Live

Sadsters unite over blown speakers

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› a&eletters@sfbg.com

Who leaves a perfectly good acoustic guitar in the street? Hard to say, but Kevin DeBroux, the fellow behind the elusive downercore of Pink Reason, found one on the sidewalk during his first week living in New York City, where he spoke from by phone earlier this month: "I picked it up and thought, ‘Nobody leaves their guitar on the street like this!’<0x2009>" The forlorn instrument quickly joined the modest guitarsenal with which DeBroux realizes his dirgy, psychedelic visions, ranging from slow-as-folk to blisteringly quick workouts, onto 4- and 8-track cassette machines.

DeBroux’s origins lie in the Brett Favre–frenzied town of Green Bay, Wis., but he also lived in Kurgan, Siberia, as a teenager from 1992 to ’93, where he tuned in to Russian punk bands like Grazhdanskaya Oborona, that, along with the sounds of ’80s American hardcore, had a major bearing on the shape of his eventual band’s bummer buzz. Pink Reason started simply enough after several prior bands, including Hatefuck. "I ended up driving back to Green Bay one night when there was this huge snowstorm, so I stayed with my friend Shaun [Handlen] and we started Pink Reason," DeBroux said. Handlen eventually moved to China, and Pink Reason has since consisted of DeBroux and whatever musicians, instruments, and recording resources are within reach.

His shape-shifting folkstuff was a shade too difficult for Wisconsin. For several years, he released only CD-Rs and had trouble being taken seriously as a musician in his home state. "It was kind of thought of as a joke," he said. "We played shows, but it was sporadic because nobody wanted to book us." When DeBroux sent a copy of his self-released 2006 seven-inch "Throw It Away" to the Siltbreeze Records–associated Siltblog for review, however, excited non-Cheesehead ears quickly got hip to his sensibilities. About a month later he was contacted by Tom Lax, Siltbreeze proprietor, with an offer to put out an album.

That record was last year’s Cleaning the Mirror, a six-song LP of ghostly, depressed low-fi folk moans and mysterious tones: it’s hard to tell whether the high-pitched twinkle that accompanies his exclamation of "It’s all over now!" consists of birds in an arboretum, a ringing phone, or a bizarrely contorted guitar passage. DeBroux put together his 2006-07 releases using older material from the aforementioned CD-Rs, but this year’s singles include new recordings — the flip to "Winona" (Woodsist) and both sides of "Borrowed Time" (Fashionable Idiots) are fresh cuts.

Pink Reason’s continual flux in lineup and style is one of DeBroux’s biggest live selling points: "You can take a song and change it to the point that the audience doesn’t even realize it’s the song that you’re doing," he noted. Still, it’s hard to tell that new single "Borrowed Time" is from the same guy who made Cleaning the Mirror: where that record was slow, stark and drawn-out, "Borrowed Time" is blistering, muddled pop running slightly more than a minute.

Garage-punk aficionados’ ears have lately turned toward Pink Reason and other Midwestern speaker-blown pop bands like Times New Viking and Psychedelic Horseshit, to whose Columbus, Ohio, ‘hood DeBroux moved for a year after a grand night of acid-dropping. He served a tour-long gig as bass player for Psychedelic Horseshit, and now plans an Australian winter tour with Clockcleaner, as well as the release of a split with Hue Blanc’s Joyless Ones and a new LP. Nonetheless, sadsters needn’t worry about all these new friendships, or his description of the new record as "more upbeat": the subterranean, inward-gazing murk will surely assume a form as compelling as those it’s assumed so far. *

PINK REASON

Sat/26, 9:30 p.m., $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Fishing for hooks

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Jackson, Miss., might not top everyone’s cities-to-see list, but Juan Velazquez of Chino band Abe Vigoda makes it sound like a damn fun place to play a show. "Everyone was really psyched, and there were a bunch of younger people there," raved Velazquez by phone while en route from Atlanta to Athens, Ga. "It was really, really fun." He and the rest of the band are pretty young themselves: they’re currently taking a break from their work and collegiate studies to tour across the states with their cloudy pop homies in No Age, fellow fixtures at the Smell in downtown Los Angeles.

Making time has allowed the four-year-old Abe Vigoda some taking of time, especially with the recording process. They just released their third full-length, Skeleton (PPM), which sharpens their tightly wound, clanging sensibilities into a set of songs more aggressively constructed than anything they’ve committed to tape before.

Various listeners and critics have been trumpeting Abe Vigoda’s racket as "tropical punk/pop," a label that the band sees little reason to complain about, even if it is arbitrary pigeonholing to a certain degree. "People like to make up genres for things, and I’m a little tired of it, especially because a lot of our new songs aren’t like that," Velazquez said. "But nobody’s calling it ‘shit punk’ or ‘shit rock,’ so it’s OK." Shit it is not. The record reveals itself to be a few shades darker than its murky production on repeat listens, but its enthusiasm and refined approach makes Skeleton Abe Vigoda’s first record that allows listeners to dig deeper. Songs like "Cranes" and "Hyacinth Girls" have an Afro-pop beat, care of drummer Reggie Guerrero and corroborated by David Reichart’s bass playing, and the zap-gun guitars of "Endless Sleeper" collide in rousing, unusually anthemic fashion.

To produce their wire-crossed jangle, Velazquez explains that the group’s other singer-guitarist Michael Vidal plays "thick-sounding and full" chords on his guitar in standard tuning, while Velazquez employs an alternate tuning that he’s been using since 2007’s Kid City (Olfactory) and a Ricky Wilson–esque employment of single, finger-picked notes. "It’s more jarring live because we’re playing very high frequencies that are off from each other — harsh, ringing, and kinda kraut rock–sounding."

Although the group has become more traditional in its song structure, it’s not really "pop" that they put together: their cataclysmic, yelping noise of yore has given way to a polyrhythmic pogo twist with opportunities aplenty for fist-shaking and epic metalhead finger-waving.

ABE VIGODA

With No Age and Mika Miko

Mon/28, 8 p.m., $13

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

Also Club Sandwich’s second anniversary with No Age, Mika Miko, and KIT

Tues/29, 7 p.m., $8

Lobot Gallery

1800 Campbell, Oakl.

www.clubsandwichbayarea.com

For more on the show and No Age, see this week’s Sonic Reducer.

Disco of the Gods

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I use my favorite pair of scissors to cut out photos of dancers and models from the late ’70s and early ’80s. Sometimes the designs and imagery on the other side of the magazine paper are more compelling and attractive than the literal combos of flesh and clothing that produce the silhouette.

The past is the present is what you make it. So Walter Benjamin and Fredric Jameson said, in torturously profound terms. For a sonic illustration, look and listen no further than Hercules and Love Affair’s self-titled debut (Mute), a contender if not outright champion in the 100-point rating realms of metacritic.com and Pitchfork Media.

When critics aren’t running from the phobic fantasies of joining soulless fuck zombies at the Continental Baths that Hercules and Love Affair apparently provokes in fevered, perhaps repressed, imaginations, they’re keyword-searching variants of "gay," "AIDS," and "disco" to provide shorthand blog-banal references for the album’s sound. Thus the usually vaguely defined spirit of Arthur Russell is invoked more often than the influence of living, breathing Kevin Saunderson, even though Hercules and Love Affair‘s "You Belong" is like a whiteface Goth niece-nephew of Inner City’s "Good Life." Thus no one compares Antony Hegarty’s countertenor to Boy George’s and wonders if Hegarty is given more respect and awards simply because he honors pretense over humor. Hercules and Love Affair sports two, maybe three of 2008’s most glorious songs. On "Hercules’ Theme," "Athene," and "Blind," core member and songwriter Andrew Butler crafts superb horn and string arrangements and layers them over a live rhythm section to produce swank, strutting syncopation. The sound is lush and swoony — as unique as the fluorescent pastels of the disc’s cover art — and unlike anything else floating out of speakers and headphones at the moment. I can’t resist comparing the time-lapse vaudevillian blooms at the close of "Hercules’ Theme" to "Doin’ the Do" by Betty Boo — where are you? — if only to add some irreverence to the poker-faced hosannas for the group. But Butler is a rare talent — one who’ll flourish the further he gets from art school.

In theory, Butler’s communal approach to assigning vocalists — which tweaks an earlier landmark club crossover, Massive Attack’s 1991 Virgin effort, Blue Lines — should yield a singing bouquet to match his arrangements. Hegarty is Hercules and Love Affair‘s most florid singer. His strained emoting suits his tunes on the disc better than any Antony and the Johnsons track, yet not once does his falsetto match the sensuality and soul that his antecedent Sylvester brings to a song like "I Need Somebody to Love Tonight." Kim Ann Foxman inhabits Athene in a song of the same name, but stumbles off-key through the plodding "Iris." Butler does a good Russell in "This Is My Love," but no vocalist can rescue the obvious lyric of "True False/Fake Real."

Hercules and Love Affair revive the silhouettes if not always the spirits of disco’s and house’s native New Yorkers. At best, they create their own haunted wonderland. At worst, they host a pose party that’s the musical equivalent of the narcissism that motored Shortbus (2006). Once upon a time, Manhattan was wilder and hungrier.

HERCULES AND LOVE AFFAIR

Sat/26, 9 p.m., $16–$20

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

Testimonies

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› a&eletters@sfbg.com

Italy seldom figures much in Holocaust studies, as its Jewish population was relatively small (just under 50,000) and only about one-fifth failed to survive the war — even after far more anti-Semitic German occupiers and policies wrested power from Benito Mussolini in 1943.

But statistically limited evil is still evil. Italian (even papal) complicity in crimes against Jewry has weighed more heavily on the national conscience lately, if a recent spate of meditations on the subject in various media is any indication. This year’s San Francisco Jewish Film Festival, the 28th, includes a program of films devoted to the subject. Titled "Italian Jews During Fascism," it presents a mix of documentary, historical drama, and contemporary fiction.

As elsewhere, the history of Jews in Italy has run a gamut from bad to worse to tolerable and back again. Propelled by basic racism as well as that "Christ-killer" concept favored by early Biblical-text revisionists and Mel Gibson, sacred and secular powers-that-were targeted Italian Jews (among others) during the Crusades and the Inquisition, then literally walled up their Roman populace in a ghetto for 300 years. By the time the extreme ghettoization was abolished, in the mid-19th century, Italian Jews (at least outside Rome) were fairly well integrated into society. They certainly were by 1938, when Mussolini announced a slew of anti-Semitic laws after years of appearing indifferent to Hitler’s particular racial obsession. ("Il Duce" hadn’t been impressed with the Nazis until his own empire-building ambitions required an alliance.)

Italian Jews were abruptly barred from serving in the military, and from attending or working at schools and universities. Thousands lost their jobs due to knee-jerk reactions from employers anxious to toe the repressive party line. These hard times got much worse when the weakened nation ceded primary control to the Nazis, and "Il Duce" became a mere figurehead for the "Republic of Salo." Mussolini rubber-stamped the mass arrest of Jews, mostly in the occupied north. Nearly 7,000 were shipped off to concentration camps. The question of what ordinary Italians — let alone the Vatican — did to oppose this murderous sweep remains a blot on the country’s 20th-century history.

The Jewish Film Festival’s quartet of related features offer various perspectives on these events. Most direct is Mimmo Calopresti’s 2006 documentary Volevo Solo Vivere (I only wanted to live), a compilation of latter-day testimonies assembled from interviews recorded for Steven Spielberg’s Shoah Foundation. Focusing on survivors (mostly female) of Auschwitz who were between the ages of four and 30 at the time, it provides first-person stories that range from poignant to hair-raising. Meeting a life love on the train en route to the camp, enduring Mengele’s "medical experiments," being forced to walk one’s father to the gas chamber. These precise recollections are illustrated not just by brutally familiar footage of starved prisoners and piled corpses, but also by earlier photo-album glimpses of family life.

Dubbed "the Italian Schindler" when his deeds first won recognition, Giorgio Perlasca was a Paduan former soldier and disillusioned ex-Fascist working abroad to procure supplies for the Hungarian army in Axis-occupied 1944 Hungary. Posing as a Spanish diplomat, he bullied and bluffed his way into rescuing and hiding thousands of Budapest Jews despite a Nazi policy of deportation and extermination. This extraordinary tale is dramatized in Perlasca: An Italian Hero. With an Ennio Morricone score and Luca Zingaretti in the title role, Alberto Negrin’s 2001 made-for-TV film is compelling. Yet it’s also overworked, painting Perlasca as a one-dimensional superhero — albeit a balding and pudgy one. The result lands somewhere between the harshness of Schindler’s List (1993), the hysterical melodrama of Black Book (2006), and the maudlin treacle of Life Is Beautiful (1997).

A fascinating footnote, the 2007 hour-long documentary Tulip Time: The Rise and Fall of the Trio Lescano tells the story of three Dutch sisters who became enormously popular in Italy as harmonizing swing vocalists. Mussolini was a fan, though even that couldn’t save them from abrupt career termination and poverty once their Jewish background was discovered. The 2003 novelistic drama Facing Windows, which had a theatrical release, finds Turkish Italian director Ferzan Ozpetek departing somewhat from his usual gay themes. Giovanna Mezzogiorno stars as an unhappy working-class Roman woman whose husband brings home a disoriented older man (the late Massimo Girotti, a screen veteran since 1940) who turns out to have concentration camp numbers on his arm. *

SAN FRANCISCO JEWISH FILM FESTIVAL

The 28th San Francisco Jewish Film Festival runs July 24–Aug. 11 at the Castro Theatre, 429 Castro, SF; Roda Theatre, 2025 Addison, Berk.; CineArts @ Palo Alto Square, 3000 El Camino Real, bldg 6, Palo Alto; and the Smith Rafael Film Center, 1118 Fourth St., San Rafael. Tickets (most shows $12) and additional information are available at www.sfjff.org

What the candidates need to tell us

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EDITORIAL The traditional kick-off date for fall campaigns is Labor Day, but in San Francisco, the candidates for supervisor have been in full campaign mode for months now, and some of the races are beginning to take shape. As political groups start making endorsements, it’s worth looking at what’s at stake here — and what the candidates ought to be talking about.

For starters, it’s going to be a crowded fall ballot, and there’s the potential for a broad progressive coalition to come together around a clear agenda for the future. Among the proposals headed for the ballot are an affordable housing plan, a green energy and public power measure, two new tax plans that focus on bringing in revenue from the wealthy, and a huge bond act to rebuild San Francisco General Hospital. All of the progressive candidates should be backing those measures and working together for their passage.

But the candidates also need to offer long-term solutions to the serious problems facing San Francisco. This is a city under enormous pressure, and unless some dramatic policy changes take place, San Francisco will continue its rapid slide toward becoming a city of and for the very rich.

A few items that ought to be on every progressive candidate’s platform:

<\!s>The city’s energy future. The fall ballot measure, the Clean Energy Act, will lay the groundwork for a sustainable local energy policy, although the supervisors will have to aggressively push the key element: creating a city-run electric utility. As long as Pacific Gas and Electric Co. controls the local grid, San Francisco will never meet its environmental goals. Rates will remain high, conservation will be an afterthought, and PG&E will resist any type of renewable program it doesn’t control. The candidates need to make clear that they’re committed to a full-scale public power system and tell us how they will move the goals of the Clean Energy Act forward.

<\!s>The housing crisis. San Francisco’s housing policy today is utter insanity. If it continues, the city in 10 years will look nothing like it does now. The middle class will be gone. Families with kids will be a vanishing species. Tens of thousands of people who work in this city — and keep its economy going — will be forced to live far away. Fancy new towers filled with millionaires will destroy entire neighborhoods and displace the city’s remaining blue-collar jobs.

The affordable housing ballot measure is a good first step, but much more is needed. Solutions aren’t easy, but they start with one premise: the city doesn’t need any more housing for the rich. Affordable-housing programs that set aside, say, 20 percent of new units for non-millionaires are a losing game because they accept as reality the prospect of a city where 80 percent of the residents are millionaires.

San Francisco needs a comprehensive policy that forces the city to meet its General Plan goals, which call for 64 percent of all new housing to be available at below-market rates. We need to hear how the candidates would make that happen.

**The structural budget deficit. San Francisco is a wealthy city, but there’s never enough money in the budget for the level of services residents want and need. With the exception of the rare boom years, the city has always had a revenue shortfall. Sup. Aaron Peskin’s two tax measures could bring in another $50 million per year — no chump change by any means. But the city needs about $200 million more per year to make the numbers balance. The candidates need to talk about where that will come from.

**The Muni meltdown. You can’t have a transit-first policy without effective transit, and Muni’s in trouble. Budget cuts are a big part of the problem, but the city needs a modern transit program — and that’s barely even on the drawing board. How are the candidates going to fix one of the city’s most important services? Will the candidates support the long-overdue completion of the city’s bicycle network and other bold efforts to decrease reliance on the automobile?

**The war on fun. As the city gets richer, it gets more uptight. Street fairs are under attack. Clubs are facing police crackdowns. Permit fees and red tape are making it almost impossible to hold events in Golden Gate Park. Sup. Ross Mirkarimi has a ballot measure to make some of the permitting easier, but what are the candidates going to do to end the Gavin Newsom–era attack on arts and entertainment?

There’s much more: The police aren’t solving homicides. Small businesses feel utterly ignored by City Hall. The Planning Department is run by developers. The list goes on. And the next Board of Supervisors will need to address all those issues. Over the next few months, the candidates that want the progressive vote need to give us some clear explanations of where they stand.

Editor’s Notes

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› tredmond@sfbg.com

A couple of years before term limits ended her career as a supervisor, the late, great Sue Bierman took out the homeless-bashers one day with a legendary burst of honesty and logic.

It was the late 1990s, when the Board of Supervisors was made up almost entirely of the handpicked mistresses (his word, not mine) of then-Mayor Willie Brown. Substantive debate was rare.

This particular day, the item before the supervisors was a plan to crack down on alcohol consumption in Golden Gate Park. The wealthier and more uptight denizens of the surrounding neighborhoods were all atwitter about homeless people drinking, and the board was prepared to direct the police chief to round up the miscreants and send them to jail.

Then Bierman weighed in. Excuse me, she said, but the park is where these people live; it’s their home. "And when I’m in my home in the evening, I often have a gin and tonic," she said. "Why do we want to tell homeless people that they’re any less than I am?"

Yeah, some people laughed, but she was dead serious. And she was right.

I thought of Bierman when I read the latest screed by C.W. Nevius, the Chron‘s suburbanite columnist, about a civil grand jury report pointing out what astute housing activists have known for some time now — that many of the panhandlers on the street aren’t homeless people.

Walk through the Tenderloin and actually talk to the people hanging out on the street, and you’ll learn that many live in the supportive housing or low-cost units that the city and nonprofit housing agencies have built or renovated in the past few years. Visit one of their tiny, single-room apartments and you’ll realize why they spend a lot of time on the street; nobody wants to be cooped up in a tiny space all day.

But to understand why panhandling — the horrible evil that has Nevius so up in arms all the time — still goes on, you need to understand something else, a point he left out of his columns.

When Gavin Newsom ran for mayor on a program called "Care, Not Cash," he had a plan: give people a place to live — but in exchange, cut their welfare checks to almost nothing. The CNC recipients get a roof over their heads, which is wonderful, but they then have to survive on about $50 a month plus food stamps.

It’s not enough. So they panhandle.

I’m sorry, but I’m with Sue Bierman. When I come home at night, I immediately pop a cold Bud Light. If I lived in an SRO, I’d do the same thing. And if I couldn’t work or couldn’t find work, and my food stamps wouldn’t pay for beer, I’d panhandle for a six-pack. Better believe it.

Not every person who drinks needs treatment, and not every drug user is an addict. Some are, and the city needs to do what it fails to do now, and provide treatment on demand. But some people who line the streets and ask for spare change are just like the rest of us — except that thanks to Newsom’s program, they’re broke all the time.

Want to stop panhandling? It’s easy and fairly cheap. Raise General Assistance to a level that supports a decent, humane life (and yeah, that might include a beer now and then.) Otherwise, quit whining. Because panhandling is going to be a fact of life.

Stoner rock

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PREVIEW One morning futzing around on Craigslist trying to avoid the addictive looky-loo temptation of "casual encounters," I decided to waste time checking out what "musicians" were up to instead. I must’ve been directed there by a higher power, for I, curious, had clicked on a desperate request from a fan of seminal mid-1990s San Jose stoner-metal trio Sleep seeking any footage of their Sabbath-y riffage. Holy cannabis! I totally had some, buried amid S-M porn, scenes of teenage anarchy in Over the Edge (1979), and poignant Crass videos compiled into tripper montages my friend, who got kicked off Santa Cruz’s public access station, likes to craft.

We were back to the historic days of tape trading (though she and I both later remembered a little cheating trick called YouTube). But since crackly VHS renditions only satisfy so much, and since that quintessential band has moved on to debatably bigger and better musical mastery with zero hope of any reunion, it’s vital to find the real, live thing. Could fulfillment lie in this weekend’s Black Summer of Doom and Fuzz? Two days of 18 mostly East Bay bands, presented by Eric Hagan and Purple Astronaut Records, promises to at least acquaint you with the local scene’s offerings, and, at most, jumpstart devotion to yet another awesomely doomy, fuzzy ensemble. It’s high time I filled my summer stoner rock quota. Gorge on sustained power chords, languish in spacey amethyst tracers, float on a sea of Orange amplification. Ride the dragon!

Which reminds me, I have to get that tape back.

BLACK SUMMER OF DOOM AND FUZZ Sat/26 with Soul Broker, White Witch Canyon, House of Broken Promises, HDR, and Scorched Earth Policy. Sun/27 with Butcher, Sludgebucket, BRNR, Greenhouse Effect, and Automatic Animal. See Web site for complete lineup. 3 p.m., $10 per day. Stork Club, 2330 Telegraph, Oakl. (510) 444-6174, www.storkcluboakland.com

Goofy name, good band

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PREVIEW Start with the name, take in the oversized T’s, and then turn an ear toward the big, fat, buzzy beat. Just who were these dudes, we all wondered, as the group took the Fader Fort stage at this year’s South By Southwest and proceeded to dangerously distract the ironically mulleted, sarcastically sunglassy hipsters and jaded music-biz buzzards from the free bevs at the bar. As the set progressed, all and sundry tromped to the front, pulled by the massive beats and the leaping, high-stepping antics of lead vocalist James Rushent.

Yeah, these guys were not cool in the strictly hyper-trendoid sense of the word — meaning cool down to the millisecond edge of the moment. The band’s floppy shorts and wholesome miens probably reminded bleary-eyed, cynical scenesters of normal suburban dudes down the block more than any affected decadent they might ordinarily aspire to ape. Yet there was nothing poseur about the cool kids’ fists pumping down front: the fact that the guys of Does It Offend You, Yeah? — goofy name and all — managed to get the most tired of industry booty moving was a testament to the power of their sound and their infectious enthusiasm onstage. Apart from a few tracks like the nu-rave "Battle Royale" and "With a Heavy Heart (I Regret to Inform You)," does their new album offend with its inconsistency — and its occasional trite Euro-rock tropes? Yeah. But that’s what iTunes is for: pick and choose which Does It Offend You, Yeah you prefer — and unlike some other dance poppers, rest assured, they won’t repulse live.

DOES IT OFFEND YOU, YEAH? With Steel Lord. Fri/25, 9 p.m., $13. Popscene, 330 Ritch, SF. (415) 541-9574, www.popscene-sf.com. Also with Bloc Party, July 30, 9 p.m., $27.50. Fillmore, 1805 Geary, SF. (415) 346-6000, www.ticketmaster.com

America, meet your new gay bachelor

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Yes, the meat is in! But first, let us pause for some sad news. Estelle Getty, beloved Golden Girl, has passed on to that pastel lanai in the sky. (queer tear.)

estelea.jpg

Yet we move on … to myPartner.com‘s crowning, last week, of America’s Most Eligible Gay Bachelor. It was inevitable, I guess, and my inbox has been absolutely flooded of late with what the more or less cynical among us would regard as desperate capitalization on the whole legal same-sex marriage thing. But I must admit that myPartner is a tad genius. It set itself up before the California Supreme Court ruling as a matchmaking site for gays looking for “long-lasting relationships” — kind of a Bizarro Manhunt, except that Manhunt’s recently evolved into the gay MySpace (it’s no longer crossing the line to know what your bff’s dick looks like, zomg). It all seemed a bit confusing initially, especially since the promotional materials featured hot shirtless guys rolling around in bed and promised the possibility of “making connections” on business trips out of town. Slutty! Hedging their bets! But when that ruling came down, myPartner was perfectly positioned to pimp its romantic fantasy wares, and boy did it jump on that shit with this nationwide Most Eligible Gay Bachelor contest. Good for them.

But enough of that — let’s get to the goods. Here he is ladies and gentlemens, after 35,000 big gay online votes (that’s 350,000 in heterosexual votes!) and a live runoff in San Diego during Pride Week, your new husband on the hoof (with foof) is …. Abel Lima, Mr. Rhode Island, who, oddly perhaps, resides right here in San Francisco!

abel2a.jpg
Just look at that smile! He won $25,000.
Photo by Tara Luz Stevens.

Abel was the winner, out of five finalists, based on high ratings in the category of “mind,” “body,” and “soul.” No word on how he did in the quantum mechanics portion of the contest. Coming in 2020: Most Eligible Gay Widower contest. It’s the Golden Girls all over again!

To scope the other contestants — rather handsome I must say, although I’m still into Polk Street hustlers badly in need of dentistry — click here.

Judge denies SF Weekly motion for new trial

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Judge Marla Miller July 18th rejected attempts by the SF Weekly and its chain owner to overturn the Bay Guardian’s victory and $16 million jury award in a predatory pricing case.

The ruling on the defendants’ post-trial motions marked the end of the first full round of this legal fight and sets the stage for a shift to the California Court of Appeal. All that remains to be decided by Judge Miller is the Guardian’s upcoming motion for attorneys’ fees, which are expressly allowed to a prevailing party under the California Unfair Practices Act.

SF Weekly and Village Voice Media had asked Miller to overturn the jury verdict or order a new trial, and the company lawyers spent hours July 8th arguing that the evidence presented in a five-week trial didn’t justify the jury’s decision. And they claimed, in a laundry list of challenges, that Miller had issued improper jury instructions and erred in admitting evidence at trial.

Defense attorneys James Wagstaffe and H. Sinclair Kerr also tried to get the judge to overturn the 16-paper chain’s liabilty for any damages awarded by the jury. That would have left the Weekly as the only guilty party. VVM had admitted in earlier post-trial proceedings that the Weekly has a negative net worth and alone would be unable to pay the Guardian anywhere near $16 million.

Miller, with little comment, denied those requests.

In her “order denying defendants’ motion for new trial” Miller stated:

“To the extent that the motion for New Trial is based upon the grounds of insufficiency of the evidence to justify the verdict (Civil Procedure Code #657(6) and excessive damages (Civil Procedure Code #657(5) the court has weighed the evidence and is not convinced from the entire record, including reasonable inferences therefrom, that the jury clearly should have reached a different verdict. To the extent that the motion for New Trial is based upon errors at law which Defendants contend occurred at the trial and were excepted to by them (Civil Procedure #657(7), the Court finds these contentions lack merit.”

The defendants have said they plan to appeal.

The case centered around the Guardian’s charge that the Weekly had for years violated California’s Unfair practices Act by selling advertising space below the cost of producing it for the purpose of injuring the locally owned, independent competitor.

Evidence presented at trial showed that the Weekly had consistently lost money, as much as $2 million a year, since New Times, now known as VVM, bought the paper in 1995.

The chain later bought the East Bay Express, and transformed it from a profitable paper to one that consistently lost money. Between the Weekly and the Express, VVM has lost some $25 million in San Francisco.

The evidence also showed that VVM’s executive editor, Michael Lacey, had vowed to put the Guardian out of business, and that Weekly advertising and business staff were instructed to try to take business away from the Guardian by below cost pricing, whatever the sacrifice in revenue and profits.

And while the VVM lawyers mounted a convoluted legal argument to claim that the parent company wasn’t legally liable for any damages, the trial showed that the senior executives at the Phoenix-based chain were not only aware of the predatory strategy but were active participants in enabling the Weekly to carry out its pervasive program of below-cost sales..

In fact, two senior officers, CFO Jed Brunst and Controller Jeff Mars, testified on the stand or in pretrial depositions that the SF Weekly would have gone out of business years ago if the chain hadn’t made a policy of shipping large sums of money from headquarters into the San Francisco operation to subsidize below-cost sales.

After the trial, jurors said they were convinced that VVM sought to destroy local competition. Juror Kerstin Sjoquist, a local business owner and graduate student, said in an interview that “it felt overly predatory on the part of the Weekly” and that “the predatory intent trickled down from the top.”

Although the VVM lawyers have 60 days to file their notice of appeal, there’s already some indication of what the chain will try to argue to the higher court. Even before the trial started, Andy Van De Voorde, VVM executive associate editor, who flew in from Denver to cover the trial for the Weekly, argued in his blogs that the California Unfair Practices Act was out of date and irrelevant. Referring to the act as a “depression era law,” (actually, the act dates back to 1913, California’s Progressive Era), Van De Voorde suggested that modern competitive markets made such a law pointless.

The law bars any business from selling a product or service below cost with the intent to harm a competitor or destroy competition. That prohibition has been upheld by many appellate court decisions, some as recent as the 21st century. The state Legislature has reviewed and even amended that part of the state code many times in recent decades, but has declined to make any fundamental changes in the protections afforded by the Unfair Practices Act.

And the trend toward chain ownership and consolidation of businesses in everything from coffee shops to bookstores and hair salons would seem to suggest that the need for a law protecting independent local merchants from predatory chains is greater than ever today.

That’s certainly true for the news media: One company new owns almost every daily newspaper in the Bay Area.

Both before and after the trial, the VVM lawyers also argued that a ban on predatory pricing would violate the Weekly’s First Amendment rights. If the paper was forced to live within its means – that is, to raise ad rates and stop relying on big subsidies from the chain – Weekly managers might have to cut the size of the staff, thus reducing editorial coverage, the lawyers argued.

Two judges – first Richard Kramer, who handled pre-trial rulings, and later Miller – rejected that argument wholesale.

As the Guardian’s lawyers argued, newspapers have always had to follow basic business regulations – even when they might cost money that could have gone to editorial staffing. No newspaper has ever seriously tried to claim that labor laws, or environmental laws, or workplace-safety laws, or tax laws were a First Amendment violation.

Still, those claims may appear again in the appellate briefs.

Meanwhile, the costs to VVM and the Weekly will continue to rise: If the verdict is upheld on appeal, the chain will have to pay interest on the jury award, which is now accruing at about $4,300 a day. And at this point the Guardian has an additional statutory right to recover reasonable attorney’s fees, which could add a substantial amount to the current judgment of more than $16 million

The Guardian’s lawyers are Ralph Alldredge, Richard Hill and E. Craig Moody.

You can read the Guardian’s key legal brief on the post-trial motions here. For a detailed history of the case, click here

Grupo Fantasma sounds gold to us

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grupofanta.jpg

GRUPO FANTASMA
Sonidos Gold
(Aire Sol/ High Wire Music)

By Todd Lavoie

Freshly sparkled with Prince’s glittering purple seal of approval, Austin’s tireless Latin funk orchestra Grupo Fantasma pushes onward with their crowd-amassing trajectory on Sonidos Gold, a floor-burning 12-track collection of hip-shakers and provocative grooves.

Having recently enjoyed a much-deserved surge of international exposure – thanks largely to Prince’s ringing endorsement and the high-profile supporting-band gigs that followed – the 10-member soul machine arrives more confident than ever on this, their fourth album. The disc might also be the most faithful in capturing the joyous, body-liberating ebullience of the band’s live performances. (And while we’re on the subject of their shows: You must see them, case closed. I caught Grupo with a former Austinite friend at Slim’s here back in February, and they were complete and utter sweat-soaking bliss.)

Sonidos Gold exudes plenty of room-filling warmth, and guitarist Adrian Quesada’s production plunks the listener directly on the dancefloor, right in the sweet spot between the hot-pepper horn section and the mighty rumble of congas and timbales. While I’m sure these folks picked up some tricks from Prince on the road, I’m beginning to wonder if maybe the Purple One himself might be taking a few notes as well…

Local Heroes/ Big Picture Week 2

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PREVIEW In the second of ODC Theater’s Local Heroes summer series, Yannis Adoniou, Manuelito Biag, and Alex Ketley are taking over Theater Artaud. Over the past decade or so, each has developed a profile of making dances that leave impressive individual footprints. Choreographically speaking, Biag is the youngest. His work is emotionally and physically boiling with the dark, complex currents that swirl inside relationships, yet he manages to create an odd beauty out of these struggles. Ballast, created for SHIFT Physical Theater, is his newest excursion into that thorny territory called home. A former ballet dancer and a cofounder of the Foundry (with Christian Burns), Ketley often works with a small number of dancers. But for the 2006 WestWave Dance Festival, he set Careless on 10 advanced ballet students from the San Francisco Conservatory of Dance. With the premiere of Monument, performed by 14 dancers, he continues his interest in larger-scale ensemble choreography. He also demonstrates his penchant for juxtaposing live and virtual dance. This memorial for a friend incorporates video, movement, and music. In the 2005 Less-Sylphides, Adoniou (a former ballet dancer as well) pays tribute to Michel Fokine’s 1909 pointe-shoes-and-white-tulle Les Sylphides, which is considered the first abstract ballet. It’s a highly creative take and radical in both senses of the term — deeply rooted while still a complete departure from the original.

LOCAL HEROES/BIG PICTURE WEEK 2 Thurs/17–Sat/19, 8 p.m. Theater Artaud, 450 Florida, SF. $18–$25. (415) 863-9834, www.odctheater.org

“Elsa and Fred”

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REVIEW Bombshell Anita Ekberg embodies spontaneity as she playfully wades through the Trevi Fountain in that classic moment from Federico Fellini’s La Dolce Vita (1960). Inspired by this scene, spry octogenarian Elsa (China Zorilla) has a photo of Ekberg hanging on her wall and confronts each day with the exuberance of a woman a quarter of her age. She speaks her mind and lives with reckless abandon — but not necessarily wreck-less abandon: a fender-bender just outside her apartment building eventually gives her reason to pay a visit to her new neighbor Alfredo (Manuel Alexandre), a recent widower. Aside from focusing on a pair of late-in-life lovers, this Spanish romantic dramedy rarely veers from the expected: Elsa inevitably encourages cautious Alfredo (or "Fred") to make the decision to truly live. Still, you’d be hard pressed to find anything quite as adorable as Elsa and Fred. Whether they’re kissing sweetly or pulling a dine-and-ditch at a swanky restaurant, these elderly lovebirds are an irresistible pair. Both actors deliver delightful performances, but Zorilla in particular is a much appreciated treat as Elsa, breathing life into some of the film’s flatter moments. Director Marcos Carnevale’s recreation of the Trevi Fountain scene is beautiful and heartwarming.

ELSA AND FRED opens Fri/18 in Bay Area theaters.

Download festival

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PREVIEW If there was an contest for the most cringe-inducing festival name ever, Download would win handily. This is the future, I guess: international corporations sponsoring Wal-Mart-style festivals that pack as many bands as possible into oversize, out-of-the-way suburban locations with deals that are hard to ignore. Aye, there’s the rub.

Scottish noise punk pioneers the Jesus and Mary Chain headline the seductively-priced one-day throwdown. Reformed last year, brothers William and Jim Reid became infamous in the early days for their too-wasted-to-play live shows, standing with their backs to the crowd during their 15-minute sets. But with newfound sobriety and a slew of recent festival dates under their belts, JAMC might have perfected their arena rock charisma by now.

Gang of Four is another UK band that originally broke up before Al Gore invented the Internet. Since re-forming in 2004, the British blowhards have released a remix album, toured hard, and plan to put out a new disc later this year, updating their rhythmic Marxism for a fresh generation of activist dance punks.

Wait — I know what you’re thinking: the members of the headlining acts probably can’t check their e-mail without assistance, let alone download. They probably still, like, tape things. But like any big-box retailer, Download has something for the kids: Yeasayer, which dominates college radio with its groovy world beats; Blitzen Trapper, the Portland-based six-piece with a flair for alt-country and lotsa buzz; and Airborne Toxic Event, who hails from Los Angeles and, just like their muse Don DeLillo, captivate audiences with their melodramatic pretension. And man, that’s just the beginning. With 26 bands slotted to play in one day, that’s only 77 cents a band!

DOWNLOAD FESTIVAL See Web site for complete lineup and set times. Sat/19, 1 p.m., $20. Shoreline Amphitheatre, 1 Amphitheatre Pkwy, Mountain View. (650) 967-3000, www.downloadfestival.com

Dangerous jumpers

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"We’re not just late ’90s scientifical backpack revivalists," says Ian "Young God" Taggart, one-half of production duo Blue Sky Black Death.

It’s a reference only a hip-hop head could appreciate. The "super-scientifical" tag comes from a verse in Jeru tha Damaja’s 1994 classic "Can’t Stop the Prophet," a bizarre drama in which the Brooklyn MC battles thugs who represent the seven deadly sins. The term has come to represent an influential wing of ’90s hip-hop culture, evoking yin-yang flights of lyrically ornate action fantasy and pre-millennial dread.

But with its fourth album, Late Night Cinema, Blue Sky Black Death has distilled its essence into something more original than Wu-Tang Clan homage. Released on independent hip-hop label Babygrande this spring, it blends live instruments — by Young God and various musician friends — and samples into a dense tapestry of themes, from the antiwar epic "Ghosts Among Men" to the yearning romance "The Era When We Sang." The disc expertly evokes the group’s namesake, a skydiving term for snatching ecstasy from oblivion.

"Probably the most beautiful thing when you’re jumping out is all the blue sky, but it’s the most dangerous thing you can do at the same time, you know?" explains Taggart by phone from his Upper Haight District home. "That’s the black death. I thought it went well with our music because I thought it could be really dark or really pretty."

The 23-year-old Taggart doesn’t earn a living from music yet. Instead, he lives a journeyman’s existence sustained by a hodgepodge of retail and restaurant gigs. Meanwhile his Seattle musical partner, 30-year-old Kingston Maguire, has more stable employment as an apartment complex manager. "I feel like I’m attracted to bullshit jobs so I can focus on my music," Taggart says.

Since joining forces in 2005, Taggart and Maguire have worked hard to expand their audience beyond a small but appreciative following of hardcore rap fans. Their label has a — sometimes unfair — reputation for issuing angry, conspiracy-obsessed rap epics. Its flagship artist is Jedi Mind Tricks, a Philadelphia group whose ’90s-style beats and verbal assaults against organized religion and the government have become a controversial subgenre unto itself.

Blue Sky Black Death has expertly mined this niche with wintry street dreams such as 2007’s Razah’s Ladder, an album recorded in conjunction with Hell Razah from former Wu-Tang affiliate Sunz of Man. But Taggart’s afraid his group is being dismissed as a JMT acolyte. "Honestly, I don’t want to be lumped in with them," he says. "That’s not a diss towards any of those artists, and it’s probably our fault because of the people we’ve worked with. But we try to drift away from that with our instrumental music because we don’t want to be pigeonholed with our sound."

Blue Sky Black Death wants to break out of the super-scientifical ghetto without forsaking its roots. Upcoming projects range from Slow Burning Lights, a San Francisco downtempo band with Yes Alexander from the Casual Lights, to an album with rappers Ill Bill from Non-Phixion and Crooked I. "As far as when we’re making actual beats and we have rappers in mind, I guess we’re definitely influenced by the ’90s sound," says Taggart. "But we take it a lot farther."

Diaboliques

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› a&eletters@sfbg.com

Sex is such an unalloyed force in Catherine Breillat’s films that it actually seems to consume narrative. Among a controversial lot that includes Fat Girl (2001) and Romance (1999), The Last Mistress is unique for its classical trimmings, but its plot points and character development are still no more or less important than the emotional content of a moan. All the French writer-director’s films are anatomies of hell, but this time she’s courting provocations instead of simply imposing them. The thickening of Breillat’s stock may be due to her 2004 stroke, or her decision to adapt an earlier work (the film freely elaborates on an 1851 novel by Jules Amédée Barbey d’Aurevilly), or the fact she’s finally snagged an actress who enlarges her take on female appetite-for-destruction.

That actress is Asia Argento. In performances typically labeled raw or animalistic by a mostly male press, the daughter of Dario bottles up the rage simmering underneath every black magic woman and femme fatale in film history. It’s telling that Argento’s daredevil acting style doesn’t conjure other actresses so much as rockers like Diamanda Galás, PJ Harvey, and Courtney Love — women who live on the literal edge of a stage.

In The Last Mistress, Argento isn’t so tongue-in-cheek that she’s willing to slobber a rottweiler (as in a much-discussed moment from Abel Ferrara’s 2007 Go Go Tales). Breillat has given Argento a character who dovetails with her persona. Her Vellini is constantly described as a creature and, in a key moment, as a mutt. Her titular courtesan — rumored to be the illegitimate offspring of an Italian princess and a Spanish matador — is conjured by flashbacks and the looks and idle gossip of others. The film opens with a churlish count and countess plotting to inform Vellini that the object of her longtime amour fou, Ryno de Marigny (Fu’ad Ait Aattou), is marrying the virginal Hermangarde (Roxane Mesquida). Our first image of Argento — a double-portrait of actress and character, stretched over a divan in a classic pose of seduction — instantly explodes any element of Merchant-Ivory farce, with the actress already burnishing the angry glow of her character’s typecast destiny.

A moment later, Vellini is relishing Ryno’s porcelain weight, her pleasure-hungry visage adjacent to the glassy eyes and growl of a stuffed tiger head. The shot suggests Breillat is playfully embracing her unsubtle craft. Radical plot offensives aside, she isn’t so different from Joseph Mankiewicz in her camera movements, editing, and composition. Her reactionary feminism might sink into serviceability except for one thing: when it comes to staging and directing her actors’ body language, she’s a master.

Pascale Ferran’s Lady Chatterley (2006) flushed cheeks where Breillat’s dark drama gnashes teeth, but the films are united in loosing their actresses to trammel over history. Ferran crafts an amorous epic; Vellini climaxes only a few minutes into Last Mistress, raising the discomfiting question: what if the enabling (and ennobling) freedom that lets us do as we please only turns us into slaves of desire? The answer might look something like Sofia Coppola’s fizzy tonic of lethargy and shopping, Marie Antoinette (2006), though Argento’s supporting role as Comtesse du Barry in that film practically beggared Breillat’s fleshy rejoinder. Where Sex and the City‘s infantilized Manhattan suggests constant airbrushing, woman directors such as Breillat make Paris drawing rooms, Versailles, and the French countryside shimmer with unsettled agendas.

THE LAST MISTRESS

Opens Fri/18 at Bay Area theaters

See Movie Clock at sfbg.com

www.ifcfilms.com

Home field advantage

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› le_chicken_farmer@yahoo.com

CHEAP EATS Bars are wired for weird times. I know that. The combination of amplified music and vodka makes for surreally truncated, garbled conversation (if any). Which in turn makes for strange looks, nods of unknowingness, flights of fancy, and colorfully elaborate misunderstandings. Then the next day you have to e-mail everyone and say, "Christ, what happened?"

Restaurants are wired for romance. Coffeehouses are wired for wirelessness. That’s why you get coffee on first dates. If they don’t show up, you can check your e-mail. Second date, dinner. Third date, drinks and dinner — then hopefully more drinks, then hopefully breakfast. But you don’t just drink until after you are bored with each other, or are at least married.

I was not on a date. My date, the dumb fuck, cancelled on me. It would have been a second date, so I would have had dinner. As it turned out, I did have dinner with a good friend instead, so it was actually enjoyable — if not romantic — and then we went to see another friend’s band play and everyone was there.

Now, if you’re me, all your friends are in love with all your other friends, with the possible exception of me. And all their relationships are always at various stages of disappointment/dissipation, in which case they may want to confide in you, or else they are on Cloud Nine, in which case they may want you to confide in them.

It might be the same mechanism that makes people rubberneck car crashes or turn into drooling zombies in the glow of the Disaster Channel. They could be safe, held, and accounted for, but some rare, blissless part of them misses loneliness and/or craves the vicarious ache of your dumb fuck dates and serial dicklessness.

And some not-very-rare but raw part of you wants to talk, and tell, and hear, and feel, so this all works out very nicely, or would except that you’re in a loud bar with a lot of strong drinks in your hands. And the next thing you know, if you’re me, all your friends have left, some having said good-bye, some not … and you live an hour and a half away, have keys to several neighborhood couches and crawl spaces, but miss Weirdo the Cat and are in general very, very confused.

It’s late it’s dark you’ve had at least a drink you’re a lightweight you’re afraid to go let yourself in to any of your many oddly departed friends’ apartments because they are probably all in bed with each other, making happy, sexual, slurpy noises.

How did this happen? You trade your unfinished drink for a cup of coffee to go and, replaying the strange night in your head, you drive home on the verge of tears and, more dangerously, sleep. You feel hardly understood, hardly understanding, in broad daylight on solid ground, outside. Let alone at shows.

You remember saying to someone back at the bar: "I think I might try dating younger men, since older ones strike me as disappointingly immature. With younger ones at least I won’t be disappointed. And there will be hope. Insane hope, but hope."

What they heard, between guitar solos and microphone feedback: "I think the fire was in the bedroom, since something something scintilutf8gly immature. With young rum the peaches won’t be disappointing. Something something. I’m insane! Ho ho ho!"

Little wonder they looked at you sideways and left.

Fuck bars. Fuck restaurants. Fuck coffeehouses. From now on I’m going to stay home, in the woods. If my friends want to see me, they are more than welcome here. And I will feed them. Complete strangers too. If they want it to be a date, I have coffee!

We can sit outside, and the only interference to our clear, body-boggling verbal connection will be birds and squirrels, and/or the sizzling of chops and chicken. Inside, the sound of a clock and the smell of bacon. This is called home field advantage.

Which … I think I could use me some.

———————————————————————-

My new favorite restaurant is Taqueria Guadalajara. You know how I know? I had just bought about 15 pounds of Flint’s barbecue for my band, and Little Him showed up with a Guadalajara burrito. I couldn’t keep my eyes off it, ribs, brisket, and chicken notwithstanding. This burrito was eight-feet long and weighed 420 pounds. Next chance I got, I went to Guadalajara myself for about three solid meals’ worth of al pastor, and was not disappointed. Open late, and pretty nice inside, too.

TAQUERIA GUADALAJARA

Sun.–Thurs., 9 a.m.–1 a.m.; Fri.–Sat., 9 a.m.–3 a.m.

3146 24th St., SF

(415) 642-4892

Beer & wine

AE/DISC/MC/V

The street-sweeping non-scandal

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Warren Hickle over at the argonaut is all in a tizzy about the prospect that mayor’s budget reduces the regularity of mechanized street sweeping on the west side of town. But I have to agree with the commenters at sfist — most neighborhoods would be thrilled to have those damn street sweeping machines gone.

Street sweeping is a tax on people who own cars but don’t have enough money to have garages. That’s mostly tenants. I’m all for getting rid of cars, and I’m all for taxing them, but the tax ought to be fair: Charge everyone who owns a car in SF a set fee a year, or even better, charge a fee based on the value of the car, so the rich pay more. Or levy a tax based on the weight of the vehicle (hits SUVs) or the gas mileage (ditto).

The sweeping is mostly a regressive way to bring in revenue for the city. I live in a part of town where we don’t have any street cleaning program, and our streets are just fine.

Besides, it’s kind of environmentally dumb: If you use your car once a week or less, isn’t it better to leave it parked instead of starting it up every couple of days and driving it around to avoid the street sweepers?

I can see sweeping on Mission, 16th Street, Haight Street and other major commercial strips, but why would anybody on the west side be mad about losing a service that costs a lot, does little good and amounts to a bad tax?

Sound in the balance

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› a&eletters@sfbg.com

"Anger is an energy," sang John Lydon in the Public Image Ltd. tune "Rise." San Francisco electronic artist Kush Arora harnesses a similar combustible force in his live shows and on the three full-length recordings that have made him an established club fixture and touring act. "I try to do something different with music and express the frustrations of the youth in this country," says the affable 26-year-old Haight District resident, who performs with Chicago’s MC Zulu July 13 at Dub Mission.

Arora’s ragga-techno fusions have struck a chord with audiences from the Bay Area to New York, while monthly hybrid live/DJ sets at Club Six’s Surya Dub night have earned him a broad audience that includes dubstep heads, bhangra fans, experimental electronic admirers, and grime listeners. It makes sense as the former Montessori School teacher has always balanced different cultures.

Born in San Leandro and educated in Orinda’s leafy suburbs, Arora ingested death metal, punk, and experimental-industrial sounds, as well as his family’s Indian and Punjab music, learning traditional instruments like the single-stringed tumbi and algoze flute. His music experience increased after interning at his uncle Aman Batra’s Manhattan hip-hop studio Sound Illusions, and later working for sound-editing software company Arboretum Systems.

In high school he formed an experimental band called Involution, which he helmed for six years before launching his solo noise project Clairaudience in the early ’00s. But it was while attending a 14-month audio recording course at Emeryville’s Ex’Pressions that he learned a signature skill: recording live vocals. "When I was writing songs for my first album [2004’s Underwater Jihad (Record Label/Kush Arora Productions)], I wasn’t impressed with my own work or where electronic music was at the time. It wasn’t badass enough," explains Arora, who also felt there was a lack of high quality, vocal-based dance music in the Bay.

Soon Arora contacted and tracked stateside Punjabi singers and ragga MCs, including Chicago’s MC Zulu, Trinidad’s Juakali, Jamaica’s N4SA, Los Angeles’ Wiseproof, and San Jose’s Sukh and Sultan. "I wanted to work with people who were dangerous and different, especially vocalists who didn’t fall into their music’s niche or category," Arora says of the often confrontational and political artists he’s recorded on full-lengths like 2006’s Bhang Ragga and 2007’s From Brooklyn to SF, both released on his Kush Arora Productions imprint. The albums brought club bookings far and near.

Over the past several years Arora has played large Indian gatherings, small IDM shows, underground warehouse events, raves, and the monthly Non-Stop Bhangra party in San Francisco. His performance breakthrough happened in 2006 at DJ Sep’s weekly Sunday-night reggae party at the Elbo Room, Dub Mission. "That changed my whole presence in the city," he says.

Arora believes his family’s roots in the often-volatile Punjab region between India and Pakistan breathes through his music. "That’s why I like bhangra. It has an element of aggression and sadness," he reflects, acknowledging that those also are traits he looks for in his vocal collaborations. "The artists I work with have a real tug-of-war between good and evil in their lives. My music is their redemption and my redemption in a fateful balance." *

KUSH ARORA

Dub Mission on Sundays, 9 p.m., $6

(Arora and MC Zulu on July 13, $7)

Elbo Room

647 Valencia, SF

www.dubmissionsf.com

Noise to go

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Load combo Monotract inspired immediate double — nay, triple — takes as it took the stage at the label’s South by Southwest showcase at Room 710 in Austin, Texas, last year. Noise impresario Carlos Griffoni and ace drummer Roger Rimada were missing in action due to a snowstorm, and the New York City band’s sole rep turned out to be guitarist-vocalist Nancy Garcia — flailing away on guitar with massive curls and girlish frock and evoking images of early punk women before the genre’s look, and sound, became codified. Alongside Garcia was an impromptu experimental-music supergroup incarnation of Monotract — Sonic Youth’s Thurston Moore also on guitar, Burning Star Core’s C. Spencer Yeh on violin, and Magik Marker’s Pete Nolan on drums — generating a memorable, noise-fueled set only tangentially related to the genuine article’s powerful album that same year, Trueno Oscuro (Load). The fourth album by the band ended up drawing praise from both Pitchfork Media and The Wire for its loud-soft waves of epic distortion ("Red Tide"), no-wave-ish blurt ("Cafu y Kaka"), and electronic-groan tribal-chant ("Big N"), which saw Garcia memorably motor-mouthing toward the reverb-bristled finale.

Apparently Garcia is not only resourceful in a jam, but something of a triple, even quadruple, threat. The Miami, Fla., native of Cuban American descent has been working in dance, video, and visual art, in addition to music, since moving to NYC eight years ago, where she studied at the Merce Cunningham dance studio and recently received a master’s in interactive technology at New York University’s Tisch School of the Arts. And she’s traveled far —aesthetically and geographically — from her sun-baked teen years in Miami, listening to grunge on the radio and flailing at her guitar as part of Rat Bastard’s Laundry Room Squelchers.

Her first tour with the noise group at 18 led to some "permanent damage, for sure," she says with a chuckle, speaking by phone from NYC. "I was really young and in high school, so it was just really amazing that someone invited me to go on a stage and I could play whatever I wanted. Basically there was no judgment passed, ever."

A dancer since age six, Garcia began composing music and dance at around the same time, so it was natural that one medium informed the other. Garcia’s 2007 dance piece, No Keys, for instance, juxtaposed frugging and head-banging rock moves drawn from Tina Turner and Iggy Pop with lyrics from the Slits and John Holt, beneath one of the musician’s wall-size drawings. Another work, 2005’s localstwang, saw Garcia moving and making music simultaneously, using contact mics attached to effects pedals and amps. That sense of play will factor into Garcia’s Mission Creek show — a first for her as a solo live performer: it will involve guitar, oscillators, and perhaps other "random instruments in the space," she offers. "I like to stay sort of open. Oh, also some movement. It’s hard not to move when there’s music playing."

NANCY GARCIA

With Fishbeck/Duplantier, Jane(t) Pants, and Kunsole

Fri/18, 8 p.m., $5–<\d>$15 sliding scale

New Langton Arts

1246 Folsom, SF

(415) 626-5416

Get the Drift

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If you haven’t caught wind of the Drift, maybe you should take that coat off. This San Francisco outfit’s instrumental rock creeps deftly outward and upward into an exhilarating, rapidly unfolding sprawl, channeling dub and old school jazz fusion in its whirring excursions.

Over the phone from SF, Danny Grody, the group’s guitarist and keyboardist, happily talked about the band’s inception and recording their second album, Memory Drawings, released in April on Temporary Residence. The Drift began as a trio — including Grody; drummer Rich Douthit; and Trevor Montgomery, who later left to focus on his main project, Lazarus — coalescing tangentially to the buzzing prog-scape of Tarentel into a group with a more contemplative and spacious jazz-like dynamic. Thanks to trumpeter Jeff Jacobs’ entrance through an ad on Craigslist and the upright bass playing of Safa Shokrai, the lineup that produced 2005’s Noumena (Temporary Residence) and Memory Drawings came together.

"With our older songs, parts tended to linger a bit in the ether before they settled," said Grody, who points out that the trumpet and guitar carry the melody in tandem this time out, while the whole ensemble tightened the shifts between the "more structured elements and the more amorphous, abstract spaces" of their music. Tracks like "Golden Sands" are delightfully reminiscent of the sighing final two albums from Talk Talk: brushed drums and airy, delayed guitar work are overlaid with ghostly trumpet smears and keyboards that could have been on Terry Riley’s Rainbow in Curved Air (Columbia, 1967).

Recorded with Jay Pellicci at Tiny Telephone in SF, Memory Drawings sports a title inspired by Donal Mosher’s sleeve art, which depicts a Colter Jacobsen photograph of a moon-flash on a dark ocean at two levels of remove — a pencil drawing in an LP sleeve composed from memory of the photograph, and a second drawing rendered from a memory of the prior memory. These "memory drawings" are eerily similar to, as Grody points out, the band’s own approach to recording and live performance: their collective memory of their songs, free-form in length and in varying stages of completion, ultimately determines their recorded and performed shapes. Boasting an "arsenal of fragments" alongside more finished grooves, Grody explains, the Drift "tried to cover the spectrum from really defined pieces to things that are more skeletal" in laying their efforts to tape. These songs remain in continual drift, highlighting the beauty possible when music forges new space within the sometimes serendipitous gaps of memory.

The Drift

With Christopher Willits, Mi Ami, Tussle, and Eyes

July 17, 9 p.m., $8

Gray Area Gallery

1515 Folsom, SF

www.mcmf.org

Support SF’s Clean Energy Act

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EDITORIAL The long-awaited charter amendment that would transform San Francisco’s energy policy will come before the Board of Supervisors within the next few weeks. The measure, known as the Clean Energy Act, deserves strong support.

The proposal is fairly simple, but far-reaching. It includes ambitious targets for reductions in greenhouse gas emissions and a mandate that the city shift to entirely renewable electricity by 2040. That would turn Mayor Gavin Newsom’s green city rhetoric into enforceable reality and put the city where it ought to be — in the forefront of global efforts to end reliance on fossil fuels.

And the sponsors of the charter amendment, Sups. Ross Mirkarimi and Aaron Peskin, realize that the only way the city will ever get serious about sustainable energy programs is to get rid of Pacific Gas and Electric Co.’s monopoly and shift to a publicly-run local utility.

The measure would, for the first time, create a detailed municipal energy policy and put control of the city’s energy future in the hands of city officials, not those of a private corporation. The San Francisco Public Utilities Commission would have a mandate to ensure that by 2017, 51 percent of the electricity used in the city came from renewable sources. By 2030 that number would rise to 75 percent, and by 2040 the city would be seeking a 100 percent renewable portfolio. (Energy from the city’s existing Hetch Hetchy hydroelectric project would count as renewable power, and since Hetch Hetchy already covers a significant percent of the municipal load, the targets are entirely reasonable.)

The PUC would have to prepare a report every two years advising the supervisors on how it is moving to meet the targets.

The measure also directs the PUC to come up with a plan to put San Francisco into the business of retail electric power. That’s something activists have been pushing for since the 1920s. The federal law that gave the city the unique right to build a dam in a national park additionally mandated that San Francisco use the electricity from the dam to establish a public power system. The city has been in violation of the Raker Act for some 90 years now. As we’ve reported in numerous stories going back to 1969, the city built the dam in Yosemite and managed to construct a world-class municipal water system — but PG&E, through bribery, corruption, and political influence, hijacked the dam’s electric power. Although San Francisco is the only city in the nation with a federal public-power mandate and one of the few that owns and operates a major public hydroelectric project, residents and businesses are still stuck with PG&E’s soaring rates and lousy service.

And PG&E — which uses fossil fuels for much of its power and operates a nuclear plant — won’t make even the state’s mild mandate of 20 percent renewable energy by 2010.

Public power cities all over California have lower rates and better service. The Sacramento Municipal Utility District, one of the largest public power systems in the state, is a national leader on renewable energy and conservation efforts. And public power makes tremendous economic sense: a municipal utility would bring tens, maybe hundreds of millions of dollars per year into the city’s coffers. That money could be invested in solar, wind, and tidal energy, and some could go to reduce the structural budget deficit that haunts City Hall every year.

PG&E is already nervous about the prospect of a renewable energy and public power measure passing this fall, and has cranked up a campaign of lies and misinformation. The news media are already starting to pick up the pro-PG&E stance — the San Francisco Business Times is running a "poll" on public power that leads off with the tired old claim that "San Francisco can’t make the buses run on time. But it can find power to keep the lights on?" (A bit of reality here: urban bus systems are tough to run because they lose money. Public power systems make money. The lights stay on in Sacramento, Palo Alto, Los Angeles, Alameda, Santa Clara, and a lot of other cities — and the people who live there pay less, get more reliable service, and are more likely to see reductions in greenhouse gas emissions.)

Six votes are needed to put the Clean Energy Act on the ballot. Any supervisor who doesn’t support it will forever be known as someone who puts the interests of PG&E ahead of the needs of San Francisco, the nation, and the planet.

Bootie turns five!

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Holy crap. Has it really been five years since DJs Adrian and Mysterious D started their Bootie mashup parties right here in SF? Since then, the bi-weekly parties at DNA Lounge have become one of the city’s favorite dance nights — and Bootie parties have become an international phenomenon.

Whether you like mash-ups or not (and I wholeheartedly do), it’s hard not to appreciate the work and dedication this DJ team have put into making Bootie ground zero for mashup culture.

Celebrate with them at their biggest party yet, this Saturday. The night features special performances by A&D, a retrospective of mashup history by stellar live mashup band Smashup Derby, an upstairs lounge dedicated to cover songs, and several performances by artists like Felicia Fellatio, Trixxie Carr, and members of SF Boylesque.

BOOTIE 5-Year Anniversary Party
Saturday, August 9
9pm, $10-$15
DNA Lounge
375 11th St., SF
www.bootiesf.com

Bootie.jpg

Local Heroes

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Del Martin and Phyllis Lyon


Del Martin, left, and Phyllis Lyon
 

Del Martin and Phyllis Lyon have lived active lives — although “activist” would be the better word. One, the other, or both have been founding members of the Daughters of Bilitis, the Alice B. Toklas Democratic Club, the Council on Religion and the Homosexual, and Old Lesbians Organizing for Change. Martin, 87, was the first lesbian elected to a position in the National Organization for Women, where she was also the first to assert that lesbian issues are feminist issues. Lyon, 83, edited the Ladder, the first magazine in the United States devoted to lesbian issues. And together, it seems, there’s little they haven’t done, from coauthoring books to becoming the first gay couple in the nation to legally marry on Feb. 12, 2004, almost 50 years to the day they first became a couple.

Deemed void later that year, their marriage was reconstituted this June when the California Supreme Court ruled that same-sex marriage is, in fact, legal. Once again, Martin and Lyon were the first in line to tie the knot.

But gay marriage wasn’t the right they were fighting for when their relationship began back in 1954. “We had other, bigger issues. We didn’t have anything in the ’50s and ’60s,” Lyon recalls. “We were worried about getting a law passed to disallow people from getting fired or thrown out of their homes for being gay.”

Even something as simple as having a safe space to congregate was elusive. Before the mid-1950s, the only organizations that dealt with gay issues were run by and focused on men. So Martin and Lyon, along with a few other lesbian couples, founded the Daughters of Bilitis in 1955. “We would meet in homes, dance, and have drinks and so on, and not be subject to police raids, which were happening then in the gay and lesbian bars,” Lyon said. Those informal get-togethers eventually became the first lesbian organization with chapters nationwide.

They say their activism isn’t something that was sparked by their gender and sexuality, but came from being raised in politically conscious homes — Lyon in Tulsa, Okla., and Martin in San Francisco. When they met, working at the same company in Seattle, “both of us were already politically involved,” Lyon says.

“Really, ever since we were kids,” Martin adds. “You followed elections. You followed things like that. We wore buttons for Roosevelt. We couldn’t send money because we didn’t have any.”

“And then when we both moved in together, in San Francisco, the first thing we did was get involved with Adlai Stevenson,” Lyon says. They quickly got to know the major Democratic movers and shakers in the city, like the Burton family and later Nancy Pelosi, whom they would eventually turn to when there were gay issues that needed a push.

“We didn’t come out to everybody, but we came out to Nancy and the Burtons,” Lyon says.

These days age has tamped down the physically active part of their political activism, although they still donate money and were ardent Hillary Clinton supporters during this year’s Democratic primary race. They’re now backing Barack Obama over John McCain, though Martin expressed reservations. “I’m waiting to see how he handles the question about women and women’s rights. I’m not satisfied yet.”

Amanda Witherell

 

Local hero

Alicia Schwartz


Alicia Schwartz
 

Whether she’s demanding sit-down time with the mayor to discuss asbestos dust at Hunters Point Shipyard, offering to debate former 49ers president Carmen Policy over the need to develop 50 percent affordable housing in the Bayview, or doing the cha-cha slide on Third Street to publicize the grassroots Proposition F campaign, which fought the Lennar-financed multimillion-dollar Proposition G on the June ballot, Alicia Schwartz always bubbles with fierce enthusiasm.

“I absolutely love my job,” says Schwartz, who has been a community organizer with POWER (People Organized to Win Employment Rights) for four years.

Born and raised in Marin County, Schwartz graduated from the University of California, San Diego, with a degree in sociology and anthropology before returning to the Bay Area, where she is enrolled in San Francisco State University’s ethnic studies graduate program and works for the San Francisco–based POWER.

“It’s an amazing organization full of amazing people, united for a common vision, which is ending oppression and poverty for all,” says Schwartz. “In cities, the priorities are skewed to benefit folks who are wealthier and have more benefits. But the folks who keep the city running are not recognized or are suppressed.”

Prop. F wasn’t Schwartz’s first campaign experience. She had previously organized for reproductive justice, for access to health care and sexual-health education, and against the prison-industrial complex.

But it was the most inspirational campaign she’s seen so far.

“I saw the Bayview transformed,” Schwartz explains. “I saw people who’d lost faith in politicians come to the forefront and fight for the future. And I saw people across the city rallying in support, too.”

Schwartz acknowledges that Prop. F didn’t win numerically.

“But practically and morally, and in terms of a broader vision, Prop. F advanced the conversation about the future of San Francisco, about its working-class and black future,” Schwartz says. “Clearly, that fight isn’t over. It’s just beginning.”

Schwartz says she believes that the other success of Prop. F is that it raised the question of who runs our cities.

“And I think it was a huge victory, even being able to accomplish running a grassroots campaign, with no money whatsoever and where we had to up the ante, in terms of getting to know some of the political establishment.”

Most of all, Schwartz says she appreciated being able to work with people who hadn’t been part of POWER.

“And I appreciated being able to advance a set of demands that a broad range of people could support, while keeping the Bayview and its residents at the forefront,” she says.

While that particular campaign may be over, the battle for Bayview–Hunters Point continues on many fronts, says Schwartz.

“Are we going to allow it to be run by developers who don’t have our best interests at heart and who fool us with payouts and false promises?” she asks. “Are we going to allow San Francisco to become a place where people can’t afford to live, but surely have to come to work?”

Amanda Witherell

Local hero

James Carey, Daniel Harder, and Jeff Rosendale


From left, Daniel Harder, James Carey, and
Jeff Rosendale
 

It would be unfair to give any one person credit for stopping the state’s foolish plan to aerially spray synthetic pheromones to eradicate the light brown apple moth (LBAM). Thousands were involved in that struggle.

But there are at least three individuals we can think of who successfully fought the state with science, a tool that too often is used to dupe, not enlighten, the public.

They are James Carey, a University of California, Davis, entomology professor; Daniel Harder, botanist and executive director of the UC Santa Cruz Arboretum; and Jeff Rosendale, a grower and horticulturalist who runs a nursery in Soquel.

Together and separately, this trio used experience, field observation, and fact-finding tours to make the case that the California Department of Food and Agriculture (CDFA) would court disaster, in terms of lost time, money, and public goodwill, if it went ahead with the spraying.

And they did so at a time when UC, as an institution, remained silent on the matter.

“I felt like I needed to do this. No one was stepping up from a position of entomological knowledge,” says Carey, whose prior work on an advisory panel working with state agencies fighting the Mediterranean fruit fly between 1987 and 1994 led him to speak out when the state sprayed Monterey and Santa Cruz counties last fall.

Carey says the signatures of two UC Davis colleagues, Frank Zalom and Bruce Hammock, on a May 28 letter to the US Department of Agriculture also helped.

“All of us are senior and highly credentialed scientists,” Carey notes, “so our letter was taken really seriously by the agriculture industry.”

Rosendale and Harder had taken a fact-finding tour last December to New Zealand, which has harbored this leaf-rolling Australian bug for more than a century, to find out firsthand just how big of a problem the moth really is.

“We wanted to get the best information about how they were dealing with it, and what it was or wasn’t doing,” Rosendale recalls. What he and Harder discovered was that New Zealand had tried using organophosphates, toxic pesticides, against the moths — but the chemicals killed all insects in the orchards, including beneficial ones that stopped parasites.

“When they stopped using organophosphates, the food chain took care of the LBAM,” Rosendale says.

Like Carey and Rosendale, Harder believes that the state’s recently announced plan to use sterile moths instead of pesticides is a lost cause. He says it’s impossible to eradicate LBAM at this point because the pest is already too widespread.

“It’s not going to work, and it’s not necessary,” Harder says.

And now, Glen Chase, a professor of systems management specializing in environmental economics and statistics, says that the CDFA is falsely claiming that the moth is an emergency so it can steal hundreds of millions from taxpayer emergency funds.

“The widespread population of the moth in California and the specific population densities of the moth, when analyzed with real science and statistics, dictate that the moth has been in California for at least 30 to 50 years,” states Chase in a July 15 press release.

The state has put spraying urban areas on hold, but the battle isn’t over — and the scientists who have gone out on a limb to inform the public are still on the case.

Sarah Phelan

 

Local hero

Queer Youth Organizing Project


From left, Fred Sherburn-Zimmer,
Josue Arguelles, Jane Martin, Vivian Crocket,
Justin Zarrett Blake,
Joseles de la Cruz, and Abel-Diego Romero
 

The queer-labor alliance Pride at Work, a constituent group of the AFL-CIO, added a youth brigade last year, and it’s been doing some of the most inspired organizing and advocacy in San Francisco. The Queer Youth Organizing Project can marshal dozens of teen and twentysomething activists with a strong sense of both style and social justice for its events and causes.

Founded in March 2007, QYOP has already made a big impact on San Francisco’s political scene, reviving the edgy and indignant struggle for liberation that had all but died out in the aging queer movement. Pride at Work has also been rejuvenated and challenged by QYOP’s youthful enthusiasm.

“It really is building the next generation of leaders in the queer community, and man, are they kick-ass,” says Robert Haaland, a key figure in both Service Employees International Union Local 1021 and Pride at Work. “Pride at Work is now a whole different organization.”

QYOP turned out hundreds of tenants for recent midday City Hall hearings looking at the hardball tactics of CitiApartments managers, an impressive feat that helped city officials and the general public gain a better understanding of the controversial landlord.

“They have a strong focus on tenant issues and have done good work on Prop. 98 and some tenant harassment legislation we’ve been working on,” says Ted Gullickson, director of the San Francisco Tenants Union. “They really round out the coalition between tenants and labor. They do awesome work.”

In addition to the energy and numbers QYOP brought to the campaign against the anti–rent control measure Prop. 98, the group joined the No Borders encampment at the Mexican border in support of immigrant rights and turned a protest against the Human Rights Campaign (which angered some local queers for supporting a workplace rights bill that excluded transgenders) into a combination of pointed protest and fun party outside the targeted group’s annual gala dinner.

“It’s probably some of the most interesting community organizing I’ve seen in San Francisco,” Haaland says. “It’s really made a difference in our capacity to do the work.”

As an added bonus in this essentially one-party town, QYOP is reaching young activists using mechanisms outside the traditional Democratic Party structures, an important feature for radicalized young people who are wary of partisan paradigms. And its members perhaps bring an even stronger political perspective than their Party brethren, circulating reading lists of inspiring thinkers to hone their messages.

Haaland says QYOP has reenergized him as an activist and organizer: “They’re teaching me, and it’s grounding me as an activist in a way I haven’t been for a long time.”

Steven T. Jones