Interview

Free for all — and freewheelin’

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Hardly Strictly Bluegrass has never been about full-tilt traditionalism and musical purity, though real-deal legends like Ralph Stanley and Earl Scruggs, plus true believers such as the Del McCoury Band and the Roan Mountain Hilltoppers, have always graced its stages. Here are a few new, yet somehow familiar, and irreverent faces to the Golden Gate Park bash. (Kimberly Chun)

BONNIE "PRINCE" BILLY


Don’t get Will Oldham started on these whippersnapper actors today. When the subject of promising thespians came up during our recent interview, I suggested Shia LaBeouf. "I heard going into [Indiana Jones and the Kingdom of the Crystal Skull] that he was good, but it was awful and he was awful," said the Matewan child star, who saw it in Corte Madera during his recent Headlands Center for the Arts residency. "It was awful in the same way the first new Star Wars was awful — it seemed like it was designed to create the video games that were accompanying it."

Sun/5, 1 p.m., Rooster Stage

LOS CENZONTLES WITH SANTIAGO JIMENEZ


The Chicano band’s moniker may translate as the Mockingbirds, but there’s no mocking these activists’ grasp of Mexican roots sounds, including Tejano and Son Jarocho. Traditional folk instruments like the uke-like jarana will mingle with Jimenez’s Tex-Mex squeezebox stylings.

Sat/4, 11 a.m., Arrow Stage

HEAVY TRASH


Tube amps burst, echo machines eke out, and rockabilly kittens swoon when groovy-hate-fuck cats Jon Spencer and Matt Verta-Ray bend those badass notes.

Sun/5, 5:45 p.m., Star Stage

THE INFAMOUS STRINGDUSTERS


Three prizes at last year’s International Bluegrass Music Association Awards went to the combo.

Sun/5, 2:10 p.m., Arrow Stage

IRON AND WINE


A long-tressed Sam Beam and his Wine-ers broke onto Letterman with The Shepherd’s Dog (Sub Pop, 2007). So what’s next?

Sun/5, 3:25 p.m., Rooster Stage.

MARK OLSON AND GARY LOURIS


Two forces in the criminally unrecognized Jayhawks reunite — long after vocalist Mark Olson moved to the Joshua Tree area to be with now-ex Victoria Williams. Coming on the heels of Louris’ Vagabonds (Rykodisc) is their new Chris Robinson–produced collabo, Ready for the Flood (Hacktone).

Sat/4, 1:30 p.m., Rooster Stage

ROBERT PLANT AND ALISON KRAUSS


The warmth and intimacy of this simpatico musical coupling was enough to ward off the chill at this summer’s foggy show at the Greek Theatre as the lion-maned duo tamed the Zep-happy mob with hushed versions of "Black Dog" and "The Battle of Evermore."

Fri/3, 5:15 p.m., Banjo Stage

WACO BROTHERS


OK, these yobs are far from unknown: Jon Langford and Steve Goulding can be sighted among the many Mekons, and Alan Doughty survived Jesus Jones. Good-timers like "Drinkin’ Cheatin’ Death" show why this band drives its hometown Chicago crowds nutty.

Sat/4, 12:05 p.m., Star Stage

PEGI YOUNG


Neil Young spotters will hope he’ll sit in, but give the woman who masterminded the Bridge Benefit her due. Pegi’s self-titled debut (Warner Bros., 2007) found her stirring from the support role, wrapping sugar-dusted, languorous tones around slow-dances à la "When the Wildlife Betrays Me."

Sun/5, 4:30 p.m., Arrow Stage

Hardly Strictly Bluegrass 8 runs from Fri/3-Sun/5, in Speedway Meadow, Golden Gate Park, SF. Free. www.strictlybluegrass.com.

Manifestos and sodas

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› a&eletters@sfbg.com

INTERVIEW Joshua Clover is probably just as well known as alter ego jane dark. It’s the pseudonym under which s/he writes sugarhigh! (janedark.com), which makes equal space for dialectical thinking, pop and country music, and film. I’ve spent time talking with friends about his criticism and his two books of poetry, 2006’s The Totality for Kids (UC Press, 76 pages, $16.95) and 1997’s Madonna anno domini (Louisiana State University Press). On the page and in person, he radiates the kind of information-density that encompasses everything from Gossip Girl to Karl Marx, Taylor Swift to John Ashbery.

Clover grew up in Berkeley, went to school there and graduated, then went to Iowa and graduated, then spent a period as an "indigent, unskilled worker" before the first, extremely limited-run issue of sugarhigh! landed him a job writing for Village Voice and, soon after, Spin. Which he did for a couple of years, until he didn’t like it anymore and began teaching at UC Davis. When I approached him about this Q&A, he — perhaps slightly jokingly — agreed on the condition that we talk about the economy.

SFBG You’ve written about the value-density of art — as the economy has gotten less stable, works from a Damien Hirst or Francis Bacon go for record prices. This makes me think of the value-density of poetry relative to visual art, and what Wittgenstein wrote about poetry not being involved in the "language-game of giving information" that’s connected to the functioning of capitalism. Is poetry’s struggle for a popular audience connected with the fact that it explicitly undermines the structure of capitalism?

JOSHUA CLOVER That’s a very noble way to frame poetry that’s politically righteous — like it can’t be swallowed by the maw of capitalism and spat out. But one of the best-selling books of poetry in the 20th century, Howl by Allen Ginsberg, is an explicitly brutal critique of different kinds of domination, including economic domination.

The sad fact about poetry in the US [today] is not that political poetry cannot be swallowed, but that it can be swallowed quite easily. There are always a couple pages in Poetry magazine set aside for left liberal carping. Poetry is having an event for the 100th anniversary of Filippo Marinetti’s Futurist Manifesto, asking various writers to write manifestos to be read at New York’s Museum of Modern Art. The obvious irony is that any manifesto worth its salt would be a manifesto against Poetry, the kind of poetry they publish there, their $150 million [donated by Ruth Lilly], and their alliance with MOMA. It’s a lovely museum, but it lives because manifestos died.

We haven’t had many famous manifestos since the great ironic manifesto that is Frank O’Hara’s "Personism" [1959]. The period of famous, powerful, persuasive, well-known manifestos — from 1905 to 1925 or 1930 — was an age of desperate terror and unhappiness at the historical victory of the bourgeoisie. That victory is complete now.

Political poetry is popular in other countries not because America is apathetic or has forgotten how to read poetry, but because those are countries where political closure hasn’t happened, where social relations can change. From the right and the left, there are poets who’ve filled coliseums in Poland in the ’80s or in South America now. If people want politically powerful poetry that’s popular, they have to produce situations of political openness — then poetry that was true all along will have its opportunity to be true on a mass scale.

SFBG Here’s one question I’ve long wanted to ask you: is there any chance of convincing you to write a 33 1/3 book on Cupid & Psyche ’85 (Warner Bros., 1985)?

JC I would think about it. Scritti Politti is truly great and I had the opportunity to spend some time on the phone with Green Gartside. We talked about what you’d expect — Derrida and Hegel. Although the one time I met Keanu Reeves we talked about Schopenhauer, so you’d be surprised who’s smart. If I were to do one of those books, it wouldn’t be about Scritti Politti —

SFBG — [Neneh Cherry’s] Raw Like Sushi (Virgin, 1989)?

JC Wow, that’d be great. Since [Prince’s] Sign o’ the Times (Warner Bros., 1987) has already been done by Michelangelo Matos, I’d try to do Girly Sound, the non-record of demos that Liz Phair made while she was at Oberlin. It circulated as a tape in several different versions. It has some of the songs that later appeared on her first record, Exile in Guyville (Matador, 1993), and other songs that didn’t. It can be reassembled. I’m interested in albums that don’t quite exist, so another possibility would be … is the Guns N’ Roses album called Chinese Arithmetic?

SFBG It’s Chinese Democracy.

JC Chinese Democracy. "Chinese Arithmetic" is an Eric B. and Rakim song. The Guns N’ Roses CD which has been in the offing for 15 years — I think that would be a fun one to write a book about as well.

LIT CRAWL 2008: THE BEST OF THE BELIEVER

with Joshua Clover, Jessica Fisher, Troy Jollimore, and Melinda Mellis

Sat/11, 8:30–9:30 p.m.

Latin American Club

3286 22nd St., SF

www.litquake.org

Getting back to Silver Jews’ David Berman: on intelli design, presidential spawn, honky-tonk poses

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Here’s more from a recent interview with David Berman of the Silver Jews (for more, go to Sonic Reducer):

SFBG: Thanks for waiting! I forgot my tape recorder at home so I’m going to have to type and take notes as we talk.

David Berman: OK, I’ll go slow. The trade-off is I’ll give you monosyllabic answers. Silence and then two or three syllables.

How to switch on clean energy: Yes on H

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Find out how to donate or participate in the campaign against global warming and kick PG&E out of City Hall

By Bruce B. Brugmann

PG&E is so afraid of clean energy, renewables, and public power that it is tossing millions of dollars into the campaign against the Clean Energy Initiative (H). Once again, it is demonstrating in 96 point Tempo bold how it has so corrupted the local political process that it has federally mandated public power out of the city for almost l00 years.

As I keep saying, When PG&E spits, City Hall swims.

Note the PG&E poster politicians and poster local groups that are swimming away on behalf of PG&E,
almost always laden down with PG&E money and PG&E favors or threats. We have and will continue to demonstrate how PG&E influence works in this election. It is most instructive. For example, it is instructive to note once again that the PG&E politicians and PG&E groups refuse to acknowledge the basic law and order fact: that San Francisco, because of the federal Raker Act allow the city to dam Hetch Hetchy Valley in Yosemite National Park, is the only city in the U.S. is mandated to have its own public power system. Sup. Carmen Chu, running from the Sunset, has been nicely briefed by PG&E, and is getting chunks of PG&E money, admitted in our endorsement interview that she never heard of the Raker Act. Others kind of knew about the act but weren’t going to let it interfere with riding the PG&E gravy train.

Meanwhile, below is a Yes on H letter telling you how to jump in and donate to or participate in the Yes on H and fight PG&E.

YesOnH.gif

San Francisco is one step away from becoming a world leader in the fight against global warming! And you can help get us there.

Proposition H (the San Francisco Clean Energy Act), on this November’s ballot requires a 100% clean energy supply for San Francisco. It will ensure that the City builds enough solar, wind, and conservation projects to reach this goal in just three decades.

With only 6 weeks left until the election, the investor-owned private utility PG&E is pouring millions into stopping Prop H, spreading misinformation and lies about its cost to ratepayers. Don’t let PG&E buy this election!

Clubs: MANQUAKE! pricks up Folsom eve

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Oh, how we love our very own famed gay bathhouse disco revivalist DJ Bus Station John and his decidedly hot man-centric cruisefest parties, thrown in the steamy-smoky spirit of the early-mid ’70s and slightly beyond. (Read my 2005 interview with him here.) So how delightful that the anniversary of MANQUAKE!, his “sordidly savory SF mix of trickin’ chicken, tourist meat, & sexy senior citizens” soiree would fall on Folsom Street Fair eve!

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Spirits of the disco: “Karl” and “Phillip” at MANQUAKE

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Spirit of the Piers: “Bruce” at MANQUAKE
All masks loving crafted by Bus Station John

Return to the tender coal mining days of gay yore at the Gangway this Saturday night, randy boys and men, and feast your eyes upon the fair bounty lining the Gangway’s man-mask-bedecked walls and X-traordinary vintage visuals curated by der Blaue Reiter — and your ears on the impeccable vinyl selection of Bus Station John featuring “’70s/’80s lost disco, funk, and r&b classics & rarities from the glory days of pre-digital dance music. Festive attire or clothing optional? YOU decide!” Plus: a mystery go-go boy! See your loins a-plenty there.

MANQUAKE! 1-Year Anniversary (Folsom Eve)
Sat/27, 10pm-2am, $5
The Gangway
841 Larkin between Geary and O’Farrell
(415) 776-6828

After the jump — a BONUS history flashback, sent from DJ BSJ, starring Ozzy!

Blunt “Force”

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Star Wars: The Force Unleashed

(Lucasarts; XBOX360, PS3, PS2, PSP, Wii, Nintendo DS)

GAMER Star Wars stories should start with yellow-lettered title crawls. This summer’s animated movie Star Wars: The Clone Wars thought it could do without, and it sucked. Star Wars: The Force Unleashed has a title crawl, which is good, because in addition to being a mega-hyped, third-person 3-D action game, it also contains some fascinating revelations about the history of the galaxy far, far away. The game is set between episodes III (Revenge of the Sith) and IV (A New Hope), and you play as Galen Marek, code name "Starkiller," who is Darth Vader’s secret Sith apprentice. Vader rescues Marek as an infant during the Great Jedi Purge; this affecting act of compassion concludes the game’s inspired intro level, which lets players control Vader as he lays waste to the Wookiee planet of Kashyyyk.

Starkiller soon grows into a powerful dark jedi. True to the title, the gameplay focuses on the numerous ways that the force can be unleashed to wreak destruction on anyone standing in his way. The game’s Havoc physics engine and Digital Molecular Matter animation system realize a world in which almost everything can bend, break, shatter, or be tossed across the room with the wave of a midichlorian-rich finger. Like any good jedi, Starkiller is a one-person army, and dispatching waves of enemies with lightsaber, lightning, and the power of "force grip" can be immensely entertaining.

When it’s firing on all cylinders, the game is a joy, but it is frequently marred by reprehensible design decisions. Targeting with force grip is infuriatingly finicky, and the boss fights tend to culminate in cheesy "press the correct button when it flashes on the screen" mechanics. Action set pieces, like wrangling a crashing Star Destroyer using the force, might have sounded great on paper, but they end up as exercises in frustration. In contrast to Half-Life 2 and Portal, which gave gamers intuitive tools to transform the game environment before letting their creativity run wild, The Force Unleashed relies on boring, familiar force puzzles.

While most video games shoehorn lackluster plots around top-quality gameplay, The Force Unleashed is the rare game that does the opposite. The story, by project lead Haden Blackman — see our interview with him on the Pixel Vision blog — is engrossing, with cleverly developed characters and real pathos, and Battlestar Galactica vet Sam Witwer brings Starkiller to life with bar-raising motion-capture chops. Unfortunately, playing The Force Unleashed will be an experience familiar to all modern Star Wars fans: one that involves taking the good with the bad.

Capitalizing on science

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› steve@sfbg.com

The new California Academy of Sciences, which opens to the public Sept. 27, combines creatively reimagined old standards such as the Morrison Planetarium and Steinhart Aquarium with a strong new focus on climate change and imminent threats to the planet’s biodiversity.

"That’s why I call it a natural future museum instead of a natural history museum," Greg Farrington, the academy’s executive director, told journalists on Sept. 18 at the start of a press tour of the new facility.

The facility was built with roughly equal amounts of public and private money. Yet when visitors show up for the opening weekend’s festivities, they’ll be told they have Pacific Gas and Electric Co. to thank for the museum’s opening, which includes free admission on the first day.

The central role that PG&E bought for $1.5 million has included lots of signage at the museum, prominent mention in academy press releases, subtle plugs to journalists by museum staffers, and a spot on the five-person panel of academy leaders that addressed the assembled media.

The private utility company’s high-profile opportunity to be associated with science, progress, and environmental concern comes as PG&E is spending many millions of dollars to defeat Proposition H, the Clean Energy Act, and after decades of regularly lobbying against higher environmental standards for utilities.

"I think it’s a perfect example of PG&E greenwashing its image and trying to associate itself with environmentally friendly policies," Aliza Wasserman of the activist group Green Guerillas Against Greenwashing told the Guardian. "PG&E is the very institution that can implement the technology we know we need to deal with this environmental crisis, and they haven’t been doing so."

Ironically, while regular PG&E mailers decry local government’s supposed untrustworthiness and warn against granting the city a "blank check" to issue revenue bonds to pursue public power projects, San Francisco taxpayers and government were the major sponsors of the museum’s rebirth.

In addition to $120 million in revenue from SF-voter-approved general obligation bonds (paid back by all city taxpayers, unlike revenue bonds, which are repaid through an identified revenue source), the Academy of Sciences got $30 million in state and federal grants and receives $4.8 million from the city’s General Fund each year.

"The hypocrisy," Wasserman said, "is striking."

FRAGILE PLANET


From the cutting-edge living roof through the steamy simulated rainforest and down to the rippling walls of the basement aquarium area, this is a truly stunning facility that has earned its many accolades. Yet PG&E’s involvement seems to undercut the academy’s new focus on climate change, which pervades many of the exhibits.

"Altered State: Climate Change in California" is an exhibit that takes up much of the museum’s main floor, including many eye-opening, interactive displays and poignantly featuring the bones of both an endangered blue whale and the extinct Tyrannosaurus rex to drive home the alarming call to action.

"In California, our climate, our way of life, and our economy will all be affected by climate change," Carol Tang, director of visitor interpretive programs, told journalists during the tour, adding, "The T. rex reminds us that mass extinctions have happened and we’re in a mass extinction right now."

Yet as she discussed the academy’s climate change research and advocacy role on the issue, she also noted the important involvement of Bay Area universities, Silicon Valley technology innovators, and PG&E, which contributed some clean technology gizmos to the exhibit.

Next, journalists were ushered into Morrison Planetarium for the debut of "Fragile Planet," an academy-produced show that lets viewers tour the cosmos and includes scary information about global warming and the need to aggressively address the problem by turning our expansive scientific inquiries inward toward saving the planet.

Afterward, journalists were offered a question-and-answer session with a panel of experts that included Farrington; the academy’s chief of public programs, Chris Andrews; architect Kang Kiang; Peter Lassetter, a principal with Arup, which did engineering work on the building; and, incongruously, Hal LaFlash, the director of emerging clean technology policy at PG&E.

I asked about the academy’s new focus on climate change and why the venerable institution had allowed PG&E to play such a central role. I got a nonresponsive answer from Farrington, who said, "PG&E sells power because we all want power" and "The most important wells in the future aren’t going to be oil wells, but wells of the mind."

LaFlash insisted that PG&E is one of the greenest utility companies in the country, an early sponsor of the landmark climate change legislation Assembly Bill 32, and that the utility is currently working on wind and solar projects throughout California. I noted that PG&E is also currently building four new fossil-fuel-powered plants in California, but then decided to avoid turning the session into an argument about PG&E.

Wasserman pointed out that PG&E now gets less than 1 percent of its power from solar and 2 percent from wind, and that the company’s involvement with AB 32 helped water down the bill and protect PG&E’s heavy investment in nuclear power. She also noted that PG&E is failing to meet state mandates of 20 percent renewable power by 2010.

By contrast, the Clean Energy Act would mandate a more rapid switch to renewable energy sources, calling for 51 percent of the energy powering San Francisco to come from renewable sources by 2017 and 100 percent by 2040. PG&E is aggressively opposing the measure, focusing on its call for a study of public power.

Academy spokesperson Blair Shane sought to minimize PG&E’s role when I asked her about how the institution seemed to be helping the utility greenwash its image, saying the company was simply playing a role in the opening festivities and not influencing content at the museum: "We feel really good that our content is being driven by the scientists."

LIVING ROOF


Since its founding back in 1853, the California Academy of Sciences has been a respected research institution, a popular museum, and a political player in the community. With powerful friends, it resisted an effort in the 1990s to move the museum out of the park and successfully fought for a new parking garage and against creating more car-free spaces in the park.

The academy is a living, dynamic institution, much like the building’s signature living roof — and subject to the same kinds of hard choices in coming years about whether to emphasize scientific purity or pursue more pragmatic pathways.

After touring the museum, I did a telephone interview with Paul Kephart, CEO of Rana Creek, which designed the roof and wanted to simulate a local ecosystem of flora and fauna that went through natural life cycles, including periods of death and decay.

"Selling the idea to the academy and the board was one of the most challenging aspects of the project," Kephart said.

He explained that the idea is to maintain the roof using an irrigation system for the first couple years, until it establishes itself, then remove the irrigation and stop actively tending the space, letting nature take over, even if that means weeds.

"I think that’s a good thing," he said. "The roof should be allowed the opportunity for nature to express itself and be less controlled and more adaptive to climate and environment…. I always saw the roof as an experimental design."

Yet it’s also an integral part of the building’s design and aesthetics, and the academy has not yet decided how much of the roof will be allowed to go natural and how much will be managed. Kephart said it has amazing research possibilities because "nature will have the most influence on how the roof will behave."

Similar choices were at play in other parts of the museum, such as the Steinhart Aquarium, which was designed by the New York City firm Thinc.

"The whole idea underlying the aquarium is, this is an institution that studies the natural world," Thinc president Tom Hennes told me at the academy. While the new aquarium is larger than its predecessor, a few of its more ambitious plans — such as an open ocean exhibit and twice as many dive stations as the current five — were scaled back.

"Any exhibit starts with a huge dream," Hennes said. "Then you whittle it down to size."

Editor’s Notes

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› tredmond@sfbg.com

District elections changed everything. You can see it in the interviews we’ve been doing with candidates for supervisor. Ten years ago, most of the incumbents were political hacks, bought and paid for by the mayor and downtown. So were most of the serious candidates challenging them.

We didn’t tape the interviews back then, but I remember them well: we spent a lot of time arguing with people, trying desperately to find some reason why people who had raised more than a quarter of a million dollars to run for citywide office might possibly be worth endorsing. We spent hours arguing among ourselves about who was the least awful, trying to count to five or six to fill a slate, knowing that some of the candidates we were backing had no chance of winning — or that they were, at best, marginally acceptable.

Now almost every district has good candidates: people who have roots in the communities they want to serve, people with credible ideas about addressing the city’s problems — people who seem to be more interested in progressive policies than in making the mayor or campaign contributors happy. The problem we have this year, in some districts anyway, is not finding one tolerable candidate — it’s choosing between several very good ones.

Check it out for yourself: all of the interviews this year are on the Web, at our sfbg.com Election Center.

Of course, there are still some people who don’t get it. Sue Lee, who was once an aide to a district-elected supervisor named Nancy Walker, told us she thinks the last at-large board was better than this board, and that she’d support some sort of modification (read: repeal) of district elections.

(Excuse me, Sue: that last board was the group that then–mayor Willie Brown referred to as his "mistresses" who needed to be "serviced.")

And downtown hates the district board, because money can’t control district supervisors. So I think we’ll keep hearing about a repeal effort. I understand there are already focus groups being convened on the subject. I would never support a candidate who wasn’t fully, completely, aggressively committed to district elections — but I think it’s also important to support candidates who are going to make a functioning, as well as activist, board.

Lee also sounded like a Ronald Reagan administration official at an Iran-Contra hearing; she couldn’t remember which Pacific Gas and Electric Co. official had told her to oppose the Clean Energy Act, and she had a hard time taking a stand on anything else. Ron Dudum was even tougher to pin down. We spent an hour asking him to say he was in favor of or against any policy at all — anything — and we got absolutely nowhere. (Oh, he thinks the city has a spending problem, not a revenue problem, but he couldn’t tell us what he would cut.)

Eva Royale, who is running in District 9, told us she supports public power but opposes Proposition H. Huh?

Ahsha Safai, who is running in District 11, sent me an e-mail that said he couldn’t be bothered to come in for an endorsement interview. Joe Alioto, who is running in District 3, never returned my phone calls. That’s just lame; even Mayor Gavin Newsom, whom we criticize almost every week, comes down to talk to us at endorsement time.

We’ll come out with our recommendations Oct. 8. But for a preview of how it’s going, check out the Election Center. Never a dull moment.

Kink dreams

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› molly@sfbg.com

When it comes to BDSM porn peddlers Kink.com, apparently size does matter. At least, that’s how it seems now that the steamy studio has purchased the 200,000-square-foot San Francisco Armory. Suddenly, everyone wants to know: What’s the carnal concern going to do with all that space?

The answers are more diverse and ambitious than one might expect — ranging from creating a racy reality show to starting a perfectly PG-13 public community center. And thanks to the lascivious and lucrative imagination of Kink.com founder Peter Acworth, it might all be possible.

CONCEPTION AND CONTROVERSY


Though Kink.com has been producing independent niche fetish sites like Hogtied.com, WiredPussy.com, and FuckingMachines.com for the Folsom Street Fair crowd for more than 10 years — first from Acworth’s rented Marina District apartment and then from the Porn Palace on Fifth and Mission streets — it wasn’t until Acworth purchased the historical landmark in the Mission District, and was met with opposition, that the provocative porn empire really made it onto the public’s radar screen.

The armory, which was a training ground for the National Guard prior to its decommissioning 30 years ago, has been the center of controversy before. But that was mostly in-fighting between potential developers. Stringent zoning requirements and necessary but cost-prohibitive renovations discouraged buyers, leaving the Moorish behemoth on 14th and Mission streets vacant and outside public scrutiny.

But everything changed when Acworth got involved. His intended commercial use, for shooting scenes for all of Kink’s Web sites, complied with planning codes. And he didn’t need to do expensive renovations before he could start using, and profiting from, the building: what could be more perfect for bondage shoots or movies about women fucking machines than dungeons in disrepair? The only thing more ideal than the structure itself, according to Acworth, was its location in the heart of America’s most fetish-friendly city. "You couldn’t have dreamt up a more perfect place than a castle in the middle of San Francisco," says Acworth, who purchased the armory for $14.5 million in 2007 and started operations in January of this year. "It’s like divine intervention."

Acworth had to contend with a different kind of intervention — from a neighborhood group called the Mission Armory Community Collective, which opposed Kink.com as a potential neighbor. Though careful not to condemn porn per se, the group said it feared that the company’s presence in an already troubled neighborhood would introduce more problems. Even the Mayor’s Office, potentially bending to pressure, issued the following statement: "While not wanting to be prudish, the fact that kink.com will be located in the proximity to a number of schools give [sic] us pause."

But the sale quietly went through, and even as protesters stood outside, Kink was already filming new scenes for its subscription sites. Since then, the protests have largely died down. As the company removed graffiti from the brick facade of the armory, fixed windows, and generally improved the appearance of its stretch of Mission Street, neighbors began stopping by to congratulate Acworth — or to ask for a tour. (Incidentally, the public is invited to tour the armory on second Fridays. E-mail info@kink.com for an appointment.)

On a September afternoon, the building — mostly nondescript from the sidewalk except for the castlelike rooftop — seems quiet and innocuous. Three boys skateboard on the steps outside, stopping to talk to a woman walking her dog. The only people entering the doors, which are always locked and manned by a security guard, look as though they could’ve been going to the grocery store or the gym, wearing shorts, T-shirts, and sandals. In fact, on first glance inside, the place is almost disappointingly tame.

Acworth himself hardly looks like a porn kingpin. He’s sweetly attractive in an unmenacing, mainstream way, with an easy smile and casual style. His office, a room near the entrance to the armory, is large and comfortable, but bears no hint of his livelihood save for one tasteful bondage statue. Next to his desk are water and food bowls for the armory’s two live-in cats: Rudy and Lala. His assistant, a young girl in a minidress, leggings, and hoop earrings, looks like she could be working at American Apparel. Even the desktop pattern on Acworth’s Dell computer screen is vanilla: rolling green hills beneath a blue, blue sky. This sense of normalcy seems to be Kink’s main point.

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Van Darkholme, Peter Acworth, and Princess Donna in the Armory boiler room. Photo by Pat Mazzera

Acworth remembers getting turned on as a child in England by scenes in movies where women were tied up — and wondering if this signaled violent tendencies within himself. It wasn’t until adolescence that he discovered the relief (and release) of bondage porn. At the same time, he was already a burgeoning entrepreneur, a child who grew vegetables behind his house and tried to sell them to his parents. By the time he read a magazine article about a man making millions from Internet porn, as a Wall Street–bound doctoral student in a Columbia University finance program, it seemed almost inevitable that Acworth would find a way to marry his two lifelong interests: bondage and business. When he founded Kink.com in 1997, the idea was not only to jump on the dot-com money train, but also to demystify and promote fetish porn as an acceptable form of sexual stimulation.

Now, each of Kink.com’s Web sites is geared toward a particular fetish, run by a Webmaster who’s not only an expert on that particular kink but also has an interest in it, just as Acworth started Hogtied.com, which features women tied up, and Fuckingmachines.com, which showcases women having sex with machinery, because that’s what turned him on. These Webmasters act as director, producer, human resources manager, and often participant as well as Web developer.

"It’s hard to guess what people want," he explains, pointing out that it’s easier to make what you know.

Which means models aren’t actors. Just as directors are expected to be interested in the fetish they’re promoting, so are participants expected to enjoy the scenes they’re in. This isn’t about fake-breasted women pretending to like a face full of come. In fact, Acworth has had trouble in the past working with models from Los Angeles, trying to get them not to act. Kink’s sites feature actual people enjoying a private play party that just happens to be taped. Videos are intimate, personal, and disarmingly real — models talk to each other before, during, and after their sessions, just the way they would in their own bedrooms. They’re encouraged to smile on camera. Whether it’s shocking a woman with electric instruments or forcing a man to eat from a dog bowl, you get the sense that these people would be playing out these scenarios anyway — Kink just provides a salary, benefits, and a really nice location.

THE KINK CASTLE


As for the building itself, Kink has just begun to scratch the surface of its possibilities. The first floor, perhaps the most institutional-looking of the four, houses offices for Acworth, the marketing team, the production team, and the break room, which features a pool table, a disco ball, an espresso machine, a drum set, and a DJ booth (all for parties as well as employee use). Directly opposite the front doors is the Drill Court, a monstrous space that looks something like an airplane hangar crossed with a European train station. This is the space Acworth hopes will become the Mission Armory Community Center (which would unintentionally bear the same acronym as one of the groups that protested Kink.com’s purchase of the armory), a public venue available for sporting events, educational seminars, film festivals, and someday maybe a Folsom Street Fair party. According to MACC coordinator David Klein, a developer who has no affiliation with Kink.com, that dream is a long way off — with plenty of renovations, public meetings, and applications standing between here and there. In the meantime, the Drill Court serves as an occasional event site (such as for the Mission Bazaar craft fair earlier this year) and an employee parking lot. Currently, the most public location is the Ultimate Surrender room, where small numbers of members are invited to sit in bleachers and watch women wrestle each other to the ground on large mats — the winner, of course, gets to fuck the loser.

The armory’s basement is by far the most interesting area. "It’s a wonderland of sets," says Acworth, and it’s hard to argue with him. Some rooms seem perfect as is, such as a former gymnasium whose floor has long since been removed to reveal gothic-looking structural planks punctuated by intimidating bolts. All it took was adding a platform in the center of the expansive room and a pulley above it to make it a perfect bondage set. Next door is an army-style communal bathroom, another favorite as-is set. Other rooms on this floor are a completely furnished 1970s New York loft; a padded cell with an observation room connected by a one-way mirror; a former hermetically sealed gunpowder room that’s been outfitted with all sorts of rings, hooks, and rope pulleys; an office connected by a cage to the "Gimp Room," where ceiling chains hang like some kind of Donkey Kong homage; a hallway storage room chock-full of expected (whips, chains, clamps) and unexpected (mops, long-handled brushes with hard bristles, small boxes with smaller holes in them) toys; the large prop room, where human-shaped cages, monstrous doghouses, and machines like the back breaker and water-torture wheel are kept; the laundry room, where shelves are lined with douches, enemas, latex gloves, and sanitized sex toys; and the former shooting range, which has a Pirates of the Caribbean feel, complete with a river running through it.

And that’s just the start of it. Just when you think every nook and cranny has been used — including an oddly shaped corner off the production gallery that looks like a 19th-century psychiatric ward — you’ll discover a hallway that’s virtually untouched. Hardly any construction has been done on the third or fourth floors, including the officers’ quarters, which occupy one turret. Even the roof, with its castle-y details and flags, seems like a perfect potential shooting location.

528-cover2.jpg
Kink’s porn palace, the San Francisco Armory. Photo by Pat Mazzera

Kink already has plans for several new sets: the military clean room, a stark ’50s-era space, slated for FuckingMachines; an abandoned electrical equipment room for WiredPussy, where dead vintage electrical equipment will line the walls; an Alcatraz-esque prison gallery for BoundGods.com; and an expanded DeviceBondage.com room, which will be clad with cultured stone to look like the basement of an old castle.

Reps won’t say just how much it costs to maintain the armory or to shoot a scene, but Acworth told 7×7 magazine last year that profits were upward of $16 million. And spokesperson Thomas Roche says that the cost of a shoot, including sets, makeup, wardrobe, video and still photo staff, and editing, would be prohibitive if Kink weren’t doing lots of them. Luckily, the armory allows for a volume of shoots that makes it feasible — sometimes four or five in a single day. And it’s good variety for viewers too, who get used to seeing the same sets over and over in various porn films — even ones by different companies.

FLIRTING WITH THE FUTURE


Perhaps the most advantageous thing about moving into the armory, though, has been the increased possibilities for Kink’s growth. With so much space, an almost infinite number of sets can be created without tearing any old ones down. Since multiple shoots can go on at once, multiple sites can be developed and maintained. And buying the building has started attracting directors, models, and Web developers on a scale Acworth hasn’t seen before.

"It was initially difficult to find people," says Acworth, who conjectures that it’s not just the publicity from the building but also the exciting prospect of working there that’s turned the tide. "Now they’ve started to approach us."

One of those who approached Acworth was Van Darkholme, a Shibari rope bondage expert, a porn performer, and the proprietor of fetish film studio Muscle Bound Productions, who was living in LA. Darkholme saw an article about Acworth and the armory in a magazine and contacted him immediately, hoping to get involved. The Vietnam-born Darkholme, who seems almost starstruck by Acworth’s genius, was shocked not only to hear back from Acworth himself, but to be offered a job at the helm of Kink’s new gay bondage site: BoundGods.com.

"What Peter does is so avant-garde and so fresh, I just wanted to come in and mop the floor," says Darkholme, who moved to San Francisco in April and launched his new site Aug. 1.

Darkholme’s BoundGods takes Kink’s principles of intimate, conversational, playful, and mutually enjoyable interactions and applies them to his particular brand of gay sexuality: lean, muscled studs. In one video, a man is tied up in the army-style bathroom at the armory while another fucks him with a large black dildo. In a similar scene, anal beads are gradually pulled from the bound, naked man — much to both participants’ obvious pleasure (though interestingly, neither are hard). Darkholme makes appearances in many of the videos, often as the dominant character — a striking contrast to the camo-shorts-and-T-shirt-wearing, somewhat shy individual I interview at the armory.

He’s clearly proud of the product, not only because it’s well produced but also because there’s almost no competition in the gay market.

"I hate to generalize, but most of what I see out there falls into this trap of gay men putting on leather and grunting and groaning," says Darkholme. "It’s visual, but doesn’t have as much dialogue. What we do is very real and very intimate, with a realness in what they’re saying."

The site marks Kink’s first serious foray into the gay market — a step the company couldn’t quite take while limited by space and resources at the Porn Palace. But set builders are already hard at work constructing an Alcatraz-esque prison gallery for new Boundgods shoots. And the creation of a sub-brand, KinkMen.com, promises more gay-focused fetish sites to come. (Incidentally, Kink tried a gay site several years ago with Butt Machine Boys, which is still online at www.buttmachineboys.com but not listed on the main Web site. Acworth said the site never took off, partly because of lack of budget and partly because, unlike Darkholme, the director wasn’t speaking to his personal interests.)

For now, though, Darkholme has his hands full with BoundGods. His immediate goal is to find and train 12 new dommes for the Web site — a tougher feat than might be expected. "Femme dommes can dish it out and can really take it," he says. "There’s a small percentage of men that can do that." In fact, during some of his first shoots, filmed in Budapest, his bevy of gay models and porn stars were shocked when Darkholme finally opened up his bag of toys.

"They looked at me like the circus had come to town, or like I was going to make one of the Saw movies. Their hands were shaking," he says.

So when Kink sets up its demonstration booth at Folsom Street Fair (Sept. 28, www.folsomstreetfair.com), Darkholme will have two purposes: recruiting talent (both people he can train and experts who have something to teach him) and publicizing his new brand.

"I want to say, ‘We’re here, we’re queer, we want to be part of your community!’" he laughs.

But Darkholme won’t be alone at his booth. Among other popular Kink stars like Isis Love, new director Lochai, expert rigger Lew Rubens, and porn stars LaCherry Spice and Natassia Dream will be WiredPussy.com creator Princess Donna, who’s launching her new pet product, PublicDisgrace.com, next month. The site will feature blatant public bondage, punishment, erotic humiliation, and explicit sex between models and, potentially, passersby.

The veteran domme is filming most scenes in Europe, where attitudes (and therefore laws) about sex are more lax. In fact, while shooting a scene on a public street in Berlin, the crew was stopped by a couple of motorcycle cops who said only, "If you cause an accident, you’ll be liable," before going on their way. In the shoot, a half-naked girl is tied to a park bench, made to carry a dog bowl while on a leash, fondled by her female master, and fucked by a man.

"It’s the adrenaline rush of potentially getting caught," says Acworth, explaining the site’s appeal and recipe for success. The site will also feature a slew of new faces. Plus, it’s the perfect time of year to launch a new fetish site. "Sales pick up when the kids go back to school," Acworth says.

There also plenty of developments in the works that don’t follow the start-a-new-fetish-site model. For starters, Kink is moving to a Flash format, where the delay is only 2 seconds instead of 20. The new technology means that users can actively participate in scenes via chat rooms, where they can give instructions to dommes and watch their demands be carried out. Members of Kink.com can already do this on DeviceBondage.com, but Acworth hopes to switch to a per-minute billing system so even more viewers can participate. At the moment, the site is structured so you must be a member of a particular site in order to watch videos; Acworth would like to move to a single-sign-on system where you can join Kink.com and have access to any of its member sites.

Perhaps the most ambitious technological plan for Kink’s future, though, is the development of an online Web community that will be called Kinky.com. Following the Web 2.0 trend of user-based content, Kinky.com will allow members and models to maintain user profiles, interact with one another on message boards, blog, and even date. Yes, it’s a way to stay up-to-date with Internet trends and to provide an experience that pirated video sites can’t, but Acworth says it’s also a natural outgrowth of the kind of porn he creates.

"In contrast with straight porn, which people want to consume in private, this is a community people want to be a part of," he says.

Which leads us to the project closest to Acworth’s heart: the reality show.

THE REAL WORLD: KINK.COM


In the spirit of community and BDSM as a lifestyle, Acworth wants to transform the armory’s top floor into a series of Victorian/Georgian-inspired rooms where couples will live and fuck on camera 24-7. Participants will be given hierarchical positions — from maid to master of the house — and live according to the rules of domination and submission. Acworth’s already started designing the grand dining room, inspired by the sets in Remains of the Day, including candelabras, elaborate draperies, and, of course, a long, long table. "I consider it the pinnacle of where everything comes together," he says.

The dream is still at least a year off: he’ll have to figure out payment and subscription details, renovate the nearly untouched top floor, and recruit couples who want to live their kinks on camera. But he’s hoping he’ll soon have more time to devote to the project. With more than 100 employees and a huge building to maintain, Acworth’s role has shifted from almost entirely creative to almost entirely administrative. He misses the early days, when he found models on Craigslist, tied them up in his rented Marina apartment, interacted with them himself, and then posted the shoots. (You can still see these early shoots online.) Soon he’ll promote an employee to chief operating officer, which will allow him to back off the business side and devote himself to the reality show.

So did he ever imagine his little project would get so big? Absolutely not, Acworth says. If he’d had any inkling, he adds, "I would’ve been terrified." But it only seems natural that the little English boy who used to try to sell his parents’ own vegetables back to them would eventually have an eye for business — and that his interest in fetish porn would lead his business instincts here.

As for how his parents feel about his chosen profession, Acworth says they’re not exactly vocally supportive, but they don’t condemn him either. His mom, a sculptor, has started creating pieces that feature couples in coital or bondage positions, and may start to sell them on the site. His dad, a former Jesuit preacher, says only, "As long as no one’s getting hurt and there are no animals, I guess it’s all right."

Kim Gordon

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PREVIEW Say it loud, say it proud: aeons after the year punk broke and Sonic Youth introduced their budding little-bro band Nirvana to their label, DGC, I’m still girl-crushed-out on SY’s Kim Gordon! Especially after finding out we’ve been reading the same book at just about the same time: Sheila Weller’s Girls Like Us: Carole King, Joni Mitchell, Carly Simon — and the Journey of a Generation (Atria), a possible inspiration for Gordon’s "Phantom Orchard" performance with avant harpist Zeena Parkins, DNA’s no-wave diva Ikue Mori, Boredoms drummer Yoshimi, and ex–Mr. Bungle bassist Trevor Dunn.

"Everyone said, ‘Ooh, it’s got to be really trashy,’" says Gordon from Northampton, Mass., where she, Thurston Moore, and their 14-year-old daughter, Coco, reside. "I started reading it and thought, you know, this is actually a pretty good, interesting, sociological overview of these women during that time in the early ’60s. So, I don’t know, maybe a theme might come out of that … I always wondered when [Sonic Youth] was on tour with Neil Young, what’s it like for someone like Joni Mitchell? I got a sense of the boys’ club." She emits a soft, low, self-deprecating chuckle, a recurring bass note in a conversation with Gordon, who often sounds more like a grave, thoughtful teenage girl than an underground rock icon.

A certain Kimly kismet is going down, for sure, and one hopes a similar synthesis will emerge from this week’s improvisations by Gordon, Parkins, Mori, Dunn, and Yoshimi. The latter most recently played on the raw ‘n’ lyrical Inherit (Ecstatic Peace), by the resuscitated Free Kitten, Gordon’s project with ex–Pussy Galore-ist Julie Cafritz. Everyone knows girls rock, but what continues to draw this archetypal post-punk woman, who has seen so many sides of rock’s boyzone, to work with other ladies? "Women communicate differently," she muses. "And, um, women communicate!"

For more of an interview with Kim Gordon, see Noise blog at www.sfbg.com.

KIM GORDON MEETS PHANTOM ORCHARD Fri/26, 8 p.m., $15–<\d>$55. Montalvo Arts Center, Carriage House Theatre, 15400 Montalvo, Saratoga. (408) 961-5858, www.ticketmaster.com

Mead notebook

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› johnny@sfbg.com

"Yeah, whatever, I’m just watching Oprah," Taylor Mead lolls over the phone line when I ask if he has time to talk. "Anyway, what do you want to know, because I’m so bored with being interviewed."

Actually, around a half-minute separates Mead’s initial "whatever" from his profession of boredom — 30 seconds that he laconically fills with more wit than other interview subjects might manage in 30 hours. "One day Oprah will be at a petting zoo, loving little animals, and the next she’ll have a banquet, serving 100 people veal," he says. "As a vegetarian, I object. I object to this new vice president, too. She hunts wolves from an airplane. Give me a break."

Such objections are a taste of what’s in store for anyone wise enough to see the 83-year-old Mead crack wise during a brief visit to San Francisco. "Do I dare call it Frisco?" asks the star of Ron Rice’s 1960 North Beach–set cinematic Beat classic The Flower Thief. Though Mead hasn’t been to SF in years, he knows the city today well enough now to liken it to "the richest suburb in the world," so he’s querying himself as much as me. "They called it Frisco when there were tough dockworkers there, when it was a tougher town. Now it’s just Frisky."

The Flower Thief kicks off "Taylor Mead: A Clown Underground," a three- evening Joel Shepard–curated affair at Yerba Buena Center for the Arts that moves on to the 1967-68 Andy Warhol mock western Lonesome Cowboys and concludes with William A. Kirkley’s 2005 documentary portrait Excavating Taylor Mead. The first and last films are bookend — sort of — visions of a self-described "National Treasure / If there were such a thing." Mead is a great American movie star and poet whose stardom is a byproduct of his poetry and vice versa. Just as 2000’s Pie in the Sky: The Brigid Berlin Story reveals that Mead’s rich-rebel-gone-Warhol-superstar peer Brigid Berlin is a master of monologue, Kirkley’s documentary — and more directly, Mead’s books — present a wilder-than-Wilde master of the aphorism.

Mead can also make a lengthy poem sing, as illustrated by a YouTube clip of a serenade to Jake Gyllenhaal, gleaned from one of his regular Monday night appearances at Bowery Poetry Club. If Gyllenhaal’s 2005 Brokeback Mountain character is the gay son of Montgomery Clift in 1948’s Red River and 1961’s The Misfits, then both Mead’s song to Gyllenhaal and Mead’s older poem "Autobiography" prove lonesome cowboys can be lassoed by a rodeo clown.

"For everything that is original, spontaneous, alive, and creative and beautiful, there is some old lady who will complain about it," writes Mead in 1986’s Son of Andy Warhol (Hanuman Books). In the 2005 collection A Simple Country Girl (YBK Publishers, $14.95) his wit and wisdom is even shorter and sharper. "Everything / Has a right to life / except mosquitoes / and religious people."

Airplane willing and anti-anxiety medication in hand, Taylor Mead is returning to the town where Jack Spicer once seethed as he sat on Jack Kerouac’s lap. Shower him with Dewar’s. He’ll be bringing a couple hundred pages of quips in his carry-on bag, but they might not be necessary.

As the man himself says, "I don’t need a script."

TAYLOR MEAD: A CLOWN UNDERGROUND

Thurs/18–Fri/19 and Sun/21, 7:30 p.m., $8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

—————————–

Autobiography

(after a poem by Ferlinghetti)

By Taylor Mead

I have blown

And been blown

I have never had a woman

I have been in great jails and terrible jails

The great jails were the tanks and the terrible jails were the model prisons.

I have seen my mother a few hours before she died.

I have seen my father pinching pennies and felt it.

I have heard and felt my father in his worship of

money worshipping money and the U.S.A. of money

madness, fuck it!

I have been beaten nearly to death before an

"enlightened" Greenwich Village crowd.

I have been beaten in my hospital bed by sadistic

doctors.

I have been arrested by a jealous policewoman and

I should have hit her and killed her.

I have played all the pianos that all the famous

pianists have played in Carnegie Hall in the basement

of Steinway Hall and I still play them

after making it with the elevator boys on a quiet

religious Sunday afternoon.

I have made goo goo eyes at Marlon Brando with no

luck

but not too much discouragement either.

I have made it with Montgomery Clift in Central Park

against a little pagoda

or at least he said it was Montgomery Clift and

it was Montgomery Clift too.

Elizabeth Taylor has really looked at me from under

a veil on Fifth Avenue and Susan Strasberg and

Judith Anderson all on Fifth Avenue and can’t

remember her name on Sixth Avenue now the

Avenue of the Americas and then too

And that year’s winner of the Antoinette Perry

award followed me from the St. Regis where he lived

and I’ve never been in for four blocks until

I regretfully lost him because I’m shy.

And my first day alone in New York almost this famous

cowboy star made goo goo eyes at me on the steps

of the New York Public Library, main branch

And I went into the Times Square Duffy Square

subterranean toilet with one of the movies’ Tarzans

and he showed me his big peter

and I showed him my small one

because it was cold and

I didn’t want to get it excited unless I was sure

something great was about to take place

And it didn’t.

Originally printed in Excerpts from the Anonymous Diary of a New York Youth (self-published, 1961) and Angels of the Lyre: A Gay Poetry Anthology (Gay Sunshine Press, 1975)

Jam econo

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› duncan@sfbg.com

Look, I can’t tell you, OK? It’s not that I don’t want to, but when I tell someone it’s "off the record," it’s off the record. It’s not like divulging the day job of Nicole Laurenne, super-saucy singer and Farfisa player for the Love Me Nots, would be some kind of huge, Valerie Plame–style leak, but I refuse to be the Scooter Libby here. Let’s just say she wants to keep her professional and garage-rock lives separate. Brain surgeon? Test pilot? Miniskirted, go-go-booted commando, doing the swim behind enemy lines? "Just tell them I’m a spy. I work for the CIA," Laurenne says during a phone interview from her office in stifling Phoenix, Ariz., or, perhaps, from her secret lair in the caldera of an extinct volcano.

Whatever it is she does, let’s just say Laurenne and the rest of her black-and-white-garbed, pin-sharp quartet aren’t quitting their day jobs any time soon. Not because the band doesn’t pack enough full-throated, ’60s soul, Mosrite fuzz, and hip-shaking, back-alley R&B stomp to rock the door off the proverbial garage — because they do, in spades. This is clearly evidenced by their 2007 debut, In Black & White, and their newly dropped Detroit, both produced in a chicken slaughterhouse-turned-recording studio in the Motor City by Jim Diamond (the White Stripes, the Romantics, the Charms) and both on Love Me Nots’ Atomic a Go Go imprint. "Our day jobs pay for everything," Laurenne tells me. "We’re very careful to work around them. We decided a long time ago we didn’t want to live in a van for a month and play on Tuesdays in Wichita." This allows them to practice an approach that more seasoned touring bands like Les Savy Fav have turned to after decades of midweek dates in nowhere towns: the tour as surgical strike. "We’ll go out to the East Coast and do New Jersey on Thursday and New York on Friday and Boston on Saturday and fly home on Sunday," she says.

I can hear it already: "Man, that’s not punk rock. Where’s the DIY? I’m revoking their indie street cred." Sell out? Hardly. The Love Me Nots are an example of a new paradigm, or at least a rare one: they actually put the horse before the cart. While grinding away in various Phoenix garage outfits over the years — with the exception of their new bass player, Kyle Rose Stokes, a 26-year-old grad student, they’re all in their 30s — the Love Me Nots realized they had to make money so they could do it right from the get-go: they release their own music on their own label, do the distribution, copyrighting, publishing, artwork — not to mention writing songs, rehearsing, and playing gigs. They may not be gluing together 7-inch sleeves, but they’ve got more in common with the DIY ethos of bands like Minor Threat and Black Flag and the labels they created, Dischord and SST, than trustafarians trying to scam street cred by sprinkling a steady diet of ramen with cocaine binges, hoping to float to hipster heaven on the sparkly fart of the first A&R douchebag who recognizes their Casiotone genius.

"You’ve got to give ’em what they want," Laurenne advises an unnamed "little girl" as Detroit nears its crescendo, before adding, "without losing what you’ve got." And while it’s delivered as romantic advice, it sums up the band’s outlook: deliver the goods, on your own terms, in your own time. You can have the career, and the band, and the love life — Laurenne and guitarist Michael Johnny Walker recently got engaged — and not have to slack off on any element of being alive. It is, however, somewhat of a balancing act. "We try to avoid doing stuff that’s too connected," the vocalist says when I asked her if the band’s been asked to play Christmas parties. "We definitely don’t mind people who enjoy that style of music coming out and enjoying it. They certainly need their own release. And, honestly, a lot of people in this type of suit world have other, non-suit interests too, and I think they feel validated, like, ‘Oh, I guess it’s OK to be a sort of renaissance person. You can pursue your own interests, and it’s not shameful anymore.’<0x2009>"

Perhaps it’s my brief stint in the dirty, amoral trenches of mind control, er … "advertising," that immediately leads me to a tag line: "The Love Me Nots: Making It Safe for the Squares to Dance," I tell Laurenne. "That’s your next T-shirt."

THE LOVE ME NOTS

With the Hi-Nobles and the Laundronauts

Fri/12, 9 p.m., $8

Annie’s Social Club

917 Folsom, SF

www.anniessocialclub.com

Scary movie

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REVIEW The scariest movie of 2008 so far is, quite possibly, Dorothy Fadiman’s Stealing America: Vote by Vote, a stomach-turning look at election irregularities that stretch back as far as 1996, with a special emphasis on the über-fishy goings-on in Ohio circa 2004. A thorough array of charts, graphics, news clips (including, yes, some from The Daily Show), and credible talking heads examine the troubling facts: discrepancies between exit polls and actual vote tallies; suspicious situations involving voting machine software (including an interview with a computer expert who claims he was hired by Republicans to write a "vote-switching" program — oops, you just voted for George W. Bush!); inexcusably long lines at polling places; uncounted votes and purged voter lists; and the unwillingness of the mainstream media (and, according to the film, the John Kerry campaign) to seriously consider the anomalies to be the result of Republican fraudsters. Some twinkly uplift in the film’s last moments suggest hope, or at least the hope of accountability, for future elections — but are paper ballots that can actually be hand-counted (and re-counted) a practical solution? Stern narrator Peter Coyote suggests there’s more to it than that: "If this film does anything, it will make you take yourself, and your vote, and your country seriously enough to get engaged and go to work — and together, we’ll take our country back." Let’s just hope that vote you cast for change this November actually gets counted.

STEALING AMERICA: VOTE BY VOTE opens Fri/12 at Bay Area theaters.

McCain’s speech gets an Ammianoliner

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Yesterday’s Ammianoliner:

McCain’s speech runs the gamut of emotion from A to B.

(From the home telephone answering machine of Sup.Tom Ammiano on Saturday, Sept. 5, 2008, the day after the acceptance speech of Sen. John McCain at the Republican National Convention in St. Paul.)

Good going, Tom. You enunciated much better. Editorial aside: Tom was in the office on Friday for an editorial interview on the November election. Instead of being a standup comedian who happens to be a politician, he becomes a sitdown comedian who happens to be a politician. He complained wryly that, because his jokes were appearing regularly on the Bruce blog, that he was under a lot of pressure. Under pressure, he explained, to not only come up with pithy, topical jokes but to do it daily and and to enunciate clearly. We assured him that it was well worth the effort because he was getting his Ammianoliners out on deadline, getting enormous international viewship on the almost famous Bruce blog, and doing it all from the comfort of his Bernal Heights home. Moreover, it would be good training for his move next year to Sacramento as a San Francisco assemblyman.

While the Nation magazine has Calvin Trillin as its Deadline Poet, we have Tom Ammiano as our
Deadline Ammianoliner. B3

Get paid $100, if you’re not too liberal

1

by Amanda Witherell

After we ran an article on the remarkable coincidences between opponents of the Clean Energy Act and people who take money from PG&E, reader J.J. Hollingsworth sent the following anecdote. Has anyone else had a similar experience?

Hollingsworth wrote:

“Regarding Eric Jaye’s comment, “They’ve pledged enough to educate every voter in San Francisco.”

On August 19th, I received a call from Focus Point Marketing Group which promised to pay me $100 for two hours of my time provided I call back for an interview in order to be a part of a group seminar on August 21st which would address social issues.

I called the lady back and asked what the social issue was about.

She said it was about the administration of public utilities in San Francisco. We established a rapport and I said that the subject would interest me and I checked my schedule and indeed was available for the two-hour seminar at 450 Sansome on August 21st from 6-8 p.m. The pay at $50 per hour was intriguing.

I proceeded with the interview which was a question tree about if I’m registered to vote, how likely I am to vote in November, etc. When we got to the part about whether I consider myself conservative, moderate, or liberal. My answer was, “I guess I’m liberal.” She said something to the effect of, “Well, you are in San Francisco where people are liberal, but unfortunately I can’t sign you up.”

Still intrigued by the $100, I said something to the effect of “Well, let’s mark me down as ‘moderate’ because some people out here think I’m conservative on certain issues.” So we proceeded with the interview. The next question was “What political party are you affiliated with?” I told her that I registered with the Green Party over twenty years ago. (It’s not easy being green and my voting record does not always concur with the Green Party line.)

The sweet lady at the other end of the phone replied, “Ma’am, I can’t win for losin’ here.” And so we left it cordially, and with humor – I could not attend the August 23rd ‘party’ and go home with $100.

My main point here is that despite all the fundraising bravura, I believe PG&E considers at least some of the population here in San Francsico uneducable.”

Man in the middle

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>>More: For the Guardian’s live coverage of the Democratic National Convention 2008, visit our Politics Blog

› steve@sfbg.com

As the Democratic National Convention was drawing to an explosive close Aug. 28, Barack Obama finally took center stage. In an address to more than 70,000 people, he presented his credentials, his proposals, and his vision. Most in the partisan crowd thought he gave a great speech and left smiling and enthused; some bloggers quickly called it the greatest convention speech ever.

I liked it too — but there were moments when I cringed.

Obama played nicely to the middle, talking about "safe" nuclear energy, tapping natural gas reserves, and ending the war "responsibly." He stayed away from anything that might sound too progressive, while reaching out to Republicans, churchgoers, and conservatives.

He also made a statement that should (and must) shape American politics in the coming years: "All across America something is stirring. What the naysayers don’t understand is this isn’t about me — it’s about you."

Well, if this is really about me and the people I spend time with — those of us in the streets protesting war and the two-party system, people at Burning Man creating art and community — then it appears that electing Obama is just the beginning of the work we need to do.

As Tom Hayden wrote recently in an essay in the Guardian, Obama needs to be pushed by people’s movements to speed his proposed 16-month Iraq withdrawal timeline and pledge not to leave a small, provocative force of soldiers there indefinitely.

After a 5,000 mile, 10-day trip starting and ending at Black Rock City in the Nevada desert with Denver and the convention in between, I’ve decided that Obama is a Man in the Middle.

That creature is essential to both Burning Man and the Democratic National Convention, a figure of great significance — but also great insignificance. Because ultimately, both events are about the movements that surround and define the man.

THE BIG TENT


Nominating Obama was a historic moment, but the experience of spending four days at the convention was more like a cross between attending a big party and watching an infomercial for the Democratic Party. It was days of speeches followed by drinking — both exclusive affairs requiring credentials and connections for the biggest moments.

This year’s convention saw a new constituency come into full bloom. It was called the Big Tent — the literal name for the headquarters of bloggers and progressive activists at the Denver convention, but it also embodied the reality that the vast blogosphere has come of age and now commands the attention of the most powerful elected Democrats.

The tent was in the parking lot of the Alliance Building, where many Denver nonprofits have their offices. It consisted of a simple wood-frame structure two stories high, covered with a tent.

In the tent were free beer, food, massages, smoothies, and Internet access. But there was also the amplified voice of grassroots democracy, something finding an audience not just with millions of citizens on the Internet, but among leaders of the Democratic Party.

New media powerhouses, including Daily Kos, MoveOn, and Digg (a Guardian tenant in San Francisco that sponsors the main stage in the Big Tent) spent the last year working on the Big Tent project. It was a coming together of disparate, ground-level forces on the left into something like a real institution, something with the power to potentially influence the positions and political dialogue of the Democratic Party.

"When we started doing this in 2001, there just wasn’t this kind of movement," MoveOn founder Eli Pariser told me as we rode down the Alliance Building elevator together. "The left wing conspiracy is finally vast."

The Big Tent constituency is a step more engaged with mainstream politics than Burning Man’s Black Rock City, an outsider movement that sent only a smattering of representatives to the convention, including me and my travel mates from San Francisco, musician Kid Beyond and Democratic Party strategist Donnie Fowler, as well as the Philadelphia Experiment’s artistic outreach contingent.

It’s an open question whether either constituency, the Big Tent bloggers and activists or the Black Rock City artists and radicals, are influencing country’s political dialogue enough to reach the Democratic Party’s man in the middle. Obama didn’t mention the decommodification of culture or a major reform of American democracy in his big speech, let alone such progressive bedrock issues as ending capital punishment and the war on drugs, downsizing the military, or the redistribution of wealth.

But those without floor passes to the convention represent, if not a movement, at least a large and varied constituency with many shared values and frustrations, and one with a sense that the American Dream is something that has slipped out of its reach, if it ever really existed at all.

These people represent the other America, the one Obama and the Democratic Party paid little heed to during their many convention speeches, which seemed mostly focused on bashing the Republican Party and assuring heartland voters that they’re a trustworthy replacement. But that’s hardly burning the man.

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Photo by Mirissa Neff

AMERICAN DREAM


It’s been almost a year since Burning Man founder Larry Harvey announced that the art theme for the 2008 event would be "American Dream." I hated it and said so publicly, objecting to such an overt celebration of patriotism, or for setting up a prime opportunity for creative flag burning, neither a seemingly good option.

But I later came to see a bit of method behind Harvey’s madness. After announcing the theme, Harvey told me, "There was a cascade of denunciations and maybe that wasn’t a bad thing. It pricked people where they should be stimulated." He asks critics to read his essay on the Burning Man Web site explaining the theme: "It says that America has lost its way."

But he also said that the disaffected left and other critics of what America has become need to find a vision of America to fight for, something to believe in, whether it’s our Bill of Rights (pictured on Burning Man tickets this year) or some emerging manifestation of the country. "Americans need to find our pride again," Harvey told me. "We can’t face our shame unless we find our pride."

I was still dubious, since I tend toward Tolstoy’s view of patriotism: that it’s a bane to be abolished, not a virtue to be celebrated. Harvey and I have talked a lot of politics as I’ve covered Burning Man over the past four years, and those discussions have sharpened as he has subtly prodded participants to become more political, and as burners have reached out into the world through ventures such as Black Rock Arts Foundation, Burners Without Borders, and Black Rock Solar.

I’ve become friends with many of the event’s key staffers (some, like BWB’s Tom Price, through reporting their stories). This year, one employee (not a board member) I’m particularly close to even gave me one of the few gift tickets they have to hand out each year, ending my five-event run of paying full freight (and then some). I’m also friends with my two travel mates, Kid Beyond, a.k.a. Andrew Chaikin, and Fowler, who handled field organizing for Al Gore in 2000, ran John Kerry’s Michigan campaign four years later, and was attending his sixth presidential convention.

Kid Beyond and I arrived at Black Rock City late Friday night, Aug. 22, and found the playa thick with deep drifts of dust, making it a difficult and tiring bicycle trek into the deep playa where San Francisco artist Peter Hudson and his crew were building Tantalus. But it was worth the ride, particularly if seeking a great take on the American Dream theme.

Like most creations at that early stage of the event, it wasn’t up and running yet, but it would be by Aug. 24, when the event officially began. Still, even in its static state, it was an art piece that already resonated with my exploration of how the counterculture sees the national political culture.

Tantalus looks like a red, white, and blue top hat, with golden arms and bodies around it. And when it spins around, totally powered by the manual labor of visitors working four pumper rail cars, the man — a modern American Tantalus — reaches for the golden apple being dangled just out of his reach and falls back empty-handed.

It’s a telling metaphor for such a big week in American politics.

There were plenty of political junkies on the playa, including two friends who let me crash in their RV for two nights and who left the playa for Denver after a couple of days. Fowler’s sweetie, Heather Stephenson, is with Ideal Bite (their logo is an apple minus one bite) and was on an alternative energy panel with Mayor Gavin Newsom, Denver’s mayor, John W. Hickenlooper, and Gov. Bill Ritter of Colorado.

"The American Dream to me is not having barriers to achievement," Stephenson told me. It is Tantalus getting some apple if he really reaches for it. Fowler said that it is "the freedom to pursue your own dream without interference by government or social interests." But, he added, "the American Dream is more a collective dream than an individual dream."

Bay Area artist Eric Oberthaler, who used to choreograph San Francisco artist Pepe Ozan’s fire operas on the playa, hooked up with the Philadelphia Experiment performers years ago at Burning Man — including Philly resident Glenn Weikert, who directs the dance troupe Archedream. This year they created "Archedream for America," which they performed at Burning Man and the Democratic National Convention. Weikert told me the artistic and collaborative forces that Burning Man is unleashing could play a big role in creating a transformative political shift in America.

"These are two amazing events that are kind of shaping the world right now," Weikert said. "A lot of the ideas and views are similar, but people are working in different realms."

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Tantalus. a Burning Man installation
Photo by Steven T. Jones

MEDIA, 15,002 STRONG


Kid Beyond and I arrived in Denver around 8 a.m., Aug. 25, after a 16-hour drive from Black Rock City, cruising through Nevada, Utah, Wyoming, and Colorado, a couple of which Obama will probably need to win in November if he’s to take the White House.

We headed into the city just as a gorgeous dawn was breaking, arriving with a few hours to spare before our Democratic National Convention press credential would have been redistributed to other journalists, who reportedly numbered more than 15,000. After arriving at my cousin Gina Brooks’ house, we showered, got settled, and jumped on our bikes to pick up our press credentials.

All week, we and others who rented or borrowed the thousands of bicycles made available to visitors used the beautiful and efficient Cherry Creek Bike Trail to get around. It cut through the heart of Denver, passing the convention and performing arts centers, which boasted a great sculpture of a dancing couple, and ran close to the Big Tent in downtown on one side and the convention hall, the Pepsi Center, on the other.

It was a great way to travel and a marked contrast to the long car trip, which felt as if we were firing through tank after tank of gas. Bike travel also proved a smart move — most of the streets around the convention were closed off and patrolled by police in riot gear riding trucks with extended running boards, with military helicopters circling overhead.

The massive Pepsi Center was less than half full a couple hours after the gavel fell to open the convention, but it filled quickly.

The broadcast media had it good, with prime floor space that made it all the more congested for the delegates and others with floor passes. Most journalists were tucked behind the stage or up in the cheap seats, and we couldn’t even get free Internet access in the hall. But journalists could get online in the nearby media tents, which also offered free booze and food.

Even though Hillary Clinton announced she was releasing her delegates to vote for Obama, those I spoke to in San Francisco’s delegation — Laura Spanjian, Mirian Saez, and Clay Doherty — were still planning to vote for Clinton on that Wednesday, although all said they would enthusiastically support Obama after that.

"It’s important for me to respect all the people who voted for her and to honor the historic nature of her candidacy," Spanjian said. "And most of all, to respect her."

Speaker of the House Nancy Pelosi tried to rally the faithful for the "historic choice between two paths for our country." She belittled the view that John McCain is the most experienced presidential candidate. "John McCain has the experience of being wrong," she said, emphasizing his economic views and his instigation of the "catastrophic" Iraq War.

There were only a smattering of protesters outside the convention center, the most disturbing being anti-abortion activists bearing signs that read, "God hates Obama," "God is your enemy," "The Siege is Here," and one, wielded by a boy who was maybe 12, that read "God hates fags." Family values indeed.

THE ROLL CALL


San Francisco Sup. Chris Daly was giddy when I joined him in the two-thirds full California delegation during the nominating speeches for Obama and Clinton. It was partly because he was finally an official delegate, having been called up from his role as alternate a couple of hours earlier. But an even bigger reason for his joy was that he’s a serious political wonk and just loves the roll call, the only official business of the convention.

"This is the best part of the convention, roll call. It’s cool," Daly, the consummate vote counter, told me as we watched the chair ask each state for their votes. "The speeches are OK, but this is what it’s about."

And pretty soon, this kid in the candy shop was losing his mind as we watched a series of genuinely newsworthy developments in an otherwise scripted convention: California Democratic Party Chair Art Torres was saying "California passes" rather than reporting our votes, states like New Jersey and Arkansas were awarding all their votes to Obama and causing the room to go nuts, and a series of states were yielding to others.

As the chair worked alphabetically through the states, Obama’s home state of Illinois became the second state to pass. Very interesting. Indiana gave 75 of its 85 votes to Obama. Minnesota gave 78 of its 88 votes to Obama, then erupted in a spirited cheer of "Yes we can." Daly and San Francisco delegate London Breed were on their feet, cheering, chanting, and pumped.

With Obama getting close to the number of delegates he needed to win the nomination (there was no tally on the floor and I later learned Obama had 1,550 of the 2,210 votes he needed), New Mexico’s representative announced that the state was "yielding to the land of Lincoln." Anticipation built that Illinois would be the state to put its junior senator over the top.

Then Illinois yielded to New York, and the screens showed Clinton entering the hall and joining the New York delegation. "In the spirit of unity and with the goal of victory," Clinton said, "let us declare right now that Barack Obama is our candidate."

She made the motion to suspend the vote count and have the whole hall nominate Barack Obama by acclamation. Pelosi took the podium and asked the crowd, "Is there a second?" And the room erupted in thousands of seconds to the motion on the floor. She asked all in favor to say "aye," and the room rumbled with ayes. To complete the process, Pelosi said those opposed could say no, but simultaneously gaveled the motion to completion, causing the room to erupt with cheers. I heard not a single nay.

The band broke out into "Love Train" and everyone danced.

NEWSOM’S STAGE


Mayor Gavin Newsom threw a big party Aug. 27, drawing a mix of young hipsters, youngish politicos, and a smattering of corporate types in suits and ties. Although he didn’t get a speaking slot at the convention, Newsom is widely seen as a rising star in the party, far cooler than most elected officials, and maybe even too cool for his own good.

Comedian Sarah Silverman did a funny bit to open the program at the Manifest Hope Gallery (which showcased artwork featuring Obama), then introduced Newsom by saying, "I’m honored to introduce a great public servant and a man I would like to discipline sexually, Gavin Newsom."

Apparently Newsom liked it because he grabbed Silverman and started to grope and nuzzle into her like they were making out, then acted surprised to see the crowd there and took the microphone. It was a strange and uncomfortable moment for those who know about his past sex scandal and recent marriage to Jennifer Siebel, who was watching the spectacle from the wings.

But it clearly showed that Newsom is his own biggest fan, someone who thinks he’s adorable and can do no wrong, which is a dangerous mindset in politics.

Another slightly shameless aspect of the event was how overtly Newsom is trying associate himself with Obama (the party was a salute to the "Obama Generation") after strongly backing Clinton in the primaries. And then, of course, there’s the fact that his party was sponsored by PG&E (a corrupting influence in San Francisco politics) and AT&T (facilitators of the Bush administration’s warrantless wiretapping policy).

I was able to interview Newsom about Clinton before the party. "People can criticize her, but I do think that you’ve never seen a runner-up do so much to support the party’s nominee," Newsom told me. "She’s done as much as she could do, privately as well as publicly."

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Clinton’s dramatic roll call moment
Photo by Mirissa Neff

OBAMA NIGHT


Amid all the excitement, there were scary moments for the progressives. For example, Joe Biden, accepting the vice-presidential nod, urged the nation to more aggressively confront Russia and send more troops into Afghanistan.

During one of the most high-profile points in the convention, halfway between the Gore and Obama speeches, a long line of military leaders (including Gen. Wesley Clark, who got the biggest cheers but didn’t speak) showed up to support Obama’s candidacy. They were followed by so-called average folk, heartland citizens — including two Republicans now backing Obama. One of the guys had a great line, though: "We need a president who puts Barney Smith before Smith Barney," said Barney Smith. "The heartland needs change, and with Barack Obama we’re going to get it," he added.

Of course, these are the concerns of a progressive whose big issues (from ending capital punishment and the war on drugs to creating a socialized medical system and fairly redistributing the nation’s wealth) have been largely ignored by the Democratic Party. I understand that I’m not Obama’s target audience in trying to win this election. And there is no doubt he is a historic candidate.

Bernice King, whose father, the Rev. Martin Luther King Jr., gave his famous "I Have a Dream" speech 45 years to the day before Obama’s acceptance speech, echoed her father by triumphantly announcing, "Tonight, freedom rings." She said the selection of Obama as the nominee was "decided not by the color of his skin, but by the content of his character. This is one of our nation’s defining moments."

But there is still much work to do in convincing Obama to adopt a more progressive vision once he’s elected. "America needs more than just a great president to realize my father’s dream," said Martin Luther King III, the second King child to speak the final night of the convention. Or as Rep. John Lewis, who was with King during that historic speech, said in his remarks, "Democracy is not a state, but a series of actions."

BACK TO THE BURN


We left Denver around 1:30 a.m. Friday, a few hours after Obama’s speech and the parties that followed, driving through the night and listening first to media reports on Obama’s speech, then to discussions about McCain’s selection of Alaska Gov. Sarah Palin as his running mate.

The Obama clips sounded forceful and resolute, directly answering in strong terms the main criticisms levied at him. Fowler said the Republicans made a very smart move by choosing a woman, but he was already getting the Democrats’ talking points by cell phone, most of which hammered her inexperience, a tactic that could serve to negate that same criticism of Obama.

We arrived back on the playa at 5:30 p.m. Friday, and a Black Rock Radio announcer said the official population count was 48,000 people, the largest number ever. The city has been steadily growing and creating a web of connections among its citizens.

"That city is connecting to itself faster that anyone knows. And if they can do that, they can connect to the world," Harvey told me earlier this year. "That’s why for three years, I’ve done these sociopolitical themes, so they know they can apply it. Because if it’s just a vacation, we’ve been on vacation long enough."

Yet when I toured the fully-built city, I saw few signs that this political awakening was happening. There weren’t even that many good manifestations of the American Dream theme, except for Tantalus, Bummer (a large wooden Hummer that burned on Saturday night), and an artsy version of the Capitol Dome.

Most of the people who attend Burning Man seem to have progressive values, and some of them are involved in politics, but the event is their vacation. It’s a big party, an escape from reality. It’s not a movement yet, and it’s not even about that Black Rock City effigy, the Man. Hell, this year, many of my friends who are longtime burners left on Saturday before they burned the Man, something most veterans consider an anticlimax.

It’s not about the man in the middle, either; it’s about the community around it. And if the community around Obama wants to expand into a comfortable electoral majority — let alone a movement that can transform this troubled country — it’s going to have to reach the citizens of Black Rock City and outsiders of all stripes, and convince them of the relevance of what happened in Denver and what’s happening in Washington, DC.

Larry Harvey can’t deliver burners to the Democratic Party, or even chide them toward any kind of political action. But the burners and the bloggers are out there, ready to engage — if they can be made to want to navigate the roads between their worlds and the seemingly insular, ineffective, immovable, platitude-heavy world of mainstream politics.

"As hard as it will be, the change we need is coming," Obama said during his speech.

Maybe. But for those who envision a new kind of world, one marked by the cooperation, freedom, and creativity that are at the heart of this temporary city in the desert, there’s a lot of work to be done. And that starts with individual efforts at outreach, like the one being done by a guy, standing alone in the heat and dust, passing out flyers to those leaving Black Rock City on Monday.

"Nevada Needs You!!!" began the small flyer. "In 2004, Nevada was going Blue until the 90 percent Republican northern counties of Elko and Humboldt tilted the state. You fabulous Burners time-share in our state for one week per year. This year, when you go home please don’t leave Nevada Progressives behind! ANY donation to our County Democratic Committee goes a long way; local media is cheap! Thanks!!!"

Change comes not from four days of political speeches or a week in an experimental city in the desert, but from the hard work of those with a vision and the energy to help others see that vision. To realize a progressive agenda for this conservative country is going to take more than just dreaming.

Ed Note: The Guardian would like to thank Kid Beyond, who traveled with Jones and helped contribute to this report.

RNC: Protest Amy Goodman/Journalist arrests

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By Bruce B. Brugmann

Coming to work this morning, I listened with outrage to the Thom Hartmann radio program on Air America (960AM) and his chilling interview with Amy Goodman, who detailed her arrest with her Democracy Now/Pacifica Radio/KPFA crew at the Republican National Convention in St. Paul.

Here are the details of this important story the mainstream media is paying scant attention to. And what you can do about it. Watch for protests from the Society of Professional Journalists and other journalism and free press organizations.


Free Press Action Alert:

Yesterday, police in St. Paul arrested several journalists, including Democracy Now! host Amy Goodman and an AP photographer as they were covering protests of the Republican National Convention.

Stand Up for Independent Journalism

Amy Goodman and others were released last night, but the story is not over.

We need you to cosign our public letter demanding that press intimidation cease immediately, and that all charges be dropped. It will be delivered immediately to St. Paul Mayor Chris Coleman, the RNC Host Committee and the local prosecuting attorneys. We need 10,000 signatures in the next 24 hours, so please take action now:

Sign the Letter: Drop All Charges Against Journalists

In addition to these arrests, police with firearms drawn raided a meeting of the video journalists’ group I-Witness and arrested independent media, bloggers and videomakers. We’re also receiving late-breaking reports of other arrests.

By signing this letter, you’re sending a powerful message: Officials must rein in aggressive and violent tactics by local law enforcement, stop the targeting of journalists and immediately drop all charges against them.

Reporting by independent journalists is vital to a functioning democracy. Americans must have access to diverse sources of information to hold their leaders accountable. Journalists must be free to do their jobs without intimidation.

Please Take Action by Signing this Letter

Don’t wait. We need a free press now more than ever. Tell your friends and take action now!

Thank you,

Josh Silver
Executive Director
Free Press
www.freepress.net

1. Watch the video of Goodman’s arrest.

2. See other journalists being arrested as reported by UpTake.

3. News of the AP arrest.

4. Learn more about the arrest of an ABC News producer during the Democratic Convention in Denver.

5. Watch the video of the police raid of I-Witness journalists (Caution: strong language).

God bless Larry Bensky and KPFA

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By Bruce B. Brugmann

It was a near perfect political moment. I was driving last night across the Bay Bridge and into Berkeley for the first anniversary dinner of the Chauncey Bailey investigative reporting project. I turned on KPFA radio and started listening to the on-the-street coverage that Amy Goodman and Larry Bensky were doing for KPFA on the Democratic convention.

They were covering what CNN, MSNBC, Fox, and other mainstream broadcasters weren’t: a dramatic anti-war demonstration in the streets of Denver. I could hear the staccato military commands as the Iraq Veterans Against the War marched in uniform to the Democratic convention gates, backed by hundreds of demonstrators.
The City of Denver had not approved the protest and trucks of armed police in riot gear were dispatched to watch for any eruptions of violence, but there were no reported arrests.

Whether or not there were incidents, the event was newsworthy and certainly more important than the pundits desperately looking for somebody to interview and something to say. But KPFA was there. And KPFA, unlike much of the broadcast media, covered the convention by allowing the convention speakers to speak and not doing lots of aimless interviews and adding mostly pithy and relevant comments. God bless Amy Goodman, Larry Bensky, and KPFA. They are a national treasure we can enjoy as a local radio station.

Here are two of the best print stories on the demonstrations:

The protest was not approved by the City of Denver.

Click here to read the Guardian UK story, US election: Hundreds of anti-war demonstrators march on the Democratic convention hall.

Click here to read the L.A. Times’ article, Obama camp meets with Iraq war veterans protesting at Democratic convention.

Shakespeare and sexy Jesus

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More in this issue:

>>An interview with Steve Coogan

>>More new movie reviews

› a&eletters@sfbg.com

Sundance darling Hamlet 2 has been dubbed by at least one critic as this year’s Napoleon Dynamite; but with an R rating and dialogue like, "I feel like I’ve been raped in the face," the movie isn’t nearly as quirky as that assessment implies. This is a good thing. Don’t get me wrong, I enjoy comedy served with a side of whimsy just as much as any Juno fan; but brazenly puerile movies that lie on the more ribald end of the humor spectrum have their own undeniable charms.

There is an art to making an enjoyable lowbrow comedy, as bizarre as it may seem. It’s the reason why deceptively dumb movies like Team America: World Police (2004) have achieved cult status and obscenely dumb movies like Hot Rod (2007) should never, under any circumstances be viewed — and incidentally, both were scripted (at least in part) by Hamlet 2 cowriter Pam Brady. There may be a fine line between stupid and clever, but the line that separates silly from moronic is just as — if not more — tenuous. Brady’s good name is happily on the road to recovery, though, with this over-the-top farce. To quote Polonius from Hamlet 1, "Though this be madness … there is method in it."

All of the madness, as it were, revolves around Dana Marschz (Steve Coogan), an inept but undeniably gung-ho high school drama teacher. You see, Marschz (and every consonant is pronounced in that name) is a failed actor who devotes himself to the two students in his class and the low-budget, sparsely attended stagings of recent Hollywood classics like Erin Brockovich. When the school newspaper’s prepubescent, hyperarticulate drama critic gives his latest production a scathing review, Marschz is distraught, but he flirts with the idea of writing something original. It isn’t until the following school year, when funding for drama is cut, that he’s shocked into action. He begins working on what will become a sort of play-within-a-play — a lewd and ridiculous sequel to Hamlet with a cast of characters that includes Albert Einstein, sexy Jesus, a bi-curious Laertes, and everyone else from the original Shakespearean tragedy, brought back to life via time machine.

Though the tone is overwhelmingly absurd, this is a satire. It isn’t a particularly sophisticated satire, but it’s effective nonetheless — offering a critique of censorship and the ACLU; Amy Poehler plays a sassy, foul-mouth lawyer with no qualms about defending a high school play wherein Jesus gets a hand job. Rounding out the cast is Catherine Keener as Marschz’s crass wife, David Arquette as the Marschzs’ virtually silent boarder, who inexplicably follows them everywhere, and Elisabeth Shue as herself. But make no mistake, this is Coogan’s show. He’s a star in his native England, yet as far as American cinema is concerned, he’s consistently been relegated to supporting roles. Finally he’s allowed to shine here, and the movie ultimately owes its success to his performance. He falls down repeatedly in an intersection while wearing roller skates, he exposes his butt, he moonwalks on water as sexy Jesus — all of it inspired. Shakespearean comedies usually end in a wedding: though no one gets married in Hamlet 2, it’s a hell of a lot funnier than anything the Bard ever wrote. *

HAMLET 2

Opens Fri/22 at Bay Area theaters

Editor’s Notes

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I didn’t expect much from NBC’s prime-time Olympics coverage, but Jesus, it’s bad.

Forget the all-America, all the time, which is only to be expected. Forget the fact that only the sports that have prominent American contenders get much attention. It’s the reporting and commentary that’s making me sick.

I don’t watch the Olympics on TV to hear for the 12th time about Michael Phelps growing up with a single mother and a driven coach. I buy trashy magazines to learn that kind of stuff. I want to see the games. (I don’t watch football on TV to learn about Brett Favre’s emotional unretirement; I want to see him throw the ball. And if they interrupted the game to give me an "NFL moment" I’d stop watching altogether.)

There are hundreds of events going on, and with the tape delay, we could see all kinds of stuff. The network could be switching from swimming to gymnastics to boxing to swimming … but no: more than half the prime-time show is devoted to truly awful little video clips about the lives of the players, or the age of the Chinese gymnasts (now there’s a hot new story) or someone’s personal tragedy.

Folks: I don’t care. Like most of us, I want to watch sports. Save your trashy specials for 60 Minutes.

And the comments, overall, are just horrifying. Did you know that the Romanian women’s gymnastics team just isn’t the same now that they don’t brutally abuse the children? I mean, look at those errors, that sloppy attitude! The athletes were actually smiling and talking to each other before they took the balance beam, and when one woman fell, she still got a hug from her coach. Back in the days of Nadia Comaneci, that would never have happened. Tragedy what’s happened to that team.

(I’ll give Bob Costas a break — if you get an interview with the president of the United States, you break away from the gym to air it. And he actually asked some professional questions. But watching Bush there, grinning like some kind of nervous idiot with a caffeine twitch, was so creepy it was almost unbearable.)

IN OTHER NEWS: Police Commission member David Campos is making a big stink about Mayor Gavin Newsom’s willingness to violate the Sanctuary City law. His point: if immigrants won’t contact the police for fear of getting deported, the cops can’t do their jobs. That, by the way, was one of the reasons San Francisco became a sanctuary city. He’s asking for a special hearing on this, and I hope it leads the commission to stand up to the mayor and say that it’s more important for SF cops to be able to work with immigrant communities than for Newsom to look tough on immigrants in his campaign for governor.

The Democratic County Central Committee is preparing to endorse candidates for supervisor, but so far, there’s little indication the panel will adopt ranked-choice voting recommendations. In District 9, that seems a shame — there are three good candidates (Campos, Mark Sanchez and Eric Quezada), and two (Quezada and Campos) are Democrats. Voters can choose up to three candidates in ranked order; the DCCC ought to consider doing the same.

Dirty secrets under the big top

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› steve@sfbg.com

The circus has come to town. Ringling Brothers and Barnum & Bailey Circus, the largest and most profitable show of its kind in history, is in Oakland this week, and will be headed to San Jose next week. Spectators will see trapeze acts, clowns — and animals, particularly elephants, performing the trademark stunts that are considered the highlight of the event.

But the show may soon be over.

Ringling Bros. has been battling with animal welfare advocates for a generation or more, and a landmark federal lawsuit headed to trial in October could finally answer the question of whether rough, regular treatment of endangered Asian elephants by circus handlers constitutes illegal animal abuse.

At stake is the future of performing animals in circuses, particularly this 138-year-old global institution. Circus officials say that if the court prohibits the use of tools like leg chains and the ankus (an elephant training tool that activists call a bull hook and handlers call a guide), they’ll stop touring with elephants — a feature that they admit is their biggest draw.

The case, originally filed eight years ago by three national animal welfare groups and former Ringling Bros. elephant handler Tom Rider, has unearthed a treasure trove of damning inside documents from both Ringling Bros. and the US Department of Agriculture, the agency that regulates circuses and ensures their compliance with the Endangered Species and Animal Welfare acts.

Among the allegations are claims of repeated injuries to elephants by ankus-wielding handlers, efforts to conceal animal abuse from the public and government regulators, the preventable deaths of three baby elephants, prevalence of tuberculosis (the same strain contracted by humans) in elephants and handlers, and a pattern of high USDA officials overriding the enforcement recommendations of agency investigators and ignoring evidence of abuse.

"Ringling Bros. engages in these unlawful activities by routinely beating elephants to ‘train’ them, ‘discipline’ them, and keep them under control; chaining them for long periods of time; hitting them with sharp bull hooks; ‘breaking’ baby elephants with force to make them submissive; and forcibly removing nursing baby elephants from their mothers before they are weaned, with the use of ropes and chains," reads the federal lawsuit filed by American Society for the Prevention of Cruelty to Animals, Animal Welfare Institute, the Fund for Animals, and Rider. It will be heard in US District Court in Washington, DC, starting Oct. 7.

Despite its major implications, the case has drawn surprisingly little media attention. But it’s a remarkable story, full of juicy documents, an abundance of YouTube video footage that appears to show Ringling Bros. animal abuse — along with Ringling Bros.’ role in derailing the career of a prominent Bay Area television news anchor and the intriguing involvement of shadowy CIA operatives.

Critics say Ringling Bros.’ extensive advertising makes media outlets pull punches, but another reason the circus has avoided bad press may lie with other Ringling lawsuits that contain some astounding revelations of how the circus — or more specifically, circus owner Kenneth Feld and his Feld Entertainment, the world’s largest live entertainment company — treats those who seek to expose its secrets.

DIRTY CIRCUS TRICKS


Power and illusion have always been mainstays of the circus, ever since P.T. Barnum reportedly said, "There’s a sucker born every minute." Elephants and other exotic animals have always been important features of the show as well, going back to the 1860s when James Anthony Bailey displayed Little Columbia, the first elephant ever born in a circus.

The nation’s three largest circuses — Barnum’s, Bailey’s, and the Ringling Brothers — gradually merged into one by 1919 and enjoyed growing popularity until entering into a period of decline during the Great Depression. That decline continued through the Hartford Circus Fire of 1944, when more than 100 people died inside a Ringling Bros. tent, and into the 1950s, when television became popular.

But music promoter Irvin Feld began to turn the circus around in the late ’50s, bringing in new acts and increasing the circus’s profitability. In 1967 he bought the company and later passed control of the circus to his only son, Kenneth, who has prospered along with the show.

Kenneth Feld made Forbes magazine’s list of the 400 richest Americans in 2004, with a reported net worth of $775 million. Feld Entertainment made the Forbes list of the nation’s top companies in 2000, ranking 404th with a reported annual revenue of $675 million and profits of $100 million.

Feld also owns and operates such shows as Disney on Ice, Disney Live, High School: The Musical, and the Siegfried and Roy tiger-taming act.

But all is not well in the Feld empire.

When Feld had a falling out with his top lieutenant, Charles Smith, in 1998, Smith filed a wrongful termination lawsuit that exposed the nefarious inner dealings of "The Greatest Show on Earth," including alleged animal abuse, public health threats, and the use of a top former CIA official to spy on, infiltrate, and sabotage animal welfare activists and journalists.

Among other things, the case brought to light charges that some of the elephants have been exposed to or have contracted tuberculosis.

Joel Kaplan, a former private investigator who worked for Feld, alleged in a deposition in the Smith case that TB was a serious problem among the pachyderms. "I think it’s immoral to have elephants traveling in every arena in the country with tuberculosis," noted Kaplan, who filed his own lawsuit and settled for $250,000. He stated that he had been told by a Ringling Bros. veterinarian that "about half of the elephants in each of the shows had tuberculosis and that the tuberculosis was an easily transmitted disease to individuals, to human beings."

Also included in the case was a deposition by Clair George, the No. 3 person in the CIA until 1987, when he was convicted of lying to Congress about the Iran-contra scandal (he was pardoned by President George H.W. Bush on Christmas Eve 1992). George admitted to working for Feld and conveyed chilling tales of sabotage, including the case of freelance journalist Jan Pottker, who wrote a 1990 magazine profile of the Feld family which included allegations that Irvin Feld maintained a longstanding homosexual relationship outside his marriage.

To deter her from writing a book about the Feld family, George outlined a scheme to have one agent befriend her and another seduce her, spy on her progress, feed her conflicting information, and even get her a book deal on another project to divert her, with a $25,000 advance allegedly paid by Feld.

"I undertook a series of efforts to find out what Pottker was doing and reported on the results of my work to Mr. Feld," George wrote in a sworn affidavit. "I was paid for this work by Feld Entertainment or its affiliates. I prepared my reports in writing and presented them to Mr. Feld in personal meetings."

Amy McWethy, a spokesperson for Feld Entertainment, refused to discuss the cases or their implications.

The statements of George and Kaplan describe secret bugging and phone tapping, bribes and clandestine cash settlements to silence critics (including Smith, who settled his lawsuit for $6 million), and infiltration of groups such as People for the Ethical Treatment of Animals.

"As part of my work for Feld Entertainment," George wrote in his affidavit, "I was also asked to review reports from [Feld executive vice president] Richard Froemming and his organizations based on their surveillance of, and efforts to counter, the activities of various animal rights groups."

National security reporter Jeff Stein (now with Congressional Quarterly) wrote the definitive account of Feld’s alleged black ops for Salon.com ("The Greatest Vendetta on Earth," 8/30/01), and was also allegedly targeted for surveillance and retribution, according to a story in the May/June 2002 issue of Columbia Journalism Review ("Investigations: The scary circus," by Jay Cheshes).

Stein’s original stories were followed up by 60 Minutes in May 2003, which essentially repeated the allegations.

The next year, KTVU anchor Leslie Griffith got onto the circus story, doing lengthy, investigative reports on the animal abuse lawsuit revelations for KTVU in 2004 and 2005, just as Ringling Bros. was coming to town.

Then Griffith left the station — at least in part because of the backlash she says she felt from both her corporate bosses and Ringling Bros., whose internal documents reveal an aggressive strategy to counter negative media coverage.

A training manual made public as part of the lawsuit outlines how the circus responds to reporters:

"Immediately upon learning about negative stories about Ringling Bros., the Animal Issues Department will put in place the [Rapid Deployment Force]," it states. "The Animal Issues Department will directly contact the editor/news director…. Armed with videos, literature and other information, the Animal Issues Department Head will demand a retraction or equal time and will work in concert with the grass roots campaign…. If the editor/news director refuses the request, Legal will be informed to determine what recourses exist."

Griffith says it was after KTVU was targeted by this effort that she was barred from doing any more circus stories and her relationship with the station began to deteriorate. "All of a sudden my hair wasn’t good enough, my makeup wasn’t good enough — after 25 years of doing the news."

Officially Griffith and KTVU parted on good terms with mutual statements of respect. Even today, KTVU general manager Tim McKay (who was station manager when Griffith left) speaks highly of Griffith, telling the Guardian, "Leslie worked here for a number of years and did a fantastic job."

McKay said he didn’t know about any contact from Ringling Bros. or Griffith being told to back off the circus stories (he said he would check and get back to us, but didn’t as of press time), saying only, "We stand behind the stories as they aired. There was a whole lot of attention given to their accuracy."

But it’s clear that Ringling Bros. was aware of and upset by Griffith’s work. In 2005 Ringling Bros. attorneys argued in court against efforts by the ASPCA and the other lawsuit plaintiffs to obtain financial records and veterinary records on the Ringling elephants, telling the judge: "To shovel this stuff into the public record and try to draw inferences from it, or put it in out of context, lends itself to all sorts of abuse, the very kind of abuse that we contend took place on the San Francisco television station last week."

Judge Emmet G. Sullivan ordered Ringling to turn over the documents, but kept many (mostly the financial documents) under protective seal, keeping their contents hidden from the public.

Griffith, who won dozens of major journalism awards over her 25-year career, says the public suffers when journalists are muzzled. "If they took anything from me," she said, "it was my bully pulpit."

ELEPHANTS AND TB


If Griffith still had that bully pulpit and the ability to freely use it, she told us she’d be talking about mycobacterium tuberculosis in elephants. After doing extensive research into the issue — interviewing top experts and traveling across the country to review voluminous court files — Griffith has come to believe Ringling Bros. Circus poses a serious threat to public health.

"You can talk about the [animal] abuse, but with a worldwide epidemic brewing, I’d say the story is the tuberculosis," Griffith told us. She has been writing periodically on elephants and TB on her blog (lesliegriffithproductions.com), the Huffington Post, and prominent news sites such as Truthout, which published her piece, "The Elephant in the Room," a year ago.

"There are several alarming issues for epidemiologists: drug resistance, inability to diagnose if an elephant has been cured, and disease spreading to handlers who work with them and to the public who attend circus performances," Griffith wrote in the article, relying on public documents and experts on both the circus and infectious disease.

Griffith’s star source has been San Francisco–based epidemiologist Don Francis, who helped discover the HIV virus and became the first director for the Center for Disease Control’s AIDS Laboratory. The Guardian talked to Francis, who has reviewed Ringling documents and concluded that the elephants do indeed pose a threat to public health. He told us he’s particularly troubled by records that appear to show elephants being treated with multiple drugs, meaning they could have multidrug-resistant TB (MDR TB), "which really scares me." Ringling denies that any elephants have MDR TB, for which there is essentially no cure.

But Francis remains concerned. "A trumpeting elephant could definitely aerosolize this stuff," Francis told the Guardian — and that would keep small particles of the virus airborne long enough for them to be inhaled by handlers or circus crowds. Children and those with weak immune systems, such as people with HIV, would be especially susceptible to contracting TB from these particles.

Although Francis said he couldn’t say whether any circus attendees have been infected with TB from elephants — and we’ve been shown no evidence that anyone’s ever contracted TB from attending a circus — he sees no basis for Ringling’s claims that the elephants are safe. "I don’t know that anyone has asked the question. I’m not sure anyone has ever tied it together," Francis said.

Both Griffith and Rider maintain that all of Ringling’s elephants have been exposed to TB at one time or another and that the standard annual process used to test for infection — trunk washing — is inadequate to determine if they are carrying and transmitting the virus.

"Every elephant traveling with Ringling has been exposed to TB, and many of them have TB," Rider, a former Ringling elephant handler, told us.

In fact, Kaplan testified in court that he was asked "to find a physician who would test the people in the circus to see if they had tuberculosis but who would destroy the records and not turn them in to the Centers for Disease Control," as the law requires.

Ringling and USDA documents unearthed by the lawsuits and Freedom of Information Act requests show that at least eight elephants tested positive for TB and that many others have been exposed to them. Ringling veterinarian Danny Graham told the Guardian that two non-traveling elephants are currently being treated for TB, but couldn’t say how many have tested positive in the past.

Yet Ringling officials maintain that active tuberculosis is not a problem in the circus, that their diagnosis and treatment regimens are adequate to protect the health of the elephants, circus employees, and the public, and that no elephants that tested positive for TB have then performed in front of the public.

Graham said the trunk wash, which detects when a TB infection has shed out of the lungs and can be transmitted, is an effective indicator of whether an animal is contagious. "Shedding is when it can be passed to other elephants," she told us. "What our trunk washes look for is a shedding of the bacteria."

Yet Ringling records show at least one case in which the necropsy on a dead elephant, Dolly, showed TB in the lungs even though the trunk wash results were negative.

A Ringling FAQ sheet on "Tuberculosis in Elephants," by Dr. Dennis Schmitt, chair of veterinary services for Ringling’s Center for Elephant Conservation, admits that humans and elephants get the same kind of TB. "However there has been no proven case of tuberculosis bacterium being transmitted from elephants to humans," he writes.

He uses a similarly legalistic, underlined approach on questions of whether humans can contract TB from elephants and whether there have been studies indicating so, saying neither has been "proven." And he flatly denies that any elephants have MDR TB.

Two Ringling officials interviewed by the Guardian — Graham and Janice Aria, director of animal stewardship training — went further than Schmitt and flatly denied that any elephants that tested positive for TB ever performed.

"None of the elephants in our traveling unit have ever tested positive for TB," Aria told the Guardian. "No, none of our traveling elephants have ever tested positive for TB," Graham said in a separate interview.

THE USDA INVESTIGATES


But Ringling veterinary records unearthed in the latest lawsuit cast some doubt on the claims of circus officials. Three of the seven elephants that traveled with Ringling Bros. Blue Unit to Oakland — Juliet, Bonnie, and Kelly Ann — appeared in one redacted veterinary document, marked as exhibit "FELD 0021843."

Kelly Ann’s entry includes this notation: "Moved from CEC to Blue Unit. Just finished TB treatment." Juliet was listed as "currently being treated for presumptive TB" and Bonnie had "blood drawn for Tb Elisa," an expensive TB test that often follows a positive reading in the trunk wash test. Documents connected to a 1999 USDA inspection also list Kelly Ann and "Juliette" among 10 elephants administered drugs for treating TB.

Asked whether Kelly Ann has ever undergone TB treatment and informed of the document, Aria told the Guardian, "From my knowledge, that is not true."

McWethy, the Feld corporate communications manager who arranged and monitored our interviews with Aria and Graham, initially said she was not familiar with the document, and even if she was, "the court requested that the parties not discuss the specifics of the suit." In actuality, the judge has not issued a gag order in the case, and plaintiffs spoke freely about details of the case.

Later, after she reviewed the document at our request, McWethy confirmed that Kelly Ann had been exposed to TB in 1999 and that the circus decided to treat her for the disease. "But she’s never tested positive," McWethy said.

In June 2001, the tuberculosis issue was enough of a concern to the USDA that the agency initiated what one official document called an "investigation regarding allegations that Ringling was using known TB-infected animals in circus performances." But information on the results of that investigation was redacted by the USDA from later documents.

In a 2003 report written by the three plaintiff groups in the latest lawsuit, "Government Sanctioned Abuse: How the United States Department of Agriculture Allows Ringling Bros. Circus to Systematically Mistreat Elephants," they conclude: "Although tuberculosis is an extremely contagious disease, and Ringling’s elephants are publicly exhibited throughout the country, including elephants that go in and out of both the breeding and retirement facilities, the public has been kept completely in the dark about this investigation, the agency’s decision to ‘override’ the conclusions of its own inspectors and investigators, and the reasons this investigation was closed with no further action."

WATCHING THE CIRCUS


Feld — the man and his company — are big contributors to top elected officials of both major parties. Campaign finance records show that since 1999, Feld has given at least $104,900 to Republicans and $35,150 to Democrats on the federal level and in his home state of Maryland.

Benefiting disproportionately from Feld’s largesse are members of the House Agriculture Committee (which oversees the USDA). The contributions include almost $10,000 to former Rep. Richard Pombo (R-Tracy), $6,500 to the campaign and committees of Rep. Bob Goodlatte of Virginia (the committee’s ranking Republican), and $6,500 to Rep. Robin Hayes (R-N.C.). Representatives from the two states where Ringling Bros. bases its animals off-season, Texas and Florida, also took in $13,300 and $28,000 respectively, more than those from other states. Animal welfare advocates say Feld’s wealth, power, and political connections have caused the USDA to go easy on Ringling Bros.

"This cozy relationship between the USDA and Ringling Bros. is going to be exposed during the trial," Tracy Silverman, the attorney for Animal Welfare Institute, told the Guardian.

Plaintiffs will make an example of the death of a four-year-old elephant named Benjamin, who drowned in a Huntsville, Texas, pond July 26, 1999 after refusing to heed trainer Pat Harned’s commands to get out. That death came a year after another baby elephant, two-year-old Kenny, died after being used in three circus performances in one day, despite warnings from veterinarians that he was severely ill.

"The United States Department of Agriculture’s final ‘Report of Investigation’ concerning the incident concluded that Benjamin’s trainer’s use of an ‘ankus’ on Benjamin ‘created behavioral stress and trauma which precipitated in the physical harm and ultimate death of the animal.’ On information and belief, the routine beatings of Benjamin were a contributing factor to his death," the animal welfare groups wrote in the lawsuit.

The USDA investigator recommended Ringling Bros. be charged with vioutf8g the Animal Welfare Act, yet the USDA’s General Counsel’s Office overrode those conclusions and issued its own: "Suddenly, and without any signs of distress or struggle, Benjamin became unconscious and drowned." Ringling and USDA officials say the animal died of a previously undetected cardiac arrhythmia, and the final report omitted any mention of the ankus or behavioral stress.

Animal welfare activists and lawyers say this is just one of many examples of senior USDA officials overriding recommendations of front-line investigators and veterinarians, then blocking access to reports and other evidence that might support or disprove the final conclusions. Indeed, the lawsuit identifies more than a dozen such examples.

USDA spokesperson Jessica Milteer told the Guardian she couldn’t comment on specific examples, but said supervisors are ultimately responsible for interpreting field reports. "Things are pretty much done on a case-by-case basis. We try to work with a facility to come into compliance."

But she said that it’s not true the USDA goes easy on Ringling Bros. because of its power or political connections. She said there are currently two open investigations into Ringling Bros. (she would not provide details) and that facilities like Ringling get annual inspections unless they’re found to have problems or risk factors.

"Since 2005 Ringling has been inspected 52 times," Milteer said, indicating the USDA is indeed concerned about some of the things it has observed at Ringling Bros.

USE OR ABUSE?


Aria, the Ringling trainer, said banning the use of the ankus "would not allow elephants to travel anymore." Feld and other top officials have made similar public statements. She bristled when hearing the ankus referred to as a bull hook. "We call them guides," she told the Guardian. "It is used to reinforce a verbal cue."

Aria and McWethy dismissed videos that appear to show handlers inflicting violent blows on elephants, saying they are often selectively edited and spliced in with footage of non-Ringling elephants and handlers. Activists insist this isn’t true and that much of the footage clearly shows abuse at Ringling Bros. For example, one video shows a person identified as a Ringling Bros. elephant handler striking violently at an elephant after saying on camera that he never does so. Another shows Ringling elephants being paraded through a town and one slow elephant being sometimes pulled along by an ankus behind the ear, with a closeup then showing a bloody puncture wound in the spot.

"From the videos I have seen, so much of it is repackaged and old stuff that doesn’t apply to us at all, not at all," Aria told us.

Graham, who worked for Ringling for the two years she has been a veterinarian and who interned with the circus before that, said she visits the elephants at least once a week and "I have never seen a trainer use an ankus inappropriately." Further, she said, she has never seen an injury she thinks was caused by the ankus: "If I see anything, it’s generally superficial abrasions."

Rider and animal welfare activists say the hook on the ankus is used to inflict pain on the sensitive parts of an elephant, mostly behind their ears or on the backs of their legs, as a negative stimulus to encourage the animals to perform tricks or obey commends. If it was simply a "guide," they say, it wouldn’t need a hook.

But Aria said the ankus is akin to a leash, a means of keeping the elephants near them. "It’s a ‘come-to-me’ cue," she told us. "This comes from decades and decades of use."

Sorting out whether such traditions are actually a form of animal abuse is the purpose of the fall trial.

"The circus is really good at creating the illusion of the happy performing elephants," Kathy Meyer, an ASPCA attorney who has been handling the case from the beginning eight years ago, told us. But she said that it’s clear from the documents, videos, testimony, and common sense that the ankus is often used to inflict pain, which is prohibited under federal animal welfare rules, particularly those governing endangered species, which allow Ringling to have elephants only for conservation reasons.

"So we’re asking the judge to enjoin them to stop them from using these practices," she said.

Many veterinarians and wildlife experts agree that it’s not possible for elephants performing in circuses to be treated humanely. The Amboseli Trust for Elephants last year released a letter signed by 14 leading elephant researchers, with almost 300 years of combined experience working with elephants in the wild, arguing for an end to the practice.

"It is our considered opinion that elephants should not be used in circuses. Elephants in the wild roam over large areas and move considerable distances each day. They are intelligent, highly social animals with a complex system of communication…. Elephants in circuses are bought and sold, separated from companions, confined, chained, and forced to stand for hours and frequently moved about in small compartments on trains or trucks. They are required to perform behaviors never seen in nature," they wrote.

Aria said she didn’t agree with those conclusions, saying she looks out her office window every day: "I see elephants and get to see them all day doing the most amazingly athletic things." And she said only those with a propensity to perform are taken on the road, which is about one-third of their 53 elephants. "You can separate the ones who want to do it from the ones who don’t want to do it," said Aria, who joined Ringling Bros. as a clown in 1972. Later, she earned a bachelor’s degree in special education and worked as a teacher during the ’90s. She was named to her current post in 2006.

"All the elephants here are happy and thriving," Aria said, noting there are only about 35,000 Asian elephants still alive and that many, in places like Sri Lanka where she has visited, are regularly abused and killed. "Good for the Feld family that they support elephants from their births to their deaths."

PRESERVATION OR EXPLOITATION?


The path to the courthouse has been long and difficult, with Feld getting a similar earlier case dismissed and this one moving to trial only after threats and stern warnings by Judge Sullivan against any more stall tactics by the defendants.

"It’s been very difficult to get to this point," Meyer, the ASPCA lawyer, said, adding that that just being able to have their day in court is already a huge victory. "To have this issue aired in a public forum will be helpful for educating the public."

Silverman said she was most shocked by documents obtained by the plaintiffs — and introduced as part of the case — showing elephants chained up to 100 hours at a time, for an average of 26 hours when traveling between shows. "In no way did I imagine the bulk of the evidence that would support our claims," Silverman said. "These animals live their lives in chains."

In addition, many members of the public might not be aware that Ringling Bros. obtains its elephants under the Endangered Species Act for the purpose of protecting and propagating an endangered species, and the ESA contains strict rules against physical abuse of those animals.

"There’s no humane way to have a circus with elephants because it has to travel year-round," Rider told the Guardian. "If you take away the chains and the bull hooks, an elephant isn’t going to do anything."

Rider, who worked with Ringling elephants for more than two years, "saw several of the other elephant handlers and ‘trainers’ routinely beat the elephants, including baby elephants, and he saw then routinely hit and wound the elephants with sharp bull hooks," according to the lawsuit.

Ringling officials such a trainer Aria contend the elephants are well-cared for. Yet she also admits that the elephants are the key to the Felds’ lucrative business empire.

"They are our flagship animal," Aria said. "People come to the circus to see the elephants."

As such, a ruling that goes against Ringling could financially cripple the company, which is why animal welfare advocates say Feld has taken such an aggressive stance with his critics, harassing, threatening, and sabotaging them. As Silverman said, "You see that with Leslie Griffith, and it’s that kind of thing that they do all over the country."

King me, Fudgie: Spermin’ out with drag’s biggest baller

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Hey, girl, hey: In this week’s Super Ego clubs column, I talk to the reigning king and queen of SF Drag: Fudgie Frottage of this Saturday’s 13th Annual San Francisco Drag King Contest, and Heklina of Trannyshack, whose weekly club is coming to a nuclear close after 12 years as I type this (listen very carefully and you can hear dizzy trannies exploding in the distance….) before her giant Trannyshack Kiss-Off Party on Aug 23 at the Regency Center.


Footage of the century: A youngish Heklina plugs the first Trannyshacks at Fudgie’s legendary DragStrip club, April 14, 1996. Arturo Galster MCs.

Look at me, I’m a starfucker. Below is my extended, unexpurgated, sticky-fingered interview with Fudgie, aka Lu Read, whose hairy roots stretch back to the heyday of SF’s punk rock drag scene. Strap one on and dive in.

SFBG: This is your lucky 13 — are you planning anything, like, spooky? Are there any SF Drag King disaster stories you can share?

Fudgie: Well, our theme this year sets us Kings donating to a sperm bank — that is genetically spooky to many, though most find it hilarious. Drag King disaster stories? Well, last year one of my balls failed to inflate during the opening number “Big Balls,” but the concept got across so it wasn’t a total disaster.

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Yes Nurse! No Nurse! Photos by Larry Utley

SFBG: What in general do you have planned for this glorious, gorious evening?

Fudgie: Hard and throbbing musical productions, firm and penetrating performances, and extraordinary feats of entertaningly unbridled masculine stamina and staying power. Cohost Indra and I have a few surprizes, Electro, the Pop n’ Lock King, SFDK title holder from 2000 is flying in from NY as our special guest. He hasn’t performed here for 8 years and I’m really looking forward to seeing him — he is a fantastic performer!

The Contest is very much like a variety show, we’ve got bands like The Mighty Slim Pickins and TuffnStuff, aerialist burlesque with Kitty Kitty Bang Bang: some Kings lipsynch, some sing live, some choreograph amazing dance routines, of course there’s Fakin’ Aiken, this year’s title holder plus the troupe title holders The Pacmen from Sacramento who are adorable, talented and handsome. Surely Delicio Del Toro, L. Ron Hubby and Seimen Marcus will do something wild and crazy. The contest is like a mash-up of the Miss America Pageant, American Idol, So You Think You Can Dance, Project Runway, Halloween and a Monster Truck Show.

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Fudgie gets fishy

SFBG: An annoying thing for me: Many people I know, even smart ones, don’t know much about the drag king community — drag queens get all the freakin’ press. What do you think about the lack of drag king visibility on the SF scene?

Photo Issue Q&A: Sean McFarland

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To choose just one photo by Sean McFarland for this year’s Guardian Photo Issue was tough. Ultimately, we went with one from 2005 that looked best within the issue’s layout. McFarland’s more recent work was markedly different, but just as impressive. The interview below is interspersed with some of these more recent photos, and some interesting background information about their mysteries.

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Sea, by Sean McFarland

At the moment, McFarland is part of the survey of Bay Area photography on display at City Hall (through Sept. 19), but that isn’t his only current show with a strong local element. He’s also a contributor to “Let Us Now Praise San Francisco,” at the 77 Geary space Marx and Zavattero Gallery. Up through this Saturday, it brings together select writers and photographers for a SF-specific 21st-century answer to James Agee’s and Walker Evans’ famous combo of word and images, Let Us Now Praise Famous Men.

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Tornado, by Sean McFarland

SFBG In the last year or two, your work has shifted away from urban views to elemental images: sky, sea, vast land. What has set you off in that direction?
Sean McFarland: I’ve been thinking a lot about the ways in which the earth changes. In an urban environment, we build buildings, roads, and parks, changing the landscape. These are immediate and obvious alterations of our environment. Our actions also change the landscape as we alter the climate – more frequent and powerful storms, rising seas. By focusing on making images of the natural world, of the landscape, I’m interested in making pictures of us. How we change the earth and how the earth effects us.

Two turntables and a saxophone: Meet DJ Purple

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Intrepid reporter Justin Juul hits the streets each week for our Meet Your Neighbors series, interviewing the Bay Area folks you’d like to know most.

Steve Hays, AKA DJ Purple, is a Karaoke DJ — or a KJ as they’re called — who throws dance parties throughout the Bay Area. Forget everything you thought you knew about the karaoke scene. There are no sad old men or drunk frat boys singing Dave Matthews songs at DJ Purple’s shows. Serious music-lovin’ hipsters flock nightly to places like Jacks in The Mission – across the street from where this interview (and drive by shooting!) took place — to sing their favorite heavy metal, rap, and eighties pop tunes while DJ Purple plays back up on the sax. This ain’t your daddy’s karaoke show!!!

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SFBG: So what’s your deal?
DJ Purple: I’m Steve Hays, otherwise known as DJ Purple Hays. Did you get that name connection there?

SFBG: Actually I think I just realized it a minute ago. It’s the Jimi Hendrix thing, right?
DJ Purple: Yeah, it’s more of a Jimi Hendrix connection as opposed to drugs or whatever. I actually started using the name back when I was in my first band. I was a little sophomore kid and there was this band of seniors I knew. I used to hang out at their shows and one day I was like “Can I play?” They asked me what my name was and when I said Hays, they were like “Oh let’s call him Purple.” I had no idea what they were talking about at the time.

SFBG: So then you just used it as your DJ name too?
DJ Purple: Yeah, well when I started deejaying -I used to just be a regular DJ, by the way; not a KJ like I am now- I played around with a few names. But then I made a flyer one night and left a stack of them at the bar while I was performing. Some guy picked one up and yelled “DJ Purple, No Way!!!” I figured if the name could get that kind of response out of some random guy at a bar, then it must be good.

SFBG: How long have you been doing the karaoke thing?
DJ Purple: I got inspired by a show I saw in 2002 in Palo Alto. It was a karaoke dance party as opposed to just your standard karaoke show. So this KJ had somehow managed to sell out a 500-person venue with a karaoke show. People from all over the Bay Area came to see him. It was awesome.

SFBG: So what exactly is the difference between a normal karaoke show and what you do?
DJ Purple: Well, 99% of the karaoke shows out there are kind of boring. As a real DJ, my focus is on moving the crowd. I like to get people dancing. So one of the main differences is that I don’t have slow songs in my book. The slow songs always ruin things. Like, you’ll get some high-energy stuff for a minute but then someone will stand up and sing “Yesterday” by the Beatles and the whole place will yawn. There are always weird pauses between songs too. I’m a DJ so I keep things moving. Each song transitions into the next and I do my best to keep the energy up.