it’s difficult. In Kafka on the Shore, there’s a set expression in Japanese, which means, “I’m so busy I would like a cat to lend a hand.” This is especially funny because the story is about a guy who has the ability to talk to cats. I came up with a pun by using the word “paws” instead of “pause,” and saying, “I would like you to take a paws in your busy schedule.”

SFBG: One challenge in translating East Asian languages to English is that there are certain expressions that could be said more concisely in the former than in the latter. How do you overcome linguistic differences without compromising style?

JR: Brevity is a problem because you’re so tempted to explain things the reader might miss. You always have to engage in a judgment to keep the verbiage as tight as it is in the original, and try not to overwhelm your reader with explanatory prose. After all, you’re not trying to explain the original, but recreate it so that it works in all the same gut levels.

JPG: I try to preserve the basic rhythm of the prose, alternating between long and short sentences. But the sentence structure itself is so different — verbs are at the end of a sentence in Japanese — and when you move the verb to the front, it’s like giving away the punch line.

SFBG: How was your experience translating 1Q84 together?

JR: 1Q84 was so damn long. Sheer stamina was what I needed, above all. I was so grateful when Phil decided to translate the last volume. The editor spent months going through in extreme detail to give it consistency, and there wasn’t a huge gap in style because we both kept close to the original.

JPG: Any two translators, like any two writers, are going to have a different style, and it’s hard to go beyond that. But the editor did a great job to have the final translation read smoothly.

SFBG: Did you face any challenges when conveying cultural differences in a text?

JR: Murakami actually references a lot of American and European culture, so he’s very approachable for someone with a fairly normal American background.

JPG: Stoicism in Japanese culture causes certain climaxes to be very low-key, and I had to underscore scenes for an American audience. We go through the trouble of translating works because we want to learn about the culture, but it turns out that culture is the hardest thing to translate.

Different galaxies of hip-hop at Paid Dues

0

Under the sweltering San Bernardino sun this past Saturday, more than 40 artists came together to pay homage to hip-hop at the Paid Dues Festival.

Odd Future grilled raw meat on stage, intermittently lighting the bloody slab with a cucumber–sized blunt. Tyler the Creator sputtered out dribbles of water in between his lines — casually yet methodically, right as the camera appeared — making one wonder if there really is a synchronized reasoning behind the madness. Moments later, he leaped off the stage and sailed deep in to the moshing crowd, which accepted the Goblin with elation.  


On the other side of the festival — which felt like a completely different galaxy — Brother Ali captured the roots of spoken word hip-hop, performing a refreshingly simple set on an empty stage with just his DJ spinning behind him. Contrasting this profoundly tranquil execution was the whirlwind energy of Three 6 Mafia, which jumped from one side of the stage to the other, arms swaggering, voice booming, and collars popping.

Hip-hop has gone through many cycles since its origins as a social and political outlet for underrepresented minorities, and the sheer diversity of the performers at Paid Dues Festival showed just how broad the genre has become.

During a Guardian interview, Los Rakas member Raka Dun explained that he views the creation of subgenres within hip-hop as a “progressive evolution,” comparing Drake’s “R&B hip-hop” to Odd Future’s “punk rap” as merely a stylistic difference. Raka Rich, the second member of the Panamanian duo, added “that hip-hop has always been about expressing yourself, so you can’t tell someone that their music is or isn’t hip-hop.” 

DJ Paul of Three 6 Mafia agreed that the growth of hip-hop is a positive development, yet admitted that the genre has lost some of its vigor. He holds politics responsible, stating that “hip-hop used to be harder back in the day, but the government wanted the world to be in peace, so they made the music be more in peace.”

Thes One of People Under the Stairs says corporations are at fault for taking critical substance out of mainstream hip-hop, as “music is a lot more marketable when you don’t have to cosign a message.” Double K (also of People Under the Stairs) feels that young people do not have the same insightful experience listening to music anymore. “In school, we were taught the same lesson on Martin Luther King Jr. year after year, but it was from hip-hop that we learned about people like Marcus Garvey and H. Rap Brown,” he added.

The role of women — specifically the rise of female MCs — is significantly influential in how the current road of hip-hop is being paved. Nicki Minaj, although nowhere in the Nos Event Center’s vicinity, was a looming presence throughout the night. The general consensus over the self-proclaimed Black Barbie was that she has undeniable talent, but there were contrasting opinions on how extensively her sex appeal influenced her success.

The members of Hieroglyphics said they feel the issue of sex in music should not be marginalized to a gender issue, as “the industry as a whole is exploiting sex to promote music.” The crew contemplated over whether you have to be as visually appealing as Minaj for people to appreciate your talents — finding it ironic that a lot of artists are actually unwilling to give her credit for her lyricism because of her overt sexuality.

There was a collective nostalgia over non-pink-wigged women rappers the artists grew up listening to — such as Queen Latifah and Ice Cream Tee — who rapped wearing just a hoodie and baggy jeans.  As essential as it is to have prominent women that the female audience can identify with, artists questioned if current women MCs were truly communicating a positive message to young girls.

Luckyiam of Living Legends gave a final word of advice for all burgeoning artists bedroom producers, regardless of gender:

“When I lived in East Oakland, I thought there was a glass ceiling there. Now, with the Web, there’s no reason you can’t get your content out there. But don’t just be Tumblr famous. Go out to the streets or in the clubs, and pay your dues. And stop rapping over your vocals and wear some looser fitting jeans.”

Oh high!

1

caitlin@sfbg.com

HERBWISE Say “cannabis,” not “weed.” Couch discussion in the language of medicine, not intoxication. There are a lot of rules when it comes to talking about marijuana — and the country’s most beloved cannabis publication breaks most of them.

That’s because at High Times magazine, the general take is that herb should be legal across the board, not just for consumption by the verifiably sick. “Until it’s legal for all adults, medical marijuana patients are going to be regarded as second class citizens,” said Elise McDonough, who besides having worked as a graphic designer with the magazine for 10 years is the author of the brand-new-for-420 Official High Times Cannabis Cookbook (Chronicle Books, 160pp, $18.95).

>>Join the Guardian and a stellar lineup this Friday 4/20 at El Rio for the Stoned Soul Picnic party!

In her Guardian phone interview, McDonough pointed out that eating may be the first way human beings consumed cannabis. She’s certainly done her part to give us options beyond the basic brownie — the book includes recipes for “psychedelic” spanikopita, tamales, cocktails, holiday feasts, and a host of canna-bases, from dosed butter to olive oil. McDonough wrote many, but also gets help from other High Times luminaries, like the dearly departed Chef Ra, who contributed to the rag’s recipe column for 15 years.

Interest, ahem, sparked? The following recipes from the book will make a stellar foundation for next week’s holiday festivities, medicinal or not. 

 

SIMPLE CANNABUTTER

Makes 1/2 cup

1/2 cup (1 stick) salted butter*

1/4 ounce cannabis buds, finely ground

*To make cannamargarine, simply substitute margarine for butter in this recipe

1. Melt the butter on low heat in a saucepan. Add the ground buds, and simmer on low heat for 45 minutes, stirring frequently.

2. Strain the butter into a glass dish with a tight-fitting lid. Push the back of a spoon against the plant matter and smash it against the strainer to squeeze out every drop of butter available. When you’re done, discard the plant matter.

3. Use your cannabutter immediately, or refrigerate or freeze until it is time to use. You can easily scale this recipe up for larger batches of cannabutter. One pound of butter (4 sticks) can absorb 1 ounce of cannabis, but you may want to simmer for up to 60 minutes.

Drizzle this cannabutter over freshly cooked pasta or popcorn for instant satisfaction. Reserve large batches in the fridge or freezer for use in recipes.

 

GREEN GANJA GARLIC SMASHED POTATOES

Stones 4

1 1/2 pounds potatoes, unpeeled and cut into chunks (Yukon Gold potatoes are great)

1 pound parsnips, peeled and cut into chunks

1 head garlic, cloves separated and peeled

1 1/2 tablespoons salt, plus more as needed

4 tablespoons Simple Cannabutter

Black pepper

1. Put the potatoes, parsnips, and garlic in a large pot and cover them with water. Bring to a boil over high heat and then add the salt. Reduce the heat to medium-low and simmer for about 15 minutes. The potatoes, parsnips and garlic should be tender and easy to smash. Drain the vegetables and reserve 1/2 cup of the cooking water.

2. In a small saucepan over medium heat, melt the cannabutter.

3. Return the vegetables to the pot or a large serving bowl, and begin to smash them with a potato masher, slowly adding the melted cannabutter a little at a time. Use spoonfuls of the reserved cooking water to thin the mixture if the smashed veggies are too thick. Season with black pepper and more salt and serve.

 

Cherry bombs away: Write up your first time for a good cause

1

Today I wrote a story about my sexual initiation. I forwarded my story to my friends, we discussed, they wrote down theirs. Turns out one of my loved ones did the deed over half an ecstasy pill on Staten Island. Another’s first time was with a boyfriend so unmemorable that she couldn’t remember identifying characteristics. Apparently they had a hard time getting it in.  

Is there a moment in life that is as important, yet less talked-about than the dismissal of one’s virginity? Hardly. So few things equaled the cheap thrill I got from handing over my own story to local author turned filmmaker Laura Goode to publish on her film’s new fundraising website.

“Society just doesn’t talk about the importance of that first time,” Goode says during her Guardian interview, artfully angling her words around a can of Trader Joe’s beer while sitting in her improbably awesome, rundown-cute Mission District carriage-house-cum-studio. She’s an author, recently having penned last year’s Sister Mischief, a kickass young adult novel about a bunch of high school girls from a elite Christian Minneapolis suburb who bust rhymes in a hip-hop collective, start a queer-straight alliance at their straight-laced campus, and come out of the closet with flair.

Goode’s work tends to have a political plotline with a sex-positive subtext, which explains the next paragraph well enough. 

She and co-editor Neelanjana Banerjee created Cherry Bomb as a companion to Farah Goes Bang, a movie that they’re working on with a crack production team. The script – written by Goode and co-writer Meera Menon — follows four young women who take to the road during the John Kerry 2004 presidential campaign, a magical moment (ahem) in United States history if ere there was one. The titular Farah is one of the four, and is hellbent on — as the title neatly references — getting laid for the first time. Cherry Bomb is, essentially, a reward for people who donate to Farah Goes Bang‘s Kickstarter page

And so, partly as a gift for those who donate to the cause of their movie-to-be, the women have created Cherry Bomb. The forum hopes to be a sex-positive secret space  – you can only view the seduction stories after donating to the movie or by speaking your piece yourself. The idea, Goode says, is for the site to be a safe zone to talk about that time in your life when you’re hovering on the brink of sexual activity. Why did you make the decision to become sexually active? How did it feel? What do you remember from that act?

“There aren’t a lot of orgasms, even for the dudes,” says Banerjee. “Which is to say, I think people are being really honest and real about the event. The great thing about this topic is that it swings from the nostalgic to the tragic, and everywhere in-between.”

There is just not enough real talk about sex and sexuality,” Banerjee continues. “There is so much posturing on all sides, so I thought a forum dedicated to diversity would be amazing: stories of girls who couldn’t wait to lose it next to stories of girls who wanted to lose it but didn’t really care that much, side-by-side with stories about guys who still think about the girl who took theirs when they were 15 or guys who waited until they were almost 30, etc.”

It’s worth joining in, and not just to support a film that sounds like it’s going to be an empowering storyline for young women. Writing out the story of how you lost your v-card (and then posting to a semi-public website) is a great way to reclaim your sexual narrative. Especially if you have a bone to pick with that dick who jumped you in dirty (no pun intended, no pun intended, no pun intended.)

For more info on Goode’s film and accompanying cherry-picking website, head to www.farahgoesbang.com

Dream Layers

0

arts@sfbg.com

MUSIC Unable to resist a siren song with dark underpinnings, hanging low with heartbreak then taking you higher? Let Chairlift co-founder Caroline Polachek love you down when it comes to “Take It Out on Me,” off her Brooklyn band’s second album, Something (Kanine/Sony).

Maybe it has to do with the choked-up soul with which Polachek wraps her hollowed-out vocals around the fat, round syllables of the chorus, “Forget forgiveness / Forget all the rules / Just please don’t do it here / Bring on the fire / Cause business is cruel.” Or the way that the track’s clear, bell-like synth tones shiver delicately in the background — icicles pelted by a thunder shower of arpeggios. But the overall effect sounds like a consummate sad girl’s hit, à la Bonnie Tyler’s “Total Eclipse of the Heart.”

“That’s one of my favorite songs on the record,” Polachek, 26, says sincerely as her band’s vehicle makes its way to Montreal for a show. “I don’t want to get all emo on you in an interview, but it was about a frightening series of events in a dream. My dream family was being threatened, and I offered up myself in exchange for them and I was killed. I witnessed my own funeral at the end, too…”

She abruptly stops. “Wow, we just saw an eagle, a big white raptor!” A moment later she’s back. “There’s all kinds of vultures circling above us. Well, if our vehicle goes missing, you’ll know where we were!”

Edging away from that particular blackened fantasy, Polachek — part visionary with a watchful, Patti Smith-like eye for opportune inspiration and part down-to-earth every-girl happy to start an interview late so she can eat a sandwich — quickly picks up her thread once more: the blazing hot August 2010 day she and bandmate Patrick Wimberly, 27, worked on the song.

“The idea for the vocal movement came into my head, and I got excited about how it was sounding together, but all I could think about this was this horrible dream I had. The mood of the song was so sexy and fun and grooving, but this mood was so dry and awful and dark — somehow the two things happening at once was what that was. I think that’s one of the neat things about this record — there are layers like that, and darker songs have elements of lightness.”

The feeling of willingly bearing adulthood’s burdens — Chairlift co-founder Aaron Pfenning is long gone — combined with Polachek’s tendency to gravitate to the uncanny has rarely sounded so sumptuously effervescent than with the compulsively listenable, synth-dominated, and undeniably ’80s-hued Something.

If you’re itching for pop hooks, discover “Met Before” and “Amanaemonesia,” but if you’re yearning for aural thrills and spills, you’ll find those, too — in the spiraling Slinky keyboard runs of opener “Sidewalk Safari” and the tinkling, buzzing textures of “Frigid Spring.” The feeling of hermetic sonic richness, combined with Polachek’s undulating jazz- and R&B pop-touched vocals, stands alongside nothing less than Kate Bush’s The Dreaming (EMI, 1982) in its epic scope, tapestry of fictions, and blending of pop and prog.

“I was thinking a lot about textures when I was working on this record,” explains Polachek. “I kind of have a mental genre in my own head that kind of sounds like swimming pool music — with a chorus on it that makes everything sound not culturally cool but literally refreshing. Things that sound frosty and crystalline.

“And I got into a mental genre of sounds that were acidic and driving, like a dragon opening its mouth and hissing,” she continues. “I was gathering playlists, and some of those ideas found their way into the record. We’re living in a really playlist-y age, digging through the crates of history. I’m really into new age bath-time music.”

Unfortunately while the pair was busy drawing Something‘s warm bath, Polachek’s art-making has fallen by the wayside, apart from Chairlift videos. Still, her creative energies have obviously found a consuming outlet in her band. “It’s about all the desire,” she says, “to play like little kids play.” 

CHAIRLIFT

With Nite Jewel, Seventeen Evergreen

Tues/10, 8pm, $15

Independent

628 Divisadero, SF.

(415) 771-1422

www.theindependentsf.com