Live

Margaret Tedesco

0

Walking down the street the other day, Margaret Tedesco was struck by an oddly inspiring slogan on a slick poster for a Las Vegas spa: Live vicariously through no one.

"I saw that and thought, ‘This is me,’" she says enthusiastically. "I have my own agenda, and the biggest thrill of all is the surprise I find living it myself."

The indie spirit of that comment may sound a bit self-centered, but Tedesco’s approach to that agenda always includes inviting others into the fold. Whatever she puts her mind to, be it performance (often involving film and a persona-altering blonde wig), choreography, photographic works, publications, or, most recently, the cozy, artist-run [ 2nd Floor Projects ] gallery in the Mission, it invariably brings people together in dialogue and shared experience.

Tedesco’s performance and wall-based art are in public circulation — she was included in "Bay Area Now 4" at Yerba Buena Center for the Arts, is contributing a live piece to a program at Slaughterhouse Space in Healdsburg this month, and is currently part of a group show of artist-gallerists at Blankspace in Oakland. There, she has raided her archives to present images of her history, including her participation in political activism in the late 1960s.

But it’s [ 2nd Floor Projects ], which Tedesco debuted in April 2007, which has garnered the most consistent attention, both locally and in the international art press. The gallery is very much her space, and it functions as a Sunday afternoon salon, a place where you can count on finding interesting art and conversation. Chances are, Tedesco will tell you about another event that evening — a notable writer, perhaps, giving a reading in a similarly salon-like setting — or she’ll introduce you to another artist who just came in to see the show. She’s lived here two decades, time enough to know hundreds of creative souls, and she’s worked for years as a graphic designer at the San Francisco Art Institute, where she is as much a mentor to students as a support to faculty.

Tedesco, it seems, knows just about everyone, and not only within a single genre box. Her community is truly multimedia. It includes writers, artists, filmmakers, thinkers, activists, eccentrics, and adventurers of all stripes. And she actively brings people together as a component of her work. Combining her keen interests in art and writing, she produces a limited-edition publication for each of the exhibitions in her space, pairing a writer with an artist. For a randy show of rarely seen drawings and paintings by twin brothers and legendary filmmakers George and Mike Kuchar, poet Eileen Myles created a broadside. Novelist Dodie Bellamy wrote an appreciation of British artist Tariq Alvi for his exhibit at the gallery. For an upcoming show of works by the late filmmaker Curt McDowell, Tedesco has tapped filmmaker/writer William E. Jones, who, she learned, is planning a McDowell biography. I know from experience — Tedesco invited me to write for a show by Nao Bustamante — that the goal is to generate writing that exists outside the standard art magazine form.

This type of matchmaking is one example of the kind of vicarious thrill Tedesco thrives on. "The joy of any exchange is watching it perform before my eyes. I get to be surprised," she says. And so do we.

projects2ndfloor.blogspot.com

Kamau Patton

0

At the cacophonous intersection of Sun Ra’s wheeling jazz cosmology, P-Funk’s psycho-disco logorrhea, Clarence 13X’s alpha-beta-culto Five-Percent Nation, the early ’90s vainglorious hip-hop of X-Clan, Isis, and Blackwatch, and The Throne of the Third Heaven of the Nations’ Millennium General Assembly (1950-64), that sprawling, tinfoil-bedazzled outsider masterpiece by Washington, DC, handyman James Hampton, lies a crazy-ass aesthetic of African American visual and performance culture — the culture of flash. 36-year-old Kamau Amu Patton taps directly into this interstellar shine-on-shine look and feel, jettisoning — or maybe out-transcending — the quasi-theological messages in order to dazzle the mind’s eye blackwards.

Consider Patton’s Talk Show (2007). Two archetypal afrocentric public-access cable hosts, both played by Patton, decked out in on-point dashikis and shells before a pixel projection of Hampton’s Throne, dissemble circuitous phrases. "Knowledge is the foundation of all that is existence … You must respect the thing you observe as being real!" one declaims, while the other sighs loudly and eggs him on: "Ah, damn — that’s the truth." A little silver prayer bell is rung and a 1-800 number flashes across the screen. Telephone message: "Behold, the light has come! Speak on!"

Talk Show‘s blank parody should dead-end in hilarity for anyone familiar with these types of folks. But the dreamlike accumulation of gaudy signifiers, as well as the sense that this is a completely unexplored cultural trope, rockets the video into more thoughtful realms. "I wanted to point up the tautologies of that kind of discourse, to capture the exact aesthetic while highlighting the circular rhythms of delivery, the language of persuasion," Patton says. "But at the same time I felt a responsibility to perfectly perform these characters, the kind of people I grew up with in Brooklyn, who were on my street corner preaching like that. I really freaked out over getting the sunglasses exactly right."

That will to performance perfection, evidenced in several of his other live works, is grounded in Patton’s educational background. He holds a sociology degree from the University of Pennsylvania and completed field coursework at the London School of Economics. "I grew disillusioned with sociology because it seemed the opposite of what I felt I was interested in," says Patton, who educates Bay Area kids on the artistic legacies of their particular communities. "I wanted to start with something tangible, or several things, and use them as a jumping-off point to continuous abstract revelations. It’s a generative aesthetic kind of thing. To keep going down a certain illuminated hallway in my work. At the same time, I’m a black man in America, so I have a certain perception or set of experiences that I can draw on as well. I’m definitely drawn to the shamanistic and the kingly — especially African American representations of the kingly. I can go off on what Eric B. and Rakim were wearing on their first album cover for hours."

Other Patton confluences of the statistical and the flashy: his performances as part of the hip-hop and fashion collective Official Tourist; this year’s gorgeous self-published book Edge Theory of Dematerialized Consciousness, a wiggy, chthonic numerical-poetic tract punctuated by eerie nature photographs; and an unnamed retro-digital-video assemblage, viewable at www.kamau.org, in which Patton, as a voodooistic priest, writhes around a hissing explosion, whose glitchy "digital dropouts" and color-balance freakouts are meant to be Cézanne-like portals into other dimensions. Currently, the Emeryville-based Patton is artist-in-residence at Southern Exposure. He’s represented there by a retina-searing collaboration with photographer Suzy Poling called "Glasshouse," which uses e-wasted CRT screens to bend light into hallucination. Behold the warp of truth, infinite.

www.kamau.org

Jonas Reinhardt

0

He doesn’t seem like someone who’d perform at an arena, but Jesse Reiner’s aural ambitions as a contemporary Krautrocker are Wembley-sized. "I would love it if we were playing in stadiums," he says of his solo synthesizer project, Jonas Reinhardt, citing no interest in celebrity but expressing a deep amazement at the apparent scale of Tangerine Dream’s gigs in the ’70s. "They were a big band! It amazes me that people had that much patience for that."

This amazement folds neatly into Reiner’s shimmery present-day endeavor, which only recently, with the advent of Norwegian space-disco and the West Coast’s various strands of tripped ambient, did he feel might draw any audience at all. It’s clearly a liberating undertaking for the Berlin School enthusiast: much of our conversation at a bar in the Mission is gladly given over to his influences, ranging from Klaus Dinger’s caveman-like "motorik" drum sound in Neu! to the heavenly, droning thrum of White Rainbow up in Portland, Ore. Many may know Reiner for his synth and guitar contributions to Ascended Master, Crime in Choir, and Citay, which he left earlier this year. While his first record for Kranky as Jonas Reinhardt is deeply influenced by German electronic sounds, the project in no way sounds like a non sequitur alongside his other bands.

It was some time ago — the mid-’90s — when Reiner was won over by analog synths as a college student, discovering such electronic/ambient innovators as Michael Garrison, Klaus Schulze, and Manuel Göttsching. He and a friend entertained the idea of making a record they could pass off as a lost recording by two imaginary Düsseldorf academics: "Wilhelm Freuder" and "Jonas Reinhardt."

The moniker has become useful again as a vaguely defined face for the launch of this new project. As Reiner describes it, Reinhardt is a "suave European guy who makes very continental, European-type electronic music and lives in Monaco." Goofy as the premise is, placing the project’s image at a remove from the actual musicians behind it has proven appropriate, as Jonas Reinhardt is a solo endeavor in the loosest sense of the word: performances have happened as a trio with Damon Palermo of Mi Ami on drums and Kenny Hopper, also of Crime in Choir, on bass. Just recently, the band took on a fourth member in guitarist Phil Manley of Trans Am and the Fucking Champs, who provided tape treatments for the project’s debut, which Reiner recorded himself.

The full-length, Reinhardt’s second release after this summer’s Modern by Nature’s Reward EP on iTunes, is a shiny, cerebral pleasure where the synths hiss and gleam through a set of tunes that often feels as improbably bubbly and vintage as Matmos’ recent all-synth undertaking, Supreme Balloon (Matador). There is grit to the Reinhardt beat, however, and its sound takes on a more danceable form live, as could be seen at its YouTube-d Big Sur appearances, the first of which was an after-party gig for Kraut legends Cluster. Basic tracks have begun for the next record, which Reiner predicts will be more beat-driven. For a fictional character, Reinhardt is quite eager to collaborate, too: Reiner hopes to record various "Jonas Reinhardt and So ‘n’ So" discs in the coming months and years.
www.jonasreinhardt.com

Barry Jenkins

0

Barry Jenkins’ Medicine for Melancholy was one of the biggest successes of this year’s San Francisco International Film Festival, but it almost didn’t happen.

"We shot the movie fast and thought maybe we could pass it around to friends," Jenkins says. "I started cutting it and said to myself, ‘This is really coming together. Fuck it, let’s try to get it into the San Francisco International Film Festival.’ I looked on the website and the deadline had already passed. But I’d stopped (San Francisco Film Society Executive Director) Graham Leggat coming out of the bathroom at another film festival — it was rude, you should never stop someone coming out of the bathroom — and he remembered me and gave my film a fair viewing. God bless him."

Medicine For Melancholy, Jenkins’ first feature, is a love story about Micah (Wyatt Cinach) and Jo (Tracey Heggins), two black San Franciscans who come together and fall apart over a 24-hour period. Race, displacement, and resentment play into their affair in surprising and subtle ways.

"I had the idea for this movie years ago," Jenkins says, "and I’d placed it in Chicago or New York City, but to me the city had to be a character. That could only be San Francisco. It would be silly for Micah to be so into Jo in New York or Chicago. [Meeting] Jo here makes him like an explorer in the Amazon who has come across an endangered species. He wants to run everything that’s happening, to him and the city, by her. If he would shut the fuck up, he could get the girl."

Though framed as a romance, Medicine tackles one of the most pressing — and overlooked — issues in San Francisco: black people, and the city’s lack thereof.

"Micah is based on this person I became after my first functional interracial relationship dissolved," Jenkins says. "When I moved to San Francisco, I was viewing the city through the prism of this relationship, living in this great, multi-culti San Francisco. When that relationship ended, San Francisco became a different place. There’s a great indie arts scene here, a great indie music scene, but they’re predominantly, if not entirely, white. You don’t consciously become aware of it until one day you look around and say, ‘Oh shit, I’m the Last Black Man on Earth!’

"The question became: Is there a place for me as a black man in San Francisco? Sure, there is. In LA, I couldn’t write for two years. I come to San Francisco and over the first eight months, I’d written five screenplays. One of which became my first film. But it seems like nothing can stem the tide of the migration of all people of a certain economic background — people who’ve had to leave San Francisco, and who are now commuting to keep the city beautiful for people who make tons of money.

"For a time, there was a proliferation of gentrification in San Francisco, but it is shifting to displacement, and not just displacement based on race, but displacement of anyone who cannot afford to live here. And I think the reason it has proliferated is because not enough folks have taken the city to task. There have been folks, like the Guardian, who write about this shit all the time, but a lot of folks have been afraid to speak out."

This writer is here to tell you: it’s not too late.

www.strikeanywherefilms.com

Erin Mei-Ling Stuart

0

When Erin Mei-Ling Stuart packed her bags to leave her hometown of Fresno in 1992, she included her viola — because she had won a scholarship to the San Francisco Conservatory of Music. Here, however, she played so much that she developed tendinitis and had to take a break. That’s when dance kicked in. Big time.

The viola went into the closet, and Stuart started to study modern dance — she had dabbled in ballet as a child — first at City College and then in just about every studio she could find. She turned herself into a liquid, sensuously vulnerable performer who learned to work with anybody who piqued her interest. Some were choreographers who sought direct input from their dancers — Erika Chong Shuch, Jesselito Bie, Stephen Pelton, and Chris Black — while others, like Nancy Karp, Jennie McAllister, and Deborah Slater, created along more traditional, formal lines.

Stuart learned from both approaches and expresses no preference. "There is such freedom when you can make up movement, but also it’s wonderful when you can just show up and dance," she explains.

Along the way, Stuart started to choreograph, often creating vignettes with casual looks that belie the attention to detail behind their making. These sketches and miniatures are frequently funny, evoking not a guffaw but a chuckle. They bring to life characters we probably have known or whose experiences we have shared. And Stuart does so without a word — she works purely through movement. Remember your prissy elementary school teacher and the know-it-all class brat? Stuart did in Continuing Education (2006). Have you ever been in an elevator with one other person so different from yourself that you felt creeped out? Stuart has, in Between Floors (2002). Do you walk in a neighborhood of lost souls who nonetheless furtively relate to each other? You’ll recognize its inhabitants in Songs for You (2004). And do you live with roommates? She does in her most recent work Keyhole Dances.

Stuart freely confesses that her commitment to create formally cogent dances "rubs up against a desire to examine often overlooked aspects of everyday life," and that she likes to work with "the shared intimacy of daily experience." She knows that she is old-fashioned that way. "I can’t help it," she says. "I like to make dances about relationships."

What she sees — on the bus, on the street corner, in the coffee shop — is us, more or less bungling our way through the day-to-day grind. That’s where she gets her material. If there is a political component to her work — and I happen to think that there is — it is an implied criticism of the social institutions to which we commit ourselves or by which we let ourselves be trapped.

Stuart does skewer, but does so gently, focusing on the mess humans manage to create for themselves. For her recent excursion into a mess — Sara Shelton Mann’s My Hot Lobotomy, which looks at the difficulty of staying sane given our environmental policies — the dancer took her viola out of the closet.

www.emspacedance.org

Citay

0

"There’s lots of ways to be a Guitar Hero. I just think it would be cooler if people tried to be real guitar heroes. I want people to find their inner guitar hero."

Amen, Ezra Feinberg. The Citay songwriter freely admits he’s never played the game, but we know exactly what he means: why add the competitive veneer of a sporting match to something as inherently pleasurable as playing guitar? Feinberg needed no prod when he started practicing. "I was really nerdy," he recalls of his hermetic early music-making sessions. "I wanted to learn my instrument really well, and I was really into guitar technique, and I used to sit in my bedroom and learn complicated guitar parts like Van Halen."

Then one day he realized, "Wait a minute, it’s much more fun and interesting and cool to work on songs and work on playing with different people and in different styles rather than sit in my room."

Metal, classic rock, jazz, fusion, punk, indie, and "weirder" sounds all left an impression, but after putting in time with the Piano Magic collective and the "stonery" Feast, Feinberg seems to have finally found his voice amid Citay’s fragrant blend of psychedelia, folk, synth-rock, and AOR. Taking its name from a Feinberg mixtape of songs utilizing that only-in-rock pronunciation ("The Journey song is included, but there’s also ‘Living for the City’ by Stevie Wonder and ‘Fool for the City’ by Foghat"), the onetime home recording project assumed a life of its own after Feinberg’s move in 2004 from Brooklyn to San Francisco, in collaboration with Tim Green of the Fucking Champs, who had previously recorded Feast.

Seemingly bursting full-blown from the brow of a rock ‘n’ roll Zeus, Citay’s startlingly excellent 2006 self-titled debut found a home on Important Records, inspiring Feinberg to tell people "we were their Partridge Family, next to all the found sound shit, Merzbow, Axolotl."

Naturally, Feinberg adds, "The next challenge was to see if these songs could be pulled off live because it was a studio-centric project." But no worries, he managed wonderfully, with the help of, at various times, Green and members of Tussle, Ascended Master, and Skygreen Leopards. The latest additions — following the amicable departure of Jesse Reiner of Jonas Reinhardt and Crime in Choir, and Adria Otte of the Dry Spells (Feinberg also drums with that band of kindred Bard graduates) — are Sean Smith and Josh Pollock of Daevid Allen’s University of Errors. And how does he rope in such talented players? "I’m pretty gregarious," drawls Feinberg, sounding like those nerdy homebound practice sessions are far behind him.

Still, judging from the sublimely interwoven acoustic and electric guitars and lushly appointed folk-rock streaked with sweeping synthesizer found on Citay’s most recent long-player, Little Kingdom (Dead Oceans), perhaps the onetime bedroom-rocker’s guitar hero — and musical visionary — days are here to stay.

Citay perform at the Goldies party, Tues/11, 9 p.m., free. 111 Minna Gallery, SF. (415) 974-1719

www.111minnagallery.com

www.citay.net

On the Obama campaign trail

0

OPINION I live and have always lived in a bubble, isolated from most of America. I grew up in Los Angeles, where I attended a high school so liberal that almost the entire student population wore black the day after Bush won his second term. Now I attend UC Berkeley, a historically ultra-liberal university in one of the most progressive cities in the United States.

That’s why I decided to join 30 of my fellow UC Berkeley students and go to North Carolina to campaign for Obama the final week before the election. Not only did I want to make a difference I felt I couldn’t make from California, I wanted to experience first-hand what the rest of the country is like.

In some ways, North Carolina was exactly the way I expected it to be: full of white steepled churches, swirling autumn-colored leaves, and drive-through fried chicken restaurants called Bojangles. In other ways, it wasn’t. I thought I’d be talking mostly to undecided voters and people leaning toward the right. Instead I worked mostly with Democrats, making sure they know where their polling locations are and how to protect themselves against voter disenfranchisement.

I talked to all kinds of North Carolinians. I visited student dorms, low-income housing complexes, and beautiful Southern-style mansions. The Obama campaign was thrilled to have so many Californian volunteers at its disposal: there’s a large Hispanic community here, and few native North Carolinians speak Spanish. My Spanish isn’t perfect, but if I hadn’t gone around to Hispanic communities asking Ya esta registrado? on Nov. 1st, the last day to register in North Carolina, many people wouldn’t have gotten the chance to vote.

While I encountered a few ultra-conservative crazies (one man told me he wasn’t voting for Obama because he was "probably" the Antichrist), most people oozed Southern hospitality. I probably gained five pounds from all of the free food thrust at us at every polling station. One generous volunteer let all 30 of us stay in his house.

My cohorts and I snuck into a Sarah Palin rally one night. Unfortunately, we had to leave before she spoke (according to our campaign manager, there were more productive things for us to do than gawk at children carrying "Pro-lifers for Palin" posters). But I felt like I was a spy in an enemy camp, surrounded by people in pink "pitbulls with lipstick" T-shirts. I was definitely far away from my little liberal bubble.

Most satisfying was the feeling I got every time I inspired someone undecided to vote. I spoke with a man one day who was somehow under the impression that Obama was nine points ahead in the North Carolina polls. When I assured him that that was far from the case, he decided to vote. I’ve never felt so powerful before.

In completely unrelated news, I am no longer a vegetarian. I decided to sample a different fried chicken restaurant every night. I highly recommend the Bojangles fried chicken biscuit sandwich (with extra honey) if you’re ever in the area.

Guardian intern Katie Baker sent this piece from the campaign bus.

Shift happens

0

› news@sfbg.com

Since the beginning of the presidential campaign, Americans have been bombarded with one big concept summed up in one little word: change.

It was Barack Obama’s slogan from day one and represented many people’s hope for the future, an idea that so appeals to beleaguered Americans that the Republicans eventually adopted it as well. Both parties recognized that the country would have to make big adjustments to salvage the economy, environment, schools, and health care system.

They each cited factors that point to the big changes that are coming — but they didn’t mention a huge one that has been bearing down on our species for nearly 5,200 years: the colossal transformation of solar system and our collective psyche that the ancient Mayans and their modern day supporters believe will take place Dec. 21, 2012, the day the Mayan calendar comes to an abrupt end.

Erick Gonzalez, founder and spiritual leader of Earth Peoples United, a nonprofit organization that works to bridge indigenous values with modern society, says the event will deeply disturb our minds and bodies here on earth. Nearly 300 people from around the world gathered Oct. 31-Nov. 2 during a 2012 conference at Fort Mason Center.

Some enthusiasts predict an apocalypse, while others foresee a shift in human awareness. Yet they all believe that big change is coming.

The Mayan calendar was developed by ancient astronomers who concluded that Dec. 21 was the sun’s birthday, noting that the winter solstice marked the beginning of the sun’s return from around the world.

Gonzalez, who has been studying Mayan culture for 33 years, says Dec. 21, 2012 will be a monumental birthday for our sun, when it will shift to the dead center of the Milky Way galaxy, on the galactic equator, for the first time.

The Mayans believed this was the precise spot where the sun — and all life — was created. Followers of the ancient theory claim the Milky Way will give birth to a new sun and a new galactic cycle on this day, marking the beginning of our world’s transformation.

"For the Maya, this is like the stroke of midnight on New Year’s Eve," said philosopher Roderick Marling, a Tantric yoga teacher who has spent the last 36 years researching yoga meditation and expanding consciousness, in addition to writing numerous papers on religion, mythology, history, and archeology. "The galactic clock will be set at zero point, and a new processional cycle will begin," he said.

As our planets shift overhead, believers say our awareness of the Earth, political issues, and each other will also change. Conference co-organizer Christian Voltaire says many of the changes in 2012 will be tangible, such as revising our current financial model or switching to alternative fuels. He points to former presidential candidate Ron Paul, who advocated for extreme change in monetary policy — abolishing the IRS and the Federal Reserve, for example — and Obama, who has pushed for transforming the economy with green jobs. "They’re at least conscious of the fact that something has to change," he says. "And, as we’ve been told by our prophesies, change is coming."

But skeptics have their doubts. Wouldn’t we be pushing for green energy anyway? And how could the shifting planets cause the financial meltdown — or even the actual meltdown of our polar ice caps? University of Florida anthropologist Susan Gillespie says the theory is a media myth and nothing more. Susan Milbrath, author of Star Gods of the Maya: Astronomy in Art, Folklore, and Calendars and curator of Latin American art and archaeology at the Florida Museum of Natural History, believes it’s unlikely the Mayans could have predicted such events.

Believers remain undeterred. Last Gasp Books employee and conference attendee Eliza Strack says her 2012 obsession started as an innocent topic of conversation many years ago. She believes alternate realms of existence and multiple dimensions of time could collide, allowing us to access our past, present, and future in one moment. "We spend a quarter of our lives in a dream state where alternate realities are playing themselves out," Strack says. Gonzalez backs her up, arguing that the alignment of the sun in 2012 will create a powerful magnetic force, and human protons and electronic will react to it.

Lifelong Mayan researcher John Major Jenkins, who has written several books on 2012, brings up the possibility of the sun inverting the earth’s magnetic fields. But according to Vincent H. Malmström, professor emeritus of geography at Dartmouth College, there’s no hard evidence to support Strack’s claim. Besides, how could a magnetic pull bring our dreamlike realities to life? Malmström writes in his paper The Astronomical Insignificance of Maya Date (www.dartmouth.edu/~izapa/M-32.pdf): "It would seem that Jenkins has advanced our understanding of the Maya from the sublime to the ridiculous."

Although we have four years before the astral shift, Voltaire says it’s crucial to hold 2012 conventions now. "The weekend before the election carries a vibration of anticipation of the future. We wanted to connect with that." The Southern Californian didn’t know much about the 2012 theory before last March, but he says he’s constantly alert and keeps a subtle ear out.

"I kept hearing the subject of 2012 in my consciousness — at events, on the radio, at yoga class," he says. "Everyone was talking about it." After making a few phone calls, he partnered with 2012 author and filmmaker Jay Weidner, a native Oregonian who has been studying the subject for nearly 20 years. Sponsored by Weidner’s company Sacred Mysteries Live, they organized their first convention in Hollywood in March 2008 and were blown away by the response.

Their conference last weekend was even bigger. With interactive panels and community circles, participants could share their ideas about 2012. Voltaire and Weidner say it represents something different for everyone: change, chaos — even beauty. In the midst of it all, the organizers premiered 2012-themed films and documentaries that filmmakers submitted along with an entry fee of — $20.12.

The conference also offered critical analyses of some related prophecies: the Mayans, Tibetan Buddhists, Incas, and the mysterious Cross of Hendaye. They lived in different times, and had different notions about the events that would take place around 2012. Conference organizers say Inca texts prophesized "a world turned upside-down" around that year, while Tibetan Buddhists predicted the mythical city of Shanballad would be constructed at the end of the current era.

Voltaire says the Cross of Hendaye — a 400-year-old monument in the coastal town of Hendaye, France — holds the key to the paradigm. The cross was first described in the 1926 book The Mystery of the Cathedrals, written by an alchemist named Fulcanelli. In 1995, before learning of the 2012 stories, Weidner was hooked on this book. He worked for years to decipher the messages behind the cross, deconstructing a Latin inscription carved into its top, and finally claims to have discovered its meaning: "It represents a world crisis that will end this time period.

There’s exactly one presidential term left before the end of this time period, which has witnessed everything from financial crises to homelessness to global warming. But will a new era end the problems of the current one? It’s hard to imagine how thousands of San Francisco’s poorest residents will acquire homes, or how our ozone layer will suddenly thicken.

After rifling through more books, Weidner says he discovered another secret behind the cross: that the Earth’s greatest changes will take place between 1992 and 2012. During that time so far, we’ve seen the birth the Internet, economic globalization and overextension, mass extinctions and global warming, terrorism and imperial hubris, exploding populations and rising discontent, and the end of the age of oil coming into sight. Then again, 20 years is a long time and life moves fast these days, with or without a mystical cross.

Nevertheless, since his supposed discoveries, Weidner has written two books and one film about the Cross of Hendaye’s secrets. In addition to a simpler belief that attributes a natural, geological pattern to these changes, three other prophecies predict some version of disaster or shift around 2012. Weidner admits this could be an incredible coincidence, but he thinks we should be aware of today’s experiences anyway. "There’s no doubt this is one of the most incredible time periods in human history."

While no one knows what will go down Dec. 21, 2012, Strack likes to put a positive spin on the brewing events. She wonders if 2013 will bring sweet-smelling city air, friendly neighbors, and tricycles for old folks to ride to the grocery store. After all, who believes that a shift in consciousness would be a bad thing?

Many followers even look forward to the date and equate it with the second coming of Christ, when they will be blessed with knowledge and euphoria. "Those are the happy thoughts," Strack says. "Yin-yang that shit and you find the darkest, most terrifying possibilities." She says she has had multiple apocalyptic dreams, leading her to ponder World War III, death, chaos, betrayal, and everything else that could hit the fan in 2012.

This sort of anxiety has led some people to use the term "doomsday" when describing the last day of the Mayan calendar. Although the theory has no solid academic backing, it is catching on. YouTube hosts countless videos of asteroids striking earth, tsunamis, tornados, and incidents of chaos linked to the date. Many devotees are preparing for hell on earth. But Voltaire says 2012 isn’t all about doom and gloom. "Our prophecies are about facing the facts and bringing up new ideas, acknowledging indigenous cultures of the past and present and truly listening to what they have to say, not brushing them off."

During our country’s time of change, we may not have heard many full-blown prophecies coming to pass, but we have all witnessed powerful people raising fresh ideas, such as rapidly shifting to new energy sources, developing international standards of human rights and controls on the use of force, and attacking poverty and disease worldwide. Like the 2012 followers, we’re listening and trying to remain open-minded.

If you chose to listen — to the prophecies or the new president — you might ask yourself how you’re supposed to prepare for the future. Voltaire says that "if you’re conscious of the changes, you’ll be able to roll with them, like if you’re in the ocean swimming with the tide. But if you’re unconscious and you suddenly wake up, it’ll be a lot harder to deal with."

Voltaire and Weidner say that our president will need to prepare too. They think that for him to be successful, he will have to address issues such as green energy and global warming brought forth at the 2012 conference.
Whether we’re believers or not, our country’s in for some big changes, whatever the solar alignment.

The Thousand Faces Ball

0

PREVIEW Imagine the unsavory digs of the Mos Eisley Cantina of Tatooine stormed by a horde of previously barred droids and miscreants and forced to hold a variety show to stave off certain destruction — it’s a scene reminiscent of those generated by San Francisco’s OmniCircus, which has been simultaneously thrilling and troubling audiences for two decades. Founded by local surrealist artist and roboteer Frank Garvey, first as a film project, then as a live performance troupe, OmniCircus combines the high tech with the lowdown, propagating an environment where down-and-out robot performers and their human counterparts can come together under one roof, creating a spectacle part Transmetropolitan, part Captured! By Robots, and part The Black Rider. No mere vehicle for cream pies and contortionists, this darkly subversive one-ring circus has all the hallmarks of an ecstatically apocalyptic experience: music, mayhem, and mechanical mendicants. The Thousand Faces Ball marks the latest incarnation of the project, introducing the Moth nor Rust band starring OmniDiva Joan Loon, and retaining the talents of longtime DeusMachina collaborators, including Daniel Berkman and Geoffrey Pond, as well as an army of robotic riffraff: junkies, beggars, street preachers, and whores. Billed as the world’s first robotic theatre ensemble, OmniCircus is nevertheless no ephemeral vision of the future, but a thorough examination of the present through an unsentimental, yet curiously life-affirming lens.

THE THOUSAND FACES BALL Sat/8, 8 p.m., $10 donation. OmniCircus, 550 Natoma, SF.

(415) 701-0686, www.omnicircus.com

Tears, cheers, and bubbly for Obama … and Sheehan?

0

By Molly Freedenberg

There’s no sign at Inner Mission Tavern that this is a Cindy Sheehan party, but it’s most certainly one for Obama. When Virginia was announced for the Democratic nominee, the bar erupted in cheers – a sound dwarfed only by the joyous explosion when CNN predicted him the winner of the 2008 presidential election several minutes later. The night’s two bartenders (also the owners), both in Obama T-shirts, popped bottles of champagne for those lucky enough to be seated at the bar in the packed-beyond-belief room. The cheers, congratulations, and happy hugs stopped for Senator McCain’s speech, which was met first with a combination of boos and cheers, and then with appreciation for his surprisingly gracious concession speech. “This is my favorite McCain speech,” said one party attendee. As everyone waited for President-elect Obama to appear on CNN, the bar had to ask for patrons to pass their empty glasses to the front, as they’d run out of everything. “Obama’s so awesome he sold the bar out of beer!” someone exclaimed. And then Obama took the (TV) stage. Everyone in the room listened attentively. Some shed tears. Some of the biggest responses were to Obama’s acknowledgement of the millenial generation’s refusal to accept their reputation for apathy, and Obama’s mention that this is also a victory for those who are gay. Then, just like the live audience in Chicago, bar patrons chanted “Yes We Can” along with Obama’s pulpit-style closig. With the speech over and the bar starting to empty, there’s still no mention of Sheehan (nor any results available). But somehow, I imagine no matter the results of local elections tonight, most of these people will go home happy.

Election-night bashes off the grid

1

OK, we all know about the free election-daze bevvies at Starbuck’s and gratis donuts at Krispy Kreme (if you’re so hot for free caff, why not get your fix at a local kawfee-seller like Farley’s on Potrero Hill instead?) – but what about all those other parties out there for you freedom-lovin’ America-for-Americans? Tonight it’s time to celebrate (and toast the outgoing, seemingly never-ending campaign cycle). Say “s’long” to those perpetually looping, loopy infomercials… here, there, everywhere:

PARTY LIKE AN ART STAR
Free pizza when the polls close! And an opportunity to write on the walls, think historical thoughts, and live it up at Yerba Buena Center for the Arts. YBCA put a call out to makers to help them dream up a got-out-the-vote getdown. And boy did they respond: participants include Hella Hella Acapella with Lara Maykovich, Maya Dorm, Nichole Rodriguez, Marissa Greene and Madeleina Bolduc; Sri Satya Ritual Movement with Micah Allison, Isis, Indriya and Nikilah Badua; Anahata Sound; Derick Ion and the Satya Yuga Collective; Dancing the Dead Dharma (Sara Shelton Mann and Dance Brigade); Alleluia Panis and Dwayne Calizo; Anna Halprin; DJ Wey South; DJ Aztec Parrot with YBCA Young Artists at Work; rigzen; Maji; Sara Shelton Mann; Dance Brigade; Bruce Ghent; Rajendra Serber; Sonya Smith; Kira Maria Kirsch; Folawole Oyinlola; Lena Gatchalian; Sarah Bush; Hana Erdman; Karen Elliot; Richelle Donigan; Kimberly Valmore; Krissy Keefer, and Guardna contributor D. Scot Miller. Whew. Pass the Joe Six-Pack. 6–11 p.m., free with cash bar. YBCA, 701 Mission, SF.

CHICK-CHICK-CHICK THAT BOX
For finger-licking good times after licking the GOP? Free chicken if Obama wins from 9-10 p.m. at Farmer Brown, 25 Mason, SF. (415) 409-FARM.

SAN FRANCISCO’S OBAMA VICTORY PARTY

Oh, why not just call it now. Drink specials, guest speakers, and live election coverage. First 100 attendees get a free Shephard Fairy “Hope” poster. Doors 6 p.m., free. Mezzanine, 444 Jessie, SF. (415) 625-8880.

DON’T DODGE THE DRAFTS
Drafts – that’s our cue to drink up! The Guardian bash boasts a free beer special (while it lasts) when you present a voter receipt or sticker. Win prizes like Beach Blanket Babylon tickets at an election trivia challenge. 7-9 p.m., free. Kilowatt, 3160 16th St., SF. (415) 861-2595.

Election night parties in SF

2

By Bay Guardian News Staff

There will probably be hundreds of parties in the Bay Area marking this historic election. But with 22 local ballot measures and seven of the 11 seats on the Board of Supervisors up for grabs, there are more official campaign parties than ever before (which we’ll do our very best to cover as we bring you our usual live election coverage here on this blog).
All the parties are free and they generally start around 8 p.m. when the polls close. So take a look at our list so far and feel free to add to it in the comments section with the ones we’re missing. And don’t forget to vote.

The other candidates in D3 and D 11

2

By Tim Redmond

We poured a lot of ink this week into the races in D1, D3 and D11,, since those are the swing districts.

And while most of what we wrote about focused on the front-running progressives in those races — Eric Mar, David Chiu and John Avalos — I don’t want anyone to forget that these are ranked-choice voting contests.

That means there will be no runoffs. Randy Shaw thinks that might be a bad thing; he says Avalos would easily beat Safai in a December runoff, but given the anti-Avalos money, I’m not sure that’s true.

At any rate, RCV is the process now — and in every one of these swing races, the outcome will depend on the second- and third-place votes.

So if you live in D1, D3 or D11, remember: It’s not enough just to put your top candidate first. It’s also important NOT to put Sue Lee, Joe Alioto or Ahsha Safai on your list at all. The don’t-vote-for vote is as important as the do-vote-for.

We’ve endorsed three candidates in D 11 and D 3. And I’ve urged that in D3, Chiu and Denise McCarthy work together to stop Alioto. As a matter of strategy, I think it makes sense to vote a full ballot in those districts. (I wish I could say the same in D1, but other than Eric Mar, there’s really nobody worth voting for, so bullet vote in that one.)

Bonjour joie

0

› kimberly@sfbg.com

SONIC REDUCER Zut alors, where is the joie, mademoiselles? Judging from the current pop charts, rage is all the rage: girls just want to "start a fight" is the message from Pink, Brit, and Katy Perry, even as pop’s queen Beyoncé, a.k.a., Sasha Fierce, chooses the somber rather than ferocious path with "If I Were a Boy."

Maybe it’s too much to ask for a recession-wracked America to find a battered vein of real happiness. And perhaps that’s why I’m looking for bliss overseas. You have to be a crusty old croissant to not succumb to the wholesomely sexy, gallic-girls-just-want-to-have-fun charm of Yelle, née Julie Budet. In a year when every pop thang coming out of Francophone music-makers seems to exude a freshness that escapes rage-aholic American pop, along comes Yelle with the cutest bob this side of Rihanna and those prep-cool dancing boys in "A Cause Des Garçons." Not for nothing does Budet’s acronym nom de plume stand for "You Enjoy Life." Could this be the new yé-yé?

Resembling a sprightly Feist onstage, the jeune fille also coughed up the catchiest bit of whistle(-along) bait since Peter Bjorn and John’s "Young Folks": "Ce Jeu." Yelle’s palpable ’80s-throwback aesthetic crossed with the twirly-girly, smiley-faced nouveau-rave dancefloor vibe in the "Je Veux Te Voir" video — squeaky-cute aerobics, girl-gang dance moves, and a crayon-bright pop aesthetic, oo-la-la — evokes the seemingly last microsecond of dance-pop innocence when Her Madgesty, Salt-N-Pepa, and J.J. Fad ruled the school canteen. Who needs to speak the language when confronted with the inexorable, happy-sad-but-mostly-happy sizzle of "Tristesse/Joie," given a Reebok commercial makeover this past summer?

So why France and why now? According to Budet, "maybe because France is well-located between English pop, German electro, and American production! It’s geography!"

Mais oui, Budet enjoys life — and exclamation points! Though our trans-Atlantic phone tête-à-tête didn’t materialize, I managed to connect via e-mail with the Bretagne-born vocalist, who’s more comfortable answering questions in writing when she isn’t slinking around onstage like a T-shirted electro-pop whippet. Of course, she isn’t quite as wholesome as she might appear: her first MySpace hit — "Short Dick Cuizi," a poke at Cuizinier of French hip-hop group TTC and an early incarnation of "Je Veux Te Voir," famously samples the bassline of "Short Dick Man." "The songs are about our lives and our productions," she writes. "I think about everything in Pop Up [her new debut on Source Etc/Caroline/EMI]: dildos, but death, too."

Some fans might be taken aback by Budet’s live appearances, which are low on the diva-esque antics and high on the every-girl bounce. "We naturally worked hard on our show," she writes, predicting ghosts onstage for her Halloween appearance. "It’s normal for us to give a real show, not only the songs like on the album. Drums bring a lot of energy, and we build our live set like a DJ set, mixing the songs together, adding production. We have a compromise that seems to work: we rock the dancers and we dance the rockers!" So get your fill of Yelle because 2009 will be "the year of the break," Budet suspects. "We have to take time at home or people are gonna hate us, ahah!"

YELLE

With Passion Pit and Funeral Party

Fri/31, 9 p.m. doors, $20–$25

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

PRECIOUS, PRECIOUS

Forget Uncle Sam: the post-punk superstar among us, Blixa Bargeld, needs you. The Einsturzende Neubauten frontperson, onetime Bad Seed, and current San Francisco resident has a new project — this after his wonderfully wry, dry-humored Rede/Speech performance here in 2006: The Execution of Precious Memories. Bargeld composes a new libretto for each performance, using memories gathered from questionnaires filled out by anonymous denizens of the performance site. To create this piece in its tenth iteration — and for the first time since 2001 — Bargeld plans to collaborate with the musicians of Nanos Operetta and the dancers of Kunst-Stoff. "It’s a poetical process," says Bargeld by phone. "There’s something fictitious about memories. The moment you give away a memory and fix it in a form and have it seen by someone else it becomes a piece of fiction. It’s not connected to yourself any longer." So let go and risk seeing intimate memories transformed: Bay Area residents are invited to go to www.blixa-bargeld.com/VKESF to fill out the 50-question survey — give it at least 30 minutes, cautions Bargeld — before the Nov. 1 deadline.

NO REST

THE SPINTO BAND


The revered indie rockers definitely weren’t sprinting when it came to getting out Moonwink (Park the Van/Fierce Panda). Sat/1, 10 p.m., and Sun/2, 9 p.m., $12–$14. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

DIPLO, ABE VIGODA, TELEPATHE, AND BOY 8 BIT


Eclecticism? OK! The "Mad Decent" tour mixes the DJ-producer with NorCal’s art-punks, Brooklyn art-dreamers, and a London minimalist beatmaker. Mon/3, 8 p.m., $16. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

SECRET MACHINES AND THE DEARS


How do you turn a backlash around? Give a listen to the ambitious new space-psych Secret Machines (TSM). And the Dears continue to endear with Missiles (Dangerbird). Mon/3, 8 p.m., $22. Independent, 628 Divisadero, SF. www.independentsf.com

HUBERT SUMLIN


The blues guitar legend made a lasting impact on rock thanks to his work with Howlin’ Wolf. With Mitch Mitchell and Billy Cox, Buddy Guy, and others. Mon/3, 8 p.m., $45–$79.50. Masonic Center, 1111 California, SF. www.ticketmaster.com

XXX-tant love

0

Platonic buds Zack (Seth Rogen) and Miri (Elizabeth Banks) live together, are completely devoted to each other, and yet loudly maintain that they are just friends — until they decide to sleep together on camera to pay off their debts. Oh, and sleep with other actors too, because that’s what you do in a porno. Ah, nothing like white-hot jealousy to make a long-dormant heart start beating, eh?

Zack and Miri Make a Porno, Kevin Smith’s latest, reminded me of his previous feature, 2006’s Clerks II. It elicited the exact same equally powerful, and seemingly contradictory, reactions. During the film’s first half, I guffawed at such moments as Zack and Miri’s discussion about sex toys for men versus those for women, during which Zack refers to his ability to pleasure himself with the help of two Popsicle sticks and a rubber band, like "a filthy MacGyver." But the off-color hilarity is all but buried by the film’s final third, which is full of typical romcom misunderstandings and mush. Writer-director Smith stands alone in his ability to create films that contain equal parts raunch and sap — and while Zack and Miri has a few shining moments, overall it never quite (ahem) comes together.

Zack and Miri Make a Porno opens Fri/31 in Bay Area theaters.

The booness

0

› superego@sfbg.com

SUPER EGO Happy Slutoween, librul terrorists. Now that the Castro Street celebration has been officially buried, there’ll be more terrific parties than tired Sarah Palin costumes haunting Halloween night. Below are 13 batshit surefires, all taking place Oct. 31, night of the living-undead pro-life governor of Alaska. Trick or trick!

ALL HALLOW’S EVE


Goth equals deathly perfect — insert exhausted "every day is Halloween" joke here — as 18-plus clubs Death Guild and Meat team up to paint it black with DJs Decay and Melting Girl and "techno opera singer" Diva Marisa.

9 p.m., $13. DNA Lounge, 375 11th St., SF. (415) 626-1409, www.dnalounge.com

BITTEN


A French bordello Halloween masquerade ball seems right up any horny black cat’s alley — especially with an acrobatic performance by the ever-sexy Vau de Vire Society and lofty tunes by DJ Ean Golden.

10 p.m., free with costume. Harlot, 46 Minna, SF. (415) 777-1077, www.harlotsf.com

BLOOD PACT


An 18-and-up, gayish underground "dark places" extravaganza with vampiric DJ vamps Honey Soundsystem, Rchrd Oh?!, and Lord Kook, and promoters Homochic and Tantra, plus a slashing guest spot by Los Angeles’ A Club Called Rhonda.

10 p.m., $15. SomArts, 934 Brannan, SF. (415) 552-2131, www.homochic.com

BLOW UP HALLOWEEN


Those gorgeous 18-plus electro hipsters will never settle for anything less than horrifyingly bangin’ style — with terrific, terrifying rap trio HOTTUB, and evil genius DJs Richie Panic and Jeffrey Paradise.

10 p.m., $15. Rickshaw Stop, 155 Fell, SF. (415) 861-2011, www.myspace.com/blow_up_415

CHARLIE HORSE HALLOWEEN THING


Two whole hours of the trashiest drag performances the nether regions of Polk Street have to offer? Sounds heart-stopping, but hostess Anna Conda will pump you back up with the cheapest drinks — and "outfits" — in town.

10 p.m., free. The Cinch, 1723 Polk, SF. (415) 776-4162, www.myspace.com/charliehorsecinch

COOKIE’S HAUNTED HALLOWEEN


Ecstatically kooky drag princess Cookie Dough hosts a night of haunted whores, with ghoulish electro-goth duo Ejector live, DJ MC2, alarming numbers by Landa Lakes, Glitterella, and more.

8 p.m., $8. Octavia Lounge, 1772 Market, SF. (415) 863-3516, www.cookievision.com

HALLOWEEN: A PARTY


This one’ll be pure crazyboots, as Heklina of Trannyshack literally rises from the dead to join Midnight Mass’ Peaches Christ in hosting a dark diva drag extravaganza, with bloody insanity from Kiddie, Fauxnique, Renttecca, Raya Light …

9 p.m., $20. Cat Club, 1190 Folsom, SF. (415) 703-8965, www.peacheschrist.com

HAUNTED TEMPLE


Unholy deeds will abound in cavernous club Temple’s sacred spaces, with insane décor on two levels, howlin’ DJs Paul Hemming, IQ!, and Jaswho?, plus a $500 costume contest.

10 p.m., $20. 540 Howard, SF. www.templesf.com

MONSTER HALLOWEEN


Ghoul’s night lip-sync battle-a-thon! DJ Scottish Andy and glamazon hostess Juanita More exhaust the hipsteratti queens and friends on the mic at the manly Truck bar for exotic "prizes" (i.e., drunk sex).

9 p.m., $5. Truck, 1900 Folsom, SF. (415) 252-0306, www.juanitamore.com

NIGHT OF THE LIVING BASS


Burner faves Opel get with Evil Breaks for an endless night of sheer funky drum ‘n’ bass madness, with a little techno freak-out on the side. With DJs Meat Katie, the Rogue Element, and Kid Blue.

10 p.m., $20. Mighty, 119 Utah, SF. (415) 626-7001, www.mighty119.com

RE:CREATION


A hip-hop, old-school electro, and freak beats spectacular, as ArtNowSF and Euphoric Conceptions present a platter’s worth of head trip performers like Mochipet, the New Deal, Pleasure Maker, and Sleepyhead. 9 p.m., $20. Club Six, 60 Sixth St., SF. (415) 531-6953, www.clubsix1.com

STILETTO: ZOMBIE APOCALYPSE


No San Francisco club is sharper fashionista-wise than theme-driven Stiletto. Gasp as too-cool zombies arise from the depths of loveliness with DJs Mario Muse, Eric Sharp, and runway madness from Flock, plus photo booth!

10pm, $8, AsiaSF, 201 Ninth St., (415) 255-4752, www.myspace.com/stilettosf

Z-TRIP


The inexhaustible mix-master must have some sort of magic potion in his vinyl cauldron, because the mash-up and intel hip-hop kids still flock to his politically oriented, mind-blowing shows after several centuries. Scary!

9 p.m., $22.50. Supperclub, 657 Harrison, SF. (415) 348-0900, www.blasthaus.com

Yes on K is the Christian thing to do

0

› news@sfbg.com

OPINION Why would a Christian minister support Proposition K, the November ballot initiative that would decriminalize prostitution in San Francisco?

There are many reasons. Prop. K would allow sex workers to organize for their rights and safety. It would enable them to report abuse in the industry without fear of prosecution. It would improve their chances of maintaining their health by lessening the stigma that prevents many from seeking the health care services they need. And it would do all this while still allowing law enforcement officials to investigate and prosecute human traffickers.

I also feel a kindred spirit with prostitutes. Like me, they are a stigmatized sexual minority in our culture. They, too, suffer due to stereotypes and prejudice because of who they are. As a lesbian, I know only too well what it is like to live in a world that is dangerous for me because of hatred and discrimination.

But there is another reason I support this measure. Prop. K has my vote because I believe that we who are created in the image of the Divine are both spiritual and sexual beings, and we need ample opportunities to nurture both parts of ourselves to be whole.

In the Bay Area we are fortunate to have access to a full range of spiritual practices and traditions. Whether we worship in a synagogue, mosque, church, temple, or at the altar of the Goddess, we have a plethora of opportunities for spiritual exploration and growth. Why shouldn’t the same range of offerings be available for the sexual aspects of our lives as well?

Human sexuality is an incredibly complex and wondrous thing. Some of us are able to find sexual satisfaction in long-term relationships. But limiting everyone to such a narrow path for sexual expression is like saying we all must be Christians to find God. Because we don’t limit our spirituality to such narrow expression (well, perhaps people like Sarah Palin do), why do we insist on forcing our sexuality into such a box?

Some of us like spanking. Some of us just want to be held. Some of us want to be told what to do. Sometimes we need sex without a long-term relationship. Many of us, because of our age, physical illness, or circumstances beyond our control, have a difficult time finding sex partners. Many find our most powerful spiritual places within ourselves through fantasies we cannot bring ourselves to share with our partners. I want to live in a world where we all have opportunities to experience those transcendent places without shame, and where the sex workers who can help us access those places may do so without fear of arrest or stigmatization.

I believe we must all work together to create a world in which no one is penalized, persecuted, or harassed for their gender presentation, sexual orientation, or sexual activity with consenting adults. Prop. K is one step closer to ensuring that the human rights of all sexual minorities are protected and promoted everywhere, which is why I will be voting yes. As far as I’m concerned, it’s just the Christian thing to do.

Rev. Lea Brown is the senior minister of the Metropolitan Community Church of San Francisco

Chickens and the egg

0

› news@sfbg.com

GREEN CITY The scene along a quiet, dead-end road in Lathrop — just 90 minutes east of San Francisco — is classically pastoral: a cloudless sky, a few small ranch houses scattered among small plots of farmland, a tractor humming in the distance.

But thanks to Olivera Egg Farm and its 700,000 chickens, country life is not all sunshine and butterflies. With a quick turn of the wind, the pleasant breeze suddenly sours to the sickening, fetid stench of ammonia from the nearby "lagoon" — a 16.5-acre cesspool of chicken manure that lies 370 feet from the nearest house.

"It takes your breath away," said Janice Magaoay, who has lived in a house neighboring the egg farm since the early 1970s. Magaoay is one of 10 residents who filed a civil lawsuit against Olivera in US District Court last week. Led by a legal team from the Humane Society of the United States (HSUS), the lawsuit alleges that Olivera has been emitting up to 18 times the lawful amount of toxic ammonia gas without reporting it — a violation that could cost the farm a maximum of $32,500 per day in penalties.

The lawsuit against Olivera — whose owner, Edward Olivera, did not return our calls for comment — is one of a constellation of HSUS-led claims against the egg industry that tie into California’s Proposition 2. If passed, Prop. 2 would ban the use of farm animal confinement methods that do not allow animals to stand up, lie down, turn around, and fully extend their limbs.

Facilities like Olivera, which currently keeps only one of its 12 active hen houses cage-free, would have to thin their flocks significantly, said San Joaquin County Environmental Health Department program coordinator Robert McClellon.

Swarming with seagulls and flies, Olivera’s primary manure lagoon and adjacent overflow pond has a total volume equivalent to nearly 120 Olympic-sized swimming pools, according to company records filed with local environmental regulators. Despite its close proximity to a residential street with kids, the lagoon has no solid fence around it — perhaps because the unbearable stench acts as its own repellent.

Thirty-year resident Larry Yepez, 60, a retired firefighter and plaintiff in the case against Olivera, has passed by the lagoon on his jogging route for many years.

"I used to carry a towel around my face to keep the smell out of my nostrils," Yepez told the Guardian. "There were times when there must have been massive kill-offs because there were carcasses of dead chickens everywhere. It got to a point where I said, ‘I don’t think this is very healthy,’ so I started running away from that area."

Ten-year resident and plaintiff Gloria Avila, 60, often works outside growing produce for farmers markets in San Francisco. On some days, the ammonia is so strong she can barely open her eyes and has trouble breathing.

"It’s very, very bad," she repeats, grimacing, an open palm pressed against her chest.

She is not alone; the plaintiffs allege that their numerous health conditions — upper-respiratory problems, nausea, chest pains, as well as sinus, throat, and eye irritations — could be the result of ammonia exposure.

Nearby, a box of a dark purple fruit sitting on Avila’s porch crawls with a thick blanket of flies — another major issue for Olivera’s neighbors, who say the flies bite.

"We are told that because we live in an agricultural farm community, we have to accept it," Larry Yepez said.

Some local residents feel the odor comes with the territory.

"The egg farm has been there a long time," said Jerry West, a 15-year resident. "If you move out here, you should expect it."

Olivera has contributed $12,000 to support the No on 2 campaign, Californians for Safe Food, which is primarily funded by The United Egg Producers, a trade association of 250-plus of the country’s big egg producers — Olivera among them. The campaign argues that Prop. 2 poses a threat to public health by making eggs less safe, but it declined comment on the lawsuit against Olivera.

"Prop. 2 opponents have as little concern for the neighbors whose lives they are destroying with their pollution as they do for human health and animal welfare," Yes on Prop. 2 campaign manager Jennifer Fearing responds. She describes their claims about food safety as "scare tactics" and "the height of hypocrisy."

Comments, ideas, and submissions for Green City, the Guardian’s weekly environmental column, can be sent to news@sfbg.com.

Yaelisa and Caminos Flamencos

0

PREVIEW How many outside the flamenco family — a sizable one in the Bay Area — realize just how special an artist Yaelisa is? In a less ghettoized genre, this Emmy-winning and always expanding and deepening performer and choreographer would be considered a superstar. Yaelisa foregoes some of the showbiz antics of her colleagues for performances that are no less captivating and, frequently, more intelligently planned and presented. Her monthly Café Flamenco sessions — every third Sunday of the month and currently at Theater Artaud — have become a Bay Area staple.

The Yaelisa and Caminos Flamenco ensemble includes Melissa Cruz, Christina Hall, Mariana Elana, and Fanny Ara. Each of these women is a soloist in her own right. For the company’s new program, Canciones, Yaelisa and her dancers are stepping beyond their comfort level into non-flamenco music — not exactly a new idea, but one that apparently Yaelisa has wanted to explore for a long time. The impetus came from a 2006 collaboration with tap virtuoso Savion Glover that involved Brazilian funk, Miles Davis, and Dave Brubeck. Canciones — with guest dancer Timo Nuñez — includes music by Iron and Wine and the Spanish pop group Ketama and live sounds by Sonikéte, as well as more traditional compositions by Isaac Albéniz. Latin percussionist Michael Spiro and vocalists Felix de Lola and Miguel Rosendo join music director and master flamenco artist Jason McGuire.

YAELISA AND CAMINOS FLAMENCOS Sat/1, 8 p.m., and Sun/2, 7 p.m., $15–$60. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-ARTS, www.ybca.org>.

Voting to save the local economy

0

EDITORIAL On Oct. 21, a string of economists and advisors from the Newsom administration, the Chamber of Commerce, and the Convention and Visitors Bureau appeared before the San Francisco Board of Supervisors to present a picture of the local economy that was stunning in its lack of reality.

The experts talked about how San Francisco isn’t really hurting that much right now. They said the downturn would hit eventually, but that housing and jobs are still relatively strong here. And what we need to do to boost the economy, the mayor and his experts said, is to promote downtown business, cut fees — and further reduce the city budget.

Cut taxes? Cut spending? Boost big business? That sounds a lot like the economic prescriptions we’ve been hearing from the right wing of the Republican Party for decades. And it hasn’t exactly worked out well.

In fact, for many San Franciscans, the recession is already here — and is deep and painful. Small businesses are struggling. People are losing jobs and finding it hard to pay the rent. Like Washington, DC, San Francisco needs to be taking this seriously — but what we’ve seen from Mayor Gavin Newsom is a bunch of hot air. The mayor wants to accelerate capital spending. Fine. But he’s counting on projects like rebuilding Airport Terminal Two that rely on bond sales — and this isn’t a great time to be selling bonds — and that create jobs mostly for big out-of-town construction firms. And he wants to cut fees on business — which has never proven to be an economic stimulus, but would require deeper cuts in city programs and layoffs of city staffers. The worst thing you can do in a recession is cut public jobs.

At the Oct. 21 hearing, the supervisors were a bit dubious. "We need to be straightforward and real," said Board President Aaron Peskin. "Not half-baked schemes and empty promises." But if Newsom and his downtown and landlord allies get their way, the board that takes office in January could be very different. The progressives who have held the line on cuts, pushed for higher taxes on the wealthy, and promoted measures that will actually help the economy could wind up in the minority. And we could see a dramatic shift to the right in economic policy.

The November election is critical — and the top of the ticket isn’t the only vote that matters. Preserving the progressive majority on the board and passing the key ballot measures will take the city a long way toward avoiding the worst of what could be a catastrophic economic downturn.

Let’s look at the ballot from that perspective:

<\!s> Proposition H would inject millions into the economy. San Francisco residents and businesses pay some of the highest electric rates in the country, and money that goes to Pacific Gas and Electric Co. is sucked right out of town and invested elsewhere. Since electricity is a necessity, cutting electric rates would instantly inject cash into the economy. In fact, a 2002 study by Hofstra University economist Irwin Kellner showed that public power expanded the economy of Long Island. by $10 billion over the first four years after that region got rid of its private electric utility.

Based on his methodology and calculations, we estimated in 2002 that PG&E cost the local economy $620 million over the previous two years (see "The $620 million shakedown," 10/4/02). Updating those figures today shows a dramatic impact: In the past decade, PG&E rate hikes have taken 1.015 billion out of the local economy. And if, as we have estimated, a public power agency could cut rates by 15 percent, that would inject $477 million a year into the local economy (see sfbg.com for a detailed calculation). That’s a lot more money than the city would see from any of Newsom’s proposals.

Proposition B would create thousands of new jobs. Building a new terminal at the airport attracts big national construction companies. Affordable housing in a much more home-grown operation. The nonprofits that build below-market housing in San Francisco hire local construction workers, at union scale; that money stays in the economy. Affordable housing also helps stabilize and upgrade neighborhoods, adding small business and cultural institutions that create more jobs and economic impact. "It’s a monster source of jobs," Rene Cazenave, who is working on the Yes on B campaign, told us. In fact, Prop. B alone would create a lot more jobs than the mayor’s entire economic stimulus plan.

Propositions N, O and Q would save jobs. As the city’s budget deficit continues to grow, Newsom is talking about cutting more services — and that means cutting public sector jobs. Many of those workers live in San Francisco; eliminating jobs hurts the local economy. Prop. O would prevent the city from losing $80 million in tax revenue every year; Props. N and Q would bring in millions more. That would save jobs and help stave off a deeper recession.

Preserving an independent board will keep Newsom’s worst economic policies in check. If supervisorial candidates Sue Lee, Joe Alioto, and Ahsha Safai win in Districts 1, 3 and 11, Newsom will have a loyal majority — and the city’s economy will be in trouble. The mayor of San Francisco is a Democrat, but his economic policies are much closer to what John McCain is proposing — and they won’t work. San Francisco needs a strong independent board to keep asking the tough questions and demanding alternatives. It’s critical to elect Eric Mar, David Chiu, and John Avalos in those swing districts.

There’s so much at stake in this election. Vote early, vote often, and vote all the way to the bottom of the ballot.

Parts and Labor

0

PREVIEW The hiss and garble of a psychedelic seeker mid-acid trip, the righteous fury of a dad scolding a litterbug, and the sodden sadness of paranoiac who suspects secret agents are tailing him. All these sounds unexpectedly, remarkably crop up on Parks and Labor’s new Receivers (Jagjaguwar).

When I last caught the band, clobbering all in earshot with a propulsive, post-punk power-skronk, at South by Southwest a few years ago, I never imagined the Brooklyn-Union, N.J.-Milwaukee, Wis., combo would be going into interstellar overdrive and taking a page from the starlog of Pink Floyd’s The Dark Side of the Moon (Capitol, 1973). In creating Receiver‘s prog-orchestral sound, Parts and Labor referenced not only the exploratory courage of Wire’s Chairs Missing (Harvest, 1978), but Dark Side‘s use of samples. Its overarching inspiration: the general glut of digital information, which spurred the group to invited listeners to submit samples for Receivers via its MySpace page. The combo used all 650 or so, of them — altering, pitch-shifting, and morphing the contributions along the way — vocalist-bassist BJ Warshaw assures me by phone from Indiana.

"We always got friends to appear on recordings, so Dan [Friel, vocals and electronics] and I thought, why limit this?" he recalls. "Why not ask the world and see what comes of it?" It led to an "intense but fun" mixing job. The satellite noise, say, at the onset of Receivers was created by playing every sample simultaneously. Still, one’s enjoyment of the album doesn’t depend at all on one’s appreciation of the band’s technical and conceptual machinations, which climax with the hurtling "Solemn Show World." And the world can continue to experience the disc’s sampling project on the road: "We’ve got a toll-free phone number [1-888-317-5596] that people can call, and we’ve been improvising, working the calls into the live show, which has been really fun," Warshaw says. "We’ve got 20 sounds so far, and it’s only the second day of the tour."

PARTS AND LABOR With Gowns and Curse of the Birthmark. Sat/1, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk, SF. $6. (415) 923-0923, www.hemlocktavern.com
 

The Clean Slate 2008

0


>>CLICK HERE FOR OUR LIVE ELECTION NIGHT COVERAGE!

NATIONAL AND STATE RACES
President: Barack Obama
Congress, District 6: Lynn Woolsey
Congress, District 7: George Miller
Congress, District 8: Cindy Sheehan
Congress, District 13: Pete Stark
Superior Court, Seat 12: Gerardo Sandoval
State Senate, District 3: Mark Leno
State Senate, District 9: Loni Hancock
State Assembly, District 12: Fiona Ma
State Assembly, District 13: Tom Ammiano
State Assembly, District 14: Nancy Skinner

STATE PROPOSITIONS
Proposition 1A: YES, YES, YES
Proposition 2: YES
Proposition 3: NO
Proposition 4: NO, NO, NO
Proposition 5: YES
Proposition 6: NO, NO, NO
Proposition 7: NO
Proposition 8: NO, NO, NO
Proposition 9: NO, NO, NO
Proposition 10: NO
Proposition 11: NO
Proposition 12: YES

SAN FRANCISCO BOARD OF SUPERVISORS
District 1: Eric Mar
District 3: 1. David Chiu; 2. Denise McCarthy; 3. Tony Gantner
District 4: Dave Ferguson
District 5: Ross Mirkarimi
District 7: Sean Elsbernd
District 9: 1. David Campos; 2. Eric Quezada; 3. Mark Sanchez
District 11: 1. John Avalos; 2. Randy Knox; 3. Julio Ramos

BOARD OF EDUCATION
Sandra Fewer, Norman Yee, Barbara Lopez, Kimberly Wicoff

COMMUNITY COLLEGE BOARD
Milton Marks, Chris Jackson, Bruce Wolfe

BART BOARD OF DIRECTORS
District 7: Lynette Sweet
District 9: Tom Radulovich

SAN FRANCISCO MEASURES
Proposition A: YES, YES, YES
Proposition B: YES, YES, YES
Proposition C: NO
Proposition D: YES
Proposition E: YES
Proposition F: YES
Proposition G: YES
Proposition H: YES, YES, YES
Proposition I: NO
Proposition J: YES
Proposition K: YES
Proposition L: NO
Proposition M: YES
Proposition N: YES, YES, YES
Proposition O: YES, YES, YES
Proposition P: NO, NO, NO
Proposition Q: YES, YES, YES
Proposition R: NO
Proposition S: NO
Proposition T: YES
Proposition U: YES
Proposition V: NO, NO, NO

EAST BAY RACES
Alameda County Superior Court Judge, seat 9: Dennis Hayashi
Berkelely Mayor: Tom Bates

BERKELEY CITY COUNCIL
District 2: Darryl Moore
District 3: Max Anderson
District 4: Jesse Arreguin
District 5: Sophie Hahn
District 6: Phoebe Ann Sorgen

BERKELEY SCHOOL BOARD
John Selawksy
Beatriz Levya-Cutler

AC TRANSIT BOARD OF DIRECTORS
At-large: Chris Peeples
Ward 2: Greg Harper

EAST BAY MUNICIPAL UTILITY DISTRICT
Director, Ward 5: Doug Linney
Director, Ward 6: Bob Feinbaum

EAST BAY REGIONAL PARKS DISTRICT
Director, Ward 1: Norman LaForce

EAST BAY MEASURES
Berkeley Measure FF: YES
Berkeley Measure GG: YES
Berkeley Measure HH: YES
Berkeley Measure II: YES
Berkeley Measure JJ: YES
Berkeley Measure KK: NO
Berkeley Measure LL: NO

Oakland City Council (At Large): Rebecca Kaplan
Oakland Measure N: YES
Oakland Measure OO: YES

ALAMEDA COUNTY MEASURES
Measure VV: YES
Measure WW: YES

>>CLICK HERE FOR PRINTOUT VERSION.

>>READ OUR COMPLETE 2008 ENDORSEMENTS HERE.

Sue Lee and segregation

1

1028SKL.jpg

By Tim Redmond

I find it hard to believe that D1 supervisor candidate Sue Lee is allowing her supporters to resort to this sort of pandering, but here it is: Fliers from the landlords are going out attacking her main opponent, Eric Mar, over “neighborhood schools.”

That’s a buzzword for re-segregation. I hate to be that harsh and blunt, but it’s the truth. THe pro-neighborhood schools people may be well-meaning, but if they get their way, and school assigment is done primarily on the basis of where you live, the schools are going to face some ugly problems.

Eric Mar’s been on the school board. He understands this better than most. Sue Lee ought to understand it, too.

I get the frustration that some parents in the Richmond feel: After all, there are quite a few good schools in that part of town, and their kids won’t necessarily get into those schools. But there’s a very good reason for that: If every kid went to a school in his or her neighborhood, we’d have a lot of segregated schools. That’s not only terrible for the kids, it’s against federal law.

Imagine: All the Asian and white families in the Richmond could keep their kids in schools that were almost entirely Asian and white — and the kids in Bayview Hunters Point would go to schools that would be almost entirely African American. Where do you think the resources are going to go?

My kids go to McKinley Elementary in the Castro. Their classmates are a picture of San Francisco — black, white, Asian, Latino, Pacific Islander; kids from single-parent families, kids from traditional families, kids from gay families … not all of them can walk to school (we commute from Bernal Heights), but it’s a wonderful educational situation. It’s what public schools ought to be.

And it’s tricky in a city like San Francisco, where we still, sadly, have some hihgly segregated neighborhoods. But it’s worth the effort.

Frankly, I can’t believe anyone in this liberal city really thinks the schools would be better off if we didn’t have policies that seek to integrate the classrooms.

Besides, San Francisco parents have made it very clear, over and over, that they want school choices. They don’t want to be forced into one neighborhood school (especially if they live in a poor neighborhood or one where the local public school isn’t very good). Why can’t kids from Bayview go to Rooftop and Clarendon?

I’ve been through the San Francisco school assignment process, and it isn’t perfect. And every time someone complains to me about it, I ask them the same question: How would you make it better? It’s a tough one; either you accept that some schools are going to be segregated and some kids denied the opportunity to attend the best schools in town and all kids denied the value of learning in a diverse environment — or you accept that fact that not everyone can go to the neighborhood school.

Of course, you can insist that San Francisco provide excellent schools in every neighborhood, and we should — but really, that’s a copout. It isn’t happening now, and it’s not going to happen in the next five years, and unless the state spends a lot more on education, it’s not going to happen at all. Look: My school has some fairly well-off parents with organizing skills and time on their hands. We can raise money for special programs, and we have an active PTA and lots of volunteers. We just got a new playground built.

In a school that serves almost entirely a low-income community, the parents don’t have money to pour into special programs, they’re working two jobs to pay the rent and don’t have time to spend on the school — and it’s not fair. Clarendon parents raise $200,000 a year, because they can. So Clarendon gets programs that other schools don’t. If the state doubled education spending, we’d be better off, but it won’t, and we’re not.

So you simply have to let parents choose to send their kids to schools out of their neighborhoods — and you have to accept the fact that some kids from richer parts of town won’t be able to attend their local school.

Sue Lee ought to know that. It’s a disgrace that she is allowing this to happen in her name.

Not unlike crack

0

FIFA SOCCER 09

(Electronic Arts; Nintendo DS, PlayStation 2 and 3, Sony PSP, Windows Vista/XP, Xbox 360)

GAMER In the midst of all this excruciatingly important election business, I strive only to be a better-terrified, proverbially neo-American Joe, asking you, "O citizen, has there ever been a more convenient time to wed distraction — by an awesome bit of footy on the Xbox 360?"

Frayed knot. FIFA Soccer 09 complaints first: most of the situation-specific expressions used for play-by-play and color commentary are fucking irritating and/or redundant to the point of sounding just plain stupid, as in, "a great defensive tackle" or "defensive clear," when we know these maneuvers to be exclusively defensive by definition.

The occasional "goalie blowout" is a definite frustration as well. About once a game, your keeper will choose to ignore a cross that should be cursorily disrupted, either that or decide to come off his line without warning at exactly the wrong time. As for field play, the usual FIFA suspects: errant touches caused by the directional proximity of two or more passing targets, animations that force players to decelerate unnaturally, jive-ass one-on-one moves that remain woefully ineffective. ("Homemade cuts" are still the way to go if you’re trying to beat a defender with the dribble.)

Much applause: this year’s version plays heavy in comparison to a somewhat papery FIFA 08. The ball is weightier; the scale, appreciably larger. And while retaining its 08 intellect, 09 does well to beef up the player models and bring the default camera angle closer to the pitch. Inertia, momentum, and gravity are better woven into the feel of the game: jostle for good position only to time your jump poorly and whiff on your header. The "Create a Player" feature is nuanced and can get you pretty damn close to a reasonable Con McJain likeness if that’s what you’re into, freak.

For you Xbox Live fiends, they’ve set up some decent interactive modes, including an unwieldy but super-fun 10 vs. 10 online welter that devolves right quickly into "Kill That Cow." But you know, son, this is America, and we play how we plumb well please.

Still looking pretty hairy, isn’t it, Joe? Narrower, this chance, than it had ought to be.