Leather

The death of Polk Street

-
0

› news@sfbg.com

Click here to read about the Polk’s long, queer history

Kelly Michaels was following the San Francisco dream when she escaped her small Alabama hometown at 17 and hitchhiked westward. It was 1989.

"I had stars in my eyes," Michaels told the Guardian, sitting on the floor of her friend’s small single-room occupancy Tenderloin apartment, hints of a Southern drawl now paired with Tammy Faye mascara and bleached-blonde hair. "When you’re 16 or 17 and have dreams of being famous, you come to California — and you probably end up on Polk Street in drag."

Michaels arrived on Polk with little more than blue jeans, a bra, and rubber falsies to her name, making ends meet as a street sex worker. It wasn’t what she was looking for; the Polk was plagued with drugs and violence. But her dad was embarrassed by his transgendered daughter and didn’t her want her back. The neighborhood was a home.

She found a community at fierce Polk Gulch trans and boy-hustler bars like Q.T. and Reflections, where clientele included one "big, tall, black Egyptian transsexual hell-raiser" known to draw a gun. Scores of boy hustlers "coming in daily from the Greyhound station" danced naked on the bars. At the end of the night, Michaels’s new family members would pool their money and rent a hotel room for $30.

"The bars were the churches, the sanctuaries," Michaels’s friend Terri, an African American man in his 50s, told us. "You weren’t really going to be hassled there."

Not any more. "Polk Street is dead," Michaels told us. "Dead as fuck now."

THE NEW POLK STREET


The new kids on the block are calling it "revitalization."

After the three-decades-old gay bar Kimo’s is transferred to a new owner at the end of September, there will be only two queer bars left on a street that was San Francisco’s gay male center in the 1960s and a gritty, affordable home for low-income queers, trans women, and male sex workers in the following decades. Where scores of hustlers lined up against seedy sex shops and gay bars just a few years ago, crowds of twentysomething Marina look-alikes now clog the sidewalks in front of upscale clubs.

Polk’s queer residents and patrons are now being priced and policed out of their neighborhood — and their city — as business and tourism interests continue to eat away at the city’s center. Lower Polk Gulch, just blocks north of City Hall and one block east of Van Ness, has in the past few years succumbed to multimillion-dollar businesses, upscale lofts, increased rents at SRO hotels and apartments, and a new million-dollar city streetscape beautification plan. The related increase in policing and new efforts to clean up the street is making the area an unwelcoming place for the marginal queers who for so long called it home.

It has been the most down-and-out segments of the queer population — male sex workers, trannies, young people, poor people of color, and immigrants — who have often been the queer population’s boldest and most innovative actors, pushing the movement forward in new ways. What does queer San Francisco lose when our most marginalized members are pushed, policed, and priced out of the city?

HEART OF A COMMUNITY


Michaels stood under a neon purple Divas sign, advertising the three-story transgender club that has stood in Polk Gulch for more than three decades. Divas manager Alexis Miranda, a friend, stepped outside to chat, and a dozen characters from the neighborhood stopped by to shoot the shit. One man rubbed Miranda’s belly through her leopard bodysuit. "This is my baby," he told us jokingly.

Divas is as much a community center as it is a club. Girls from out of town and out of the country know to come to Divas when they step off the boat, plane, or bus. Many trans immigrants make a living as prostitutes, and while Miranda insists that she does not allow them to work inside the club, the close vicinity of San Francisco’s tranny prostitute district has meant tension for Divas.

Miranda told us the police have been targeting the club because of complaints from new merchants. "Some of the people who have new businesses don’t want the people who live here to stay. They want to close us down," she said. "They’re trying to gentrify the neighborhood."

Neville Gittens, a police spokesperson, told us that the San Francisco Police Department performs "regular enforcement in that area" but said any targeted operations cannot be discussed.

Theresa Sparks, a trans woman who chairs the Police Commission, said Miranda made the same claim at the commission meeting Aug. 15. "I don’t know if that’s true or not," Sparks told us. "My intent is to find out what is going on."

Sparks agreed that gentrification is driving trans people out of the Polk Gulch neighborhood: "It is very, very difficult for a transgendered person to survive in this city."

Miranda pointed to a bar across the street. Until 2000, the Lush Lounge was the cruisy trans and hustler bar Polk Gulch Saloon. Now, under a new owner, white twentysomething heterosexuals sip apple pie martinis.

Sonia Khanna, a 28-year-old trans woman with long, curly brown hair and mocha skin told us she doesn’t feel welcome there. "If you’re a tranny, they think you’re a whore," she said.

Miranda said the owner, Steve Black, ejected her when she went to welcome him to the neighborhood. Miranda, a former empress in San Francisco’s Imperial Court System, reported him to the Human Rights Commission. The inquiry was closed when the owner informed the commission that he allows transgendered people into the bar. He didn’t deny tossing out Miranda; he said he just disliked her personally.

The bigger problem may be the neighborhood’s increased property values. Divas owner and Polk Gulch resident Steve Berkey told us that rents have pushed out other established queer businesses on Polk. The only reason Divas stays open is that he owns the building. "It used to be that so many girls lived in the neighborhood," he said. "They packed the place. But now rents have driven them off."

CENTER OF THE STORM


The reasons behind the death of the queer Polk are complex, likely including the ascendance of the Internet as a social networking tool, rising property costs, and the aging of the bars’ core clientele and owners. But most of the community’s rancor has focused on the most visible manifestation of change: neighborhood associations representing new, upscale businesses working with police and the city to clean up the streets.

At the center of the storm is a glass-walled architecture studio at the bottom of Polk Gulch, around the corner from Divas. Two freshly planted palm trees in front of the studio are conspicuous on a site next door to a bleak, institutional homeless shelter outfitted with security cameras and across the street from a porn shop promising "Hot Bareback Action!"

Case+Abst Architects has been the workplace and home of husband and wife Carolyn Abst and Ron Case since they were lured by the area’s low cost in 1999. The trees were the first of 40 planted in a campaign they initiated last year as cofounders of Lower Polk Neighbors. Abst told the San Francisco Chronicle in September 2005 that she "wants a fruit stand [on Polk Street], and we’ll take a Starbucks too."

The group has had an impact: District Attorney Kamala Harris said at a recent community meeting organized by the LPN that she has responded to association agitation by having representatives of the District Attorney’s Office walk the neighborhood with police and installing high-tech surveillance equipment to gain more criminal convictions. Sup. Aaron Peskin has asked the Mayor’s Office of Economic and Workforce Development to include the Lower Polk in its Neighborhood Marketplace Initiative, a program designed to revitalize neighborhood business districts. As part of this program, a part-time staff person now acts as a liaison between Lower Polk merchants and police. Another city program is scheduled to spend $1 million on installing new lights and planting trees later this year.

Activists say the LPN focus is not on outreach, therapy, or support for the Polk’s marginalized residents but on pushing undesirables out of the neighborhood and ejecting outreach programs like a local needle exchange.

Last year Abst was the subject of a "wanted" poster put up on Polk by the group Gay Shame. The group calls the LPN a "progentrification attack squad" whose goal is to "remove outsider queers and social deviants from our neighborhood in order to accelerate property development and real estate profiteering."

The hustler bar Club RendezVous lost its lease in 2005 after the property was bought and razed. Its co-owner, David Kapp, didn’t return our phone calls seeking comment, but he told the Central City Extra in February 2006 that a "smear campaign" by the LPN stopped him from relocating down the street. A First Congregational Church is now being constructed where RendezVous once stood. The church was designed by Case+Abst.

Case told us that the Planning Department wanted to see neighborhood support for the RendezVous move. The LPN asked that RendezVous provide security, but the bar’s owners refused. "They always had younger, underage boys hanging out," Case said. "There are a lot of families in this neighborhood. We wished them well, but it’s also a community." He told us he wants not to gentrify the neighborhood but to make it clean and safe.

But safe for whom?

Chris Roebuck, a medical anthropologist at UC Berkeley, told us that the increased policing has also meant increased harassment of trans women. Sex workers, many of them immigrants from Mexico, the Philippines, and Thailand, are "increasingly being pushed into the alleyways, into unsafe spaces," he said. He’s also noticed a criminalization of what he called "walking while trans" in the six years he has spent interviewing trans women on Polk Street.

At a community meeting with the district attorney earlier this month, two trans women said the police, despite sensitivity trainings, do not take them seriously when they report a crime.

"Getting rid of the public space for trans women and drug users is not safe for them," Polk resident Matt Bernstein Sycamore (a.k.a. Mattilda) told us. "Deportation [of immigrant sex workers] is not a safe space. The needle exchange actually does make people safer. Getting rid of it does not make people safer."

Sycamore, editor of the book Tricks and Treats: Sex Workers Write About Their Clients, is concerned with what he calls a "cultural erasure" in the area. "Polk Street has been the last remaining place where marginalized queers can come to figure out how to cope, meet one another, and form social networks," he told us. "That sort of outsider culture has been so dependent on having a public space to figure out ways to survive. That is the dream of San Francisco — that you can get away from where you came from and cope, and create something dangerous and desperate and explosive."

POLK VILLAGE?


When Kimo’s changes hands at the end of September, San Francisco will lose one of the last vestiges of a hustler culture housed on Polk Street since at least the early 1960s.

On a recent night, six gray-haired men sat chatting or reading the paper, relics of Polk Street’s heyday. A young man with a shaved head and black hoodie stood outside the front door and gave a suspicious look to a young blonde woman in bikini straps who breezed in with two friends, laughing, oblivious to him. A sign in front read "No Loitering In Front of These Premises."

The state’s Department of Alcohol Beverage Control mandated the warning, Kimo’s bartender John David told us. He said he thinks that was the result of pressure from the LPN. "Kimo’s is the new whipping boy," he told us. "RendezVous is out, and now it’s our fault that people are on the streets."

Case denies that his group had anything to do with the crackdown on Kimo’s.

A tall man with shaggy brown hair standing on the sidewalk near Kimo’s, who asked to be identified by his porn-actor name, Eric Manchester, complained that a way of life is coming to an end. Manchester said he started hustling on Polk at age 17 after leaving the "redneck, racist town" of Martinsville, Ind., in 10th grade and being stationed in San Diego by the Navy.

"It wasn’t just money for me," Manchester told us. "This was a good place to come and get advice, comfort, support. There are people that need people, and they’re going to take that all away. San Francisco is going down the tubes. All the heterosexual people are moving in. They like the police-state mentality."

Among the new arrivals is the owner of the $6.5 million O’Reilly’s Holy Grail Restaurant that stands just a few doors down Polk Street from Kimo’s. On a recent evening, a musician played soft jazz on a black grand piano, while men in starched pastel button-down shirts stood around on the hickory pecan floor.

Myles O’Reilly opened the restaurant two years ago, when he also transformed a low-rent residential hotel above the space into 14 European-style hotel suites. Neighbors point to the property as a tipping point in Polk’s transformation. But O’Reilly sounded almost defeated when he talked about his "multimillion-dollar jewel in the middle of the desert."

"We are only a couple blocks from City Hall and Union Square," he told us. "But tourism doesn’t come this way."

With the goal of transforming the area, he teamed up with John Malloy, the head of the recently founded Polk Corridor Business Association, who has also chaired the LPN.

One of their projects is on view outside the restaurant and along the street. Colorful banners read: "Welcome to Polk Village … working together to build a cleaner, safer, more beautiful community." The PCBA plans to circulate a petition to officially change the name of Polk Gulch to Polk Village in a few years, but O’Reilly isn’t waiting. He defiantly lists the restaurant’s address as 1233 Polk Village on his building.

That "village" will house a small army if these merchants have their way. "We need foot patrols up and down Polk Street," Malloy, who lives in the neighborhood, told us. "We’re going to get more police even if we have to go out there and hire them ourselves."

O’Reilly took out his cell phone and started showing me photos. "This is defecation on the sidewalk outside," he said, pointing to a smudgy image. "This is condoms on the sidewalk. You see this lovely photograph? That’s a condom in the flowerbed. That’s what my son had to see this morning. And nobody helps."

"There are 1,000 condos being built here," O’Reilly said. "Something has to be done to restrict the number of street people."

VANISHING NEIGHBORHOODS


The Tenderloin, and to a lesser extent Polk Gulch, risked being swallowed by the expanding downtown financial district and tourist industries in the late 1970s. But in the 1980s, community activism secured a moratorium on the conversion of residential hotel units, required luxury hoteliers to contribute millions of dollars in community mitigations, downzoned dozens of blocks of prime downtown property, and created a nonprofit housing boom.

It is these achievements that new merchants and residents point to when distancing themselves from the word gentrification. LPN cofounder Case told us that because apartments in the area are rent controlled, gentrification is "not possible."

Not so, said Tommi Avicolli Mecca of the Housing Rights Committee. "Look at the Castro," he told us. "It’s full of rent-controlled buildings. All you have to do is evoke the Ellis Act, or you buy out the tenants."

Or look next to the Congregational Church construction on Polk. There stands an almost-completed four-story building whose 32 units are being sold for up to $630,000. A large glossy poster in its window advertises the units’ "open living and dining areas," along with "stainless steel appliances, custom cabinets, [and] granite counters."

Brian Bassinger, cofounder of the AIDS Housing Alliance, told us that in one of the buildings where his organization houses people a few blocks south of Polk Gulch, rent is now $1,700 a month, up from $1,325 just a few years ago.

Gayle Rubin, a professor of anthropology at the University of Michigan and a historian of South of Market leather cultures, told us that gay neighborhoods are disappearing across the country as the core of major cities are transformed into high-value areas. This puts pressure on the economic viability of queer neighborhoods, most of which — despite the stereotype of the wealthy gay — have taken root in marginalized, poor neighborhoods.

"Polk Street is just one little battle in the war," Mecca told us. "The Mission was a working-class lesbian area. That whole lesbian culture got lost overnight. The bustling culture of queer artists in the Castro — all gone. The South of Market leather scene — gone. Parts of our culture, the very thing we came to San Francisco for, keep getting wiped out."

Kelly Michaels did develop a certain amount of celebrity as a performer at the famed club Finocchio’s and as a porn star; fans still post photos and gush over her online. And she remains drawn to the Polk, even if her relationship with the neighborhood is deeply ambivalent.

"It’s so evil, so dark, full of drugs and despair," she told us outside Divas. "But this is my home and my family."

"The people left here are going to fight for their home," she said. "Some people have been here forever. Their whole life is here. It’s impossible to get an apartment in other places of this city."

"This is a sanctuary," she said. "They’re taking the sparkle out of San Francisco."

Class of 2007: Jimmy Roses

-
0

CLUBS Hip-Hop Appreciation Society, MEChA (Movimiento Estudiantil Chicano de Aztlán), Black ‘n’ Brown Alliance

QUOTE "We’re in a position to start reaching out to our peers and our gente and be like, ‘Hey, man, we’re here. Let’s get it crackin’. It ain’t the ’70s no more.’ "

Representing the Hispanic wing of the hyphy movement, Jimmy Roses won Latin Rap Artist of the Year at the 2006 Bay Area Rap Scene Awards, but he’s not resting on his laurels. Nor is he satisfied to dwell in a niche. As one of the premiere artists on the Thizz Latin label — an imprint of Mac Dre’s Thizz Entertainment — Roses aims to bring Latinos into the hip-hop mainstream while inspiring peace and unity on the streets. For Roses, the whole notion of hyphy and thizz got twisted to mean purely drug-addled or aggressive behavior when it’s actually more about getting loose, mixing it up, and dropping your gangster guard a bit. "That’s what was good about what Mac Dre did with the hyphy movement," Roses explains. "He brought the whole feel-good element … that made it easier for more ethnic backgrounds to participate."

Roses has "been through it," running the streets and even spending a little time locked up. He’s honest about those experiences but doesn’t glamorize them in his music; he consciously avoids gangster imagery in his lyrics and CD artwork, appearing on the cover of his 2006 self-titled debut looking less like a Norteño and more like a bad-ass "rydah" in leather jacket, motorcycle gloves, and low-rider "loq" sunglasses. "I don’t have to be a cholo to be a Mexican," he says. "I’m proud of that heritage and that culture. That’s my bloodline — that’s my past time. [But] we don’t have to rap like we’re struggling in the barrio."

The hustle that Roses promotes is more of the legitimate come-up kind, encouraging kindred Latinos and ‘hood youths to make something of themselves. Yet his approach isn’t that of the preachy, so-called conscious rapper. To ensure he has listeners’ ears, Roses uses the language of the streets, accompanied by music full of Bay slaps and stylish hyphy synths, typified by the catchy track "Who Rock the Party," which garnered airplay on KYLD-FM (WiLD 94.9) as well as stations throughout Central California and the Southwest.

Roses admits that street hustling, as well as the thug-rap soundtrack that typically goes along with it, has a negative side. Growing up in working-class South San Francisco, he became "oriented with all of that street mentality stuff. It’s inflicted a lot of hardships on my family." But, he adds, "I still love the streets. I love the people in the streets — I do, because you can’t help where you’re from." For Roses, what matters is where you’re going. (Amanda Maria Morrison)

www.myspace.com/jimmyrosesthizz

Fall Arts: Fall on high

-
0

Forget that catchy monster musical Avenue Q anthem "Everyone’s a Little Bit Racist" (isn’t there a dance remix yet?) — here’s something really tickly-tacky. Last month my inverse fabuloid, anti–drag queen amigo Downy (think hairy white Whitney with nylons over her head) threw a huge party in Manhattan called "9/11 in July." Business-suited patrons were doused with baby powder on entry, to the strains of Enrique Iglesias’s "Hero" and the post-tragedy oeuvre of Mr. Bruce Springsteen. Flyer tagline: "Too early?" It was packed.

Here in the Bay, our benchmark of club-style civic self-critique is still the slew of "Fuck Burning Man" parties that spring up right about now. (What, no Muni-meltdown tunnel takeovers? And how ’bout all those unguarded downtown construction-boom sites? IMHO, jes’ sayin’.) Still, autumn is smokin’ for clubbers, with enough sassy subversion and genre-bending events to make nighttime terrors of us all. Fall’s buzz: neon laces, wine cocktails, big scarves, duck rock, blinking LEDs, and cutoffs with fishnets. Party!

Start big — and in the daylight, when both the out-rave-ous San Francisco Love Fest (Sept. 29, www.sflovefest.org) and the fetish-fantastic Folsom Street Fair (Sept. 30, www.folsomstreetfair.com) converge on San Francisco in an — eek! — angel-winged orgy of fun fur and leather. This year the intertwined events have pulled a surprise musical switcheroo. The usually local-oriented and charmingly low-tech Love Fest goes steroidal, with a lineup of international ’90s kinda supastar dance acts: Chemical Brothers, the Crystal Method, Paul van Dyk, and almost a hundred more. Then Folsom — renowned for its circuit techno overkill — injects itself with some indie dance-pop cache, with live performances by Imperial Teen, Cazwell, and the Ladytron DJ Tour. The other giant, hideously glamorous switcheroo of the season, of course, will be the Miss Trannyshack Pageant, where fun fur and leather get drenched in competitive drag queen guts. But you’ll have to watch the Trannyshack Web site (www.trannyshack.com) for the date and location; it’s like a virtual game of hide the salami!

The clubs keep pumpin’ it out too. The promoters of the huge, fabled, much-delayed Temple Nightclub (www.templesf.com), with its three dance floors, six bars, and attached restaurant, assure me it’ll be ready for its Sept. 7 grand opening party — it’s already hosted a Hilary Duff meet and greet! Prepare for an onslaught of ginormous parties to fill the cavernous space. In the meantime, you can check out the club-oriented big time of Mezzanine (www.mezzaninesf.com), with night owls screeching for dyke punk-funk-crunk rappers Yo Majesty (Sept. 12), DJ Jefrodesiac and friends’ Robot Rock party featuring Kentucky’s (only?) house rockers VHS or Beta (Sept. 14), "Do the Bartman" remixer Diplo (Sept. 22), and Christ-obsessed French techers Justice (Oct. 10). And the powerhouse musicologists of Blasthaus (www.blasthaus.com) present, at various locales, the ambient mindfunk of Bonobo (Sept. 9), Argentina–via–Los Angeles global groove heartthrob Federico Aubele (Sept. 21), and post-punk techno god Superpitcher (Oct. 19).

Too big for you? Head down any night this fall to 222 Club (www.222club.net), which just revamped its system to become the hottest little tech-dance venue in the city. Also hottt, but newer: too-fab hotel haunt Bar Drake (www.bardrake.com), awesome Latino-tinged hang Cantina (www.cantinasf.com), and drunken queer craziness at Truck (www.trucksf.com). What to drink at all of these places? Hit up Camper English’s new, comprehensively tipsy Alcademics blog (www.alcademics.com). He says tequila bottle signings are in. That’s important.

Bay Area fall fairs and festivals

-
0

Summer may technically be on the outs, but don’t put away your baggies, huarache sandals, and that bushy, bushy blond hairdo just yet, all you Gidgets and Big Kahunas out there: it’s still Surfin’ USA in the Bay. Hell, summer doesn’t even start in San Francisco until September at the earliest. You can wax up the board and get busy, stuff the kidlets into the Woody, and hit one of the bevy of cool fiestas listed below, or maybe just lay out on a towel in Dolores Park, waiting for a wayward Lothario or Lothariette to rub cocoa butter on your fleshy hind regions. Ah, how good do we have it in the Sucka Free City?

AUG. 25

Jazzy Tomatoes Berkeley Farmers’ Market, Center at MLK Jr. Way, Berkeley; (510) 548-3333, www.ecologycenter.org. 10:30am-3pm. Free. This collaboration between the Downtown Berkeley Jazz Festival series and the Berkeley Farmers’ Market features the sounds of local mandolinist Mike Marshall and Brazilian pianist Jovino Santos Neto, plus the flavors of Venus Restaurant’s Ann Murray.

AUG. 25-26

Bodega Seafood Art and Wine Festival Watts Ranch, 16855 Bodega Ave, Bodega; (707) 824-8717, www.winecountryfestivals.com. Sat, 10am-6pm; Sun, 10am-5pm. $8-12. The sleepy village where Alfred Hitchcock filmed The Birds hosts this celebration of the best beer, wine, and seafood California has to offer. Sip on a Cline Cellars pinot noir and enjoy albacore wrapped in bacon while taking in the sounds of Marcia Ball’s Texas-style roadhouse blues.

Golden Gate Renaissance Festival Speedway Meadow, Golden Gate Park, SF; (415) 354-1773, www.sffaire.com. Sat, 10am-6pm; Sun, 10am-5pm. $5-15. Stilt walkers, fire-eaters, jesters, jousters, knights, peasant wenches, and Shakespeare fetishists abound in the fourth installment of this medieval fair. Amid the feasting and storytelling, you’ll get a chance to practice your chivalry and maybe ride a horse.

AUG. 26

Arab Cultural Festival County Fair Building, Ninth Ave and Lincoln, Golden Gate Park, SF; www.arabculturalcenter.org. 10am-7pm. $2-5. Hikayatna (Our stories) is the theme for this year’s Arab Cultural Festival, featuring a bazaar with jewelry, henna, and Arab cuisine, as well as assorted folk and contemporary musical performances.

Taste of Marin St. Vincent’s School for Boys, 1 St. Vincent Dr., San Rafael; (415) 663-9667, www.marinorganic.org. 4-10pm. $150. Dedicated to supporting and promoting the exquisite food that is grown and produced in Marin, this event features a silent auction, chances to meet the farmers and chefs, and an elaborate sit-down dinner. Soulstress Maria Muldaur provides the musical entertainment.

AUG. 31-SEPT. 2

Monterey Bay Reggae Fest Monterey County Fairgrounds, 2004 Fairground Road, Monterey; (831) 394-6534, www.mbayreggaefest.net. The sprawling Monterey County Fairgrounds plays host to this annual festival featuring the liveliest of modern reggae acts. Eek-a-Mouse, Mighty Diamonds, and you-know-who’s brother, Richard Marley Booker, are just a sample of this year’s lineup.

SEPT. 1-3

Art and Soul Oakland Frank Ogawa Plaza and City Center, 14th St. and Clay, Oakl; (510) 444-CITY, www.artandsouloakland.com. 11am-6pm. $5. The seventh incarnation of this annual downtown Oakland festival includes dance performances, lots of art to view and purchase, an expanded Family Fun Zone, and a notably eclectic musical lineup: big-name performers include Lucinda Williams, Against Me!, the Legendary Fillmore Slim, Johnny Rawls, and Ted Leo and the Pharmacists.

Sausalito Art Festival Army Corps of Engineers-Bay Model Visitor Center and Marinship Park, Sausalito; (415) 331-3757, www.sausalitoartfestival.org. Check Web site for times. $5-20. The Sausalito waterfront will play host to hundreds of artists’ exhibits as well as family entertainment and top-notch live music from the likes of Jefferson Starship and the Marshall Tucker Band.

SEPT. 1-23

Free Shakespeare in the Park Presidio parade ground, SF; (415) 558-0888, www.sfshakes.org. Sat, 7:30pm; Sun and Labor Day, 2:30pm. Free. Shakespeare’s A Midsummer’s Night Dream gets a brilliant rendition under the direction of Kenneth Kelleher on the outdoor stage. Families fostering budding lit and theater geeks should take note.

SEPT. 3

Cowgirlpalooza El Rio, 3158 Mission, SF; (415) 282-3325, www.elriosf.com. 3-9pm. $10. This sure-to-be-twangy evening on El Rio’s patio features music by the most compellingly country-fried female musicians around, including Kitty Rose, Starlene, Axton Kincaid, Burning Embers, 77 El Deora, and Four Year Bender.

SEPT. 5-9

San Francisco Electronic Music Festival Project Artaud Theater, 450 Florida, SF; www.sfemf.org. 8:30pm. $12-16. The seventh in an annual series of weeklong electronica parties. Fred Frith, Annea Lockwood, Univac, and David Behrman round out this year’s lineup.

SEPT. 8

911 Power to the Peaceful Festival Speedway Meadows, Golden Gate Park, SF; (415) 865-2170, www.powertothepeaceful.org. 11am-5pm. Free. This event calling for international human rights and an end to bombing features art and cultural exhibits and a talk with Amy Goodman, as well as performances by Michael Franti, the Indigo Girls, and DJ Spooky.

SEPT. 8-9

Bay Area Pet Fair Marin Center, 10 Ave of the Flags, San Rafael; (415) 229-3174, www.bayareapetfair.com. Sat, 10am-6pm; Sun, 10am-5pm. $5-7. This event does double duty as a celebration of companion animals and a venue for a massive pet adopt-athon, so bring the kids and the dog.

Brews on the Bay Jeremiah O’Brien, Pier 45, SF; www.sanfranciscobrewersguild.org. 12-4:30pm. $8-40. Beer tasting, live music, and food abound at the San Francisco Brewers Guild’s annual on-deck showcase.

Chocolate Festival Ghirardelli Square, 900 N Point, SF; www.ghirardellisq.com. 12-5pm. Free. An indisputably fun weekend at the square includes chocolate goodness from more than 30 restaurant and bakery booths, various activities for kids and families, and a hands-free Earthquake Sundae Eating Contest.

SEPT. 9

Solano Avenue Stroll Solano between San Pablo and the Alameda in Berkeley and Albany; (510) 527-5358, www.solanoavenueassn.org. 10am-6pm. Free. The long-running East Bay block party features a clown-themed parade, art cars, dunk tanks, and assorted artsy offerings of family fun, along with the requisite delicious food and musical entertainment.

SEPT. 15-16

Mill Valley Fall Arts Festival Old Mill Park, Mill Valley; (415) 381-8090, www.mvfaf.org. Sat, 10am-6pm; Sun, 10am-5pm. $7. Dig this juried show featuring original fine art, including jewelry, woodwork, painting, ceramics, and clothing.

Wisdom Festival Fort Mason Center, SF. (415) 452-0369, www.wisdomfestival.com. Sat, 10am-8pm; Sun, 10am-7pm. $8-$55. This fest features interactive panels, workshops, symposiums, and lectures, all geared toward your inner Shirley MacLaine.

SEPT. 22-23

Autumn Moon Festival Grant between California and Broadway and Pacific between Stockton and Kearney, SF; (415) 982-6306, www.moonfestival.org. 11am-6pm. Free. At one of Chinatown’s biggest annual gatherings you can see an acrobatic troupe, martial artists, street vendors, and, of course, lots of moon cakes. I like the pineapple the best.

SEPT. 28-30

A Taste of Greece Annunciation Cathedral, 245 Valencia, SF; (415) 864-8000, www.sfgreekfoodfestival.org. Call or check Web site for time. $5. Annunciation Cathedral’s annual fundraising event is an all-out food festival where you can steep yourself in Greek dishes, wine tasting, and the sounds of Greek Compania.

SEPT. 29-30

World Veg Festival San Francisco County Fair Building, Ninth Avenue and Lincoln, Golden Gate Park, SF; (415) 273-5481. www.sfvs.org. 10am-6pm. $5. For those afraid of hamburgers, this event features speakers, live entertainment, and local cuisine of the meatless variety.

SEPT. 30

Folsom Street Fair Folsom between Seventh and 12th streets, SF; www.folsomstreetfair.com. 11am-6pm. Free. The world’s largest leather gathering, coinciding with Leather Pride Week, features a new Leather Women’s Area along with myriad fetish and rubber booths. Musical performers include Ladytron and Imperial Teen, and comedian Julie Brown also will appear.

OCT. 3

Shuck and Swallow Oyster Challenge Ghirardelli Square, West Plaza, 900 North Point, SF; (415) 929-1730. 5pm. Free to watch, $25 per duo to enter. How many oysters can two people scarf down in 10 minutes? Find out as pairs compete at this most joyous of spectacles, then head to the oyster and wine pairing afterward at McCormick and Kuleto’s Seafood Restaurant, also in Ghirardelli Square.

OCT. 4-9

Fleet Week Various locations, SF; (650) 599-5057, www.fleetweek.us. Cries of “It’s a plane!” and “Now there’s a boat!” shall abound at San Francisco’s impressive annual gathering. Along with ship visits, there’ll be a big air show by the Blue Angels and the Viper West Coast Demonstration Team. And for the lonely among us, North Beach will be assholes and elbows with horny sailors and jarheads.

OCT. 4-14

Mill Valley Film Festival CinéArts at Sequoia, 25 Throckmorton, Mill Valley; 142 Throckmorton Theatre, 142 Throckmorton Ave, Mill Valley; Christopher B. Smith Rafael Film Center, 1118 Fourth St, San Rafael; (925) 866-9559, www.mvff.com. Check Web site for times and prices. Documentaries and features of both the independent and international persuasion get screen time at this festival, the goal of which is insight into the various cultures of filmmaking.

OCT. 5-6

San Francisco Zinefest CELLspace, 2050 Bryant, SF; (415) 750-0991, www.sfzinefest.com. Fri, 2-8pm; Sat, 11am-7pm. Free. Appreciate the continuing vitality of the DIY approach at this two-day event featuring workshops and more than 40 exhibitors.

OCT. 5-7

Berkeley Juggling and Unicycling Festival King Middle School, 1781 Rose, Berkeley; www.berkeleyjuggling.org. Fri, 5-10pm; Sat, 9am-10pm; Sun, 9am-5pm. Check Web site for prices. More balls than hands. More feet than wheels.

Pacific Pinball Exposition Marin County Civic Center Exhibition Hall, San Rafael; www.nbam.org/ppexpo. Fri 2-10pm; Sat-Sun, 10am-12am. $20-35. Focusing on vintage machines, this inaugural festival promises to extol all things pinball. I think you get in free if you’re a deaf, dumb, and blind kid who can play a mean pinball.

OCT. 6-13

Litquake Various locations, SF; www.litquake.org. San Francisco’s annual literary maelstrom naturally features Q&As and readings by a gazillion local authors, including Daniel Handler, Jane Smiley, Dave Eggers, and Ann Patchett. The gang is honoring local writer Armistead Maupin with a lifetime achievement award.

OCT. 11-14

Oktoberfest by the Bay Fort Mason Center, Marina at Laguna, SF; www.oktoberfestbythebay.com. Check Web site for times. $25. One of the few places your lederhosen won’t look silly is the biggest Oktoberfest left of Berlin, where the Chico Bavarian Band will accompany German food and a whole lotta beer.<\!s>*

 

She’s a rebel

-
0

› kimberly@sfbg.com

"See the way he walks down the street / Watch the way he shuffles his feet / My, he holds his head up high / When he goes walking by / He’s my kind of guy-ai-ai-ai." The agony and the ecstasy of the Crystals echo through the humid second-floor rehearsal space at Intersection for the Arts, bouncing off the pine floors, streaming out the open window, and pinging off the scaffolding propped on Valencia, above the construction bustle and everyday hustle of the Mission District. The Gene Pitney song originally soared, with so much heart-pinching, giggle- and tear-inducing bittersweetness, from the diamond pipes of Darlene Love, at the time the chosen femme surrogate of Wall of Sound architect Phil Spector. But today that sugar-high, lonesome-in-the-crowd sound is emanating from choreographer Erika Shuch, our Fall Arts Preview cover star, who’s leading her dance company through an a cappella rendition to close out the afternoon’s rehearsal. As Tommy Shepherd holds up one wall of the studio, beatboxing out the rhythm, the rest of the Erika Shuch Performance Project — Dwayne Calizo, Jennifer Chien, and Danny Wolohan — fall in line, their righteous harmonies echoing through the space like those of a juvy hall teen-angst gospel choir.

"When he holds my hand I’m so proud / ‘Cause he’s not just one of the crowd / My baby, oh, he’s the one / To try the things they’ve never done / Just because of what they say …"

And then they drop into a shambling routine echoing those executed by the sharp-dressed singers on The T.A.M.I. Show or Ready Steady Go! Intersection staffers enter and immediately exit their impromptu stage, sidling through a nearby door like silent visitors from a forgotten slapstick who lost the joke but can’t quite cease their loop through the space. But nothing breaks the group’s concentration as Shepherd strolls over to the rest of the ESP and Shuch continues to wail, "He’s a rebel, and he’ll never be any good / He’s a rebel, and he’ll never ever be understood …" The entire company breaks into an improvised dance, grinning and whirling off into gentle mashed potatoes or frugs of their own.

Comfortingly familiar yet terribly resonant enough to bring tears to one’s eyes, "He’s a Rebel" isn’t the obvious song choice for 51802, a dance theater meditation on the impact of incarceration on those left behind on the outside. Somehow, in Shuch’s poetic framework, it slides in among the original blues-imbued songs perfectly, like leather clinging to flesh.

"I’m just … way into kitsch!" Shuch says with a girlish laugh after the rehearsal. Pale streaks shoot through her dark pigtails, and freckles race across her cheeks. "This piece has such a potential to be dark and self-important, and I feel like if I have a really hard day, I really like to listen to loud pop music in my car and, like, sing it dramatically. So I think it’s a very natural, very real way of dealing with difficult situations, to sing these cheesy pop songs. That’s a very real kind of relief that people seek and find."

With "He’s a Rebel" and another song from 51802, Little Anthony and the Imperials’ "I’m on the Outside (Looking In)," "you just have permission to be dramatic. You just have such permission to be such drama queens!" Shuch exclaims. "And I just love that. I don’t want it to be like …" Suddenly she breaks into a deathly dull, pretentious robot voice, " ‘Oh, subtly expressing my feelings abstractly …’ I just want it to be so dramatic and so devastating and so the end-of-the-world kind of feeling."

It might have seemed like the end of the world when Shuch watched a loved one enter the California prison system three and a half years ago, the same year she won a Goldie for dance from the Guardian. Since then, the 33-year-old San Jose native has been running the Experimental Performance Institute she cofounded at New College to focus on activist, queer, and experimental performance and has choreographed or directed plays by Charles Mee at the Magic Theatre, Philip Kan Gotanda and Octavio Solís at Intersection, and Daniel Handler for Word for Word Theater. Unlike other productions, 51802 — which is being staged as part of the Prison Project, a yearlong interdisciplinary examination of the state’s prison system at Intersection — cuts to the bone for the choreographer.

"It’s something that I feel I’ve been doing for a while in abstract ways," Shuch says, discussing her 2004 work All You Need and her 2005 piece One Window. The latter concerned "physical and emotional confinement," while the former revolved around a German case of allegedly consensual cannibalism — "this situation of having a desire that kind of has no place in this world and being punished because you want something that doesn’t fit and having the world look at these desires through a moral lens. Who has the authority or the power to say what is right or what is wrong when two people find something that they both want?"

"So I’ve been kind of …," she says, laughing nervously, "floating around this theme for some years. This is the first time I’m coming out and saying this is actually what I’m making a piece about. It is something very specific, and we’re using these abstract symbolic tales to speak to the feelings of what it’s like to be on the outside, though the text that I speak is very straightforward."

Shuch recites an excerpt from her text, an explanation of 51802‘s title, which was inspired by the five-digit number given to each prisoner that takes the place of their name: "I had to write a little poem to remember his number. It went something like this: five is for your fingers, one is for the star, eight is for the years you’re locked up, zero is for your heart, and then there’s a two. But the two is easy to remember. It’s always about two — one on the inside, one on the outside, and zero for the heart."

Powerful words from someone acclaimed (Shuch recently won the prestigious Emerging Choreographers Award from the Gerbode Foundation) for the use of movement as her central mode of expression. But the text also bears the imprint of a creator who has long toiled as a resident at Intersection through the Hybrid Project, which builds bridges between artists working in different mediums.

Shuch directed Domino by Sean San Jose, Intersection’s program director of theater, when it premiered with Campo Santo at Yerba Buena Center for the Arts in 2005, and he was impressed by her ability to get people to "that trusting place" necessary to make great work. "Everything is very present to her, and everything is very real for her. She knows no bounds when she’s onstage — there’s no dance artifice. It’s whatever the feeling is, and that sounds, wow, very heavy, but what I’m impressed with is how much life and air she lets in, and the way that she incorporates as many elements as possible is very exciting to watch and very inspirational."

51802 exemplifies Shuch’s interdisciplinary megamix, melding movement, puppets, doo-wop, and two tales centered on one person stuck at the bottom of the well and another who yearns to be haunted by a ghost. During her Headlands Center for the Arts and Djerassi Institute residencies in the past year, Shuch mapped out the bones of the play before she began actualizing the piece with the ESP, beginning in mid-June.

At this point, a month from opening, the mood is frenetic, but the approach, Shuch says, is "the only way I know."

During the choreographer’s writing process, she talked to other people who had loved ones on the inside and fictionalized or "translated" some of her own experience. "People are always going, ‘Is it true or not true?’ And I’m, like, ‘Does it matter?’ I just want to present it as a story of somebody that’s on the outside. I mean, it’s all true, and none of it is true, so it’s riding that line between fiction and truth."

While collaborating with the rest of the ESP, Shuch might ask the players to spend 10 minutes writing, say, a rant to deliver to a mouse at the bottom of the well, or come up with a movement. She’ll then edit it, and they’ll piece it together, or they’ll integrate the movement into the work, with cochoreographer Melanie Elms lending an outside eye to Shuch’s moves.

"They’re all incredible movers," Shuch says of the ESP while munching a sliver of watermelon. "We all don’t have the same dance training. Two nights ago we had this rehearsal with Melanie where we realized there’s a section that actually should not be choreographed, that we should actually let them craft it for themselves because we don’t want everybody to be clones of each other all of the time. I mean, I want to build movement vocabularies, and it’s been really great also to have them amplify rather than just curb their instincts."

Instinct is a primary driver for Shuch, a one-of-a-kind choreographer, far from yet very much a part of the Spector girl groups, specters, lonely cons, and rumbling streets below us. The daughter of a Search for Extraterrestrial Intelligence investigator father and a Korean mother whose family was killed in the Korean War, she is, unsurprisingly, a bit of a contradiction — a little bit inside and outside, unable to talk openly about her felon and, despite his request, unable to stop herself from following the creative urge that is drawing her toward that unmentionable story. She’s gathering increasing attention here, yet she’s also eager to travel to South Korea to learn traditional dance and reenvision her mother’s folk tales. And she’s a choreographer who confesses, howling with laughter, that she would rather sit in a dark movie theater or go camping than see more dance. "I talk to so many dancers who are, like, ‘I never go see dance! I don’t like dance!’ " she says, chuckling, before realizing, "I’m going to get in trouble, like, get fired for saying that." But somehow the form continues to move her, "just because we can say things that we can’t say in any other way." 2

51802

Sept. 13–29

Thurs.–Sat., 8 p.m., $8–$25 (Thurs., pay what you can)

Intersection for the Arts

446 Valencia, SF

(415) 626-3311

www.theintersection.org

Freekend alert! Glitterbox, Chrome, Dirtybird, more

-
0

It’s gonna be one of those crazy too much weekends on the club-freak circuit again. Luckily, I’ll be chasing drag queen Jackie Beat’s voluminous tinfoil skirts and jamming to Morris Day and the Time at fab street fest Sunset Junction in LA — somebody bring me a mirror! — so I don’t have to choose. But for those not hoofin’ it to Silver Lake, here’s a few picks — a l’il rundown on the run-up, as it were. Run around! Got a party I missed? Give it up. I’ll add more as the weekend approaches if poss. I’ve got a lot of makeup to do.

Oh, and if you haven’t seen Avenue Q yet, get yer ass down to the Orpheum Theatre, quick. As America’s premiere queer Arab American leather disco hip-hop muppet whore, I highly recommend the work of my fellow monsters (especially the Bad Idea Bears ! My people!).

baddiebears.jpg
Bad Idea Bears rule

I also wanna plug one of my fave haunts – Club 222, which has far too much good stuff going on all for me to remember. Stop by for a drink, dance all evening, wonder where the hell you are in the morning. Then tell me when you find out.

Now, on to the klubz:

Careers and Ed: Working for play

-
0

› culture@sfbg.com

Who says you have to leave the days of building forts and wearing play clothes behind just because it’s time to "grow up" and get a "real job"? Not Barbara Butler, play professional.

The Bay Area artist makes her living building fanciful castles, pirate ships, and tree houses for kids all over the world. And she says her work is just as much fun for her as the results are for her clients. Plus: her office wear? Faded jeans, hiking boots, and a purple T-shirt that says, "Go Outside."

So how exactly does someone end up designing miniature lighthouses and two-story play sets as a career?

Butler’s fascination with the architecture of play began during her "uproariously fun" childhood in Watertown, New York, where she lived in an eccentric turn-of-the-century house complete with speaking tube, secret hiding places, and seven brothers and sisters (she’s number six) with whom to explore.

Much later her two contractor brothers introduced her to the construction trade. And in 1986 in San Francisco she and a friend founded Outer Space Design, a business specializing in creative landscaping and deck design. But it wasn’t until Bobby McFerrin (of "Don’t Worry, Be Happy" fame) commissioned her to build a unique playhouse in his Noe Valley backyard that Butler’s true path became clear.

Butler so enjoyed creating a space for McFerrin’s two children — an endeavor that combined her love of sculpture, building, color, play, and the outdoors — that she decided to do it for a living.

"Everyone said that I was crazy thinking I could turn this into a real business," she says.

But with the help of her family, she has indeed transformed the art of play into a profitable endeavor. Her sister Suzanne is a company partner and the business manager. Her husband, Jeff, whom she met on the job, coordinates materials, deliveries, and installations. Her brother James does all the drafting, and her niece Gabriella is the resident bookkeeper. With this team behind her, she’s now building 60 custom residential commissions a year, plus two or three public-use projects.

Originally, Butler and crew built everything from scratch and on-site. But they’ve since streamlined the process. Butler now has several standard designs for castles, forts, and theaters, as well as play features such as secret escape hatches, jailhouses, two kinds of slides, fire poles, zip lines, climbing walls, and a clubhouse with a mail slot and a who-goes-there peephole. She also has a "template wall," which is filled with irregular shapes and cutouts for achieving her trademark "wicky-wack" look. "Carpenters and builders are great at making right angles — but it drives me crazy," she says. The modular redwood and metal structures are assembled by Butler’s team in her 9,000-square-foot South San Francisco studio before being broken down and shipped in flat-panel packs all over the world.

The process starts when Butler meets with her pint-size clients (and their generous parents). She likes the experience to be fun from start to finish, so initial meetings tend to be lively and exciting, with everyone talking at once. "No idea is too wild or crazy at this point," she says.

Families discuss whether they’d like extras such as a drop table and bench, a double-barrel rotating water cannon, a ship’s wheel, a pulley bucket, a secret safe, or a flagpole with three different flags. One of Butler’s favorites is a wiggly bridge with boards at off angles so you feel like you could fall through (even though you can’t). "It takes some nerve to walk across," she says. "A lot of my designs are about creating illusion and disorientation, which are key to kids."

Next the family chooses one of 60 shades of nontoxic stain to be used on the structure. And finally Butler takes a closer look at the space and budget and begins to prioritize. "It’s a very collaborative process," she says.

Butler also keeps in mind that kids won’t stay kids forever. She encourages clients to consider a structure with an enclosed clubhouse, for when kids outgrow the slides and swings and enter the "hangout" stage. She’s also designed the playhouses to be bolted into the ground for easy installation and — when the kids are gone and the parents want to reclaim their backyard — removal. (Though Butler’s team refurbishes, sells, and delivers used play structures to recipients on a long waiting list, most of the playhouses are passed from generation to generation.)

Of course, not all of Butler’s structures are just for the kids. She recently built a tree house 18 feet off the ground in Santa Barbara, a commission from a grandfather who confessed to Butler that while it was for his grandkids, he also wanted to be able to read his newspaper up there. "The whole time I was designing, I had this image of an overstuffed leather chair in the corner," Butler says.

And as a way of making sure that every structure is as safe as possible, Butler builds according to the same code she once used for decks. "I always say that whatever I build should be able to handle a bunch of drunk adults at night," Butler says. Still, her real joy is in making autonomous, safe play spaces that kids can call their own. "It’s amazing how little interest I have in building adult structures," she says. "If they wanted things like good lookouts and secret passageways, I might consider it."*

BARBARA BUTLER

(415) 864-6840

www.barbarabutler.com

Church of Santino

-
0

› johnny@sfbg.com

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

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

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

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

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

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

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

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

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

BAD BOYS OF RUNWAY

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

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

FABULOUS FASHION IN FILM FESTIVAL

July 27–<\d>Aug. 3

Castro Theatre

429 Castro, SF

(415) 863-0611

www.castrotheatre.com

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

Pitchfork Music Festival Day 3: Just try keeping the Lidell on De La Soul

-
0

By K. Tighe

lidell sml.JPG
Jamie Lidell rocks the synthetics. All photos by K. Tighe.

Sunlight danced off of Jamie Lidell’s Mylar-embellished headpiece as the Cambridge-born genre-bender yucked it up like only a Brit can. When not encased within his make-shift mechanical perch, Lidell contorted around the stage in a gold-embossed smoking jacket, giving the impression that this fringe-hugging impresario was something of an electro-soul shaman. An old hand at manipulating peripheral noise elements, Lidell pulls from an arsenal that includes a Theremin. He loops and layers. There was even a brief cameo by a handheld gong, though the fire power to reckon with is an achingly soulful, and relentlessly funk-filled croon.

Lidell was proof positive that the solo performers at this year’s Pitchfork Music Festival lineup intended to shake things up. Still, no one was more vulnerable on stage than Stephen Malkmus. The former Pavement frontperson didn’t have any equipment to hide behind. His was a simple equation: a man, a guitar, the masses. It was a throwback to what festivals used to mean, back in the hippie days when an acoustic guitar could hit harder than a backline full of Marshall stacks. Malkmus delivered a stunning, if sparse, performance that included several Pavement songs. At the end of his set, he was even joined on drums by former Pavement drummer Bob Nastanovich.

barnessml.JPG
Dressed for indie success: Kevin Barnes of Of Montreal.

It’s not a stretch to assume that Of Montreal’s Kevin Barnes whiled away many childhood hours playing dress up and performing in front of a mirror. The anti-glam Abba-fetishists served up gimmick after sparkling gimmick, and the crowd ate it all up. A guitarist molting hot-pink wings, an acrobatic ninja flipping around the stage, and the trademark stilts that have brought many an Of Montreal up to the – ahem – next level filled out a disco-perverted performance. Barnes’s frequent costume changes culminated in a risqué ensemble of black-leather corsetry that elicited an expected chorus of whistles and shrieks from a starry-eyed audience. The whimsical Georgia group finished with a flourish: an encore of the Kinks “All Day and All of the Night” that sent the crowd into the requisite hysterics.

ofmontreal sml.JPG
“Think pink!” think Of Montreal.

Across the park, the New Pornographers closed out the Connector Stage with their token take on power-pop. Ingratiating themselves to longtime fans by throwing in plenty of tracks from their upcoming album, Challenger (due in August on Matador), the Pornographers did not disappoint.

When the sun started to go down, the vendors were busy packing up, the crew was beginning to strike equipment, and the toilet paper that had been conspicuously absent from the port-a-johns revealed to have been strewn about the now-empty lawns in front of the Connector and Balance stages, I began to wonder how the hell the Pitchfork peeps think they can wrap this thing up. Seventeen thousand people who have just had the shit rocked out of them are clustered around the Aluminum Stage – the gigantic AV screens are all running the same anticipatory feed, and the act to close this fest better damn well live up to the hype.

delasoul sml.JPG
The Pitchfork crowd was utterly smitten with De La Soul.

Enter De La Soul. Wait, sorry, enter De La Fucking Soul! This comes as a booking no-brainer in hindsight. How do you impress hoards of elitist music-enthusiasts when you’ve spent three days hiking up the precedent? By booking a band that doesn’t care if it impresses anyone. By booking De La Fucking Soul to get on stage, have a good time, and remind everyone about what sparked that passion for music in the first place. The set largely consisted of well-worn tracks from 1989’s 3 Feet High and Rising, and the minute that DJ Maseo started bouncing around stage, all arms were in the air bouncing along with him. With Posdnuos and Trugoy egging everyone on from behind their self-inverted mics, no one stood a chance.

The boys starting chiding each other – quipping about their ages between songs, throwing out sarcastic jabs at A Tribe Called Quest – and it was clear that there was no agenda afoot, save rocking the fuck out of everyone in earshot. The sound-related shortcomings that had been plaguing every stage all weekend must have sparked some kind of karmic fury, because De La Soul was working at volumes that hadn’t been present all weekend.

dela2 sml.JPG
Lo, De La.

When DJ Maseo stopped scratching and announced that, because of his age, he could no longer hold his bladder and had to take a bathroom break, the crowd didn’t seem to get the joke. Then Maseo announced that he had a replacement in mind and brought out Prince Paul – iconic hip-hop legend and producer of 3 Feet High and Rising – and the audience went positively ape. Paul’s appearance prompted dozen of normally cooler-than-thou VIP laminate holders to jump the fence into the All Access area and shake it with the stagehands.

During all the commotion, Trugoy came to the side of the stage to ask the hundreds of press, agents, publicists, and artists, “What are you guys supposed to be?” With the over-eager shout of “VIP” he got in response, he laughed into his mic, and repeated it to thousands in front of the stage, which was, of course, answered by a chorus of boos and hisses. “We’re just gonna call you guys special fans over here. Now, we know you’re the movers and shakers of the industry – but these…,” he said, gesturing to the masses, “…these are the hip-hop people.” For a brief moment, that old rock ‘n’ roll adage – you know, we’ve got the amps; you’ve got the numbers – took over, as the general admission audience screamed their heads off.

Award tour

-
0

› superego@sfbg.com

SUPER EGO I’m not one to get jealous when people I know get famous. Never. As Shakespeare once wrote, "You want fame? Well, fame costs. And right here is where you start paying … in sweat." Alas, I’m flat broke — and haven’t perspired a drop since I gave up Dexatrim in ’03. But my pores are flawless, like tiny alien baby mouths. So I can only grin demurely while my Page Six homeys flash their hairless beavers from rehab. Shakespeare again: "If you shoot an arrow and it goes real high, hooray for you."

Hooray, especially, for Kiki and Herb, the blowsy, boozy, tune-slinging duo who exploded into Broadway history last year with their Tony-nominated extravaganza Kiki and Herb: Alive on Broadway. (They narrowly lost in the Best Theatrical Event category to a multipuppet tearjerker about a ventriloquist.) Tipsy yet full-throated chanteuse Kiki (Justin Bond) and her nimble-fingered pianist Herb (Kenny Mellman) are local club kids made good, proving that a lot of talent and a steady Scotch diet can launch a drag queen and her "gay Jew ‘tard" accompanist into the big leagues. Lemme tell ya, you haven’t heard the Wu-Tang Clan or the Cure until you’ve heard these two dust ’em up onstage.

Now, as part of their Year of Magical Drinking Tour, Kiki and Herb are bringing their big show to the American Conservatory Theater. Posh! I leaped on the opportunity to dish with them long-distance from their New York City home base.

SFBG I can barely recall, back in the blurred mid-’90s, both of you appearing at the legendary Josie’s Juice Joint and Cabaret in the Castro. But I was on a lot of crystal then and probably shouldn’t have been in the light booth …

HERB We were recently watching old videos of us and stumbled upon one of a show we did at Josie’s called Not Without My Napalm. This was pre–Kiki and Herb — Justin led me in on a leash, and I was wearing lederhosen! Jesus, we were young. Gay Pride of that year, we were booked at Cafe du Nord and knew we were going to be exhausted. Justin had been doing Kiki at parties, so we decided we’d just perform our material as Kiki and Herb. We got a standing ovation. We began performing every weekend at Eichelberger’s, across from Theater Artaud, and it all developed there.

KIKI The funny thing about us performing at the gorgeous ACT is that when I lived in San Francisco I never got to go there. For one, I couldn’t afford it, and then the ’89 earthquake knocked the whole thing down! So our show will be the first one I’ve ever seen there.

SFBG And now you’re Broadway luminaries. What are some of the things you miss about San Francisco and the life you led before the slavering tumult of paparazzi overtook you?

HERB San Francisco burritos. And Cafe Flore. And the Hole in the Wall. I remember spending a Thanksgiving there, and they had a suckling pig on the pool table. At some point an older leather daddy ripped the ear off and just started gnawing on it. That’s what I miss.

KIKI I miss my friends there terribly — the creative excitement and community. I can’t wait to get back, and I hope all you queens can forgive a drunk who can’t remember anyone’s name.

SFBG I wept when the dummy won the Tony. Yet both of you seemed so gracious when the camera zoomed in on you immediately after the award was announced. What were your thoughts at that moment?

KIKI I told myself beforehand, "Whatever happens, just look happy to be there." So my thought right then was "Hold face." But being there was so amazing, I just left my body through the whole thing.

HERB My thoughts were that we really needed to get out of there and get a drink! Which we did!

SFBG What’s next?

KIKI After this tour, we’re off to perform at the Sydney Opera House for three weeks. Then a Christmas concert at Carnegie Hall, and then we’ll be putting on a show in Shepherd’s Bush, London, called — this is so stupid, but it makes me hysterical — Kiki and Herb Put the Yule Log in Shepherd’s Bush. Next year I’m doing a Carpenters tribute — but without any anorexia jokes.

HERB My other show, At Least It’s Pink, which I wrote the music and lyrics to, will be getting an off-Broadway run this fall. Also, my friend Neal Medlyn and I are going to resurrect our show Kenny Mellman Plus Neal Medlyn Equals R. Kelly. Busy, busy …

BONUS KIKI Join immortal club kids Javier Natureboy and DJ Junkyard and the gang from ’90s rock ‘n’ roll queer club Litterbox for a special Kiki and Herb look-alike contest, judged by Justin Bond himself, at the fab new monthly Glitterbox on July 20. It’s a reunion, baby! Go to www.myspace.com/glitterboxtheparty for the low lowdown. *

KIKI AND HERB: ALIVE FROM BROADWAY

July 18–29 (previews Fri/13–Tues/17), $20–$60

See Web site for times

American Conservatory Theater

415 Geary, SF

(415) 749-2ACT

www.act-sf.org

www.kikiandherb.com

The Queer Issue: Pride event listings

-
0

› culture@sfbg.com

PERFORMANCES AND EVENTS

WEDNESDAY 20

“Out with ACT” American Conservatory Theatre, 415 Geary; 749-2228, www.act-sf.or. 8pm, $17.50-$73.50. ACT presents this new series for gay and lesbian theater lovers, including a performance of Molière’s The Imaginary Invalid and a reception with complimentary wine and a meet and greet with the actors. Mention “Out with ACT” when purchasing your tickets.

“Queer Wedding Sweet” Jewish Community Center of San Francisco, 3200 California; 438-9933, www.jccsf.org/arts. 8pm, $36. The JCCSF presents the West Coast premiere of Queer Wedding Sweet, an “exploration of queer weddings and commitment ceremonies through stories, song, juggling, and comedy.” Featured performers include Adrienne Cooper, Sara Felder, Marilyn Lerner, Frank London, and Lorin Sklamberg.

BAY AREA

“Queer Cabaret” Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. 8pm, $15-20. Big City Improv, Jessica Fisher, and burlesque dancers Shaunna Bella and Claire Elizabeth team up for an evening of queer performance celebrating Pride. Proceeds will go to the Shotgun Players’ Solar Campaign.

“Tea N’ Crisp” Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. 8pm, $25. Richard Louis James stars as gay icon Quentin Crisp in the Shotgun Players’ production of this Pride Week tribute.

THURSDAY 21

“Here’s Where I Stand” First Unitarian Church and Center, 1187 Franklin, SF; (415) 865-2787, www.sfgmc.org. 8pm, $15-45. The world’s first openly LGBT music ensemble will be kicking off Pride Week with a range of music from Broadway to light classical. Includes performances by the Lesbian/Gay Chorus of San Francisco, San Francisco Gay Men’s Chorus, and the San Francisco Lesbian/Gay Freedom Band. Concert also takes place same time on Sat/22.

“Thursday Night Live” Eagle, 398 12th St, SF; (415) 625-0880, www.sfeagle.com. 1pm, $10. Support Dykes on Bikes at their 30th anniversary Beer/Soda Bust and catch these glitzy vixens as they share the stage with Slapback.

Veronica Klaus and Her All-Star Band Jazz at Pearl’s, 256 Columbus, SF; (415) 291-8255, www.jazzatpearls.com. 8 and 10pm, $15. The all-star lineup features Daniel Fabricant, Tom Greisser, Tammy L. Hall, and Randy Odell.

FRIDAY 22

“Glam Gender” Michael Finn Gallery, 814 Grove; 573-7328. 7-10pm. This collaboration between photographer Marianne Larochelle and art director Jose Guzman-Colon, a.k.a. Putanesca, kicks off Pride Weekend by celebrating San Francisco’s queer art underground.

Pride Concert Yerba Buena Center for the Arts, 701 Mission. SF; 7 and 9pm, Copresented by the Lesbian/Gay Chorus of San Francisco and the San Francisco Lesbian/Gay Freedom Band, this 29th annual Pride concert promises to be a gay time for all.

San Francisco Trans March Dolores Park, 18th St and Dolores; 447-2774, www.transmarch.org. 3pm stage, 7pm march; free. Join the transgender community of San Francisco and beyond for a day of live performances, speeches, and not-so-military marching.

BAY AREA

Queer Stuff Pride Talent Showcase Home of Truth Spiritual Center, 1300 Grand, Alameda; 1-888-569-2064, www.queerstuffenterprises.com. 7:30pm, $8. This showcase features the music of Judea Eden and Friends, Amy Meyers, and True Magrit, plus the comedy of Karen Ripley.

SATURDAY 23

Dykes on Bikes Fundraiser Eagle, 398 12th St, SF; (510) 712-7739, www.twilightvixen.com. 1pm. Twilight Vixen Revue will perform at the beer bust at the Eagle. Stop by before heading to the march.

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-6pm, free. Celebrate LGBT pride at this free outdoor event featuring DJs, speakers, and live music. This is the first half of the weekend-long celebration sponsored by SF Pride. Also Sun/24.

Mission Walk 18th St and Dolores, SF; (503) 758-9313, www.ebissuassociates.com. 11am, free. Join in on this queer women’s five-mile walk through the Mission.

Pink Triangle Installation Twin Peaks Vista, Twin Peaks Blvd parking area, SF; (415) 247-1100, ext 142, www.thepinktriangle.com. 7-11am, free. Bring a hammer and your work boots and help install the giant pink triangle atop Twin Peaks for everyone to see this Pride Weekend. Stay for the commemoration ceremony at 10:30am.

“Remembering Lou Sullivan: Celebrating 20 Years of FTM Voices” San Francisco LGBT Center, Ceremonial Room, 1800 Market, SF; (415) 865-5555, www.sfcenter.org. 6-8pm, free. This presentation celebrates the life of Louis Graydon Sullivan, founder of FTM International and an early leader in the transgender community.

“Qcomedy Showcase” Jon Sims Center, 1519 Mission, SF; (415) 541-5610, www.qcomedy.com. 8pm, $8-15. A stellar cast of San Francisco’s funniest queer and queer-friendly comedians performs.

San Francisco Dyke March Dolores Park, Dolores at 18th St, SF; www.dykemarch.org. 7pm, free. Featuring Music from Binky, Nedra Johnson, Las Krudas, and more, plus a whole lot of wacky sapphic high jinks.

SUNDAY 24

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-7pm, free. The celebration hits full stride, with musical performances and more.

LGBT Pride Parade Market at Davis to Market at Eighth St, SF; (415) 864-3733, www.sfpride.org. 10:30am-noon, free. With 200-plus dykes on bikes in the lead, this 36th annual parade, with an expected draw of 500,000, is the highlight of the Pride Weekend in the city that defines LGBT culture.

CLUBS AND PARTIES

WEDNESDAY 20

“Gay Pride in the Mix” Eureka Lounge, 4063 18th St, SF; (415) 431-6000, e.stanfordalumni.org/clubs/stanfordpride/events.asp. 7-9pm, no cover. An intercollegiate LGBT mixer in an upscale environment, with drink and appetizer specials available. Alumni from Ivy League and Seven Sisters schools, Stanford, MIT, and UC Berkeley welcome.

Hellraiser Happy Hour: “Pullin’ Pork for Pride” Pilsner Inn, 225 Church, SF; (415) 621-7058. 5:30-8pm, free. The Guardian‘s own Marke B. will be pullin’ pork and sticking it between hot buns with the help of the crew from Funk N Chunk. You might win tickets to the National Queer Arts Festival, but really, isn’t having your pork pulled prize enough?

THURSDAY 21

“A Celebration of Diversity” Box, 628 Divisadero, SF. 9pm-2am, $20. Join Page Hodel for the return of San Francisco’s legendary Thursday night dance club the Box for one night only, sucka!

Crack-a-Lackin’ Gay Pride Mega Party Crib, 715 Harrison, SF; (415) 749-2228. 9:30pm-3am, $10. Features live stage performances and, according to the press release, “tons of surprises.” I’m not sure how much a surprise weighs, so I don’t know how many surprises it takes to add up to a ton. It’s one of those “how many angels fit on the head of a pin?” things.

“Gay Disco Fever” Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 9pm-2am. I can’t figure out who does what at this event. Courtney Trouble and Jenna Riot are listed as hosts, and Campbell and Chelsea Starr are the DJs, which I guess makes drag king Rusty Hips “Mr. Disco” and Claire and Shaunna the “Disco Queens.” It takes a village to raise a nightclub. That’s a whole lotta fabulousness under one roof.

“Girlezque SF” Rickshaw Stop, 155 Fell, SF; www.myspace.com/girlezquesf. 9pm, $10-15. This supposedly sophisticated burlesque party for women features the erotic stylings of AfroDisiac, Sparkly Devil, Rose Pistola, and Alma, with after-party grooves by DJ Staxx. Hopefully, it’s not too sophisticated &ldots;

Pride Party Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 9pm-2am, free. Make this no-cover throwdown your first stop as you keep the march going between the numerous after-parties.

FRIDAY 22

Bustin’ Out II Trans March Afterparty El Rio, 3158 Mission, SF; (415) 510-677-5500. 9pm-2am, $5-50, sliding scale. Strut your stuff at the Transgender Pride March’s official after-party, featuring sets from DJs Durt, Lil Manila, and Mel Campagna and giveaways from Good Vibes, AK Press, and more. Proceeds benefit the Trans/Gender Variant in Prison Committee.

Cockblock SF Pride Party Fat City, 314 11th St, SF; (415) 568-8811. 9pm, $6. DJs Nuxx and Zax spin homolicious tunes and put the haters on notice: no cock-blockin’ at this sweaty soiree.

“GIRLPRIDE” Sound Factory, 525 Harrison, SF; (415) 647-8258. 9pm-4am, $20. About 2,500 women are expected to join host Page Hodel to celebrate this year’s Pride Weekend, and that’s a whole lotta love.

Mr. Muscle Bear Cub Contest and Website Launch Party Lone Star Saloon, 1354 Harrison, SF; (415) 978-9986. 11pm, $19.95. Join contestants vying for the title of spokesmodel of Muscle Bear Cub. The winner receives $500 cash and a lifetime supply of Bic razors. Don’t shave, Bear Cub! Don’t you ever shave!

Uniform and Leather Ball SF Veterans War Memorial, 401 Van Ness, Green Room, SF; www.sfphx.org. 8pm-midnight, $60-70. The men’s men of the Phoenix Uniform Club want you to dress to the fetish nines for this 16th annual huge gathering, featuring Joyce Grant and the City Swing Band and more shiny boots than you can lick all year. Yes, sirs!

SATURDAY 23

“Old School Dance” Cafè Flore, 2298 Market at Noe, SF; (415) 867-8579. 8pm-2am, free. Get down old-school style at the Castro’s annual Pink Saturday street party, with sets from DJs Ken Vulsion and Strano, plus singer Moon Trent headlining with a midnight CD release party for Quilt (Timmi-Kat Records).

Pride Brunch Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.positiveresource.org. 11am-2pm, $75-100. Honor this year’s Pride Parade grand marshals: four hunky cast members from the TV series Noah’s Arc; Marine staff sergeant Eric Alva, the first American wounded in Iraq; and Jan Wahl, Emmy winner and owner of many funky hats.

“Puttin’ on the Ritz” San Francisco Design Center Galleria, 101 Henry Adams, SF; (650) 343-0543, www.puttinontheritzsf.com. 8pm-2am, $85. Bump your moneymaker at this all-lady event. Incidentally, the performer who brought “Puttin’ on the Ritz” back to popularity on early ’80s MTV was none other than Taco.

“Queen” Pier 27, SF; www.energy927fm.com. 9pm, $45. Energy 92.7 brings back the dynamism of the old-school San Francisco clubs for this Pride dance-off. Peaches and Princess Superstar headline. Wear your best tear-away sweats and get ready to get down, Party Boy style.

“Rebel Girl” Rickshaw Stop, 155 Fell, SF; wwww.rebelgirlsf.com. 9pm-2am, $10. Rebel Girl brings the noise for this one, with go-go dancers, Vixen Creations giveaways, drink specials, and, you know, rebel girls.

“Sweat Special Pride Edition” Lexington Club, 3464 19th St, SF; (415) 863-205, www.lexingtonclub.com. 9pm-2am, free. DJ Rapid Fire spins you right round round with a sweaty night of dancing and grinding.

SUNDAY 24

Dykes on Bikes Afterparty Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. Noon, free. How do they find time to ride with all these parties?

“Gay Pride” Bambuddha Lounge, 601 Eddy, SF; (415) 864-3733, www.juanitamore.com. 3pm, $25. Juanita More! hosts this benefit for the Harvey Milk City Hall Memorial, with a DJs Derek B, James Glass, and fancy-pants New York City import Kim Ann Foxman. It also includes an appearance from silicone wonder Miss Gina LaDivina. Fill ‘er up, baby!

“Pleasuredome Returns” Porn Palace, 942 Mission, SF; (415) 820-1616, www.pleasuredomesf.com. 9pm, $20. You have to get tickets in advance for the onetime reopening of the dome in the Porn Palace’s main dungeon room. When you’re done dancing, visit the jail, bondage, or barn fantasy rooms and make that special someone scream “Sooo-eeeee!”

Singin’ and shillin’ with the Muppets

-
0

I had a revelation while watching Muppets Music Moments: Statler and Waldorf are the reasons I became a film critic. As a li’l Muppet-freaked kid in the late ’70s and early ’80s, I lived for their curmudgeonly peanut-gallery zingers. But there’s plenty of stuff I didn’t remember from The Muppet Show, or that I couldn’t pick out as examples of Jim Henson’s wonderfully offbeat sense of humor — like, say, a brigade of pigs in full leather-daddy garb singing "Macho Man." And surreal numbers, like that same brigade of pigs dressed as Eskimos, belting out "The Lullaby of Broadway," or a sequence in which Kermit’s hospital-room tableau morphs into a full-on jungle scene (complete with witch doctors) as the ensemble rips into Harry Nilsson’s "Coconut." Also, there’s plenty of just plain weirdness — like, did you ever notice that the Swedish Chef is the only Muppet with actual human hands? I don’t have to say any more, except that this program is essential viewing for anyone who worshipped The Muppet Show cast albums ("Menah Menah," anyone?) — or for folks with kids who are too young to have otherwise developed outrageous Muppet nostalgia.

More for grown-ups but no less entertaining is the foray into Henson’s Commercials and Experiments. An early Kermit prototype shills for pork sausage and bacon (wherefore art thou, Miss Piggy?); another spot highlights singing gas-pump nozzles; an RC Cola ad features a bird puppet muttering, "I hate folk singers with messages!"; and a spot for Muppet toys offers a group of mini-Kermits sweetly intoning, "If you don’t buy us, we’ll bite you in the leg!" There are also snippets of Henson appearing on talk shows and demonstrating his puppetry techniques, as well as short films that are entirely puppet free — including some psychedelia, such as a delightful sound-and-image collage starring the impish Henson himself. (Cheryl Eddy)

COMMERCIALS AND EXPERIMENTS Sun/24, 7:30 p.m.

MUPPETS MUSIC MOMENTS Sat/23, 2 p.m.; June 28, 7:30 p.m.; $6-$8. Yerba Buena Center for the Arts Screening Room, 701 Mission, SF. (415) 978-2787, www.ybca.org

Sopranos songs

-
0

Vanilla Fudge and Journey etc

You’re seeing things from Tony’s view. “Don’t stop…” – last words.

noisettes.jpg

David Chase, creator of the decade defining series, The Sopranos is known for his many layers of sheer brilliance, one being his incredibly meticulous and calculated music choices. Last night was the highly anticipated finale of the startling HBO show and naturally, tradition ensued. While most are frenzied about the way the series ended, there is a large amount of talk about the songs chosen to cast off America’s favorite famiglia into TV afterlife.

Noisettes “Scratch Your Name” blasted from the speakers of Leather jacket clad, AJ Soprano’s brand new black BMW as he sped off to pick up his new girl- bringing the audience one step closer to the series dramatic conclusion. The lyrics say “Scratch your name/ Into the fabric of this world/ The skin will tear/Under the pressure/Make it deep/So it always shows…” Frantic and rebellious, existing on their own terms, and seldom tidy, Noisettes may have scratched their name into TV history.

Check out Noisettes ferocious teen spirit in the video for “Scratch Your Name” here:
http://www.youtube.com/watch?v=dALeLKEHDz4

or listen here:
http://www.myspace.com/thenoisettes

For more information on the Noisettes, get in touch!

Gina
X

Gina Schulman
PRESS HERE
138 West 25th St. 7th Floor
New York, NY 10001
Ph. 212.246.2640 x 219
F. 212.582.6513
gina@pressherepublicity.com

Summer 2007 fairs and festivals guide

-
0

ONGOING

ArtSFest Various venues; www.artsfestsf.org. For its fourth year, ArtSFest presents a showcase of theater, dance, visual art, film, music, spoken word, and more. Through May 28.

Night Market Ferry Bldg Marketplace, along the Embarcadero at the foot of Market; 693-0996, www.ferrybuildingmarketplace.com. Thurs, 4-8pm, through Oct 26. Marketplace merchants and farmers offer their freshest artisan foods and produce at this weekly sunset event.

United States of Asian America Arts Festival Various venues; 864-4120, www.apiculturalcenter.org. Through June 30. This festival, presented by the Asian Pacific Islander Cultural Center, showcases Asian Pacific Islander dance, music, visual art, theater, and multidisciplinary performance ensembles at many San Francisco venues.

Yerba Buena Gardens Festival Yerba Buena Gardens, Third St at Mission; 543-1718, www.ybgf.org. Through Oct, free. Nearly 100 artistic and cultural events for all ages takes place at the gardens this summer including Moroccan percussionists, Hawaiian ukulele players, Yiddish klezmer violinists, Balinese dancers, Shakespearean actors, Cuban musicians, and Japanese shakuhachi players.

BAY AREA

Silicon Valley Open Studios www.svos.org. Sat-Sun, 11am-5pm, through May 20. Check out Silicon Valley artists’ works and the spaces they use to create them at this community art program.

MAY 8–20

The Hip-Hop Theater Festival: Bay Area 2007 Various venues; www.youthspeaks.org. Youth Speaks, La Peña Cultural Center, the Hip-Hop Theater Festival, and San Francisco International Arts Festival present this showcase of new theater works that feature break dancing, MCing, graffiti, spoken word, and DJ sampling.

MAY 10-20

Mission Creek Music and Arts Festival Various venues; www.mcmf.org. The Mission Creek Music and Arts Festival features the best and brightest independent musicians and artists, including music by Vincent Gallo, Acid Mothers Temple, Edith Frost, and Gary Higgins. Literary and film events are also planned.

MAY 12

KFOG KaBoom! Piers 30-32; 817-KFOG, www.kfog.com. 4-10pm, free. Kick off the summer with this popular event featuring music, a spectacular fireworks show, food and drinks, and activities for kids. Kenny Wayne Shepherd, Guster, and Ozomatli perform.

BAY AREA

Arlen Ness Motorcycles Anniversary Party Arlen Ness, 6050 Dublin, Dublin; (925) 479-6300, www.arlenness.com. 10am-4:30pm, free. Celebrate the company’s fourth year in Dublin and 37th year in business with a display of the largest selection of Ness, Victory, American Iron Horse, and Big Dog Motorcycles in California, a walk through the museum, and a live music from Journey tribute band Evolution.

Beltane Pagan Festival Civic Center Park, 2151 MLK Jr. Way, Berk; www.thepaganalliance.org.10am-5:30pm, free. This year’s festival focuses on children and young adults and features a procession, performances, vendors, storytelling, an authors’ circle, and information booths.

Peralta in Bloom Spring Festival Carter Middle School, 4521 Webster, Oakl; (510) 655-1502, www.peraltaschool.org. Due to a fire, Peralta’s spring festival will be held at a temporary home this year. Expect the same great live entertainment, carnival games, old-fashioned high-steppin’ cakewalk, free arts and crafts, and delicious barbecue as always.

MAY 13

Hood Games VI "Tender Love" Turk between Mason and Taylor; 11am-4pm. This celebration of youth culture features live skating and music, art, a fashion show, contests, and a raffle. Bonus: every mom who shows up for this Mother’s Day event gets a free skateboard.

BAY AREA

Russian-American Fair Terman Middle School, 655 Arastradero, Palo Alto; (650) 852-3509, paloaltojcc.org. 10am-5pm, $3-5. The Palo Alto Jewish Community Center puts on this huge, colorful cultural extravaganza featuring ethnic food, entertainment, crafts and gift items, art exhibits, carnival games, and vodka tasting.

MAY 16–27

San Francisco International Arts Festival Various venues; (415) 439-2456, www.sfiaf.org. The theme for this year’s multidisciplinary festival is the Truth in Knowing/Now, a Conversation across the African Diaspora.

MAY 17–20

Carmel Art Festival Devendorf Park, Carmel; (831) 642-2503, www.carmelartfestival.org. Call for times, free. Enjoy viewing works by more than 60 visual artists at this four-day festival. In addition to the Plein Air and Sculpture-in-the-Park events, the CAF is host to the Carmel Youth Art Show, Quick Draw, and Kids Art Day.

MAY 18–20

Festival of Greece 4700 Lincoln, Oakl; (510) 531-3400, www.oaklandgreekfestival.com. Fri-Sat, 10am-11pm; Sun, 11am-9pm, $6. Free on Fri 10-4 and Sun 6-9. Let’s hear an "opa!" for Greek music, dance, food, and a stunning view at the Greek Orthodox Cathedral of the Ascension’s three-day festival.

MAY 19

A La Carte and Art Castro St, Mountain View; (650) 964-3395, www.miramarevents.com. 10am-6pm, free. A moveable feast of people and colorful tents offering two days of attractions, music, art, a farmers’ market, and a special appearance by TV star Delta Burke.

Asian Heritage Street Celebration Howard between Fifth and Seventh streets; 321-5865, www.asianfairsf.com. 11am-6pm, free. More than 200 organizations participate in this festival, which features Asian cooking demonstrations, beer and sake, arts and crafts, a variety of food, and live entertainment.

Family Fun Festival and Silent Auction 165 Grattan; 759-2815. 11am-5pm, free. Enjoy this second annual family event in Cole Valley, featuring a kids’ carnival with prizes, street theater, live music, refreshments, and a silent auction.

Oyster and Beer Fest Great Meadows, Fort Mason, Laguna at Bay; www.oreillysoysterfestival.com. 12-7pm, $15-19 ($50 reserved seating). O’Reilly’s Productions presents the 8th annual festival celebrating oysters and beer, featuring cooking demos, competitions, and live performance from Flogging Molly, Shantytown, The Hooks, and more.

Saints Kiril and Metody Bulgarian Cultural Festival Croatian American Cultural Center, 60 Onondaga; (510) 649-0941, www.slavonicweb.org. 3pm-midnight, $15. Enjoy live music, dance, and traditional food and wine in celebration of Bulgarian culture. A concert features Nestinari, Zaedno, Brass Punks, and many more.

Taiwanese American Cultural Festival Union Square; (408) 268-5637, www.tafnc.org. 10am-7pm, free. Explore Taiwan by tasting delicious Taiwanese delicacies, viewing a puppet show and other performances, and browsing arts and crafts exhibits.

Uncorked! Public Wine Festival Ghirardelli Square, 900 N Point; 775-5500, www.ghirardellisq.com. 1-6pm, event free, wine tasting $40-100. This second annual wine festival features wine tasting, five-star chef demonstrations, wine seminars, and a chocolate and wine pairing event.

BAY AREA

Cupertino Special Festival in the Park Cupertino Civic Center, 10300 Torre, Cupertino; (408) 996-0850, www.osfamilies.org. 10am-6pm, free. The Organization of Special Needs Families hosts its third annual festival for people of all walks or wheels of life. Featuring live music, food and beer, bouncy houses, arts and crafts, and other activities.

Pixie Park Spring Fair Marin Art and Garden Center, Sir Francis Drake Blvd at Lagunitas, Ross; www.pixiepark.org. 9am-4pm, free. This fair for preschoolers and kindergarteners features bathtub races, pony rides, a petting zoo, a puppet show, and much more.

MAY 19-20

Bay Area Storytelling Festival Kennedy Grove Regional Recreation Area, San Pablo Dam Road near Castro Ranch, El Sobrante; (510) 644-2593, www.bayareastorytelling.org.

Sat, 9:30am-8pm; Sun, 9:30am-5:15pm, $8-65. Gather around and listen to stories told by storytellers from around the world at this outdoor festival. Sheila Kay Adams, Charlotte Blake Alston, Bill Harley and others are featured.

Castroville Artichoke Festival 10100 Merritt, Castroville; (831) 633-2465, www.artichoke-festival.org. Sat, 10am-6pm; Sun, 10am-5pm, $3-6. Have a heart — eat an artichoke. This festival cooks up the vegetable in every way imaginable and features tons of fun activities for kids, music, a parade, a farmers’ market, and much more.

Day of Decadence Women’s Expo Sedusa Studios, 1300 Dell, Campbell; (408) 826-9087, www.sedusastudios.com. 1-4pm, $5. Twenty-five women-owned businesses exhibit their products and pamper their customers at this decadent event. Includes free services, champagne, refreshments, and a chocolate fountain.

French Flea Market Chateau Sonoma, 153 West Napa, Sonoma; (707) 935-8553, www.chateausonoma.com. 10:30am-5:30pm, call for price. Attention, Francophiles: this flea market is for you! Shop for antiques, garden furniture, and accessories from French importers.

Himalayan Fair Live Oak Park, 1300 Shattuck, Berk; (510) 869-3995, www.himalayanfair.net. Sat, 10am-7pm; Sun, 10am-5:30pm, call for price. This benefit for humanitarian grassroots projects in the Himalayas features award-winning dancers and musicians representing Nepal, Tibet, Bhutan, India, Afghanistan, Pakistan and Mongolia. Check out the art and taste the delicious food.

Maker Faire San Mateo Fairgrounds, San Mateo; (415) 318-9067, www.makerfaire.com. Sat, 10am-6pm; Sun, 10am-5pm, $5-15. A two-day, family-friendly event established by the creators of Make and Create magazines that celebrates arts, crafts, engineering, science projects, and the do-it-yourself mindset.

Muscle Car, Hot Rods, and Art Fair Bollinger Canyon Rd and Camino Ramon, San Ramon; (925) 855-1950, www.hatsoffamerica.us. 10am-5pm, free. Hats Off America presents this family event featuring muscle cars, classics and hot rods, art exhibits, children’s activities, live entertainment, and beer and wine.

Passport to Sonoma Valley Various venues; (707) 935-0803, www.sonomavalleywine.com. 11am-4pm, $55 (weekend, $65). This first of its kind, valleywide event will provide visitors rare access to the many hidden gems of California’s oldest wine region. More than 40 Sonoma wineries are participating, and the cost includes unlimited tasting.

Sunset Celebration Weekend Sunset headquarters, 80 Willow Road, Menlo Park; 1-800-786-7375, www.sunset.com. 10am-5pm, $10-12, kids free. Sunset magazine presents a two-day outdoor festival featuring beer, wine, and food tasting; test-kitchen tours, celebrity chef demonstrations, live music, seminars, and more.

Spring Fling Open House Rosenblum Cellars, 2900 Main, Alameda; (510) 995-4100, www.rosenblumcellars.com. Noon-5pm, $30. Try new and current releases at Rosenblum’s Alameda winery while enjoying wine-friendly hors d’oeuvres and music from local musicians.

MAY 20

ING Bay to Breakers Begins at Howard and Spear, ends at the Great Highway along Ocean Beach, SF; www.baytobreakers.com. 8am, $33-40. See a gang of Elvis impersonators in running shorts and a gigantic balloon shaped like a tube of Crest floating above a crowd of scantily clad, and unclad, joggers at this annual race from the Embarcadero to the Pacific Ocean.

BAY AREA

Jazz on Fourth Street Festival Fourth St, between Hearst and Virginia, Berk; (510) 526-6294, www.4thstreetshop.com. 11am-5pm, free. Local merchants present this annual outdoor music festival featuring Marcus Shelby Quartet, Sugar Pie DeSanto, Wayne Wallace Latin Jazz Group, two Berkeley High combos, and the award-winning Berkeley High Jazz ensemble.

Niles Wildflower Art and Garden Show Niles Blvd at Main, Fremont; www.niles.org. 10am-3pm, event free, garden tour $12-15. Take a self-guided tour of beautiful home gardens and enjoy the creative works of local artists.

MAY 24–27

Sonoma Jazz Plus Festival Field of Dreams, 179 First St W, Sonoma; 1-866-527-8499, www.sonomajazz.org. $45-95. Thurs-Sat, 6:30 and 9pm; Sun, 8:30pm, $45-110. Head on up to California’s wine country for Memorial Day weekend and soak in the sounds of LeAnn Rimes, Tony Bennett, Smokey Robinson, and Harry Connick Jr.

MAY 25–28

Memorial Day Folk Music Camp Out Waterman Creek Camp, Santa Cruz County; (510) 523-6533. www.sffmc.org. $7/night. Preregistration required. Camp and sing along with the San Francisco Folk Music Club. Everybody’s goin’!

MAY 26

Soul Jazz Festival Crown Canyon Park, 8000 Crow Canyon, Castro Valley; www.souljazzfestival.com. 12-8pm, $45-49. A one-day music event celebrating the worlds of jazz, funk, and soul. This year pays tribute to Ella Fitzgerald and features Johnny Holiday, Ladybug Mecca of Digable Planets, and Ella Fitzgerald’s son, Ray Brown Jr.

MAY 26–27

Carnaval San Francisco Harrison between 16th and 24th streets; (415) 920-0122, www.carnavalsf.com. 10am-6pm, free. The vibrant Mission District plays host to the best of Latin and Caribbean cultures and traditions with an array of food, music, dance, and art. The theme for this year’s carnaval is Love Happens, and it features speed dating at the Love Nest, a performance by Los Lonely Boys, and a parade on Sunday.

North American Cycle Courier Championship Speakeasy Brewery, 1195 Evans; 748-2941. Sat, 9am-2pm; Sun, 10am-1pm, free. This weekend-long celebration of bike culture features a race on a closed course that tests all areas of bike messenger skill.

BAY AREA

Santa Cruz Blues Festival 100 Aptos Creek, Aptos; (831) 479-9814, www.santacruzbluesfestival.com. 10am-7pm, $20-100. Rhythm and blues buffs beware. This annual festival, in its 15th year, showcases some of the most renowned acts of new and vintage R&B, soul, and blues rock, including Los Lonely Boys, Etta James and the Roots Band, and Little Feat. International food booths, juice bars, and beer make this event add to the appeal.

MAY 26–28

The San Francisco Cup International Youth Soccer Tournament and Festival Golden Gate Park’s Polo Field, SF; (415) 337-6630, www.sfcup.com. 8:30am. This 20th annual premier event brings together 128 national and international teams of both genders for great soccer excitement.

MAY 26–JUNE 30

Bay Area Summer Poetry Marathon Lab, 2948 16th St, SF; (415) 864-8855, www.thelab.org. 7-10pm,. $3-15 sliding scale. Various Bay Area and national poets read their work at this event held throughout the summer.

MAY 27

Antique Street Faire Main St, Pleasanton; (760) 724-9400, www.pleasantondowntown.net. 8am-4pm, free. This semiannual event sponsored by the Pleasanton Downtown Association provides more than a mile of antiques and collectibles displayed by about 300 professional dealers.

Art in the Vineyard Wente Vineyards Estate Winery, 5565 Tesla, Livermore; (925) 456-2305, www.livermoreartassociation.com. 11am-5pm, admission free, wine tasting $15. Mark your calendars for the 35th anniversary of this popular event, featuring 40 talented multimedia artists in addition to music by Vested Interest.

Asian Pacific Heritage Festival Bay Area Discovery Museum, 557 McReynolds, Sausalito; (415) 339-3900, www.baykidsmuseum.org.10am-5pm, free. Experience taiko drumming, the Marin Chinese Cultural Association’s Lion Dance Team, and other Polynesian and Pacific Islander arts groups, as well as traditional Chinese, Vietnamese, and Filipino cuisine in honor of Asian Pacific Islander Month.

Caledonia Street Fair Caledonia St, Sausalito; (415) 289-4152, www.ci.sausalito.ca.us.10:30am-6pm, free. This fest boasts multicultural food, dance, music, and more than 120 arts and crafts vendors. Don’t miss out on the Taste of Sausalito luncheon and wine-tasting event featuring food and wine prepared by select Napa and Sonoma wineries and restaurants.

MAY 28

Stone Soul Picnic Cal State East Bay’s Pioneer Amphitheatre, 25800 Carlos Bee, Hayward; 1-800-225-2277, www.kblx.com. Doors at 10am, show at noon, $56-81.50 includes parking. KBLX Radio 102.9 FM presents its 10th annual R&B and soul music event, featuring performances by Isaac Hayes, the Whispers, the Dells, and Tower of Power.

MAY 29–30

BALLE Film Fest Wheeler Auditorium, UC Berkeley, Berk; (415) 255-1108, ext 112, livingeconomies.org. 6 and 8:30pm, $10 for screening, $15 for night. Business Alliance for Local Living Economies presents a two-night film festival reutf8g to BALLE principles, including Everything’s Cool, a film about global warming, and Manufactured Landscapes, a documentary about China’s industrial revolution.

MAY 31–JUNE 3

Contra Costa County Fair Contra Costa County Fairgrounds,10th and L streets, Antioch; (925) 757-4400, www.ccfair.org. Thurs-Fri, noon-11pm.; Sat-Sun, 11am-11pm, $4-7, parking $3. Now 70 years old, this county fair has a little of everything. Daily sea lion shows, a man dressed as a giant tree, and, of course, clown acts, are just some of the events presented to fairgoers this year.

JUNE 1–10

East Bay Open Studios Various venues; (510) 763-4361, www.proartsgallery.org. Open studios: June 2-3, 9-10, 11am-6pm; formal artists’ reception May 31, 6-10pm, free. For more than 25 years, the East Bay Open Studios have drawn more than 50,000 visitors to Pro Arts Gallery and various artist workspaces to support the work of local artists. The public can view exhibits, purchase artwork, attend workshops, and go on an art bus tour.

Healdsburg Jazz Festival Check Web site for ticket prices and venues in and around Healdsburg; (707) 433-4644, www.healdsburgjazzfestival.com. This ninth annual week-and-a-half-long jazz festival will feature a range of artists, from the George Cables Project and Roy Hargrove Quintet to the funky Louisiana-style Rebirth Brass Band and first-rate vocalist Rhiannon.

JUNE 2

Berkeley Farmers Market’s Strawberry Family Fun Festival Civic Center Park, Center at MLK Jr, Berk; (510) 548-3333, www.ecologycenter.org. 10am-3pm, free. Living up to its name, this festival is a guaranteed good time for the whole family. Highlights include environmental information booths, hands-on activities, delectable strawberry shortcake, and live performances by Nigerian Brothers, EarthCapades Environmental Vaudeville, Big Tadoo Puppet Crew, and Young Fiddlers.

Heartland Festival Riverdance Farms, Livingston; (831) 763-2111, www.eco-farm.org. 10am-7pm, $10 advance, $12 at gate. Celebrate a summer weekend by picking berries, taking farm and garden workshops, buying fresh produce from a farmers’ market, and enjoying live music at this family event.

Sonoma Valley Vintage Race Car Festival Sonoma Plaza, Sonoma; (707) 996-1090, www.sonomavalleyvisitors.com. 5pm, free entrance. Wine and food $30 in advance, $35 at the door. A gigantic taste explosion filled with more than 30 vintage dragsters, gourmet food, and wine samples.

Springfest 2007 Osher Marin Jewish Community Center, 200 North San Pedro, San Rafael; (415) 499-8891, www.mdt.org. 1 and 5pm, $14-22. Marin Dance Theatre presents this spring program featuring various performances directed by Margaret Swarthout.

JUNE 2–3

Art Deco and Modernism Sale Concourse Exhibition Center, 635 Eighth St; (650) 599-DECO, www.artdecosale.com. Sat, 10am-6pm; Sun, 11am-5pm, $7-9. An extravagant art sale featuring pottery, books, art, vintage clothing, glass, furniture, and other accessories dating from 1900 to 1980.

Art in the Avenues Hall of Flowers, Golden Gate Park, Ninth Ave and Lincoln; www.sunsetartists.com. 10am-5pm. This annual exhibition and sale presented by the Sunset Artists Society brings together artists and art lovers from all over the Bay Area.

Great San Francisco Crystal Fair Fort Mason Center, Marina at Laguna; 383-7837, www.crystalfair.com. Sat, 10am-6pm; Sun, 10am-4pm, $5. This year’s fair is sure to please anyone interested in mystical and healing arts. Check out the more than 40 vendors catering to all of your crystal, mineral, bead, and jewelry needs.

Union Street Festival Union between Gough and Steiner; 1-800-310-6563, www.unionstreetfestival.com. 10am-6pm, free. This year marks the 31st anniversary of one of San Francisco’s largest free art festivals. In addition to more than 200 artists and 20 gourmet food booths, the event features activities that represent the history of the Union Street Festival, including a special photographic exhibit that shows Union Street as it was 100 years ago.

BAY AREA

Marin Home Show and Benefit Jazz Fest Marin Center Exhibit Hall and Fairgrounds, San Rafael; (415) 499-6900, www.marinhomeshow.com. Sat, 10am-7pm; Sun, 10am-6pm, $8 (Sat tix include free return on Sun). Not only will there be hundreds of experts in everything from renovation to landscaping on hand to answer all of your home and garden questions, but there will also be live jazz acts to entertain you throughout the weekend. Proceeds benefit Marin County public schools.

JUNE 3

Santa Cruz LGBT Pride March and Rally Starts at Pacific, ends at Lorenzo Park, Santa Cruz; (831) 427-4009, www.santacruzpride.org. 11am-5pm, free. Join the largest gathering of queers and allies in Santa Cruz County. Stage lineup includes Frootie Flavors, Nedra Johnson, Twilight Vixen Revue, Horizontes, and Assemblymember John Laird. Valet bike parking provided.

JUNE 6

Strollin’ on Main Street Party Main between St John and Old Bernal, Pleasanton; (925) 484-2199, ext 4, www.pleasantondowntown.net. 6-9pm, free. Stroll down Main Street and visit vendor booths, a beer and wine garden, and a stage where featured band Drive will play.

JUNE 6–AUG 29

Summer Sounds Oakland City Center, adjacent to 12th St/City Center BART Station, Oakl; www.oaklandcitycenter.com. Wed, noon-1pm, free. The Oakland City Center presents a weekly spotlight on an array of diverse musical artists.

JUNE 7–17

San Francisco Black Film Festival Various venues; (415) 771-9271, www.sfbff.org. The festival celebrates African American cinema and the African cultural diaspora by showcasing films by black filmmakers and emphasizing the power of film to foster cultural understanding and initiate progressive social change.

JUNE 8–10

Harmony Festival Sonoma County Fairgrounds,1350 Bennett Valley, Santa Rosa; www.harmonyfestival.com. Fri, 12pm-9pm; Sat, 10am-10pm; Sun, 10am-9pm, $20-149. This year’s theme is "promoting global cooling" boasts an ecovillage offering tips for living and consuming, a well-being pavilion featuring natural remedies, and a culinary showcase of dishes using natural ingredients. Festival-goers can camp onsite and musical highlights include Brian Wilson, Erykah Badu, the Roots, moe., and Rickie Lee Jones.

JUNE 9

Dia de Portugal Festival Kelley Park, San Jose; www.diadeportugal.com. 10am, free. The Portuguese Heritage Society of California presents this annual festival featuring a parade, live music, food and wine, a book and art sale, and more.

Temescal Street Fair Telegraph between 48th and 51st streets, Oakl; (510) 654-6346, ext 2, www.temescalmerchants.com. Noon-5pm, free. This fair will feature live music, crafts, martial arts demonstrations and food samplings from local restaurants, including an Italian beer and wine garden, a tribute to days when the district once flourished with beer gardens and canteens.

JUNE 9–10

Italian Street Painting Festival Fifth Ave at A St, San Rafael; (415) 457-4878, ext 15, www.youthinarts.org. 9am-7pm, free. Street painters paint beautiful and awe-inspiring chalk artwork on the streets of San Rafael.

Live Oak Park Fair Live Oak Park, 1301 Shattuck, Berk; (510) 898-3282, www.liveoakparkfair.com.10am-6pm, free. Is there a better way to revel in the summertime than to enjoy original arts and crafts, delicious fresh food, and live jazz by Berkeley’s Jazzschool all weekend long in beautiful Live Oak Park? Didn’t think so.

San Jose Gay Pride Festival Discovery Meadow, Guadalupe River Park, San Jose; (408) 278-5563, www.sjgaypride.org. Sat, 10am-6pm, free; Sun, 10:30am, $15. This year’s San Jose pride celebration is two days’ worth of events, speakers, and music, including performances by the Cheeseballs, Average Dyke Band, and Smash-Up Derby. After the parade on Sunday, cruise vendor booths peddling their LGBT-friendly goods and services.

JUNE 9–24

San Francisco Ethnic Dance Festival Palace of Fine Arts, 3301 Lyon, SF; (415) 392-4400, www.worldartswest.org. Sat, 2 and 8pm; Sun, 2pm, $22-36. Performers from around the world converge at the Palace of Fine Arts to bring San Francisco a diverse selection of the world’s most talented dancers, including North Indian Kathak, Cantonese style Chinese lion dance, flamenco, and Middle Eastern belly dance.

JUNE 14–16

Transgender and Queer Performance Festival ODC Theater, 3153 17th St, SF; (415) 863-9834, www.freshmeatproductions.org. Thurs-Fri, 8pm; Sat, 7 and 10pm, $15. Fresh Meat Productions celebrates its sixth annual festival. This year’s artists perform traditional forms and path-blazing ones: hula, taiko, traditional Colombian dance, aerial dance, spoken word, rock ‘n’ roll, theater, hip-hop, and modern dance.

JUNE 14–17

CBA 32nd Annual Father’s Day Bluegrass Festival Nevada County Fairgrounds, McCourtney, Grass Valley; www.cbaontheweb.org. Ticket prices vary. Rhonda Vincent and the Rage, Cherryholmes, the Del McCoury Band, Dan Paisley and the Southern Grass, Country Current, the US Navy Band, the Dale Ann Bradley Band, and John Reischman and the Jay Birds perform at this California Bluegrass Association bluegrass jamboree.

JUNE 14–24

Frameline31: San Francisco International LGBT Film Festival Various venues; (415) 703-8650. www.frameline.org. The 31st annual film festival by and about the LGBT community continues with a whole new program of innovative queer cinema.

JUNE 15–17

International Robogames Fort Mason Festival Pavilion, SF; www.RoboGames.net. Noon-10pm, $15-20. Engineers from around the world return for the fourth annual event listed in the Guinness Book of World Records as the world’s largest robot competition. Featuring 83 different competitions, including 18 just for walking humanoids.

JUNE 16–17

North Beach Festival Washington Square Park, 1200-1500 blocks of Grant and adjacent streets; 989-2220, www.sfnorthbeach.org. 10am-6pm, free. Touted as the country’s original outdoor arts and crafts festival, the North Beach Festival celebrates its 53rd anniversary with juried arts and crafts exhibitions and sales, a celebrity pizza toss, live entertainment stages, a cooking stage with celebrity chefs, Assisi animal blessings (Vallejo/Columbus), Arte di Gesso (Italian street chalk art competition, 1500 block Stockton), indoor classical concerts (4 pm, at National Shrine of St Francis), a poetry stage, and more.

San Francisco Free Folk Festival San Francisco City College, North Gym, 50 Phelan, SF; www.sffreefolkfest.org. Noon-10pm, free. Folkies unite for the 31st anniversary of this festival that features local and national artists, dances, open mics, family events, and workshops.

San Francisco Juneteenth Celebration Art of the Fillmore Jazz Presentation District, Fillmore from Geary Blvd to Fulton; 931-2729, www.sfjuneteenth.org. 10am-7pm, free. This Bay Area-wide celebration celebrates African American freedom while encouraging self-development and respect for all cultures. Promoted through a community festival that celebrates and shares African American history and culture through music, the performing arts, living history, and other cultural activities. Seven full blocks of food, arts and crafts, and community and corporate information booths. Three stages of entertainment, educational speakers, and health and job fairs. All neighborhoods welcomed.

BAY AREA

Marin Art Festival Lagoon Park, Marin Center, Ave of the Flags at Civic Center, San Rafael; (415) 388-0151, www.marinartfestival.com. 10am-6pm, $8. More than 250 fine artists join in at the Frank Lloyd Wright designed Marin Center. Look out for the stilt walkers!

Russian River Blues Festival Johnson’s Beach, Guerneville; (952) 866-9599, www.russianriverbluesfest.com. 10am-6pm, $45-180. Head on down to the river for this annual affair featuring Buddy Guy, Little Richard, Koko Taylor, Roy Rogers and the Delta Kings, Lowrider Band, Elvin Bishop, and many others. Festival organizers also invite attendees to indulge in wine tasting for a nominal fee.

JUNE 17

Native Contemporary Arts Festival Esplanade at Yerba Buena Gardens, Fourth St and Mission, SF; (415) 543-1718, www.ybgf.org. 12pm-3pm, free. This fest features amazing performances, plus kids can make their own dream catchers, baskets, and bracelets.

JUNE 17–AUG 19

Stern Grove Music Festival Stern Grove, 19th Ave and Sloat, SF; www.sterngrove.org. Sun 2pm, free. This beloved San Francisco festival celebrating community, nature, and the arts is in its 70th season.

JUNE 20–24

Sonoma-Marin Fair Petaluma Fairgrounds, Petaluma; www.sonoma-marinfair.org. $8-14. This fair promotes and showcases agriculture, while displaying the diverse talents, interests, and accomplishments of the citizens of California, especially the youth of Sonoma and Marin counties. Catch acts such as Cheap Trick, SHe DAISY, and Bowling for Soup on the main stage.

JUNE 22–24

Sierra Nevada World Music Festival Mendocino County Fairgrounds, 14480 Hwy 128, Boonville; www.snwmf.com. Three-day pass, $125; camping, $50-100. Camp for three days and listen to the international sounds of Bunny Wailer, Toots and the Maytals, Luciano, Ojos de Brujo, Les Nubian, Sierra Leone’s Refugee All-Stars, Junior Kelly, Sugar Minot, and many others.

JUNE 22–JULY 8

Alameda County Fair Alameda County Fairgrounds, 4501 Pleasanton, Pleasanton; (925) 426-7559, www.alamedacountyfair.com. $4-9. Enjoy opening night fireworks, carnival attractions, a wine competition, a karaoke contest, an interactive sports and fitness expo, concerts, and oh so much more.

JUNE 23

Dyke March Dolores Park between 18th and 20th streets, SF; (415) 241-8882, www.dykemarch.org. Rally at 3pm; march at 7pm, free. Head on out to march with the San Francisco chapter of this now internationally coordinated rally. A Dolores Park celebration and rally precedes the march.

JUNE 23–24

San Francisco Pride 2006 Civic Center, Larkin between Grove and McAllister; 864-FREE, www.sfpride.org. Celebration Sat-Sun, noon-6pm; parade Sun, 10:30am, free. A month of queer-empowering events culminates in this weekend celebration, a massive party with two days of music, food, dancing that continues to boost San Francisco’s rep as a gay mecca. Do not under any circumstances miss the parade!

BAY AREA

Danville Fine Arts Fair Hartz Ave, Danville; (831) 438-4751, www.danvillecachamber.com. 10am-6pm, free. The quintessential arts and crafts fair descends upon Danville each year, bringing with it fine food and drink, Italian-style street painting, and more.

JUNE 23–25

King of the Bay Third Ave, Foster City; www.kingofthebay.com. 1pm, free. See the world’s top kiteboarders and windsurfers compete at this event.

JUNE 23–30

Jazz Camp West 2006 (510) 287-8880, www.jazzcampwest.com. This eight-day jazz program for adults and older teens features more than 100 classes taught by more than 45 nationally and internationally known artists.

JUNE 23–AUG 4

Stanford Jazz Festival Various venues. (650) 736-0324, www.stanfordjazz.org. This acclaimed festival has been injecting Northern California with a healthy dose of both classic and modern jazz for more than three decades.

JUNE 23–SEPT 8

Concert in the Hills Series Cal State East Bay, Concord Campus, 4700 Ygnacio Valley Rd, Concord; (925) 602-8654, www.concord.csueastbay.edu/concertinthehills.htm. Free. This series celebrates its eighth season with performances by acts such as Dr. Loco and His Rockin’ Jalapeño Band, Aja Vu, Joni Morris, and Native Elements.

JUNE 29–JULY 1

Kate Wolf Memorial Music Festival Black Oak Ranch, Laytonville; (707) 829-7067, www.katewolf.com/festival. Fri, 1pm-midnight; Sat, 10am-11:30pm; Sun, 11am-10pm, $55-160. This annual tribute to Northern California singer-songwriter Kate Wolf, who is credited with repopularizing folk music in the 1970s, features performances by Utah Phillips, Joe Craven and Sam Bevan, the Bills, and many others. Don’t miss the "Hobo Jungle Campfire," a nightly campfire on the creek shore with story swappin’ and song jammin’ aplenty.

JUNE 30–JULY 1

23rd Annual Fillmore Jazz Festival Fillmore between Jackson and Eddy, 1-800-310-6563, www.sresproductions.com. 10am-6pm, free. Three stages of nonstop entertainment featuring top and emerging artists. Ten blocks of art booths and gourmet food.

JUNE 30–JULY 4

Marin County Fair Marin Center, Ave of the Flags at Civic Center, San Rafael; (415) 499-6400, www.marinfair.org. 11am-11pm, $11-13. This county fair stands above the rest with its promise of nightly fireworks, There will be many fun, new competitions to enter this year, including the Dancing Stars Competition, in which contestants may perform any style of dance — from tap to ballroom, salsa to boogie. Also not to be missed is the 18th annual "Creatures and Models" exhibit and the 37th annual "National Short Film and Video Festival," plus food and rides and other fun fair stuff.

JULY 1

Vans Warped Tour 2006 Shoreline Amphitheatre, 1 Amphitheatre Pkwy, Mountain View; (650) 967-3000. www.warpedtour.com. 11am, $29.99. As Cities Burn, Bad Religion, Boys Like Girls, Coheed and Cambria, Escape the Fate, Pennywise, the Used, Funeral for a Friend, Revolution Mother, the Matches, and others perform at this annual punk music and culture event.

JULY 3–4

WorldOne Festival Cerrito Vista Park, El Cerrito; www.worldoneradio.org. Mon 5pm, Tue 10:30am, free. Worldoneradio hosts a world music and culture stage in the park. The eighth annual event is produced as a public service and fundraiser for area nonprofits.

JULY 4

City of San Francisco Fourth of July Waterfront Celebration Pier 39, Embarcadero at Beach, SF; (415) 705-5500, www.pier39.com. 1-9:30pm, free. SF’s waterfront Independence Day celebration features live music, kids’ activities, and an exciting fireworks show.

JULY 5–8

International Working Class Film and Video Festival New College Roxie Media Center, 3117 16th St; www.laborfest.net. Held annually to commemorate the San Francisco general strike of 1934 brings together filmmakers and labor artists from around the United States and internationally.

BAY AREA

High Sierra Music Festival Plumas Fairgrounds, 204 Fairground Rd, Quincy; (510) 595-1115, www.highsierramusic.org. 11am-11pm, $35-156. Enjoy your favorite jam bands on five different stages and at five different late-night venues, a kid zone, arts and crafts, food and drinks, beer, yoga, dancing, camping, and more. The lineup features performances by Xavier Rudd, the Disco Biscuits, Yonder Mountain String Band, Martin Sexton, and Les Claypool.

JULY 6–SEPT 29

Marin Shakespeare Company Festival Forest Meadows Amphitheatre, Dominican University of California, Grand Ave, San Rafael; (415) 499-4488, www.marinshakespeare.org. Fri-Sun, varying times, $7-30. The Marin Shakespeare Company presents its outdoor festival featuring performances of The Complete Works of William Shakespeare (Abridged), Henry IV, Part 1, and Henry IV, Part 2.

JULY 10–21

Mendocino Music Festival Various venues; (707) 937-2044, www.mendocinomusic.com. $15-45. David Lindley, Mollie O’Brien, the Chris Cain Quartet, and others celebrate the 21st anniversary of this classical and contemporary music festival.

JULY 12–15

World California Fest Nevada County Fairgrounds, Grass Valley; (530) 891-4098. www.worldfest.net. $30-140. The 11th annual festival features eight stages and four days of music, with performances by everyone from Ani DiFranco to the Venezuelan Music Project. Camping is encouraged.

JULY 13–15

San Francisco Silent Film Festival Castro Theatre, 429 Castro, SF; (415) 777-4908, www.silentfilm.org. Call for times and prices. The Golden Age of the silver screen comes to life, complete with a swelling Wurlitzer.

JULY 14-15

San Francisco International Chocolate Salon Fort Mason Conference Center; www.SFChocolateSalon.com. Sat, 11am-6pm; Sun, 10am-4pm, $20. The first major chocolate show on the West Coast in two decades takes place this summer with the theme Chocolat, in honor of Bastille Day. Experience the finest in artisan, gourmet, and premium chocolate with tastings, demonstrations, chef and author talks, and wine pairings.

BAY AREA

Los Altos Arts and Wine Festival Main and State, Los Altos; (650) 917-9799. www.losaltos-downtown.org. Sat, 10am-6pm; Sun, 10am-6pm, free. Enjoy original art and free entertainment while indulging in gourmet food and fine wine.

San Anselmo Art and Design Festival San Anselmo between Tamalpais and Bolinas, San Anselmo; 1-800-310-6563, www.artanddesignfestival.com. 10am-6pm, free. The San Anselmo Chamber of Commerce brings this buffet of cooking, home, and landscape design to the masses.

JULY 19–29

Midsummer Mozart Festival Various venues; (415) 627-9141, www.midsummermozart.org. $30-60. The Mozart-only music concert series features pianist Janina Fialkowska, the Haffner Serenades, and the Coronation Mass.

JULY 19–AUG 6

San Francisco Jewish Film Festival Various venues; (415) 621-0556, www.sfjff.org. The world’s first and largest Jewish film festival has toured the Bay Area for 27 years.

JULY 21–22

Connoisseur’s Marketplace Santa Cruz Ave, Menlo Park; (650) 325-2818, www.miramarevents.com. 10am-6pm, free. This annual midsummer festival hosts live jazz, R&B, and rock ‘n’ roll as well as arts and crafts, chef demonstrations, international cuisine, and lots of fun for the kids.

JULY 27–29

Gilroy Garlic Festival Christmas Hill Park, Hwy 101, Gilroy; (408) 842-1625, www.gilroygarlicfestival.com. 10am-7pm, $6-12. If 17,000 pounds of garlic bread isn’t enough of a reason to go, then all the other manifestations of this flavorful food are. Gourmet food and cook-offs, as well as free music and children’s activities, entertain you as you munch.

JULY 29

San Francisco Marathon Begins and ends at the Ferry Bldg, Embarcadero, SF; www.runsfm.com. $110 to compete. Tighten your laces for 26.2 miles around the Bay. The less enthusiastic can run a half marathon, 5K, or "progressive marathon," instead.

Up Your Alley Dore Alley between Folsom and Howard, Folsom between Ninth and 10th streets, SF; www.folsomstreetfair.com. 11am-6pm. Hundreds of naughty and nice leather lovers sport their stuff in SoMa at this precursor to the Folsom Street Fair.

AUG 3–5

Reggae on the River Dimmick Ranch, French’s Camp, Hwy 101, Piercy, Humboldt County; (707) 923-4583, www.reggaeontheriver.com. $165-225. Further details pending. This year’s riverside roots and reggae fest features the Roots, Shaggy, Angelique Kidjo, Lee "Scratch" Perry, Mad Professor, the Itals, Eek-A-Mouse, Sierre Leone’s Refugee Allstars, and many others.

Reggae Rising Dimmick Ranch, French’s Camp, Hwy 101, Piercy, Humboldt County; www.reggaerising.com. $175 for a 3 day pass. Further details pending. This new summer festival will benefit various nonprofit groups in this southern Humboldt community and features Damian Marley, Sly and Robbie, Tanya Stephens, Fantan Mojah, and more.

AUG 4–5

Aloha Festival San Francisco Presidio Parade Grounds, near Lincoln at Graham, SF; www.pica-org.org/AlohaFest/index.html. 10am-5pm, free. The Pacific Islanders’ Cultural Association presents its annual Polynesian cultural festival featuring music, dance, arts, crafts, island cuisine, exhibits, and more.

AUG 9–12

Redwood Empire Fair Redwood Empire Fairgrounds, 1055 N State, Ukiah; (707) 462-3884, www.redwoodempirefair.com. Noon-11pm, $3-6. Bring the family to this old-timey fair, complete with rides, food, and fun.

AUG 10–12

Comcast San Jose Jazz Festival Various venues; (408) 288-7557, www.sanjosejazz.org. $5. This three-day music festival hosts dozens of acclaimed musicians playing all flavors of jazz.

AUG 11

SEEN Festival 2006 People’s Park, Telegraph and Dwight, Berk; (510) 938-2463, www.maxpages.com/seen2000. 11:30am-5pm, $5 suggested donation. This year marks the 12th anniversary of this world music, reggae, and soul festival.

AUG 11–12

Nihonmachi Street Fair Japantown Center, Post and Webster, SF; (415) 771-9861, www.nihonmachistreetfair.org. 11am-6pm, free. Japantown’s 34th annual celebration of the Bay Area’s Asian and Pacific Islander communities continues this year with educational booths and programs, local musicians and entertainers, exhibits, and artisans.

Pistahan Yerba Buena Gardens, 700 Howard, SF; www.ybgf.org. 11am-5pm, free. The Bay Area Filipino festival of culture and cuisine features arts and crafts, live entertainment, food, and more.

Vintage Paper Fair Hall of Flowers, Golden Gate Park, Ninth Ave at Lincoln, SF; (323) 883-1702, www.vintagepaperfair.com. Sat, 10am-6pm; Sun, 10am-4pm, free. Craft lovers will enjoy this fair, which presents works made from all kinds of paper — from photographs, postcards, and memorabilia to brochures and trade cards.

AUG 18–19

Solfest Solar Living Institute,13771 S Hwy 101, Hopland; (707)744-2017, www.solfest.org. "The greenest show on earth" is back for another year featuring exhibits about renewable energy, green building, ecodesign tools, organic agriculture, and much more.

SEPT 1–2

Millbrae Art and Wine Festival Broadway between Victoria and Meadow Glen, Millbrae; (650) 697-7324, www.miramarevents.com. 10am-5pm, free. More than 100,000 visitors will gather for this festive Mardi Gras-style celebration featuring R&B, rock ‘n’ roll, jazz, and soul music, as well as arts and crafts, food and beverages, live performance, and activities for kids.


SEPT 8–9

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn Ave, Mountain View; (650) 968-8378, www.miramarevents.com. 10am-6pm, free. Known as one of America’s finest art festivals, this vibrant celebration featuring art, music, and a kids’ park draws more than 200,000 arts lovers to Silicon Valley’s epicenter.

SEPT 9

Solano Stroll Solano Ave, Berk and Albany; (510) 527-5358, www.SolanoStroll.org. 10am-6pm, free. The vibes are always mellow and the air filled with rhythm at the Solano Ave Stroll. In its 33rd year, the milelong block party will feature a pancake breakfast, booths, entertainers, a parade, and more, this year with the Going Green — It’s Easy! theme.

SEPT 15

Expo for the Artist and Musician SomArts, 934 Brannan, SF; (415) 861-5302; artsandmedia.net. 11am-6pm. This eighth annual event, sponsored by Independent Arts and Media, is the Bay Area’s only grassroots connection fair for independent arts, music, and culture, featuring workshops, performances, and networking.

SEPT 22

California Poets Festival History Park San Jose, 1650 Center, San Jose; californiapoetsfestival.org. 10am-4:30pm, free. Celebrate California’s distinctive heritage of poets, poetry, and presses at this all-day outdoor festival. *

Compiled by Nathan Baker, Angela Bass, Sam Devine, Molly Freedenberg, and Chris Jasmin

Save the Hole

-
0

I’ve always fondly called legendary rock ‘n roll queer SoMa suds spot Hole in the Wall the “TGI Fridays of leather biker bars” because of its insane decor.

hole.jpg

Yet this tiny bar with the enormous AIDS remembrance candle was always my favorite spot in the city — not least because I’ve been one of the lucky few 86’d from it (don’t ask. I mean really don’t ask.) But especially after a fire in its host building last year, it needed a change of venue, and the awesome-cute grizzly biker owners John and Joe bought a spot around the corner to relocate.

And of course the NIMBYs (“Not in my backyard” folks) are trying to block its move by complaining their little suburban-wannabe asses off about it. A gay bar? In SoMa? GASP!

What I have to say about that you can find in my comments posted on our article about what’s happening. Suffice it to say, John and Joe have been incredibly beneficial friends to the gay community through their fundraising efforts at the Eagle and Hole, and are more a part of what makes SoMa SoMa than any complainy nitwit.

But the NIMBYs just might win — the future of the Hole looks grave. Here’s how you can help, from a letter sent out by John and Joe:

International Ms. Leather: “A stick of gum, a SuperBall, and a frog”

-
0

Well, I didn’t get to go to any Cat Circus like Ms. Cheryl Eddy (see previous post), but I DID get to attend the fantastic International Ms. Leather competition at the Holiday Inn on Van Ness on Easter Vigil Saturday.

imsl2a.jpg
The contestants — a little blurry cuz the lens was steamy
(All pics by Hunky Beau)

The leather community still manages to amaze, and pump out enough fetishistic mojo to keep cultural critics scratching their spinning heads. The International Ms Leather contest — IMsL, or “imzel” — is only a small part of a grand weekend for leather women (and admirers — there were a lot of men and pansexuals in attendance) that’s been going on annually for 10 years. This year, it was also accompanied by the Internal Ms. Boot Black competition — or “imzbuhbuh.”

‘WHEN WE WERE YOUNG’: Gen Xers don’t wanna be cops ‘cause they’re fat and lazy, says Gary Delagnes — PLUS! Police commissioner David Campos responds to the POA’s call for his resignation

-
0

By G.W. Schulz

There’s never a shortage of bitching over at the San Francisco Police Officers Association. And the best place to find it lying exposed, unshaven and clad in patent-leather stirrups without so much as a single blush is in the cop union’s monthly newsletter, the POA Journal.

sfpolice1.jpg

As attorney Mark Schlosberg at the ACLU of Northern California will tell you, there’s no better place than the POA Journal for an honest assessment of what the SFPD’s rank and file is really thinking. And leading each edition of the Journal is a scribe from outspoken union president Gary Delagnes that’s sometimes funny but mostly unsettling.

Without further ado, ladies and gentleman, welcome to another edition of “What’s the city’s cop union bitching about now?”

This past year actually treated the POA quite well, what with the state Supreme Court’s Copley decision sealing off police disciplinary records from public scrutiny, Berkeley losing a subsequent legal challenge to the ruling and the SFPD’s general success in slowing down the implementation of a program designed to track and flag lunatic cops.

FEAST: 8 great places for cocktails

-
0

Like you need an excuse to get a drink. Hefeweizen in the sun, Irish coffee in the cold, some Beefeater on a bad day or champagne on a good one. In this city we know how to get our drink on, for better or for worse (and sometimes both), which means no shortage of quirky, quaint, and quality places to imbibe. Here’s a list of some of our favorite watering holes and (fire) waters. (Molly Freedenberg)

CONNECTICUT YANKEE


This homey, ski lodge–style restaurant-bar has a big-city selection of beers and spirits, including the favorite elixir of Guardian editor and publisher Bruce B. Brugmann — the Potrero Hill Martini. Made with Junipero Gin (distilled just up the street from our offices, at the Anchor Steam Brewery) and no vermouth, this clean, smooth cocktail is quintessentially San Francisco.

100 Connecticut, SF. (415) 552-4440, www.theyankee.com

ZEITGEIST


The Connecticut Yankee’s martini may be the exemplar of SF cocktails, but Zeitgeist is the city’s banner bar. Of course, we’re not here to talk patios and pitchers. This time it’s all about the Bloody Mary, made with fresh horseradish, pickled bean juice, and a "spider" garnish by people who know what a hangover feels like. Ti Couz may have the prettiest Bloody Mary in town (in a pilsner glass garnished with a fresh prawn), but Zeitgeist’s is the tastiest — and most effective.

199 Valencia, SF. (415) 255-7505, www.myspace.com/zeitgeistsf

ALEMBIC


There’s something sophisticated, unpretentious, and a bit masculine about whiskey — and this Haight Ashbury establishment is the perfect place in which to honor it. The classy but understated decor complements a dizzying array of bourbons, Scotches, and ryes (among other liquor and beer options, but why would you bother?), including a list of cocktails that would make any good ol’ boy — or girl — proud. A special treat is the Bourbon Old-Fashioned: spicy high-end whiskey served on the rocks with a hint of sugar and a twist of lemon peel. Plus, if you’re drinking alone, the paragraph-long loving description of each cocktail should keep you occupied through your first tipple.

1725 Haight, SF. (415) 666-0822, www.alembicbar.com

ABSINTHE BRASSERIE AND BAR


Too pretentious (and expensive) to be casual but not quite striking enough to be a special-occasion eatery, this Hayes Valley restaurant and bar isn’t quite right for dinner. But it’s perfect for a high heels–and–makeup cocktail hour (due in part to a stellar cocktail selection and a pared-down bar menu). Try the Ginger Rogers — a classic concoction of gin, mint, lemon, and ginger ale — accompanied by another classic: a cone of French fries.

398 Hayes, SF. (415) 551-5127, www.absinthe.com

AMBASSADOR


Carpet, black leather booths, sparkling chandeliers, and a swanky mezzanine … walking into this Nob Hill lounge is like sauntering into an old movie, in which you are the elegant, aloof star. Celebrate this feeling with Between the Sheets, a spicy and sweet (but not cloying) concoction of cinnamon-infused brandy, orange liqueur, Sailor Jerry spiced rum, and fresh lemon, served in the ubiquitous martini glass (you win some, you lose some) with a sugar-and-cinnamon rim.

673 Geary, SF. (415) 563-8192, www.ambassador415.com

PLAYA AZUL


You’re not here for the cafeteria atmosphere. You’re here for the ridiculously fresh (if a bit overpriced) seafood and the 188 kinds of tequila. Try one in a margarita — tart and salty and strong as you like ’em. Or sip one on its own. Just don’t ask for a liquor menu. This ain’t no froufrou nuevo tequila bar, it’s an authentic Mexican restaurant — and if they don’t want to have one, they don’t have to.

3318 Mission, SF. (415) 282-4554

AZIZA


You’d be hard-pressed to find an item on this restaurant’s seasonal cocktail menu that isn’t fantastic on every level: creative, delicious, interesting, well presented. That’s because this Richmond hideaway gives as much attention to its tipples as it does to its exotic Moroccan fare — if not more. Take the rum-based Tarragon, for example. Whole cardamom pods give it a bit of peppery spice, lime cubes add tang and a bit of color, and fresh tarragon leaves provide the surprising, savory (and namesake) finish. The only problem is ending up with salad in your teeth — but a glass of pomegranate champagne should wash it down just fine.

5800 Geary, SF. (415) 752-2222, www.aziza-sf.com

TONGA ROOM AND HURRICANE BAR


Sometimes you want a drink that screams 007. Other times you want one that says Hawaii 5-0. Guess which one this Pirates of the Caribbean–style (the ride, not the movie) hotel bar is? Tonga’s the place to get a piña colada served in a real pineapple and the sound served up by a live band — playing on a boat that floats in an interior pool. Bonus points for the rain shower every 30 minutes, the pirate-ship decor, and the fantastic opportunity for watching visiting conventioneers on bad behavior. Demerits for a service charge at waterside tables and the fact that during a recent visit the band didn’t play a single song from South Pacific (though the Asian diva does a mean Christina Aguilera).

Fairmont Hotel, 950 Mason, SF. (415) 772-5278, www.fairmont.com *

Gimme danger, little stranger

-
0

Guardian contributor and Battleship playa Gene Bae wants to sing the praises of the band Little Claw:

LittleClaw.jpg

Rock ’n’ roll used to be dangerous. To engage in it at all was to be an outsider, a rebel unfit for genteel society. These days, however, rock ain’t much more than nostalgia – and the biggest danger is possibly throwing one’s back out lifting an amplifier. That’s why Little Claw are such a relief. A trio from Hamtramck, a little Polish American village just outside Detroit, Little Claw make rock ’n’ roll that’s once again unhinged.

Drummer Hendrik sounds more interested in beating up his kit than laying down beats. Kilynn’s and Heath’s guitars spew dissonant chord progressions and riffs too retarded to even call garage. The space between sounds is cavernous. Into this emptiness, Kilynn fearlessly wails. Lyrics such as “I killed my father<\!s>/ I wear his head like a crown” might make one think of Jim Morrison. But you get the feeling Little Claw’s psychedelic visions would probably make that poseur wet his leather pants.

Bands this volatile don’t come along too often or last too long. With only a few hard-to-find releases to its name – and with another coming on Ecstatic Peace – its three-show swing through the Bay Area is not to be missed.

Little Claw play Thursday, April 5, 9 p.m., $6. Knockout SF, 3223 Mission, SF. (415) 550-6994. Also Saturday, April 7, 6 p.m. (early show!), $5. Hemlock Tavern, 1131 Polk, SF. Also Saturday, April 7, 10 p.m., call for price. Peacock Lounge, 552 Haight, SF. (415) 621-9850

Sleazy like Sunday morning

-
0

The collective teeth of umpteen fanboys and fangirls commenced grinding when it was announced that the release of the Quentin Tarantino–Robert Rodriguez nuevo-schlock faux double bill Grindhouse would be preceded by rare 35mm revival screenings of actual ’60s through ’80s sleazebag hits such as Fight for Your Life and They Call Me One-Eye. A wonderful and laudable thing, of course — at least if you live within driving reach of Los Angeles’s New Beverly Cinema.

Well, if you can’t join ’em, beat ’em. By fortunate coincidence, San Francisco is getting something similar, which will play nowhere else — so nyaah-nyaah. That thing would be "A Month of Sleazy Sundays," four unholy nights of vintage exploitation gems beginning this April Fools’ Day at the Mission District’s lovable Victoria Theatre, brought to you by Another Hole in the Head and SF Indiefest’s Bruce Fletcher, among others.

The April quartet of triple bills offers a panoply of delights, like those shown at drive-ins, urban flea pits, and semirespectable joints such as San Francisco’s late Strand Theatre before it went porn and then closed entirely. These films were made for audiences, not for the private snickering of home viewers. Dark Channel’s rare 35mm prints are unlikely to be mint — but then, pink-out and scratchiness now seem integral to this kind of vintage theatrical experience.

The kickoff program spotlights English-language outer spaciness as only the Italians can deliver. Two entries are shameless Star Wars knockoffs from 1978: Alfonso Brescia’s War of the Robots and Luigi Cozzi’s Star Crash. The former stars Antonio Sabato Sr. (mmm). The latter stars Marjoe Gortner (Jesus with more eyeliner), Caroline Munro (in leather bikini and thigh-high boots), and a pre-Baywatch David Hasselhoff. It also sports the stupidest action scenes ever. Sandwiched between these cheese baths is Mario Bava’s genuinely eerie Planet of the Vampires, the 1965 sci-fi-horror hybrid that purportedly inspired Alien.

Highlights abound within the three remaining Sundays. April 8 brings 1970’s psychedelic séance- and H.P. Lovecraft–drawn tab o’ satanism The Dunwich Horror, in which an exquisitely perverse Dean Stockwell drafts grad student Sandra Dee (!) for sacrifice. It’s followed by the next year’s really hairy biker saga Werewolves on Wheels. A creature feature melee April 15 features Larry Hagman’s first and last directorial effort, 1972’s Beware! The Blob, a.k.a. Son of Blob, the sequel no one was waiting for — until, perhaps, it was rereleased a decade later as "The movie that J.R. shot!" Finally, a grindhouse odyssey April 21 travels from the 1934 adults-only Phyllis Diller campsterpiece Maniac to the 1971 Southern moonshine-circuit classic Preacherman to, finally, the politically incorrect yet dy-no-mite 1975 blaxploitation whopper The Black Gestapo. (Dennis Harvey)

A MONTH OF SLEAZY SUNDAYS

Through April 22; single feature $8, double $15, and triple $20

Victoria Theatre

2961 16th St., SF

(415) 863-7576

www.deadchannels.com

>

Screaming for vengeance

-
0

› a&eletters@sfbg.com

It was the unquiet dead, whispering in the dark, who set John Cobbett on his path.

In December 2001, Cobbett — a longtime Mission District rocker and guitar hero with such notably heavy outfits as Slough Feg, Ludicra, and Hammers of Misfortune — was on the East Coast visiting his identical twin brother, Aaron, a photographer living in Brooklyn, just across the East River from the smoldering ruins of the World Trade Center.

"I visited the site. It was at night and freezing cold," Cobbett notes. "I remember the sounds of the cranes and demolition machinery wrenching huge slabs of twisted metal and concrete from the wreckage. All through the night these eerie, mournful sounds reverberated off the surrounding towers. It was an incredibly haunted place."

The wound at that time was still so fresh, you see. But the grief, fear, and uncertainty were being transformed, alchemically, inexorably, into something very different: a television spectacle and a justification for war far removed from the dust, the heat, and the stench of burning corpses that Cobbett says lingered in his brother’s neighborhood for months.

As the tragedy played out — the dead painstakingly named and numbered, the TV newscasters falling easily into the cadence of wartime rhetoric — Cobbett realized he had to respond. But the methods of political rock seemed far too self-righteous, and even patronizing, given the scale of bloodletting and demagoguery.

The way forward was finally revealed one month later, during the 2002 Super Bowl halftime show, which included a performance by U2 and a remarkable moment of patriotic kitsch: at the show’s climax, Bono, with the names of the 9/11 victims scrolling overhead on a huge banner, opened his leather jacket to reveal the Stars and Stripes beneath.

The crowd went wild, but for Cobbett it was shameless propaganda. The phrase "trot out the dead" leaped into his head, and music and lyrics quickly followed.

"I got so fucking pissed," Cobbett says. "These victims are rolling over in the superheated rubble below Ground Zero. It was so cheap and so tawdry. I decided, ‘I’m going to take these motherfuckers to task.’ "

Gloriously rocking and extraordinarily angry, "Trot Out the Dead" would become one of several jaw-dropping centerpieces of The Locust Years (Cruz del Sur Music), a record that took five more years and several new band members to complete and may well be one of the most urgent and affecting works of rock ‘n’ roll — not to mention protest music — produced by a band in San Francisco or anywhere else. It is the soundtrack to the George W. Bush years, a musical wail of sorrow and fury all the more overwhelming for its mythic metal lyrics and its seamless blend of prog rock ambition, hard and heavy bombast, and massively killer riffage.

If this sounds over the top, well, it is, a fact to which Cobbett gleefully cops.

"No matter how ridiculous we are, no way can we get more stupid and ridiculous than the real thing," he says. "No matter how grandiose I can get with a metal song, there’s no way I can go to Iraq and start a war. No matter how sanctimonious I get, there’s no way I could match what was coming out of Rumsfeld’s mouth. The shit coming out of those people’s mouths — it was gold."

HAMMERS COME AND GO


One of five siblings born to a middle-class Rochester, NY, family ultimately sundered by divorce, the teenage Cobbett wound up in Washington, DC, in the 1980s and quickly fell in with the breakthrough hardcore scene of the era. Minor Threat, Bad Brains, and the Obsessed were his bread and butter, but with the emergence of Revolution Summer’s early emo bands in 1986, the music became, in his words, "specious and cloying."

Taking his cue from a friend who said he’d like San Francisco, Cobbett spontaneously packed his gear and hit the road. "Within a week I was living in the Mission District," he says, "and still do."

Before too long he had fallen in with Chewy Marzolo, a drummer with the heavy and hardcore outfit Osgood Slaughter. That carried them both into the 1990s, at which point the musical chairs began in earnest. Cobbett joined the Lord Weird Slough Feg, a band packing equal parts Celtic folk mythos and old-school metal pomp. There he connected with vocalist Mike Scalzi, who would later help define Hammers’ sound with a manly, operatic holler that would do Rob Halford proud.

Marzolo, meanwhile, was busily following what he calls a "one-band-to-the-next continuum" all the way to Cobbett’s first incarnation of Hammers of Misfortune in 1998. Along the way he founded Poverty Records, a vital imprint that documented the Mission’s explosion of grimy and creatively unfettered rock ‘n’ punk with a slew of 7-inch records and CDs from such essential bands as Fuckface, Lost Goat, Towel, and Hickey.

After an initial outing as Unholy Cadaver — a devil-voiced combo that congealed around San Francisco’s cultish homegrown black metal scene, along with such peers as Weakling and Ludicra — Hammers’ lineup was refined and completed with the addition of vocalist-bassist Janis Tanaka, late of L7 and Stone Fox. Black metal became not an end in itself but a subordinate element in a larger musical palette that came together on Hammers’ full-throttle debut, The Bastard (tUMULt, 2001). Despite its acoustic flourishes, spooky harmonies, medievalist illustrations, and Joseph Campbell–inspired lyrics, it ain’t no teenage Dungeons and Dragons fantasy adventure rewarding its heroes with heaps of treasure and experience points. The Bastard turns out to be an ecological revenge fantasy, in which the "trolls of wood and stone" storm the village to "slay the ones who chop and cut / Slay them in the their wooden huts." It’s a wicked metaphor for the fate awaiting those mortals who dare abuse the blessings of nature.

Despite the record’s subcultural acclaim from magazines such as Terrorizer and Lamentations of the Flame Princess — and the admiration heaped on its follow-up, The August Engine (Cruz del Sur Music, 2003), a hard rock parable of cliquish music-scene self-destruction — Hammers of Misfortune had chosen a road that was neither wide nor easy. What kind of metal was this anyway? True? Black? Epic? These fine points of genre fidelity may seem irrelevant to a die-hard music fan, but for labels the difference is a record they can sell or not. "I loved Hammers the first time I heard them, and it never occurred to me to question or examine their sound, which was this gloriously confusional, amazing, and intricate chunk of mind-blowing music, metal or otherwise," says Andee Connors, who put out The Bastard on his tUMULt imprint. "It might be confusing for folks who are very strict with their genre divisions."

There is only so much small labels can do, however, and Tanaka’s departure to play with pop vocalist Pink was another monkey wrench. The addition of Jamie Myers on bass and vocals carried Hammers through The Locust Years‘ recording sessions until she too took a bow, moving to Texas to raise her first child. Scalzi, disinclined to divide his time between two bands, also departed, to focus his attention entirely on Slough Feg.

ANTHEMS FOR DARK DAYS


Today Hammers are touring with a refreshed and potent lineup, teaming Marzolo and Cobbett with bassist Ron Nichols; vocalist and second guitarist Patrick Goodwin of retro muscle rockers Dirty Power; and the musically omnivorous vocalist Jessie Quattro, who was raised on Doc Watson and the hymns and "occasional barking" of Pentecostal Christianity. Sigrid Sheie, a classically trained pianist, has been a constant on the last two records, bringing musical formality and some of the most boss Hammond B-3 and Leslie keyboards heard in rock since the ’70s heyday of Deep Purple — particularly notable on "Election Day," the penultimate track on The Locust Years. The tune is a whirlwind instrumental workout that recalls such classics as Focus’s "Hocus Pocus" and Edgar Winter’s "Frankenstein."

The song is a joy to hear simply as rock ‘n’ roll and exemplifies the real musical exuberance Hammers bring to what is otherwise grim and woeful fare. The whole record leavens its bleak social commentary with what Cobbett describes as "little-kid enthusiasm" for rocking out in high style. The lyrics, while not necessarily dactylic hexameter, are still richly allusive as metalhead poetry, inviting listeners to suspend their disbelief, find their own meaning, and let the emotional sweep of the music fill in the blanks. Anything unstated by, for example, "Chastity Rides," a harmonically gorgeous paean to the Platonic ideal of politically conservative virtue, is made ever so explicit by the snarling, minor-key instrumental bridge. The same technique is also applied to great effect in "War Anthem," a stirring call to arms that blatantly steals its sentimental grandeur from "The Star-Spangled Banner" then yanks the veil aside to reveal the bald-faced rapacity of the masters of the war on terror — be they Islamofascists, Christian supremacists, or military-industrial profiteers.

From the record’s opening moments, with Cobbett’s guitar wailing like a thousand 9/11 banshees, to the dreadful prophecy of "Famine’s Lamp" — certainly one of the great rock ‘n’ roll dirges — clear through to the gleaming, high-tech, satellite-guided apocalypse of the album-closing "Widow’s Wall," The Locust Years appeals to me as a ferocious summation of all the shameless hypocrisy, betrayal, and avarice of the last six years. It is tremendously cathartic but not necessarily hopeful. The album’s title — borrowed from Winston Churchill, who coined the phrase in reference to the declines and compromises of the 1930s and their resolution in the gas chambers and killing fields of World War II — is an embittered indictment of the flag-waving, churchgoing citizen-consumer. Good Germans all, dutifully following their leader as the abyss yawns ever wider.

LITTLE USE FOR ILLUSION


No one in the band has any delusions that their underground heavy metal record is going to change the world — and not one of them seems willing to suck up to a music industry that would only turn it into focus-group approved, prechewed rage against the generic machine. Hammers is truly a Mission District group, deeply rooted in a seething community of fiercely — even dysfunctionally — independent musicians, labels, and fans with roots dating back at least 20 years.

But Hammers of Misfortune are also a band with a mission and a message — and a whole of good rockin’ to come. Sheie modestly hopes for at least a European tour and enough earnings to not have to worry about covering practice-space fees — then confesses she thinks the record deserves a Grammy. Quattro is in a similar mood, daydreaming of playing to an arena of "30,000 screaming fans." I hope it all comes true in spades.

As for Cobbett, he’s been touring with Ludicra and, fresh from exhibiting Hammers at South by Southwest, has a new concept album germinating in his mind. Something to do with a perfect storm known as Hurricane Katrina and the drowned city of New Orleans. Another victim of the locust years, to be immortalized in song.

The gods of metal are angry and sharpening their swords. *

HAMMERS OF MISFORTUNE

With Genghis Tron and Kylesa

Sun/25, 9 p.m., $10, all ages

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

>

Attack of the killer Ts

-
0

› kimberly@sfbg.com

"Ironic T-shirts — where the lameness of my T-shirt is in inverse proportion to my hipness!" comedian Patton Oswalt shouted at a recent sold-out Noise Pop show, pointing out in particular one special Salinas lass in a skull-and-hearts T. "I’m so cool I can defeat my own T-shirt!"

You know T-shirts have arrived — and by now may even be taking the last BART train to Fremont — when they’ve crept into the routines of comics desperate to warm up a 6 p.m. crowd. Is there anything more appropriate for every occasion, barring the most obscenely uptight cotillion? Be it basic formal and fiendish black, all-purpose "what are you rebelling against?" white, or any hue in the spectrum between. Be it worn on the chest, sleeve, or belly. Be it decorated with words and pictures so promo, pomo, and porno, with bands and teams, mugs and slugs of the sheer truth, alliances and affiliations, affirmations or fighting words — there’s no place like the homely T-shirt. Provided you have the right cut, cult, or message, you can throw it on and rock that bod with just jeans and trendoid footwear — consider yourself done.

Ts are our wearable tabula rasa, once underwear suitable only for soldier boys circa World War II, later campus and business iron-on throwaways in the ’50s, and even later rock band promos ready to be gracefully defaced with pins and zippers during the punk years (and now we’re back to white Ts for gangstas dodging crippling colors). Remember when the only T-shirt sizes available were L and XL? Remember when the sole women’s Ts around were toddler ready, fit for showing off every chub roll acquired from here to the nearest bakery? Whether you break them down between screen prints and iron-ons or between skate-beach-BMX, rock–metal–punk–pop–hip-hop, and TV-film-cartoon-advertising specimens, as Lisa Kidner and Sam Knee do in their 2006 book, Vintage T-Shirts (Collins Design, $19.95) — there’s an unsnooty, democratic beauty to a T.

Long after those faux–feed store and John Deere–logoed T-shirts have evaporated and aeons after the not-so-ironically offensive faux-Asian biz T-shirts have been yanked from Abercrombie and Fitch, we can still fall for a few artfully decorated scraps of tissue-thin jersey — and not just those by newbie local hotshot T designers such as Turk+Taylor (www.turkandtaylor.com) or My Trick Pony (www.mytrickpony.com). Only a few months ago I was bewitched into purchasing a $9 Flying V–bedecked shirt with a factory-frayed neck and sleeves at Le Target, of all places — the ideal block-rockin’ New Year’s Eve outfit with a black chiffon tiered skirt and boots. Why did I fall? It never fails to get compliments and fits like a teenage dream, and I can always make room for another music T in my collection, which encompasses an ’80s Sex Pistols reproduction purchased from the back pages of Creem, a boxy Poison pachyderm rewarded after a gig loading out for the hair metal combo, and a Scottish-slurred "Where am I and what the fuck’s going on?" Arab Strap T.

Lucky us, living at ground zero of the rock-T explosion: in 1968, the late Bill Graham began printing shirts regularly for the first time, an effort that distinguished him from fan club and individual band merchandising designs, according to Erica Easley, who cowrote Rock Tease: The Golden Years of Rock T-Shirts (Abrams Image, $19.95). Bill Graham Presents still sells vintage articles and reproductions on its Wolfgang’s Vault site (www.wolfgangsvault.com), though if you want the real thing, you might have to settle for the Doobie Brothers and Exodus rather than the Stones and Hendrix.

A buyer for one of the largest buy-sell-trade clothing stores on the West Coast, Red Light Clothing Exchange in Portland, Ore., Easley can pinpoint the beginning of the recent rock-T trend to the late ’90s when designers began buying vintage shirts and modifying them with grommets, trim, and patchwork. "They were able to do that because they were so cheap," she explains, citing Lara Flynn Boyle as one of the first celebs to sport a T (Bob Seger) on the red carpet, and attributes the longevity and cultural relevance of the rock-T trend to the resurgence of new bands such as the White Stripes.

American Apparel’s sexy softcore ads and no-logo trendy styling haven’t hurt either, while street artists have taken to embellishing Ts as they might a skateboard, and fashionistas continue to layer short-sleeve with long-sleeve Ts in what Easley calls the "Spicoli surfer look." To her eye, the urban art trend "raises all sorts of sociological questions. It’s from the street and supposedly authentic and tends to be pricey — it’s not what a street rat can really afford. There’s the price of a shirt and who’s wearing it and who’s supposed to be wearing it — you’re buying into a lifestyle." Personally, she’d "love to see a resurgence of do-it-yourself T-shirts, writing on T-shirts making personal statements."

Easley confesses the overall rock-T trend is waning. "It was such a fashion fad and so oversaturated. The sense of exclusivity that made it really hard at any other part of this decade to find T-shirts is gone," says the writer, who got into collecting by way of a Mötley Crüe obsession. "But I think long term it has been great for rock T-shirts and put them into the collectible realm."

Steven Scott, the manager of Aardvark’s Odd Ark (1501 Haight, SF; 415-621-3141), agrees that the trend for music Ts seems to be ebbing, while morphing from a ’70s to an ’80s focus. The store’s personal best: a Michael Jackson "Thriller" T, which sold for $125. "You can’t get that for it now," Scott says. "But [the appeal] is like San Francisco rents — they never go down, and landlords keep hoping people will come back."

T-SHIRTS, WEAR EVER

When shopping for a vintage T — or really any T — Rock Tease coauthor Erica Easley says, "It’s all about the image. I don’t care about the band, even though I’m always excited about a good Alice Cooper T. It’s all about a strong image, colors, and, personally, a shirt where I don’t have a sense of computer-generated graphics."

When looking for oldies, do, however, beware of fakes. "The colors won’t be correct, the green is too bright, or the cut wasn’t being produced at that point," Easley warns.

AARDVARK’S ODD ARK


Ringers, jerseys, worn-soft garb adorned with Firesign radios and corny sayings: Aardvark’s re-creates the thrifter’s thrill of discovery with a jam-packed rack of oldies.

1501 Haight, SF. (415) 621-3141

AMERICAN APPAREL


The most fashion-conscious print-free Ts around, regardless of how you feel about the jailbaity marketing campaigns. Gotta love me some blouson and dress-length styles.

2174 Union, SF. (415) 440-3220; 1615 Haight, SF. (415) 431-4028; 2301 Telegraph, Berk. (510) 981-1641. www.americanapparel.net

BANG-ON


Customize your own cool: this international chain provides the iron-ons, puffy wood-panel lettering, and brightly fierce ’80s accessories. Where else can you get spanking new-old "Cheer up, emo kid," Mr. Snuffleupagus, Roxy Music, and Johnny Wadd Ts in one fell, freshly ironed swoop?

1603 Haight, SF. (415) 255-8446, www.bang-on.ca

FTC URBAN LIFESTYLE STORE


Get your Ipath Bigfoot and Western Edition Mingus shirts right here, along with oodles of other contenders.

1632 Haight, SF. (415) 626-0663, www.ftcskate.com

GIANT ROBOT


The large-livin’ API groundbreakers still peddle locals Barry McGee and Mark Gonzales as well as Daniel Johnston shirts and the ever-popular Geoff McFetridge 2K "I’m Rocking on Your Dime" T.

618 Shrader, SF. (415) 876-4773. www.gr-sf.com

HELD OVER


A rail of vintage Ts beckons, from a ’70s-era "Natural Gas" number to a Morrissey You Are the Quarry lovely.

1542 Haight, SF. (415) 864-0818

PARK LIFE


Marcel Dzama’s frail ye olde comic critters, Ferris Plock’s sketchy characters, Neckface’s doom metal demons, and Clare Rojas’s folkloric scenes populate Park Life.

220 Clement, SF. (415) 386-7275, www.parklifestore.com

STATIC


Joining the Gucci knockoffs, denim, and ’70s leather are soft-as-my-55-year-old-uncle’s-midriff surfer shirts.

1764 Haight, SF. (415) 422-0046

SUPER7 STORE


Poppy yet pretty in-house screens by, for instance, store co-owner Dora Drimalas coexist with Bawana Spoons, Spicy Brown, Hedorah, and Gama-Go Ts.

1628 Post, SF. (415) 409-4700, super7store.com

TRUE


Urban outfits cry "Brother, please" for a Zoo York T sporting a Ruthless Records’ NWA single, Parish’s pop art Popsicles, Akomplice abstractions, or Free Gold Watches’ splashy ’80s evocations. Ladies, check Ts by Tens, Palis, Heavy Rotation, and Blood Is the New Black, as well as Mama T’s pseudo-airbrushed ghetto sweetness.

True Men, 1415 Haight, SF. (415) 626-2882; True Women, 1427 Haight, SF. (415) 626-2331; True, 1335 S. Main, Walnut Creek. (925) 280-6747. www.trueclothing.net

UPPER PLAYGROUND


The hella loyal cult that follows this pioneer of urban styles can stock up on all the Muni and Miles UP and Fifty24SF Ts it can stand now that the shop has split in two for men and women — with fresh Jeremy Fish, Sam Flores, and Estevan Oriol for all.

220 Fillmore, SF. (415) 252-0144, www.upperplayground.com

>

SATURDAY

-
0

March 17

VISUAL ART

Jim Campbell, “Home Movies”

When I think about SF artist Jim Campbell, I also think about the Icelandic musician Jóhann Jóhannson and his recent album IBM 1401, a User’s Manual (4AD). In particular I think of the final song, “The Sun’s Gone Dim and the Sky’s Turned Black,” in which Jóhannson creates a final aria for the extinct computer for which his father once served as chief maintenance engineer. The uncanny mix of emotion and inhuman chill in that composition takes on more effective forms in some of Campbell’s pieces. In fact, a few of his early works perform similar variations on paternal and maternal ties manifested through technology. (Johnny Ray Huston)

Through April 28
4-6 p.m. reception, free
Hosfelt Gallery
430 Clementina, SF
(415) 495-5454
www.hosfeltgallery.com

MUSIC

G3

On the shoulder of every guitar player, there resides a small elf who whispers into the guitarist’s ear, “Shred! Shred as hard and as fast as you can every second of every day until the combination of your fingers and a fret board results in an explosion of rock so epic and grandiose that it would wake Jimi Hendrix from his heavenly slumber.” Most guitarists ignore the elf and end up writing songs about their feelings. Not the gentlemen of G3 (Joe Satriani, John Petrucci, and Paul Gilbert), a rotating tour of guys whose elves were so big that the rockers strapped sequined white leather saddles on them and rode off into the sunset. (Aaron Sankin)

8 p.m.
$45-$85
Berkeley Community Theatre
1900 Allston Way, Berk.
(510) 664-8593
www.satriani.com/G3

James Madison Freedom of Information Award Winners

-
0

The Society of Professional Journalists’ Northern California Chapter has been handing awards for 22 years to journalists, educators, public officials, and citizens who best exemplify the importance of open and accountable government and a free and diligent press. And every year the Guardian recognizes the winners and helps highlight the important issues that they raise for the Bay Area and beyond. Here are this year’s winners:

Norwin S. Yoffie Career Achievement Award

ROWLAND "REB" REBELE


Three few years ago the Oakland Unified School District announced that, due to budget constraints, it was shutting down all the student-run newspapers in the district. Rowland "Reb" Rebele lives in Aptos, but he read about the shutdown in a San Francisco Chronicle column.

He picked up the phone, made some calls, and found out the situation was desperate and how much money was needed. He then wrote a check sufficient to resurrect the student newspapers for a year. Then he kept on writing checks to keep the papers going last year and again this year. This was typical of Rebele. No one asked him for help. He received virtually no acknowledgment for his gift. But his timely action turned the lights back on for fledgling newspapers that were out of money and, it seemed, out of luck.

Rebele is a First Amendment mensch (a description that James Madison, had he any familiarity with Yiddish, would have approved of). In his half century of publishing community newspapers that he owned and operated in Coalinga, Chula Vista, and Paradise in California and across the country, he was energetic, inspiring, and devoted to his readers and his communities, and a demon in pushing for open government and accountability. He pursued the same policies as a stalwart for half a century in the California Newspaper Publishers Association and as an activist president who brought key reforms and exceptional leaders to the organization.

Rebele has been a director of the California First Amendment Coalition for a decade. He quickly became the one truly indispensable member of the organization, pushing it, pulling it, holding it together, and cajoling it to broaden its activities because he felt the organization and its mission were vital.

He has also launched an innovative internship program at Stanford University. Rather than just give money to the school, he and his wife, Pat, created a program that has enabled dozens of students to get hands-on experience writing for real newspapers in California. Quietly and selflessly, Rebele has spent his newspaper career fighting the good fight for First Amendment and public interest principles. (Bruce B. Brugmann)

Beverly Kees Educator Award

ROBERT OVETZ


Art Institute of San Francisco instructor Robert Ovetz was fired after he criticized the administration for confiscating a magazine his students produced for his class last December.

Ovetz, who had taught at the institute for three years, told his students to create a "culturally critical" magazine as their final project for a cultural studies class he taught last fall. They produced a 36-page zine called Mute/Off.

Less than 24 hours after he and students distributed 500 copies of the magazine, which Ovetz printed with the institute’s copy machine, most were gone. Ovetz initially attributed their disappearance to popularity, but he soon learned from students that the administration of the school, which was purchased by Goldman Sachs and General Electric last year, had removed them from its campuses and even literally pulled them out of students’ hands.

"This is an example of how a corporation is not held accountable for upholding basic constitutional rights [to] free speech. This is a private company that’s operating as an institution of higher learning," Ovetz told the Guardian. "Its only interest is its bottom line, and its bottom line is profit."

Ovetz complained to the administration about vioutf8g the students’ freedom of speech and received his pink slip Dec. 20, 2006. Dean of Academic Affairs Caren Meghreblian told Ovetz the magazine possibly violated copyright law by reproducing corporate logos without permission and had grammatical errors. She also said a story in the magazine called "Homicide," about three white kids playing a video game as black gangsters, might be racist.

After Ovetz and students complained and the media reported the story, the administration allowed students to redistribute the magazines, but it still refuses to give Ovetz his job back. (Chris Albon)

To size up the magazine yourself, visit www.brandedmonkey.com/muteOffLowRes.pdf.

Citizen

RYAN MCKEE


The object of the California Public Records Act is to ensure the people’s right to know how their state and local governments are functioning. Newspapers are often the entities that test the limits and loopholes of the law. But in January 2006 an 18-year-old college student, Ryan McKee, undertook an audit of each of the 31 California state agencies that was the first of its kind. McKee tested how these agencies, which he personally visited, responded to simple requests to view and get copies of readily available public documents. The results revealed a disturbing pattern. Several agencies performed miserably, including the Department of Justice, which counsels and represents many other state agencies on the Public Records Act, and all of the agencies violated at least one aspect of the law. Common problems included asking for identification, making illegal charges, and taking longer than allowed to release information. McKee undertook the audit while volunteering for Californians Aware, a nonprofit where his father, Richard McKee, is president. A copy of the audit, including its results and grades, was sent to each agency to help it better understand and adjust to its responsibilities. (Sarah Phelan)

Journalists

MICHELE MARCUCCI AND REBECCA VESELY, ANG NEWSPAPERS


ANG Newspapers regional reporters Rebecca Vesely and Michele Marcucci are being honored for the series "Broken Homes" and their unflinching pursuit of public records that exposed negligent care administered to people with autism and other forms developmental disabilities. The series highlighted problems ranging from a lack of proper supervision to unlicensed officials working at health care facilities. Some of these offenses were then linked to patient deaths.

The award recognizes the daunting and tedious task that befell the journalists: 15 months of scouring thousands of hard-copy papers from dozens of sources that included licensing agencies, multiple law enforcement bureaus, and coroner’s offices. The results were entered into a database and cross-checked against other sources of information.

"It’s not like we work at the New York Times, where you can lock yourself in a room for a year. This is one-stop shopping here," Marcucci told the Guardian, noting that both reporters continued their daily beats while working on the project. The series was well received and helped prompt state officials to reinstate inspections of licensed facilities that had been eliminated due to budget cuts. (Christopher Jasmin)

ANDREW MCINTOSH AND JOHN HILL, SACRAMENTO BEE


Two reporters from the Sacramento Bee, Andrew McIntosh and John Hill, get Freedom of Information props for exposing the cronyism and the corruption of the California Highway Patrol.

The two wrote a series of articles detailing how the CHP violated state and department regulations in awarding contracts for items ranging from pistols to helicopters.

"The CHP spends hundreds of millions of dollars each year on equipment and goods," McIntosh told the Guardian. "That’s taxpayer money."

McIntosh said he and Hill took a systematic look at the department’s bidding process and found it was not competitive. The investigation led to the suspension of one officer, Gregory Williams, who the reporters found had awarded $600,000 worth of contracts to his daughter’s company for license plate scanning devices, $500,000 of which was canceled after the reporters exposed the scandal.

The reporters also found the CHP, which controls signature gathering at the Department of Motor Vehicles and other state buildings, denied more than 100 applications for permission to register voters or solicit signatures. Other stories pushed Senate majority leader Gloria Romero and Assemblymember Bonnie Garcia to call for a state audit of the CHP.

McIntosh told us the investigation showed "the CHP is not above public scrutiny or the law when it comes to business dealings." (Albon)

MEERA PAL, CONTRA COSTA TIMES


A good mayoral race isn’t really fun unless a bit of scandal emerges, like it did in Pleasanton two weeks before the November 2006 election.

Meera Pal decided to research the roots of a story that was handed to her by city council member Steve Brozosky, who was challenging incumbent mayor Jennifer Hosterman. Brozosky gave Pal e-mails his campaign treasurer obtained through open-records laws that showed Hosterman may have used her city e-mail account to solicit campaign donations and endorsements, a violation of state law.

But Pal went beyond Brozosky’s story and submitted her own public records requests for the city e-mail account of the mayor, as well as a year’s worth of e-mail from Brozosky and the three other council members.

Pal’s public records request revealed that Brozosky’s inbox was completely void of any e-mail, something neither he nor the city’s IT manager could explain. Brozosky is a computer expert who runs a company that vends city Web site software, so his technical expertise made the situation even more suspicious.

Investigations revealed it was just a setting on his computer that was inadvertently scrubbing the e-mail from the city’s server. Though both violations aren’t necessarily serious crimes, the race was close enough that dirt on either side could have had a profound impact on the outcome, and the results show 68,000 voters who were truly torn during the last two weeks before election day while Pal was reporting these stories. Hosterman eventually won by just 188 votes. (Amanda Witherell)

SUSAN SWARD, BILL WALLACE, ELIZABETH FERNANDEZ, AND SETH ROSENFELD, SAN FRANCISCO CHRONICLE


In the wake of 2003’s so-called Fajitagate police scandal — in which San Francisco officer Alex Fagan Jr. and others were accused of assaulting and then covering up their alleged vicious beating of innocent citizens — the San Francisco Chronicle uncovered records showing that Fagan’s short history on the force was marked by regular incidents of abusive behavior, the kind of records that should have served as a warning for the problems to come.

"We decided to take a look to see how common it was. And we spent a lot of time doing that," Steve Cook, the Chronicle editor of what became last year’s five-part "Use of Force" series, told the Guardian. The team used the Sunshine Ordinance to gather boxloads of records on use-of-force incidents, which it organized into a database that was then supplemented and cross-referenced with a wide variety of other public records, along with old-fashioned shoe leather reporting, all the while fighting through bureaucratic denials and delays.

Despite an embarrassing mislabeled photo on the first day of the series that served as fodder for attacks by the Police Department and Mayor’s Office, the series made clear that rogue cops were abusing their authority, totally unchecked by their supervisors. "We were proud of what we were able to show," Cook said. "We showed a department in need of some basic reforms."

The series helped spur the early intervention system that was recently approved by the Police Commission. It’s a good first step, but one criticized by the Chron and the Guardian for failing to include some key indicators used in other cities (see our editorial "Fix Early Warning for Cops," 2/28/07), something that Cook said requires ongoing vigilance by the press, to bring about needed reforms: "Only the news media is really going to accomplish this, if they stay with the story." (Steven T. Jones)

Legal counsel

DAVID GREENE


The First Amendment was never about money. Free speech is supposed to be free. But these days threats to the First Amendment are growing, more and more people who lack the resources of a major media outlet are in need of help — and there aren’t many places dedicated to offering that assistance, free.

That’s where David Greene and the First Amendment Project come in.

Since 1999, as a staff attorney and executive director, Greene has helped dozens of freelance journalists, students, nonprofit organizations, and independent media outlets protect and expand their free speech and open government rights.

The operation he runs is totally independent. That’s a key point in an era of massive media consolidation: when the Guardian sought earlier this year to find legal representation to force open the key records in a lawsuit over Dean Singleton’s local newspaper merger, we found that just about every local media law firm represented at least one of the parties to the case and thus was conflicted. The FAP was not.

Greene and the FAP have represented blogger Josh Wolf and freelancer Sarah Olson in landmark subpoena cases. Greene, with the American Civil Liberties Union of Northern California, wrote the amicus brief on behalf of noted literary artists in the California Supreme Court case In re George T., in which the court, relying heavily on the FAP brief, overturned the conviction of a juvenile who made threats to other students with a poem. And the struggle just goes on. The FAP is funded largely by private donations and always needs additional support.

"Unfortunately," Greene told us, "we have to turn away a lot more cases than we can take." (Tim Redmond)

News media

SAN JOSE MERCURY NEWS


After years of last-minute backroom deals at San Jose’s City Hall, things came to a head when the City Council rubber-stamped proposals to give a $4 million subsidy to the San Jose Grand Prix, $80 million for a stadium to keep the Earthquake soccer team from leaving town, and $45 million for new City Hall furniture.

Clearly, something had to give. But it was left to San Jose Mercury News editorial writers to push for transparent and accessible government and better enforcement of the state’s open government laws.

First they shamed the city, pointing out that "San Francisco, Oakland, even Milpitas have better public-access laws." Next they hammered then-mayor Ron Gonzales for saying that calls for more open government were "a bunch of nonsense." Then they printed guiding principles for a proposed sunshine ordinance that they’d developed in conjunction with the League of Women Voters and Mercury News attorney James Chadwick.

When city council member Chuck Reed was elected mayor on a platform of open government reforms, the paper still didn’t give up. Instead, it’s continuing to champion the need to bring more sunshine to San Jose and working with a community task force on breaking new ground, such as taping closed sessions so they can one day be made available when there’s no further need for secrecy.

Somehow the Merc also managed to pull off another amazing feat: the paper built public understanding of and support for sunshine along the way. (Phelan)

SAN MATEO COUNTY TIMES


When outbreaks of the highly contagious norovirus sprang up in a number of California counties, San Mateo County was among those hit. Public health officials, however, would not release the names of the facilities where numerous individuals became infected, citing concerns about privacy and not wanting to discourage facility managers from contacting health officials.

Nonetheless, the San Mateo County Times ran a series of reports on the outbreaks in the named and unnamed facilities. After publishing reports on unnamed facilities, the news staff began to receive phone calls from residents who wanted to know the names of the facilities. Times reporter Rebekah Gordon told us it became clear that the public wanted to know this information, and the paper fought the county’s secrecy.

Gordon learned that facilities are required by law to report outbreaks, regardless of the potential for media exposure. Times attorney Duffy Carolan sought out and won the disclosure of the names of four facilities.

"The county’s initial nondisclosure decision evoked public policy and public safety concerns at a very broad level, and nondisclosure would have had a very profound effect on the public’s ability to obtain information that affects their own health and safety. By persisting in the face of secrecy, the Times was able to establish a precedent and practice that will well serve to inform their readers in the future," Carolan told us.

The paper learned the outbreak was far more widespread than the county had admitted, finding 146 cases in six facilities. Gordon said, "The numbers were so much higher than we were ever led to believe." (Julie Park)

Online free speech

JOSH WOLF


Even as he sits inside the Federal Correctional Institute in Dublin, where he’s been denied on-camera and in-person interviews, jailed freelance journalist Josh Wolf manages to get out the message. Last month Wolf, who is imprisoned for refusing to give up video outtakes of a July 2005 anarchist protest in the Mission that turned violent, earned a place in the Guinness World Records for being the journalist to have served the longest jail term in US history for resisting a subpoena.

His thoughts on the agenda behind his incarceration were read at press conferences that day, reminding everyone of the importance of a free press. Meanwhile, Wolf has managed to continue operating his blog, www.joshwolf.net, by sending letters to family, friends, and fellow journalists, including those at the Guardian.

Wolf has also managed to create two other Web sites: www.mediafreedoms.net, which supports journalists’ resistance to government pressure, and www.prisonblogs.net, which allows prisoners to air thoughts and grievances. If Wolf can do all this from behind bars, imagine what he’ll do when he finally gets out. As Wolf would say, if we could only speak to him without reserving a phone interview 48 hours in advance: "Free press? Then free Josh Wolf!" (Phelan)

Public official

JOHN SARSFIELD


As district attorney for San Benito County, John Sarsfield upset the political applecart when he tried to prosecute the County Board of Supervisors for ignoring the Brown Act’s prohibitions on private communication and consensus building among board members on matters that involved employment decisions, personnel appeals, contracting, and land use–growth control issues.

His decision didn’t sit well in a county where battles over the future of the land have spawned Los Valientes, a secret society that has targeted slow-growth advocates and anyone who gets in its way — including believers in open government. So the board retaliated by defunding Sarsfield’s office, forcing the DA to file for a temporary restraining order against the board, the county administrative officer, and the county auditor, a countermove that kept his office operating and the investigation alive — until he lost his reelection bid to the board’s chosen candidate in January 2006.

One of Los Valientes’s targets, Mandy Rose, a Sierra Club member and slow-growth advocate, recalled how people on the outside warned Sarsfield what he was up against, "but he insisted on working within the system. It was what he believed in. Someone even said he was a Boy Scout."

For his efforts, Sarsfield’s life was turned into a living hell that cost him his dogs, his marriage, and eventually his job. But now, with this award, he gets some small recognition for fighting the good fight. And he has also been appointed special assistant inspector general within the Office of the Inspector General by Gov. Arnold Schwarzenegger. (Phelan)

Special citations

LANCE WILLIAMS AND MARK FAINARU-WADA, SAN FRANCISCO CHRONICLE


Investigative reporter Lance Williams and sportswriter Mark Fainaru-Wada joined forces in 2003 to take on what became one of the biggest — and most controversial — local news stories of the past five years.

The investigation of the Burlingame-based Bay Area Laboratory Co-operative, better known as BALCO, and the larger scandal of widespread steroid use among baseball players was, the San Francisco Chronicle editors decided, too big for one reporter.

In fact, it turned out to be big enough for a series of stories, a book, and a legal battle that almost sent the two writers to federal prison. The duo admits today it was mostly the fear of getting scooped that drove them through the story’s dramatic rise.

"I’m a baseball fan in recovery," Williams told the Guardian. "I used to think I knew the sport. I didn’t have a clue about this stuff. I’m not kidding you. I had no idea how much a part of baseball steroids had become … that whole sort of seamy underside of the drug culture and the game. I just didn’t know it was like that, and I think most fans don’t either."

Although prosecutors seemed to be focusing on BALCO executives, everyone following the story wanted to know what witnesses — in this case top sports stars — told a federal grand jury investigating the company. The outfit had allegedly distributed undetectable steroids and other designer drugs to some of the world’s greatest athletes, including Giants slugger Barry Bonds, who is on his way to making history with a new home run record.

In 2003 the Chronicle published lurid details of the grand jury’s investigation based on notes Williams and Fainaru-Wada had obtained from court transcripts leaked by an anonymous source. Bonds denied knowingly taking any steroids, but prosecutors waved in the air documents allegedly confirming his regular use of substances banned by Major League Baseball.

Furious prosecutors launched an investigation into the leak of secret grand jury transcripts. The reporters were called on to testify but refused — and so joined two other reporters last year threatened with jail time for resisting subpoenas. A lawyer stepped forward last month and admitted leaking the documents, but Williams and Fainaru-Wada came dangerously close to landing in the same East Bay lockup where blogger Josh Wolf is held for refusing to cooperate with a federal grand jury.

The rash of recent attacks on reporters by federal prosecutors has First Amendment advocates up in arms. After all, no one’s going to leak crucial information if the courts can simply bulldoze the anonymity that journalists grant whistleblowers. Fainaru-Wada and Williams have since inspired a bipartisan proposal in Congress to protect journalists at the federal level (dozens of states already have variations of a shield law in place).

"People roll their eyes when you start talking about the First Amendment," Fainaru-Wada said. "But the First Amendment is not about the press, it’s about the public."

In addition to the James Madison Freedom of Information Award, Williams and Fainaru-Wada’s coverage of the BALCO stories earned them the prestigious George Polk Award. But the story took a dark, unexpected turn last month.

Defense attorney Troy Hellerman, who represented one of the BALCO executives, pleaded guilty Feb. 15 to contempt of court and obstruction of justice charges and could serve up to two years in prison for admitting he twice allowed Fainaru-Wada to take notes from the grand jury’s sealed transcripts.

Just as he was spilling details in 2004, Hellerman demanded that a judge dismiss charges against his client, complaining that the leaks prevented a fair trial. He even blamed the leaks on prosecutors. A deputy attorney general called the moves "an especially cynical abuse of our system of justice."

Media critics lashed out at Williams and Fainaru-Wada for exploiting the leaks before and after Hellerman moved for a dismissal. Among those attacking the Chron reporters were Slate editor Jack Shafer and Tim Rutten at the LA Times, who described the conduct as "sleazy and contemptible."

Williams and Fainaru-Wada today still won’t discuss specifics about their sources, but Williams said without the leaks, names of the athletes involved would have otherwise been kept secret by the government even though the grand jury’s original BALCO investigation was complete.

"The witnesses didn’t have any expectation of privacy or secrecy of any kind," he said. "They were going to be trial witnesses. It was in that context that our reporting got under way. I am sensitive to the need of an investigative grand jury to remain secret. And I’m respectful in general of the government’s secrecy concerns. But it’s not the reporter’s job to enforce that stuff." (G.W. Schulz)

SARAH OLSON


When Oakland freelance writer and radio journalist Sarah Olson stood up to the Army by resisting a subpoena to testify in the case of Iraq war resister First Lt. Ehren Watada, she faced felony charges as well as jail time. But Olson understood that testifying against a source would turn her into an investigative tool of the federal government and chill dissent nationwide. "When the government uses a journalist as its eyes and ears, no one is going to talk to that journalist anymore," Olson told the Guardian.

She also objected to journalists being asked to participate in the prosecution of free speech. "The problem I have with verifying the accuracy of my reporting is that in this case the Army has made speech a crime," Olson said. Watada, whom Olson interviewed, has been charged with missing a troop movement and conduct unbecoming an officer, because he publicly criticized President George W. Bush and his illegal Iraq War.

In the end, Army prosecutors dropped the subpoena once Watada agreed to stipulate that Olson’s reporting was accurate. Olson, for her part, attributes the dropping of the subpoena to the support she received from media groups, including the Society for Professional Journalists. (Phelan)

Student journalist

STAFF OF THE LOWELL


The 2006 school year got off to a rough start for Lowell High School, one of the top-ranked public high schools in the country and certainly San Francisco’s finest. The school’s award-winning student newspaper the Lowell was covering it all.

After the October issue went to press, the school’s two journalism classes, which are solely responsible for writing and editing content for the monthly paper, received a visit from the school’s interim principal, Amy Hansen. Though Hansen says there was no attempt to censor the paper and the classes agree that no prior review was requested when it appeared that the students would be covering some controversial stories, the principal questioned their motivations as journalists and asked them to consider a number of complicated scenarios designed to make them second-guess their roles as reporters. The principal told the student journalists they had a moral responsibility, not to turn out the news, but to turn in their sources and information.

In separate meetings with each journalism class, Hansen questioned them about when it was appropriate to lay aside the pen and paper in the name of the law. The students maintained that as journalists they are in the position to report what happens and not pass moral judgment. Additionally, their privileged position as information gatherers would be compromised if they revealed their sources.

The lectures from Hansen did not deter the journalism classes from their basic mission to cover school news as objectively and thoroughly as possible. Even when police were called in to question Megan Dickey, who was withholding the name of a source she’d used in a story about a tire slashing, she still refused to say what she knew. (Witherell)

Whistleblower

MARK KLEIN


Mark Klein knew there was something fishy going on when his boss at AT&T told him that a representative of the National Security Agency would be coming by to talk to one of the senior technicians. Klein was a union communications tech, one of the people who keep the phone company’s vast network going every day. The NSA visitor stopped by, and before long Klein learned that AT&T’s building on Folsom Street would have a private room that none of the union techs would be allowed to enter.

Klein kept his eyes open and learned enough from company memos to conclude that the government was using AT&T’s equipment to monitor the private communications of unsuspecting and mostly undeserving citizens. When he retired in May 2004, he took a stack of material with him — and when he read in the New York Times a year and half later that the NSA had indeed been spying on people, he decided to go public.

The 62-year-old East Bay resident had never been a whistleblower. "I didn’t even know where to begin," he told us. So he surfed the Web looking for civil liberties groups and wound up contacting the Electronic Frontier Foundation.

It was a perfect match: the EFF was about to file a landmark class-action lawsuit against AT&T charging the company with collaborating with the government to spy on ordinary citizens — and Klein’s evidence was a bombshell.

"Mark Klein is a true American hero," EFF lawyer Kurt Opsahl told us. "He has bravely come forward with information critical for proving AT&T’s involvement with the government’s invasive surveillance program."

Federal Judge Vaughn Walker has kept Klein’s written testimony under seal, but the EFF is trying to get it released to the public. The suit is moving forward. (Redmond)

SPJ-NorCal’s James Madison Awards dinner is March 13 at 5:30 p.m. at Biscuits and Blues, 401 Mason, SF. Tickets are $50 for members and $70 for the general public. For more information or to see if tickets are still available, contact Matthew Hirsch at (415) 749-5451 or mhirsch@alm.com.

1...23242526Page 24 of 26

48hills.org is the official publication of the non-profit San Francisco Progressive Media Center.
Contact us: info@48hills.org