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Year in Music: Too many Top 10s

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MOCHIPET’S TOP 10 NOT RELATED TO HIMSELF OR DALY CITY RECORDS


SOLO ARTIST, DALY CITY RECORDS


1. A-Trak, Dirty South Dance (Obey)

2. Dan Deacon, Spiderman of the Rings (Carpark)

3. High on Fire, Death Is This Communion (Relapse)

4. Chris De Luca vs. Phon.o, Shotgun Wedding Vol. 7 (Violent Turd)

5. Ludicra, "In Fever," Sonic Terror Surge 2007 (Alternative Tentacles)

6. Nanos Operetta

7. Larytta, Ya-Ya-Ya (Creaked)

8. GoldieLocks

9. Edaboss, "Go Left" (featuring Gift of Gab and Lateef) (Om)

10. edIT, Certified Air Raid Material (Alpha Pup)

BEN CHASNY’S TOP 10


SIX ORGANS OF ADMITTANCE, COMETS ON FIRE, BADGERLORE


1. Sapat, Mortise and Tenon (Siltbreeze)

2. Blues Control, Blues Control (Holy Mountain)

3. Axolotl, Telesma (Important)

4. Loren Connors, As Roses Bow: Collected Airs 1992–2002 (Family Vineyard)

5. Earth, Hibernaculum (Southern Lord)

6. Om, Pilgrimage (Southern Lord)

7. Daniel Higgs, Ancestral Songs (Holy Mountain)

8. Magik Markers, Boss (Ecstatic Peace)

9. Son of Earth, Pet (Apostasy)

10. Grinderman, Grinderman (Anti-)

BART DAVENPORT’S TOP 10


SOLO ARTIST, HONEYCUT


1. Sugar and Gold, Crème (Antenna Farm)

2. Nedelle, The Locksmith Cometh (Tangram 7s)

3. Sharon Jones and the Dap-Kings, 100 Days, 100 Nights (Daptone)

4. Rilo Kiley, Under the Blacklight (Warner Bros.)

5. St. Vincent, Marry Me (Beggars Banquet)

6. Arthur and Yu, In Camera (Hardly Art)

7. The Fiery Furnaces at Fernwood Lodge, Big Sur, Oct. 20

8. Vashti Bunyan at Central Presbyterian Church, Austin, Texas, during South by Southwest, March 15

9. Von Iva at the Uptown, Oakl., Nov. 9

10. Ghostland Observatory at Mezzanine, Nov. 29

RICHIE UNTERBERGER’S TOP REISSUES


WRITER


1. Pentangle, The Time Has Come: 1967–73 (Sanctuary/Castle)

2. Fairport Convention, Live at the BBC (Universal)

3. Various artists, Love Is the Song We Sing: San Francisco Nuggets 1965–1970 (Rhino)

4. Dusty Springfield, Live at the BBC DVD (Universal)

5. Various Artists, The American Folk-Blues Festival: The British Tours 1963–1966 DVD (Hip-O)

6. The Blossom Toes, We Are Ever So Clean (Sunbeam)

7. The Zombies, Into the Afterlife (Big Beat)

8. The Incredible String Band, Across the Airwaves: BBC Radio Recordings 1969–1974 (Hux)

9. Various artists, Stax/Volt Revue: Live in Norway 1967 DVD (Concord)

10.Various artists, The Birth of Surf (Ace)

JUMBO’S TOP 10


LIFESAVAS


1. Kanye West and Lifesavas at Quebec City Festival, July 5–15

2. Jill Scott, "Crown Royal," The Real Thing: Words and Sounds Vol. 3 (Hidden Beach)

3. Talk to Me with Don Cheadle

4. Little Brother, "Step It Up," Getback (ABB)

5. My Brother Marvin musical

6. Prince, Planet Earth (Sony)

7. Nas with Snoop Dogg at Mezzanine, after the Warriors eliminated Dallas, May 3

8. Rolling Stone picks Lifesavas for "Ten Artists to Watch in 2007"

9. Kanye West, "Stronger," Graduation (Roc-A-Fella)

10. Ledisi’s 2008 album

WEASEL WALTER’S TOP 10


FLYING LUTTENBACHERS, XBXRX, BURMESE


1. The Peter Evans Quartet, The Peter Evans Quartet (Firehouse 12)

Peter Evans is one of the few musicians I’ve ever seen that have made my jaw drop. Trust me on this one.

2. Marnie Stern, In Advance of the Broken Arm (Kill Rock Stars)

She came out of nowhere, playing some unholy mixture of girlie indie pop and Orthrelm, and kicked all of our asses.

3. Mayhem, Ordo ad Chao (Season of Mist)

The gods of Norwegian black metal get weirder and better.

4. The Films of Alejandro Jodorowsky DVD box (Starz/Anchor Bay)

Essential metasurrealism from this filmic genius at an insanely low price.

5. Miles Davis, The Complete On the Corner Sessions (Sony Legacy)

Insanely lavish box from Davis’s notorious 1972–74 period, during which rhythm and skronk ruled.

6. The Films of Kenneth Anger, Vol. 1 and Vol. 2 DVDs (Fantoma)

Pure eye candy for psychos.

7. The Flying Luttenbachers, Incarcerated by Abstraction (ugEXPLODE)

I would be lying if I didn’t tell you this was the best album released this year. It will destroy you with its dissonant structural complexity.

8. Hawkwind

I recently began overdosing on the early output of this mythic ur-metal space-rock juggernaut, particularly when Lemmy was with them.

9. StSanders’s Shred videos on YouTube

Honestly, I don’t think I’ve laughed as hard and long this year at anything else. Viva la suck!

10. Zs, Arms (Planaria)

This rigorously intense new music group from New York keeps delivering the rock with staggering precision.

Year in Music: Hot tomboy love

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I’ve been slowly falling out of love with pop in 2007. The ambulance-chasing addictions of the late George W. Bush era are sick. But I’ve been slowly falling more and more in love with Keyshia Cole.

Not only is Cole the only pop star I care about, but she’s also an Oakland-raised inspiration. Not only am I kinda crushed out on her, but I’ve also been looking to her as an example of how to live better. Cole’s sophomore album, Just like You (Geffen), is being outsold by Alicia Keys’s As I Am (Sony), but the grade school girls singing "Love" on YouTube understand that Keys’s "No One" affectedly imitates the so-raw-it’s-off-key stance of Cole’s 2005 breakthrough ballad, a diary-true piece of songcraft that brought back Stacy Lattisaw’s heyday. Like "Love," Cole’s "Fallin’ Out" — pop song of the year, hands down — reveals more emotion and insight with each listen.

A major reason: the fills. Those little threaded backing vocals, usually provided by the lead vocalist, define contemporary R&B. Mary J. Blige mastered them on her superb first three albums: check out the soul-wrenching bridge of "Mary’s Joint" on 1994’s My Life (MCA) to hear how deeply a track’s so-broken-it’s-frightening heart can be hidden. Cole has studied Blige instead of the narcissistic, self-applauding lesser talents of neosoul. That much was clear at a concert this year when I heard her sing Blige’s favorite covers, including fellow Oakland girl Chaka Khan’s "Sweet Thing." It’s more subtly apparent at the end of Just like You‘s "Give Me More": Cole hums the woebegone final fill of "I Love You," a track from My Life that taps into Billie Holiday’s spirit more genuinely than any of the countless weak-peeping chicks who’ve tried baby pool–shallow impersonations of Lady Day.

The fills are the little treats that reveal themselves on the 25th listen, the new shivers you discover on a song that was already your favorite because of its catchiness. For a lot of contemporary R&B stars, especially the kind who don’t need a wig to sport putf8um hair, fills or backing harmonies are a chance to show off and yell. But for early Blige and now for Cole, a fill or a backing harmony is a chance to testify and bring out a whole other side of a song’s story. Dig beneath the Pussycat Dolls gloss that executive producer Ron Fair brings to Just like You, and the examples are abundant: the weary and wary "Now you’re comin’ back this way" she adds just before the chorus of "Didn’t I Tell You"; the way her voice picks up intensity with each word of the verse in "Get My Heart Back," a my-life-in-song autobiographical track as stormy as Shara Nelson–era Massive Attack, but deeper; and, most of all, those final moments of "Fallin’ Out" right before and after she cries out, "I’m tired of giving my all."

The other thing about Cole that has made me even more of a full-on fan is her BET show. Keyshia Cole: The Way I Is is the black answer to the ’70s TV documentary An American Family, the superior PBS prototype of almost all reality TV shows. It brings her together with her sister Nefe and mother Frankie, who has been to prison as many times as Keyshia has ticked off years of her life. Keyshia lets them act out; she keeps a poker face and sports an array of hot tomboy looks while demonstrating a wisdom beyond her years. In one episode she matter-of-factly decides no men should be allowed in the house they share, a pragmatic move that flies in the face of any crossover poses. Over time it’s become poignantly clear to me that Just like You‘s collage cover portrait and title track are addressed to Cole’s mother and sister more than to any lover or listener. At this point in her life and career, she is secure enough in her beauty and talent to speak plain logic in her lyrics and stay independent. When she recently talked about her Etta James–like lineage and her fatherless upbringing on Tyra, that show’s dreaded host was clearly intimidated by her smarts and lack of fakery.

Flicking channels while recuperating from a broken wrist this summer, I saw Kanye West and some forgettable MC or producer hyping themselves on one of MTV’s channels. They were being interviewed on the corner of a requisite rough-looking city block when a man yelling from a window many stories above interrupted their sales shtick. "Can you give me Keyshia’s phone number?" the guy asked.

I second that.

A DOZEN NEW FAVES


•Arp, In Light (Smalltown Supersound)

•Gui Boratto, Chromophobia (Kompakt)

•Keyshia Cole, Just like You (Geffen)

•Kathy Diamond, Miss Diamond to You (Permanent Vacation)

•Kirby Dominant, STARR: Contemplations of a Dominator (Rapitalism)

•Chelonis R. Jones, "The Cockpit" and "Pompadour" (MySpace), "Empire" with Remo (Dance Electric), and "Helen Cornell" with Marc Romboy (Systematic)

•Dominique Leone, "Clairevoyage" and "Conversational" (Feedelity)

•The Passionistas, God’s Boat (New and Used)

•Sally Shapiro, Disco Romance (Paper Bag)

•Sorcerer, White Magic (Tirk)

•Prins Thomas, Prins Thomas Presents Cosmo Galactic Prism (Eskimo)

Caetano Veloso, (Nonesuch)

Year in Music: Lady day and night

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› kimberly@sfbg.com

Judging from the hoo-ha on the message boards and the late-blooming stories coursing through the mainstream media, this may have been the year the music industry business model truly broke. In a boldly utopian and rawly realistic mood, Radiohead took their music and declared they didn’t want play with major labels any more — let the PayPal bucks fall where they may into the passed digital hat; Kanye West and 50 Cent allowed a gamers’ pseudo–sales war to eclipse any artistic statements they might’ve been making; and Britney Spears’s family-court and fashion disasters climaxed in a widely televised moment of lambasted lacklusterness before she was left, well, alone. Music sales slumped further as live music sales stirred. No wonder Madonna signed with Live Nation — save that black concert T for the Karl Stockhausen memorial, RIP.

It’s tough to find obsession material amid the music business coverage: the sounds that set you dreaming, the blood pounding, the ankles caving, and the thrills coursing down the mosh pit–spindled spine. Speaking to Nick Cave came close to triggering dry heaves for yours truly, but his all-too-human, literate gentleman–degenerate charm simply lanced a boil of long-festering obsession rather than sent me off on reveries of rabid fandom. Better to wrap my flaming neuroses around the highly visible good girl–bad girl archetypes embedded in the Alicia (Keys) and Amy (Winehouse) Show. Here’s to AA — let’s have another guzzle of Wino’s "Rehab."

Keys and Winehouse plugged into some deep doo-doo down in my teenage doghouse: I was the good-girl grind who chomped Chopin piano études when I wasn’t biting AP credits. OK, I never wept openly when I got a B, nor did I turn down a Columbia acceptance letter like the Keys-ter, but I could relate to the snippet of Nocturne no. 20 in C-sharp Minor that opens this month’s guilty obsession, As I Am (J). All about uplift and upholstered with a-mite-too-pristine, carefully calibrated R&B pop, AIA slides seductively through the holiday hokum with its anthemic, Linda Perry–cowritten "Superwoman," the Prince-like "Like You’ll Never See Me Again," and the no-muss lustiness of "I Need You." AIA lacks overall heat and inspired originality; the fact that Keys locks in with that other do-right prodigy, John Mayer, speaks volumes. Rather than hook into her natural-woman, way earthy, baby-blues-mama fire live, the type that threatened to softly blast Beyoncé off the Oracle Arena stage three years ago, La Keys is much too good a girl, making all the right moves, to break with the machine. Tellingly, she’s framed by a music-box mechanism in the video for AIA‘s first single, "No One." Agonizingly, ecstatically curled to within an inch of Diana Ross’s Mahogany, Keys stares into the distance like an anesthetized, perfectly blank, pretty doll.

Likewise, I can completely identify with the bad-girl train wreck embodied by Winehouse, howling in a red bra on the street and perpetually hiking up her low-riding denim in concert. Who hasn’t dreamed of cutting class, reviving trash, and dropping the high-achiever act? It’s far more dramatic to star in your own disaster movie, all puffy and tatted with throwback cuties, teased like girlgrouped Ronnie Spector and girl gang–inspired Priscilla Presley by way of Tura Satana, while tacked out in yesterday’s greaser girl garb. Winehouse is the politically incorrect, highly visible dark side of the feminine pop principle; she’s both original and so very not — what with her borrowed looks, band, and sound. Embroiled in a destructo-dance with her Pete Doherty–ish bad-boy hubby, Blake Fielder-Civil, Winehouse has been imploding in the spotlight since the year began with a bang of hype for Back to Black (Island/Universal). Like Spears, she caters to our obsession with woman as time bomb — all foibles, frailties, and fuckery — and helpfully provides a textbook case in cultural appropriation and modern day blackface, from her style to her album title to her lyrics. What are the uses of visualizing and verbalizing postfeminist shame and self-hatred while looking back at pop history, à la Winehouse’s "You Know I’m No Good"? Are these ways to inject new danger — or backhanded authenticity — into the predictable girl group–girl singer machination? Just turn to this fall’s Aretha Franklin compilation, Rare and Unreleased Recordings from the Golden Reign of the Queen of Soul (Rhino/Atlantic), to find that bad can ring as contrived as good. True soul just sings for itself.

TOPS IN 2007


Rhythm method: Aesop Rock, None Shall Pass (Definitive Jux); Battles, Mirrored (Warp); OOIOO, Taiga (Thrill Jockey)

Soft shuffle: Bill Callahan, Woke on a Whaleheart (Drag City); Charlotte Gainsbourg, 5:55 (Vice), Mariee Sioux, live

Popping out: the Besnard Lakes, The Besnard Lakes Are the Dark Horse (Jagjaguwar); Lavender Diamond, Imagine Our Love (Matador); Of Montreal, Hissing Fauna, Are You the Destroyer? (Polyvinyl)

I hear rainbows: Black Moth Super Rainbow, Dandelion Gum (Graveface); Radiohead, In Rainbows (self-released); White Rainbow, Prism of Eternal Now (Kranky)

The Davis family reissue korner: Betty Davis, Betty Davis (Light in the Attic); Miles Davis, The Complete On the Corner Sessions (Sony Legacy)

Will trade thought for food

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› a&eletters@sfbg.com

"If music be the food of love, let’s party" goes the catchphrase for TheatreWorks’ holiday production of William Shakespeare’s Twelfth Night, or What You Will. As this jiggering with Orsino’s famous opening line suggests, artistic director Robert Kelley takes the Bard’s invitation to do "what you will" as a license to rock, with a San Francisco Summer of Love theme meant to warm the cockles on a winter’s eve. It’s a theme the show’s producers run with at full tilt. But then, summers in this city can be pretty chilly too.

Things start boldly enough, at least visually. Scenic designer Andrea Bechert’s canny quoting of ’60s surrealism — namely, a studied blend of Yellow Submarine–like fantasia and Peter Max–style Haight-Ashbury poster art — ensures it’s an eminently psychedelic set of TV game show proportions that greets visitors to Palo Alto’s Lucie Stern Theatre. The costumes (lovingly created by Allison Connor) meanwhile reference equally emblematic threads. Hence, the luridly colorful, invariably bell-bottomed cast strike instantly recognizable rock star poses.

Predictable bursts of canned period rock come augmented with some winsome live music, courtesy of composer Paul Gordon (writer-composer of TheatreWorks’ recent world-premiere musical, Emma) and performed by a trio of actors. They are led by the tuneful and sharp (dramatically speaking) Patrick Alparone as Feste the clown, with Michael Ching and Clive Worsley playing backup on guitar, bass, and some of the fool’s lines while also handling the parts of the Captain and Antonio, respectively.

In place of an opening storm at sea, we get a smoking hippie van protruding from the wings. This period vehicle of choice substitutes for the shipwrecked vessel that casts asunder Shakespeare’s twins Viola (Carie Kawa) and Sebastian (Rafael Untalan), each to wander the isle of Illyria (read as the Upper Haight) thinking the other dead. Kawa’s chirpy Viola wastes little time mourning her bro, instead bounding into the cross-dressing role of Cesario (a move primed to cause much Shakespearean confusion and subversion) so she may serve local ruler Orsino (Michael Gene Sullivan), the lovesick duke she secretly loves. She becomes his proxy in wooing the unyielding Lady Olivia (a fiery, formidable Vilma Silva), in mourning for her own brother and father. Of course, Viola’s charms as Cesario turn the lady’s head, but in the wrong direction.

In keeping with a theme run amok, Sullivan’s Orsino is outfitted like Jimi Hendrix, and Viola-Cesario sports a Sgt. Pepper jacket. Some of these costumes work better than others. Sullivan’s decidedly cool but never frivolous Orsino manages to wear his outfit with a measure of conviction. Meanwhile, Olivia’s kinsman Sir Toby Belch (Warren David Keith), ridiculously done up in stringy long hair, a leather vest, and beads, is a slightly shaky Wavy Gravy. It’s a vague distraction from Sir Toby’s bluster and plotting with his inept pal Sir Andrew Aguecheek (an expertly cloddish Darren Bridgett) and Olivia’s lady-in-waiting, Maria (Shannon Warrick), to show up the household’s buzz kill, Malvolio (Ron Campbell).

Only this comical villain, appropriately enough, breaks the dominant color-and-inseam scheme with his subdued but fastidious attire (that is, before he’s snookered into prancing around before Olivia in yellow tights). And Campbell’s Malvolio is something of a standout in general, with his juicy personification of smug intolerance, foolish flirting, and outraged dignity. In fact, all Campbell has to do is roll his mouth around a vowel, cast a supercilious glance backward, or mumble an aptly gloomy Simon and Garfunkel lyric to have the audience guffawing.

But even with lots of willing talent among the cast, and even with Gordon’s catchy original musical settings, the spectacle is all surface. This is hardly a silent night, but the comedy on parade provokes less cheer than you might expect. At the same time, in all the dizzy ’60s shtick, the play’s undertones and poetry, while never entirely lost, can come across rather mutedly.

Of course, this is not really the 1960s anyway, but a mere facsimile of 1960s motifs. It remains a two-dimensional backdrop, devoid of strife, politics, idealism, suffering — anything that would smudge the pristine scenery or harsh your mellow this politically bleak holiday season.

TWELFTH NIGHT

Through Dec. 23

Tues.–Wed., 7:30 p.m.; Thurs.–Sat., 8 p.m. (also Sat, 2 p.m.); Sun, 2 and 7 p.m.; $20–$56

Lucie Stern Theatre

1305 Middlefield, Palo Alto

(650) 903-6000

www.theatreworks.org

Presidio gets a Starbucks

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› news@sfbg.com

GREEN CITY First came the troubling mandate that the Presidio needed to break even financially, a new model for a national park area. Then came the Starbucks. That’s right: the Guardian has learned that a Starbucks will open next month in the Presidio’s Letterman Digital Arts Center, replacing locally owned Perk Presidio.

The new Starbucks — and all it represents — has raised the ire of both park and city activists. Scott Silver, executive director of Wild Wilderness, based in Bend, Ore., is concerned that the Presidio’s self-funding requirement is a harbinger of things to come across federal land management agencies. He says other properties following the Presidio model include Fort Baker in Marin, Sandy Hook in New Jersey, Valles Caldera National Preserve in New Mexico (Forest Service land), and Fort Monroe in Virginia.

"It brings the entire standard of our national park system down from a high pedestal to a pretty base commercial reality," Silver said. "I just look at the Presidio as the first in what I fear will be a long chain of national parks that move away from the model of a publicly funded public good to a privately funded, largely commercial extension of our commercial world that’s really not in any way what we associate with national parks."

City activists point to Proposition G, which passed by a healthy 16 percent margin in 2006, requiring formula retail stores to get conditional use authorization from the Planning Commission before opening in neighborhood commercial districts. Richmond District residents demonstrated the power of this legislation in September by blocking a Starbucks slated for Fifth Avenue and Geary.

Dean Preston, a neighborhood activist and attorney launching a statewide organization called Tenants Together, said, "The law specifically applies to neighborhood commercial districts, but I think those same people who live in neighborhood commercial districts are using the Presidio, which is here in their backyard. I think that whether or not [Letterman Digital Arts] is subject to local law on the issue, they should be taking into account that city sentiment when deciding what kind of businesses to lease there."

Raul Saavedra, leasing director for Letterman Digital Arts, told us he didn’t know about Prop. G but that the company is aware that some people have opinions about Starbucks. That’s why the LDA originally selected Perk Presidio for the space. "We wanted someone like that to be successful," Saavedra said. "And they weren’t, unfortunately."

So the LDA decided to look for a new vendor, considering sole proprietors and local and national chains. Saavedra said the smaller operators he considered had credit issues and concerns about making the location successful. He said the key factors in selecting Starbucks were its strong credit, good service, and solid sustainability program.

Dana Polk, the Presidio Trust’s senior adviser for government and media relations, said that as master tenant, the LDA is free to sublet that space to any company it chooses. Nevertheless, Saavedra indicated that the LDA anticipated possible concerns with choosing Starbucks: "We went to the trust before we signed the deal with Starbucks, because we knew that there would probably be some opinions. And at that time there was no problem."

This will not be the first national park area to host a Starbucks. That dubious honor goes to the San Francisco Maritime National Historic Park, which since October 2004 has housed a Starbucks as a subtenant of Kimpton Resorts in its Hazlett Warehouse, according to Shelley Niedernhofer, chief of administration and business services for the park.

However, National Park Service concessions program specialist manager Jo Pendry confirms that these Starbucks are the first examples of formula retail throughout the 391-site national park system.

Kim Winston, Starbucks manager of civic and community affairs for the western region, claimed that revenues from the Starbucks help fund National Parks Service operations, but Niedernhofer said of the Maritime Park, "We don’t receive any revenue directly from Starbucks." The Presidio arrangement will be similar.

But Preston isn’t mollified. He said, "To have a Starbucks go into the Presidio with no real public review right after a Starbucks is nearly unanimously blocked [by a Board of Supervisors’ vote] in the Inner Richmond does seem like a real contrast. The fact that there’s absolutely no public process for putting a Starbucks in such a visible spot is really a problem." *

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

Live Sushi Bar

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REVIEW When you’re looking for a restaurant in Potrero Hill, Live Sushi Bar is the proverbial needle in the haystack. But with a good location, great service, and fresh food at reasonable prices, it’s worth finding.

First of all, our server figured out I was a vegetarian when I ordered the Green Combo, and he replaced the beef-based miso soup that accompanies the combo with edamame before I had to ask. He also helped my sushi-novice companion choose a combination of rolls she’d be comfortable with.

As for the food, the vegetable tempura was nothing to sneeze at, but the sushi is really where this place shines. The highlights of my meal were the veggie swamp rolls, cucumber and avocado topped with a delicious seaweed salad that made them look like edible Fraggles curled up on my plate. My friend ordered the Roll Combo and was pleasantly surprised by the all-veggie cucumber rolls, a nice balance to the fishy tuna and crab rolls that constituted the rest of her order. The combos are certainly the best way to go: for the price of one order of rolls, you can get three different rolls, as well as miso (or edamame) and salad. Plus, everything arrives so beautifully arranged, you’ll almost feel guilty ruining the edible works of art with your chopsticks.

And an extra bonus? The women’s bathroom, which not only smells like a tropical paradise but also has a miniature village inside: ducks rowing a boat, a bridge, and little buildings all arranged in an alcove. Stuffing yourself and a friend on great sushi for $30 and then visiting a tiny fantasyland — who wouldn’t love that?

LIVE SUSHI BAR Daily, 11 a.m.–3 p.m. and 5 p.m.–late. 2001 17th St., SF. (415) 861-8610

Hey, Moped, lemme ride your two-man musical people mover

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mopedpic.JPG

By Chris DeMento

I don’t like techno. And by calling it techno, of course I mean to deride electronic music, perhaps only for effect, or maybe because I have all these negative electro-associations: the movie Swordfish, for example. There’s one. Falling asleep behind the wheel somewhere along I-90 and waking up to the white-hot snap of a lightning bolt, my buddy’s nightmarish screaming, and the Virgin Suicides score blaring an almost-swansong over factory-installed speakers – there’s another.

So when I swerved into Amnesia the other night, it was not without some degree of reluctance that I paid a $3 cover to hear Moped, a two-man electronic outfit from around the way. A couple-three soju and sodas eased me, however, into the acknowledgment of memory files long since repudiated, zipped-up, stored in the recesses of my Neuronet Processor next to my DJ Shadow penchant and those digitally manipulated nudes of Monica Seles on Blossom Russo.

All playful digs aside, I really enjoyed Moped’s stuff. They had old TV episodes of Batman playing in slow-mo on the projection screen behind them. I think I actually stooped to the cliché “I wish I were on acid right now,” such was the nature of my relish, my drunk. Peter Gavin is not so much a frontman as he is an arbiter, sequencing his live bass, sax, and synth tracks atop the viciously groovy drumming of Scott Eberhardt. Their cover of Salt and Pepa’s “Push It” was nothing short of an achievement.

Some call this stuff electro jazz. Sounds like live house to me. Whatever it is, it stoned me to beat the band. I kept hoping Gavin would pull out some nunchucks, capable multitasker that he is. What this reigning Moped boy lacks in gutter-funk, he recoups in class and taste. And the tireless Eberhardt plays with astounding feel considering all the thumping and bumping the music needs from him. OK, so maybe I’m straddling them a bit too eagerly, but it sounded tight, was expertly conceived, and is a lot less dangerous to take for a spin than the Real McCoy. Remember them? Damn that German Eurodance crap. Damn it to hell.

Iron and Wine is what happens when you’re making plans for Friday night

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By Erik Morse

So the night, Nov. 30, was a disaster of sorts but not for the reasons you’d think – and before you gag yourself with the prospect of another music review-turned personal soapbox or group session, bear with me. I’d like to think there is a point to my mawkishness. There is a certain regimen that proceeds from a typical Friday evening in the Bay that includes: 1) Driving with abandon, windows down, sunroof retracted, a hurly-burly of pre-weekend tune-age, a ritualized exorcising of the week’s frustrations, fleeting Bay vistas obstructed by billboards to the right and a swathe of mountains to the left; 2) The trickle of evening that always seem to greet you at that asymptote of the Peninsula where the sepia tones of suburbia meets the neon city with its bleary-eyed halogens and dayglo pleasuredoms; 3) A fine meal, which is to say nothing in moderation and everything in excess; and 4) A moment of love, nostalgia, tomfoolery, or any of a number of sensuous terms that might describe the simple, inexplicable pleasures that only live music can afford us – jouissance, freude, orphic plaisir, or, at the very least, “like a monkey making love to a skunk – maybe didn’t get all he wanted, but got all he could stand…”

Of course, you see, it didn’t happen that way. Driving up the 101 in Friday rush-hour has its occasional pleasures and aesthetic appeals but not when dinner reservations in the Mission and a hop-skip-jump over the Bay Bridge are timed out perfectly to coincide with Sam Beam’s performance at the Paramount. Over an hour parked in the concrete desert is a numbing death-trip. Honk. Break. Lurch. Then there’s the inevitable parking morass that is downtown SF: where one parks in the Richmond to play on Harrison – and the confusing cell-phone tag-games that often delay dinner reservations and sometimes end friendships.

Reservations cancelled, eh?

What?! 7:30 already! I’m barely through the second scotch and soda and already it’s time to move on. Back onto the road and across the great steel artery leaving the flickering night of the city before it’s even begun in earnest. Wait…wait…where’s my WALLET?!

Believe it or not, we all might learn a thing or two from Iron and Wine’s Sam Beam – namely, not to sweat the little things and embrace your quotidian flaws. His Hirsuiteness took the cavernous auditorium of the Paramount on Nov. 30 for two hours of brittle ballads and po’ boy twee pop.

Legends of the follicle

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TRIPLE FEATURE It may be hard to fathom now, but Burt Reynolds was probably the biggest movie star of the 1970s. Other actors of his generation have gained more prestige, made fewer flops, or carried above-the-title status to the grave or today (like Robert Redford, who arguably has zero marquee value left). Reynolds put up a feeble fight as his career ebbed into TV shows, supporting roles, and self-parody. But he had many hits, both high- and lowbrow. He was the first since Bing Crosby to be the top box office star five years in a row. More, he exuded the defining territorial scent of Me Decade masculinity: wearing open wide-lapel shirts with an exposed medallion, smelling of Jovan Sex Appeal ("a provocative blend of exotic spices and smoldering woods interwoven with animal musk tones"), and equally at ease ogling the new secretary, prowling singles bars, and being the complete angler … in a hot tub, preferably.

This supremely confident archetype sported the au naturel mossy mounds of an athletically fit chest. (Later Reynolds became a notorious patron of the topside kind of rug.) He wasn’t "hairy" — he was hirsute, virile. His swagger might’ve evaporated like Samson’s had that pelt — or the manly ‘stache typically hovering above it — been shorn.

Billed as "Three Moustache Rides with Burt Reynolds," Midnites for Maniacs’ Castro Theatre salute presents the star in the very prime of his beef. Two artifacts on the triple bill must be counted among Burt’s greatest misses — one is practically a lost film — while the last was indeed his single greatest hit. But they’re all Burtalicious.

A college football star whose pro prospects ended with a knee injury, Reynolds was discovered onstage in New York, reached Hollywood in 1959, and spent subsequent years doing episodic TV and B movies. He seemed stuck in the second tier until cast as the most defensively capable of four suburban guys facing extreme redneck peril in 1972’s Deliverance. That did it. Even in a harrowingly unpleasant movie, Reynolds oozed charisma. Such cock-of-the-walk confidence led him to pose nude (hand covering genitals) that year in Cosmopolitan. He later complained this particular career move had typed him as a sex symbol who couldn’t be taken seriously. But Burt Reynolds was always first among people not taking Burt Reynolds seriously.

The public liked best the amused wise guy of talk show appearances, particularly when he was running from–slash–smirking at the law in action comedies ideal for the drive-in circuit. His biggest (if not best) was 1977’s Smokey and the Bandit, Midnites for Maniacs’ midnight show. Not far removed is the program’s middle feature, The Best Little Whorehouse in Texas, a felicitous pairing with Dolly Parton that stalled in the transfer from the Broadway stage.

But Reynolds didn’t want to be forever moonshinin’ and doggin’ the sheriff. He wanted to be suave and elegant, like his idol Cary Grant. Thus he dove into At Long Last Love, a film so excoriated in 1975 that it’s never been released on VHS or DVD. This Castro showing might well be its first United States projection since the original run. Love is a throwback to giddy, art deco 1930s musicals. Unwisely, it had Reynolds, Cybill Shepherd, and others not known for their song and dance skills performing vintage Cole Porter tunes live on set.

A gorgeous-looking soufflé that failed to rise, the film met with complete commercial and critical rejection. Hollywood gloated, director Peter Bogdanovich having impressed too many as an arrogant arriviste foisting a "talentless" model-actress girlfriend on the public. (Though Shepherd’s career would ultimately recover better than his.) Still, it has charms — including Reynolds, who makes musical amateurism seem a wry in-joke.

Always haphazard in picking projects (he reportedly turned down James Bond, Die Hard, Terms of Endearment, and Star Wars), Reynolds gradually eroded his stardom. Despite a prestige boost from Boogie Nights (which he thought dreadful until it started getting raves), he’s continued to take work whenever, wherever. He’s now 71 years old, a trooper who can’t or won’t quit, though his odds of ending on a grace note grow remote. He certainly deserves better than Cloud 9, one of eight acting jobs he took last year alone that no one noticed. He has the starring role: coach to an all-stripper volleyball team. Sigh. If he understood that he remains well loved, would he be choosier? Unlikely. The Reynolds archetype is an all-American winner who knowingly pratfalls into loserdom, winking en route. That fallen-jock-angel persona remains sexy. He minted it.

THREE MOUSTACHE RIDES WITH BURT REYNOLDS

Fri/7 (At Long Last Love, 7:30 p.m.; The Best Little Whorehouse in Texas, 9:45 p.m.; Smokey and the Bandit, midnight), $10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

Turn up the volume

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› kimberly@sfbg.com

SONIC REDUCER I read the news the other day, oh boy, and the dimming days of early winter appear to have gotten darker: the Xmas lights have begun to twinkle down my street, above the Red Poppy House, but they can’t draw attention away from the little shrine of bedraggled plastic balloons and dampened candles around the corner dedicated to 21-year-old Erick Balderas, who was shot to death at Treat Avenue and 23rd Street on Nov. 18. I hobbled home from No Country for Old Men and a lychee-infused cocktail just a few hours before he was slain only a block away, but I failed to hear the gunshots. Thinking about his death and that of 18-year-old Michael Price Jr., shot near the Metreon box office by, allegedly, another teenager, one wonders why nightlife has grown so deadly for the kids who can really use some fun.

Reading is a safe substitute. When going out seems to be getting more hazardous, who can blame a culture vulture for wanting to stay in and nest with a good book and a CD, preferably the two combined in one? Those in the market for juicy boomer-rock dirt will likely dig this year’s Clapton: The Autobiography (Broadway), ex Pattie Boyd’s Wonderful Tonight: George Harrison, Eric Clapton, and Me (Harmony), and Ron Wood’s Ronnie: The Autobiography (St. Martin’s) — survivor’s tales all. But perhaps this is also the moment to revisit a musician who perished as violently and mysteriously as autumn’s lost boys: Elliott Smith. Photographer Autumn de Wilde manages to skate between the coffee table and the fanzine rack with a handsome tome of photos, many snapped around the time of Smith’s Figure 8 (DreamWorks, 2000).

Figure 8 was a divisive recording, alienating early lo-fi lovers and seemingly reaching out to the "Miss Misery" masses, and Smith looked self-consciously awkward slouching in front of the music store swirl that turned into a shrine after his death. Talking to friends, exes, family, managers, and producers who haven’t gone on the record since Smith’s death, de Wilde gathers snatches of intriguing info — for instance, it was engineer ex-girlfriend Joanna Bolme who gave Smith the sorry bowl haircut that de Wilde documents — and thoughts on the art of capturing spirits like Smith on the fly. Centering Elliott Smith (Chronicle) on images from her "Son of Sam" video, a poignant reworking of The Red Balloon, she finds the innocence that made Smith’s songs — and their anger over quashed hope — possible amid the listener cynicism and the songwriter’s lyrical bitterness. The kicker: an accompanying five-song CD of live acoustic solo Smith tracks, culled from 1997 appearances at Los Angeles’ Largo, including a sweetly screwed-up rendition of Hank Williams’s "All My Rowdy Friends Have Settled Down."

Another volume to really turn down the covers with is Wax Poetics Anthology, Volume 1 (Wax Poetics/Puma), a mixologist’s spin cycle of stories from the great mag. Editor Andre Torres taps interviews with golden era hip-hop knob twirlers Prince Paul, the RZA, and Da Beatminerz, as well as pieces on James Brown’s drummer Clyde Stubblefield, reggae producers King Tubby and Clive Chin, salsa giant Fania Records, Henry Chalfant of Style Wars, and much more than you can down in one chill evening. Extensive discographies aside, the only thing that’s lacking here is a soundtrack.

Not so with the much slimmer but no less passionate new issue of Ptolemaic Terrascope zine, once financed by the Bevis Frond. Mushroom drummer and Runt–Water Records consultant Pat Thomas has assumed the editorship. Apparently after 15 years and 35 issues, previous head Phil McMullen was "burned out, for lack of a better word," Thomas told me from his Oakland home, where he was happy to get away from a take-home exam on menstrual cycles. The new editor is even on the cover, looking appropriately put-upon; it’s the Alyssa Anderson photo shot in the Haight that was adapted for Devendra Banhart’s Cripple Crow (XL). Banhart is so ubiquitous these days that some Guardian staffers are tempted to start a swear jar to gather quarters every time his name is invoked. But he’s a natural cover star, also doing a jukebox jury piece with Thomas and Vetiver’s Andy Cabic within Terrascope.

United Kingdom folk luminaries like Shirley Collins and Davey Graham crop up in interviews and on the zine’s CD, which teems with wonderful unreleased tracks by the Velvet Underground’s Doug Yule, Willow Willow, Six Organs of Admittance, Ruthann Friedman, and Kendra Smith, among others, all playing off the issue’s Anglo-folk orientation, though pieces on Elaine Brown and the Black Panther Party parallel Thomas’s ongoing work assembling a box set for Water on the Panthers’ music and spoken word. The editor already has interviews with Wizz Jones and Ian Matthews ready for the next issue, but he’s tempted to put the zine on hold while he assembles a guidebook to black power music, foreshadowing new turns in Terrascope. "The magazine was always, for lack of a better word, very white," Thomas quips. "I want to blacken it up a little bit." 2

For more picks, see Sonic Reducer Overage at www.sfbg.com/blogs/music.

THE RUBINOOS BASSIST AL CHAN’S TOP MUSIC BOOKS

<\!s>The Kinks: All Day and All of the Night: Day by Day Concerts, Recordings, and Broadcasts, 1964–1997, by Doug Hinman and the Kinks (Backbeat, 2004)

<\!s>The Psychotronic Encyclopedia of Film, by Michael Weldon (Ballantine, 1983)

<\!s>Anyway, Anyhow, Anywhere: The Complete Chronicle of the Who, by Andy Neill (Virgin, 2005)

<\!s>Hollywood Rock, by Marshall Crenshaw (HarperCollins, 1994)

<\!s>The Billboard Book of Top 40 Hits, eighth edition, by Joel Whitburn (Billboard, 2004). "I can just sit down with that on an eight-hour flight and look at charts. I’m a total music geek!"

The Rubinoos open for Jonathan Richman, Thurs/6, 8 p.m., $15. Great American Music Hall, 859 O’Farrell, SF. www.musichallsf.com.

Take Dap

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Take it from me: with our purist hearts and crate-digging proclivities, we true-blue soul believers and bright-eyed funk freaks tend to be a pretty devoted lot, but Brooklyn Stax-Motown revivalists Sharon Jones and the Dap-Kings inspire a level of commitment that would make even Dr. Phil blush. A friend of mine loves to tell me about the time she spent her last $15 to get into their show in Austin, Texas. There she was, penniless, thirsty, and without a paycheck in sight for another week, and none of it mattered. "Why would it?" she whoops and grins as she recalls that night of empty pockets and high spirits. "I danced my ass off, honey! Money — who cares?"

It’s a story worth mentioning, since so much of what makes Sharon Jones and the Dap-Kings such an electrifying force comes from their ability to whisk listeners away from their day-to-day worries while delivering glorious emotional, hip-loosening release. Man problems, woman problems, cash flow problems — these headaches happen to everybody, and Jones and her eight partners in greasy-groove know-how are no exception, as such songs as "My Man Is a Mean Man" attest. Still, soul music’s all about catharsis through a band’s connection with its audience on a feel-it-in-the-gut level, and what better way to make that communion than with the inarguably simple message "There ain’t no troubles we can’t dance away!"

This declaration has resonated with so many listeners because it has been articulated flawlessly. Never mind that the Dap-Kings have been catching new fans since they were tapped to back Amy Winehouse on her Back to Black (Island, 2006). Every chicken-scratch guitar, every fat-bottom bass line, every popping horn arrangement is a triple-take-inducing transmission from a predisco soul universe — a rare event in today’s more technology-driven neosoul market. The Dap-Kings — led by bassist-producer Bosco Mann — have clearly ingested every ounce of ’60s and ’70s R&B and funk, and their authenticity-prizing take on the sweat-soaked rhythms of James Brown’s beloved house band, the JB’s, has yielded a righteously old-school backdrop for Jones’s mighty pipes. In a live setting, the JB’s comparison is tough to miss. Swiss-clock precise but blazing with passion, these workhorses are unstoppable and a joy to behold.

And those mighty pipes I mentioned? Jones can do it all, whether she’s snapping and snarling like Etta James, giving the gospel lowdown à la Aretha Franklin, or sassing away like the second coming of Lyn Collins, and she rightfully deserves to be mentioned in the same breath as Bettye LaVette and Irma Thomas, while we’re at it. Endowed with a full-throated, bottomless-lunged attention grabber of a voice, Jones can slide effortlessly from tender, sweet-lipped supplications to tougher-than-nails put-downs — the latter ability possibly stemming from her years of employment as a prison guard — often within the same song. A master interpreter, she has not only reconfigured the Woody Guthrie folk ditty "This Land Is Your Land" into a slinky call for social equality but also scraped away the cheesy gloss of Janet Jackson’s "What Have You Done for Me Lately?" to reveal the stinging nettles lying underneath.

Sharon Jones and the Dap-Kings’ recently released third album, 100 Days, 100 Nights (Daptone), is a stirring document from a band at the height of its powers. All of the familiar funk and fire are there, and the addition of bluesier elements on tracks such as "Humble Me" and "Let Them Knock" demonstrates that they still have plenty of ideas to kick around. Best of all, they’ve never sounded as smoky, as sultry, as they do on this disc. If you haven’t yet offered up your heart to these folks, here’s your chance.

SHARON JONES AND THE DAP-KINGS

Wed/5, 8 p.m., $18–$20

Bimbo’s 365 Club

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com

Hotlines

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› superego@sfbg.com

SUPER EGO Gurl, my phones have been ringing themselves right out of my brand-new Safeway paper bag purse. The pink one, the silver one, the little lavender one I usually keep tucked in my Dita Von Teese fringed mesh teddy — they’re all off the hook, jingling like sequins in daylight. Bitches are chatty — scandal for the holidays, how novel — and you know I’d rather gag on Josh Groban or jack off to the L.L. Bean winter catalogue than keep the gossip from you.

Besides the dish that a certain local magazine is paying clubs to have its "personalities" staff the door at parties (drag queens as product placement — I love it) and the rumors flying around that many long-running weekly parties are shutting down (congratulations, Miss Trannyshack 2007 Pollo Del Mar!), there’s some serious nightlife shit going down. The "not in my backyard" whiners of our gloriously gentrifying city are squawking up a storm, and the San Francisco Police Department and the Board of Supes might actually be listening.

After-hours clubs and restaurants are feeling the heat (North Beach barhoppers may have to do without their postparty slices of pizza soon, and possibly any new bars as well), some up-and-coming neighborhoods may be zoned to exclude any nightlife or "adult" establishments, and I’m even hearing that new bars with liquor license transfers are being pressured to shout "Last call!" at midnight. Say quoi???

On top of all that, violence. Several bars have been brazenly robbed of late, and most clubs are rightly reminding their patrons to stay aware of their turbulent surroundings. Yet nothing can stop the dance floor love. Be careful out there, don’t mix up your mace and your mascara, and check out some great parties — before we’re all forced to boogie softly in our bedrooms.

TURN IT ON


Folks I know and trust have been living for Love It! Wednesdays at Icon Ultra Lounge lately. And given the DJ lineups that often include some of my new faves like No Battles, the dirtybird boys, and way-too-cute Tee Cardaci, I can hardly deny them their bliss. I’ll even be partaking gladly of it Dec. 5, when San Francisco’s very own tidal wave of techno, DJ Alland Byallo, washes over the dance floor to showcase his new label, Nightlight Music. Joining him will be Berlin-via-Detroit techno nomad (technomad?) Lee Curtis, whose live set of tweaky synths, sticky bass, and lo-fi disarray will surely rock the fuzzy Kangols off the crowd. Also glowing lively: a tag team live–versus-DJ set by Nightlight stablemates Jason Short and Clint Stewart. Brutal with the millimeter, kids.

CUMBIN’ AT YA


Cumbia electro-hop? Ah si, it’s happening. And global-eared local DJs Disco Shawn and oro11, of the new label Bersa Discos, are bringing it straight up. "We both went down to Buenos Aires and discovered this crazy experimental cumbia scene," Disco Shawn recently MySpaced me. "Bedroom producers were mixing the classic Latin American sound with electro, hip-hop, dancehall…. We’re bringing this music to the other side of the equator, to unleash it on gringo nightlife." Feel the tap-tap-typhoon of the Bersa Discos boys’ awesome cumbiaton discoveries at their new monthly, Tormenta Tropical, Dec. 7 at Club Six, as well as other synced-up styles of electro Sudamericano, baile funk, and live spazzy hip-hop from the mind-blowing Official Tourist.

TIEFIN’ OUT


Surely one of the best video mashups in the cyberverse is "Tiefschwarz Is Burning" on YouTube, wherein some enterprising goofball laid UK electropop sweetness Chikinki’s "Assassinator 13 (Ruede Hegelstein Remix)" over scenes from Paris Is Burning. The hypnotic minimal techno tune, which turns out, oddly, to be the perfect soundtrack for voguing ’80s downtown queens — RIP Willie, Anji, Pepper, Venus — was taken from Teutonic duo Tiefschwarz’s Essential Mix for BBC’s Radio 1, and before this explanation gets any more complicated, just look it up and fall into a Yubehole about it, already. Better yet, check out Tiefschwarz live (they’re hot, they’re brothers — why not?), courtesy of Blasthaus at Mighty on Dec. 15. German techno soul isn’t, amazingly, oxymoronic.

NIGHTLIGHT MUSIC SHOWCASE AT LOVE IT! WEDNESDAYS

Wed/5, 9 p.m.–2 a.m., $5

Icon Ultra Lounge

1192 Folsom, SF

(415) 626-4800

www.myspace.com/loveitwednesdays

www.nightlight-music.com

TORMENTA TROPICAL

Fri/7, 9 p.m.–2 a.m., $5

Dark Room, Club Six

60 Sixth St., SF

(415) 861-1221

www.clubsix1.com

www.myspace.com/bersadiscos

TIEFSCHWARZ

Dec. 15, 9 p.m.–2 a.m., $20

Mighty

119 Utah, SF

(415) 762-0151

www.blasthaus.com

www.tiefschwartz.net

Canadian astronaut

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› marke@sfbg.com

REVIEW Kids are bored. They’re hanging on the sidewalk outside a nightclub, splashed in sick amber light. Many of the usual suspects are here: the skinny postgoth chick in golden heels, the stereotypical Russian-looking muffin top trapped on a crappy date, the about-to-ralph dude in an untucked striped Oxford, some rasta hoppers, a hipster gal in rave flats and a trucker cap. Most are smoking and none look happy, except maybe the tranny-licious blond who’s about to skate the cover, glimpsed in the doorway flirting with the bouncers. She looks as fake as the rest of the scene.

I mean, what club is this? Yes, the breakdown of rigid nightlife subcultures has accelerated in recent years (no one can be only one thing in the Internet age) but these kids — part Marina, part Mission, part Oakland, part imaginary — would never traffic the same joint, let alone one that looks like a cheap storefront with Styrofoam gargoyles over the door, a tacky wrought-iron gate, and, oh yeah, a hilariously retro surveillance camera trained on them. Gross. Or paradise?

When I heard the San Francisco Museum of Modern Art is displaying Vancouver-born photographer Jeff Wall’s gigantic In Front of a Nightclub (2006) as part of its retrospective of the artist’s three-decade career, my little ivory feet got tingly. Not just because I live in Clubland, but also because I trust Wall to get it right. Most club photographers have reeled back from Nan Goldin’s tear-jerking parties of grief in the ’80s to grease those spinning Warhol wheels again, dazzled by outsize personalities, druggy outfits, and pantomimed omnisexuality. But Wall’s a major artist with his own agenda, which looks so hard at the mundane, the normal, and the pointless that it often shoots right through into revelation. The humdrum apocalypse of a bad night out in a parallel universe fits perfectly. The picture is sensational.

This is a nice time for a Wall retrospective, mostly because his monumental intelligence — which ranges far beyond nightlife — provides a nifty alternative to both the tawdry macho "heroism" of the Matthew Barney–Damien Hirst–Jeff Koons art world establishment bonanzas and the current indie scene’s seemingly endless slide into infantilism and abnegation. No quilts made of dryer lint, deliberately embarrassing emotional outbursts, or snaps of naked skater chums for Wall. No scaling atria with Björk in tow either.

That doesn’t mean Wall lacks hipster cred: his first exhibited picture, 1978’s The Destroyed Room, provided the cover art and title for Sonic Youth’s 2007 collection of B-sides. But the Édouard Manet–like social commentary of Wall’s gorgeously staged scenes — a Cops-worthy outdoor argument in a run-down tract-home neighborhood, day laborers posed on a "cash corner" under flabbergasting winter skies, open-sore industrial operations in the pristine Canadian wilderness, an asshole mocking an Asian man while his girlfriend squints in the sun — and an eye that combines William Eggleston’s rough-and-tumble photographic haphazardness with the natty mannerism of ’70s photorealist painting seem revelatory, if a tad safe, in these times of numbed, numbing self-projection.

Trained in art history and drenched in way too much theory, the 60-year-old Wall works on a grand scale. His typical Cibachrome prints are several feet across, mounted on light boxes — an idea he ripped off from bus shelter advertising — and full of compositional winks at old masters and references to dense sociological notions. Much of this work heretically clings to the old-fangled notion of transcendence, that even the most mundane things, if examined closely enough, can send the metaphorical mind — the soul — soaring into space. Sure, he’s not above filling a grave in a Jewish cemetery with fluorescent pink sea urchins (Flooded Grave [1998–2000]), packing an entire basement ceiling with burned-out lightbulbs (After "Invisible Man" by Ralph Ellison, the Prologue [2001]), or reimagining a platoon of slaughtered Russian soldiers in Afghanistan chatting as their innards spill out (Dead Troops Talk [1992]). Those are the kinds of blockbuster photoconceptualist images that made him famous and provide instant shivers to first-time viewers.

The real metaphysics come in Wall’s luminescent details, when he’s in hyperreal mode. He’s like a Martian poet, glossing the earthly everyday with a cosmic eeriness. In Insomnia (1994), possibly the most tweaked-out photograph ever, an empty plastic bottle of dish soap, under flickering kitchen lights, resembles a beckoning angel. A tiny octopus flopped onto a kid’s school desk, in An Octopus (1990), somehow summons all the horror in the world. Filthy linoleum roils biblically under a discarded mop in Diagonal Composition No. 3 (2000). And in Sunken Area (1996), the white vinyl siding of a trashy house morphs into abstraction, its glowing lines swooning into the room. It made me dizzy, and I had to sit down. *

JEFF WALL

Through Jan. 27, 2008

San Francisco Museum of Modern Art

151 Third St., SF
Mon.–Tues. and Fri.–Sun., 11 a.m.–5:45 p.m.; Thurs., 10 a.m.–8:45 p.m.; $7–<\d>$12.50 (free first Tues.)

(415) 357-4000
www.sfmoma.org

For rent sale

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› news@sfbg.com

Luz Moran, 75, fingers through a shoebox full of certified envelopes from her landlord’s attorney, squinting at the English words. She’s sitting on a red couch in the living room of her modest Mission District apartment, her feet barely touching the floor.

"This is another check he sent me, look," she mutters in Spanish, pointing out two checks amounting to $3,752.85. The money was sent along with an Ellis Act eviction notice, the first half of the $7,500 in relocation benefits city law requires be given to elderly or disabled tenants who are removed through the state law (if the tenant is not elderly or disabled, the landlord only needs to provide them with $4,500).

"I don’t know what we will do. Other apartments are expensive, and we can’t afford them," Moran says. The money is barely enough to cover moving costs and the first month’s rent at another place, she says, adding, "I don’t think this landlord is dying because of lack of money."

The eviction was not her landlord’s first attempt to move Moran, along with her 92-year-old mother and her son, from their two-bedroom apartment. In May 2006 he offered to sell them the unit for a discounted rate of $310,000, which was out of the family’s price range. Then he suggested a buyout agreement so they would leave voluntarily, but said he couldn’t offer much more than the Ellis Act’s required compensation. After the initial attempt to subdivide the building and all other negotiations failed, the landlord finally issued the eviction. He now wants to sell the units as tenancy in common apartments. But the Morans — and some other tenants in the building — are refusing to cash his checks.

"Because if we accept the money, it says that we are willing to leave here," Moran says.

The word eviction brings back bad memories for many residents of San Francisco, where the number of people thrown out of their homes numbered 2,878 in 1999. Then, at the height of the dot-com era, long-term renters were booted to make room for higher-paying tenants and out-of-towners prepared to buy six-figure homes.

But Moran’s story highlights two new additions to the renter woes that fill the San Francisco Tenants Union these days: landlord buyouts and a surge in TIC homeownership. With San Francisco’s housing prices on a seemingly perpetual upswing, it’s no wonder TIC ownership has increased twelvefold in the past decade. In 1996, 55 TIC units were sold through the San Francisco Multiple Listing Service, and in 2006 that number rose to 650, according to Realtor groups.

At first glance, it looks as if this trend should answer the prayers of middle-class families while avoiding an increase in no-fault tenant evictions. The city’s total evictions have been going down since 2001, hovering around 1,500 since 2003. But over the past five years Ellis Act petitions have slowly picked up, then petered off again, according to Rent Board data. And Ted Gullicksen, office coordinator at the Tenants Union, says these numbers don’t take into account relocation as a result of unregistered buyouts and threats, which can often lead to TIC ownership.

Each weekday at the Tenants Union dozens of renters shuffle through the doors, plop into mismatched chairs, and wait for hours to spill their complaints and legal paperwork onto the desk of a volunteer counselor.

"We’re pretty busy here at the Tenants Union," Gullicksen says on a Friday afternoon during counseling hours. "It’s pretty close to what it was during the worst of the dot-com years."

Gullicksen reports an increase in the number of threats and buyouts of tenants in the past year. He attributes that to 2006 legislation passed by the San Francisco Board of Supervisors prohibiting the conversion of buildings after the eviction of elderly or disabled tenants or multiple units. By avoiding putting an Ellis Act or other no-fault eviction on the record, the landlord can eventually convert the building into a condominium because its history hasn’t been tainted.

A building with no eviction history goes for more on the MLS, according to Gullicksen, which explains why landlords are willing to pay up to $60,000 for a "voluntary" tenant relocation. The private landlord-tenant agreement may be lucrative to the individuals involved, but it results in an almost undetectable loss of an affordable rental unit.

Gullicksen says it’s impossible to determine how many tenants relocate due to buyouts on a citywide level, but about 60 people seek help with one at the Tenants Union every month. Most tell a similar tale: A developer or landlord will offer between $2,000 and $60,000 to tenants to voluntarily vacate. The tenant may ask for a higher sum, and they’ll negotiate back and forth. Eventually, the tenant may be either bought out or evicted.

"It’s a game of chicken, really," Gullicksen says.

The loss of rental units at the hands of TICs or buyouts is not a small matter in a city where two-thirds of residents are renters (on the national level only 34 percent of housing units were rentals in the year 2000), and there is already a shortage of affordable housing.

US Census data show that San Francisco lost 18,474 rental-occupied housing units between 2000 and 2006. And the city isn’t doing much to plug the drain. According to the Planning Department, 13,795 new units have been built and ready for occupancy since 2000, and approximately 12,600 of those are condominiums.

Although the terms "TIC" and "condo" are often used interchangeably, they’re legally different. TICs follow a shared-homeownership model involving one deed and multiple live-in shareholders. They aren’t registered or restricted by the city, whereas condominium conversions are capped at 200 a year. Most notable is the price differential: TICs go for about $200,000 less than a median-priced condominium in San Francisco, which currently runs at $783,000, according to the San Francisco Association of Realtors.

TIC owners typically buy in hoping to raise their property’s value by eventually converting their units to condos through the city’s lottery system. Proponents call TICs one of the city’s only affordable homeownership options. Critics call them a loophole in condo conversion restriction laws.

Radhi Ahern, managing partner and broker at the TIC Group, doesn’t apologize for buyouts to make room for TICs. She acknowledges that TICs are obtained through financial negotiations with tenants.

"It’s the tenant’s choice on whether they get a buyout or don’t take a buyout. And it’s sometimes very lucrative," Ahern says from her spacious Union Street office. "I can honestly say nobody’s given me $25,000 to $50,000 to move into a place…. It’s a win-win situation."

A number of recent changes have increased TICs’ popularity, Ahern says. At first they were financially risky — with multiple people on one mortgage, everyone is affected if one defaults. But in recent years banks have taken on more responsibility through individualized loans to TIC owners. Ahern adds that there are virtually no foreclosures on TICs.

"With the advent of fractional financing, we’re going to see more and more people adopting TICs, just like co-ops were adopted in NYC," Ahern says.

In a city where about 90 percent of residents can’t afford a median-priced home, TICs are lifesavers to people like Scott Ozawa. The recently divorced 31-year-old father of two toddlers makes six figures at a dot-com but says buying into a Western Addition TIC was the only way he could own the home he wanted in San Francisco. Evictions shouldn’t be blamed on TIC owners, he says, but on the city’s faulty housing system and lack of new development.

"The lower-income and the middle-income folks are all vying for the same resources," Ozawa says. "But middle-income folks have more options that are open to them."

Meanwhile, Moran and her family plan to stay in the rent-controlled apartment she has lived in for 35 years and might have to fight an unlawful-detainer order in court this month. She says she likes her place — the neighbors all know one another, she’s close to transit, and her apartment’s thick walls offer protection from earthquakes. The family pays only $507 per month, less than one-fifth the average rate for a two-bedroom apartment in San Francisco, according to the Tenants Union.

In September the Morans and other tenants at their apartment held a support rally outside their building, catering it with sandwiches and juice they prepared. Four elderly female tenants lined up on the front steps, taking turns speaking to the few dozen onlookers. Moran’s upstairs neighbor took out her oxygen tube to speak into a bullhorn. Moran stood beside her, later clapping along to a guitar-strumming activist singing, "Yuppie, yuppie stole my pad! Yuppie, yuppie, bad, bad, bad." As she smiled and mouthed the words in a language she doesn’t speak, a young couple wearing bandannas and carrying what looked like art supplies exited the building next door. They glanced toward the crowd with confused, down-turned brows but didn’t break their stride as they walked off the steps in the opposite direction.

Editor’s Notes

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› tredmond@sfbg.com

OK: a 26-year-old German exchange student was stabbed in the Outer Sunset two weeks ago by a man who appeared to be homeless. It was a terrible incident, an awful crime; we’ll all stipulate that. And although C.W. Nevius, the San Francisco Chronicle columnist, splashed it all over the front page of the Sunday paper Dec. 2, it really shouldn’t have anything to do with how the city sets homeless policy.

But it’s got me thinking.

Nevius is apparently shocked that there’s been a sudden increase in the number of homeless people living in the Sunset. I could have told him and the mayor and the police department a month ago that this was going to happen.

See, thanks to a series of Nevius columns about homeless encampments in Golden Gate Park, Mayor Gavin Newsom got election-year tough this fall and created special teams to go into the park and roust the residents. The mayor, of course, said that all he wanted was to get people into shelters, to get them treatment, to provide them the support that he insists his administration is delivering.

But the fact is, there aren’t enough decent places for all of these people to live. Some day, I still believe, the people in San Francisco (and the people who run the country and the state) will come to their senses and realize that it’s entirely possible to end urban poverty, but that it will take big chunks of money, multiple billions of dollars, and that the wealthy people who like to complain about the folks on the streets will have to pay higher taxes to make it happen. We live in a rich city and a rich country; we can afford to build housing and create jobs and fund welfare programs. We just don’t want to — because we’re Americans and we’ve been told for a couple of generations now that we don’t have to sacrifice for social progress.

In the meantime, no law-enforcement crackdown or Care Not Cash program or shelter system is going to end homelessness in San Francisco. There are going to be people living on the streets because they can’t afford to pay rent on even a nasty single room and they don’t want to deal with the rules and structure of the shelter system.

And I have to wonder:

Weren’t we all better off when we let them sleep in the park?

I know that’s not a terribly satisfying approach to public policy; I know there were and are problems (dirty needles, human waste, befouling of valuable and rare public space) associated with the camps. I know that in theory nobody should be camping in Golden Gate Park; as one city resident reminded me at a neighborhood forum not long ago, the park isn’t a wilderness — it’s a garden.

But nobody should be sleeping in doorways or on sidewalks or in makeshift shelters in industrial areas either. I refer you to paragraph five above.

I ask you (and Newsom and Nevius): where are these people supposed to sleep? No, the park isn’t a home, but a camp hidden in a rarely used corner is more of a home than a bed in a nasty, crowded shelter where you have no rights at all, not even the right to come and go when you want. I know where I’d rather sleep.

Maybe, in the spirit of harm reduction, we should just leave the park campers alone.

Buy by hand

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› molly@sfbg.com

What do you do when you want something personalized, handmade, and one of a kind but don’t have a creative bone in your body (or the time to find one)? If the closest to DIY you can get is its lesser-known sister, SFIY (Shop for It Yourself), check out the following ideas for gifts that are made by loving hands — just not yours.

DIY help

Sometimes you know what you want but don’t know how to make it — or there’s simply no reason to start from scratch. That’s where businesses that help you do some of it yourself come in.

MY TRICK PONY


One of our favorite examples of this concept is Castro–Duboce Triangle screen-printing favorite My Trick Pony, where you can print your own graphics onto a T-shirt — and even get help designing one.

742 14th St., SF. (415) 861-0595, www.mytrickpony.com

BANG-ON SAN FRANCISCO


This Haight Street staple is the perfect place for a quick, down and dirty, trendy yet unique gift. Choose a plain T-shirt, messenger back, or pair of undies, then get it printed — within 15 minutes or so — with one of the dozens of images Bang-On has for you to choose from.

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

To get in touch with crafty types who might not have retail spaces, check out the communities at San Francisco Craft Mafia (www.myspace.com/sfcraftmafia) and Craftster (www.craftster.org).

Retail shops

Good places to look for handcrafted items are retail stores and shops that cater to them. These are the museums, boutiques, and galleries that carry the kinds of items you’d make for your friends and families if, you know, you’d gotten an art degree instead of wasting all of that time in medical school.

SAN FRANCISCO MUSEUM OF CRAFT AND DESIGN’S MUSEUM STORE


This institution dedicated to the art of making stuff has finally opened a store that sells that stuff. Stop by for gifts like stoneware vessels and candleholders by Lynn Wood, square marbles by glassblower Nicholas Kekic, and mottled glass "bubble wrap" vessels by California artist Bill Sistek.

550 Sutter, SF. (415) 773-0303, www.sfmcd.org

ELECTRIC WORKS STORE


The retail arm of this art gallery specializes in items like naturally pigmented beeswax crayons, leather steampunk watches, Czech stationery, toys, books, and all things arcane.

130 Eighth St., SF. www.sfelectricworks.com

ETSY


Everyone’s favorite online mecca for homemade crafts has an office in San Francisco and a ton of designers who live here. Check out Quenna Lee (blissful.etsy.com) for gorgeous handmade bags and wallets, Joom Klangsin (joom.etsy.com) for whimsical pillow designs, and Hsing Ju Wang (silverminejwelry.etsy.com) for creative jewelry. Or simply use the site’s search function to find other Bay Area artisans.

www.etsy.com

PANDORA’S TRUNK


Don’t believe clothes this stylie and accessories this striking can really be handmade? Then watch the artists create these one-of-a-kind goodies in the on-site studios. (Also, stop by Dec. 8 for the store’s opening celebration.)

544 Haight, SF. www.pandorastrunk.com

Events

Sure, shopping events can be overwhelming. But the plus side? Someone’s taken the time to assemble in one place all the cool shit from a bunch of different vendors. That means you only use one day and one parking spot (or Muni ride).

APPEL AND FRANK’S STOCKINGS AND STILETTOS


Cult favorites Appel and Frank bring their hip holiday shopping event back to the city with goodies from emerging designers at below-retail prices. Plus, a portion of the proceeds benefits Friends of the Urban Forest (www.fuf.net).

Thurs/6, 5–9 p.m., two people for $15. Regency Center, 1270 Sutter, SF. www.appelandfrank.com

CREATIVITY EXPLORED’S HOLIDAY ART SALE


San Francisco’s premier gallery for the developmentally disabled presents work in various media by more than 100 artists, with half of the proceeds going directly to them.

Fri/7, 6–9 p.m.; Sat/8–Sun/9, 1–6 p.m.; during gallery hours through Dec. 29. Creativity Explored, 3245 16th St., SF. (415) 863-2108, www.creativityexplored.org

HAYES VALLEY HOLIDAY BLOCK PARTY


This fest features fun, games, and fabulous shopping in the neighborhood known for showcasing the Bay Area’s best and brightest up-and-coming artists and businesses. Donations benefit Camp Sunburst and Sunburst Projects, which provides support services to families living with HIV/AIDS.

Fri/7, 6–9 p.m. Hayes Valley, SF

BAZAAR BIZARRE


This craftacular shopping bonanza is brought to you by the same people whose book taught us how to turn cross-stitching and knitting into acts of punk rock. This is the event not to miss.

Dec. 15, 11 a.m.–6 p.m. San Francisco County Fair Bldg., Golden Gate Park, SF. www.bazaarbizarre.org/sanfrancisco.html

HOLI-DAZE


Those wacky burners have officially moved on from making boot covers for themselves to creating whole product lines for all kinds of people — playa loving and otherwise. This event features unusual gift items (fun-fur jackets or blinky toys, anyone?), live and electronic music, drink specials from the bar, and a silent auction benefiting the arts.

Dec. 16, 11 a.m.–6 p.m. Café Cocomo, 650 Indiana, SF. www.preparefortheplaya.com

Rykarda Parasol

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rykarda.jpg

Hi there
I just wanted to give you a heads-up. SFBG misprinted the wrong date for my band’s show. Not playing on the 5th, but 25th. CafeduNord.com had their site setup where 2007 came up and not 2008. We played on Jan 5 in ’07 so it’s very confusing. I made the same mistake! Below is the press info I sent a week ago.

I posted a notice on my myspace and web site.

Nooooo biggy. We appreciate the nod and the pic is nice 🙂

Happy 2008,
Rykarda Parasol

PS: new presskit PDF is downloadable here: http://hivesf.com/music/Press_Kit.pdf

***************************************************
Rykarda Parasol and the Tower Ravens are pleased to announce this next show with Mellowdrone from Los Angeles:

Friday January 25th, 2008
Café du Nord, San Francisco
Rykarda Parasol and the Tower Ravens (headline)
Mellowdrone (from LA)
Excuses for Skipping
10pm, $12, 21+

Cheers!
Rykarda Parasol
www.Myspace.com/rykardaparasol
www.RykardaParasol.com

Very Recent News: “Our Hearts First Meet” was just released by Glitterhouse Records in Europe and will be touring in Europe next spring. Rykarda and band are in the process of putting a new album here in the states as well. If you’d like to receive a press kit, please contact rykarda@hotmail.com. OR you may download photos and information from the following: http://rykardaparasol.com/hi-res.html

Description:
William Faulkner meets Ingmar Bergman. Rykarda Parasol describes her music as underhanded and stark. Comparisons to Nick Cave, Johnny Cash, and the Velvet Underground come to mind. Her album, “Our Hearts First Meet” on Three Ring Records is a haunting escape into dark hearts and isolation. Rykarda and her band, the Tower Ravens have a bombastic and dramatic live presence.

The endless budget deficit

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Of course Gavin Newsom knew that a budget problem was ahead. He sees the figures. He also knows that it’s not about the economy or the looming recession; as Controller Ed Harrington put it, “our revenues here in the city are doing fine.”

That is, the revenue is on track, on budget, as predicted.

The problem is that the revenue San Francisco brings in isn’t enough for the level of spending. It’s no surprise: The city has to give its key employees nice raises, as Newsom did, because it’s so expensive to live here. City payroll is going to keep going up as long as housing prices do — and as long as Newsom doesn’t address the real housing issues.

All the talk of a hiring freeze and cutting out middle managers is nonsense; it won’t go anywhere. And sure, there’s fat in the city budget, but not $250 million worth. If Newsom were honest, he’d admit there’s a real structural problem here:

San Francisco voters want extensive public services (and that’s fine). City officials want to pay employees well (and they should). The city is trying to put resources into all sorts of problems that the federal and state governments have ignored (and that’s just not going to change).

To make it all work, we need more money. About a quarter billion dollars a year. Once you admit that, you can start talking about how to find it — who has to pay more taxes. But as long as you’re in denial, the problem will never go away.

Brian on the brain

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RINK MASTER Even before South Park anointed Brian Boitano the coolest ice-skater ever to strap on blades, I was a fan. As a wee junior high schooler, I cheered his triumph at the Battle of the Brians at the 1988 Winter Olympics. (In your face, Brian Orser!) Now a full-time pro, the Bay Area native and resident is gearing up for one of his most ambitious undertakings: the "Brian Boitano Skating Spectacular," the first ice show to be held at AT&T Park, with rink legends like Dorothy Hamill and Viktor Petrenko — and a live performance by Barry Manilow. Naturally, I had to get Boitano on the phone for some inside dirt.

SFBG So are you stoked for the spectacular?

BRIAN BOITANO Yeah, I think it’s gonna be exciting! The ballpark’s really excited about it, and Barry’s really excited about it.

SFBG Will there be any baseball routines on the ice?

BB Yeah, we’re gonna do a baseball number. And since it’s a ’70s number, we’re gonna do a streaking thing. We’re gonna get a Barry Manilow look-alike and have him streak through the ball field.

SFBG [Stunned pause] Seriously?

BB [Laughing] No!

SFBG Dude, that would be awesome, though.

BB We did throw it out at the production meeting, because it’s a ’70s-themed show. But I don’t know if Barry would appreciate that!

SFBG How did you pick which Manilow songs to skate to?

BB It’s actually not all his songs. It’s a show with ’70s music, but there’s a lot of different ’70s music. He’s gonna sing eight of his songs. Four of them will be classics, and four will be from his new album, The Greatest Songs of the Seventies.

SFBG How’d you hook up with him?

BB I do shows every year with musical guests. I’m doing one with Seal this year and another with Wynonna Judd. I met [Manilow] years ago — he had a theatrical show called Copacabana, and I had a friend who was the lead in that. When we were throwing out names for the show this year, I said, "I wonder if we could get Barry. I would really love to have his music to skate to."

SFBG Being from the Bay Area, how did you get into ice skating? I mean, there’s the rink at the Yerba Buena Gardens….

BB That’s where I’m just leaving from! [Growing up,] I sort of was this daredevil roller skater, and I saw the "Ice Follies" one time at Winterland. And I was, like, "Wow, this is what I want to do for the rest of my life."

SFBG Where do you keep your gold medal?

BB It’s in my parents’ safety-deposit box. The last time I saw it was about 10 years ago. I think to see it every day would take away from the special quality of it. But I don’t forget what it looks like!

SFBG There’s one question I have to ask you, which I’m sure everyone asks —

BB "What Would Brian Boitano Do?"

SFBG Of course!

BB I still don’t know how that happened. I’ve still never met the [South Park] guys! It was funny because I went to the movie theater — it was that old movie theater on Sutter and Van Ness. I was scared! I didn’t know if they were going to trash me. And it was just sort of surreal sitting there watching a cartoon character of yourself with the whole movie theater laughing. The movie’s very funny, and I’m a big fan of their comedy. They’re so timely and so politically incorrect — it’s hilarious.

SFBG Do you get sick of hearing the song?

BB I still think it’s funny. People get a kick out of it — what the heck. All I can say is, thank god they were nice to me! (Cheryl Eddy)

BRIAN BOITANO SKATING SPECTACULAR

Dec. 5, 8 p.m., $50–$150

AT&T Park

801 Third St., SF

1-800-225-2277

www.tickets.com

For "What Would Brian Boitano Do?" T-shirts — sales of which benefit Boitano’s Youth Skate Program — visit www.brianboitano.com.

In and out

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› a&eletters@sfbg.com

Playwright Rebecca Gilman’s work has often courted subjects with ripped-from-the-headlines appeal, such as Spinning into Butter‘s take on racism at a small New England college or Boy Gets Girl‘s stalker scenario. Her latest play, The Crowd You’re In With, is no less timely. But at first blush it seems quieter and more understated in its choice of setting and subject matter: a backyard barbeque and a clash between three couples over whether or not to have children. By the end of a taut if laugh-filled 80 minutes, however, this successful comedy, enjoying its world premiere at the Magic Theatre, has uncovered the acute social import and anxieties behind a set of everyday characters and choices.

The play opens on a contemporary American idyll: a sunny Fourth of July afternoon in Chicago, where two thirtysomething white guys, Jasper (T. Edward Webster) and Dan (Kevin Rolston), hover beside a backyard grill in the archetypal pose (and perplexity) of the modern suburban male. Such a scene, including their young wives Melinda (Makela Spielman) and Windsong (Allison Jean White) arranging a table nearby, would seem to contain no more angst than the residual variety implicit in grill time’s spur to primitive masculinity. But there’s already a subtle cornered and concentrated effect in Erik Flatmo’s naturalistic scenic design, with its tiny swath of yard bracketed by the enclosing sharp angles of a two-story duplex and an adjoining high wooden fence. Reproducing Norman Rockwell is not going to prove so easy (if it ever was) in the age of global warming and unending war.

One of the first things we learn is that couple number one — Jasper and Melinda, the renters of the apartment whose yard this is — are trying to get pregnant. Five months and counting. This has Melinda, especially, nervous. Their friends Dan and Windsong, meanwhile, are already very pregnant, as Windsong’s eight-month bulge makes clear. Dan (a happy and good-natured but also slightly abrasive and unselfconsciously vulgar rock critic) and Windsong (the chipper, emotionally fragile, and determinedly conventional child of hippies) are more or less equally incurious and young beyond their years. Jasper and Melinda, by contrast, seem more mature and clever than their friends and yet, we come to suspect, are very much under the sway of their baby-making example all the same. Jasper (played with nicely measured intelligence and sympathetic earnestness by Webster) seems particularly uneasy with this dynamic.

Enter couple number three: Jasper and Melinda’s landlords and upstairs neighbors, Karen (Lorri Holt) and Tom (Charles Shaw Robinson), a pair of politically active progressive boomers without a baby or any desire for one. The genial but opinionated older couple soon evince a thinly veiled disdain for the crass yuppie ideals of their tenants’ friends and for the very idea of knee-jerk breeding under present social conditions. A final arrival helps stir the pot even more: a slovenly, cheapskate friend and bandmate of Dan’s named Dwight (Chris Yule), with a jaundiced eye on the overbearing culture of middle-class child rearing.

The ensuing tension leads to some very funny dialogue, oozing sarcasm, and slow-dawning insults. Ably helmed by Amy Glazer (who has directed all of Gilman’s work at the Magic) and beautifully brought to life by her thoroughly fine, enjoyable cast, the scenes build with a kind of chemical inevitability to temperatures hotter than the day or the barbeque. The fireworks not only start early this July 4 but also — in slyly showing up the repressed violence and bellicosity behind the national picnic and its whole rockets’-red-glare conceit — point to a larger, precarious pattern of denial.

Taking place in a single act in real time, The Crowd You’re In With proves a compact, genuinely entertaining, and provoking play. Even as it skirts stereotype, the types themselves are adeptly fleshed out and will resonate for most people with plenty of lived experience. Moreover, Gilman skillfully grounds her characters’ stories and dilemmas in issues of immediate and universal significance. The questions the play raises about them — like who is the more selfish given their respective life choices — reach down to deeper ones about conformity, consciousness, the meaning of happiness, and the fate of the world we live in.

THE CROWD YOU’RE IN WITH

Through Dec. 9

Wed.–Sat., 8 p.m.; Sun., 2:30 and 7 p.m.; $20–$45

Magic Theatre

Fort Mason Center, bldg. D, Marina at Laguna, SF

(415) 441-8822

www.magictheatre.org

He hears a new world

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"I was just on the Farne Islands, off the northeast coast of England, near where I live, and at this time of the year they are covered with Atlantic gray seals that have come to birth their pups," environmental sound recorder and musician Chris Watson explains, recounting his latest field trip over a shaky Skype connection. "There are whole communities of female seals that sing and have these beautiful haunting voices. It’s sort of this siren voice. You can imagine sailors being drawn to it from across the waves."

Watson has made a peripatetic and enviable career for himself as a sound technician for radio and television (he earned a British Academy of Film and Television Arts award for his work on the BBC’s The Sound of Birds), pursuing and recording the natural world’s siren calls. From the Rolls-Royce-like purr of a lounging cheetah to the deep groans of an Icelandic glacier following its inexorable 10,000-year-old course to the Atlantic or the literally visceral snap of vultures cracking through the rib bones of a zebra carcass, the sounds one hears on Watson’s solo releases (all on the Touch label) are a far cry from the ubiquitous whale song CDs that clog Amoeba Music’s new age bins. Stunning in their clarity, Watson’s recordings are often beautiful and at times frightening. But more often than not, despite their natural provenance, they are simply otherworldly.

"It never fails to astonish me, the connection between the wild sounds of animals and what we hear as music," Watson says, reflecting on our impulse to immediately draw aural associations. "These sounds have the power to connect straight to the imagination in the same way that a piece of music may evoke certain images." Watson’s first experiments with sourcing the "musical" from his surrounding environment were in early industrial groups such as Cabaret Voltaire and Clock DVA, whose gritty samples and martial rhythms held up an acoustic mirror to the grimness of life in Margaret Thatcher–era Britain.

Although urban Sheffield is worlds away from a cove in the Galápagos Islands or a Kenyan veldt, Watson’s MO has remained consistent even as his locations have become more exotic and the available technology has dramatically improved from the first tape recorder he received from his parents at age 11. "Even in Cabaret Voltaire, I was interested in taking sounds from the world and working with them, or not working with them — just letting them be," the musician says. "Gradually, I became more and more interested in the sounds I was hearing outside than the sounds I was hearing in the studio."

Watson’s latest full-length, last year’s Storm, is also perhaps his most musical — at least compositionally speaking. A carefully edited three-part suite of field recordings, Storm traces a series of particularly aggressive weather systems that hit the northeast of England and Scandinavia in 2000. Watson recorded the storm’s early rumblings — with the lonesome bellow of seals as accompaniment. Meanwhile, longtime collaborator B.J. Nilson — who has released his own subtly processed, environmentally sourced ambient recordings under the name Hazard — caught what Watson calls "its last breaths" as it descended into the Baltic Sea.

"We were really fortunate to have a sort of narrative already there for us to work with," Watson says. "Of course, we couldn’t record the storm as it was crossing over to Europe, so the middle track is a sort of conjecture of what it sounded like, a combination of [Nilson] and my recordings." The two have been experimenting with transutf8g the album into a live piece, a version of which will be presented, sans Nilson, as part of Watson’s performance at Recombinant Media Labs on Nov. 30.

Reflecting on past performances of the piece, Watson remarks that he is continually surprised by how audiences react: "It literally has a powerful, moving effect on people. People have said to me that they put their coats back on because they were cold or found themselves shivering." Certainly, many more of us have heard if not experienced a powerful storm than could identify a recording of or have witnessed firsthand, say, giant sea turtles mating.

I jokingly ask Watson if he has ever visited the Tonga Room, the famed Polynesian-themed bar in the basement of the Fairmont Hotel, in which a tropical storm lets loose at 20-minute intervals over an indoor grotto. He laughs at the idea of the place and says that, regrettably, he hasn’t been. "But wouldn’t that be an amazing venue in which to perform Storm?" he suggests excitedly. The Fairmont’s guests would never know what hit them.

CHRIS WATSON

With Florian Hecker

Fri/30, 8 and 11 p.m., $20 suggested donation (sold out)

Recombinant Media Labs

763 Brannan, SF

recombinantmedia.net

Eaux d’Anger

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› johnny@sfbg.com

Whither Kenneth Anger? Has his signature hot temper withered into kind, grandfatherly wisdom? If the commentary tracks of the marvelous Films of Kenneth Anger Volume One and Films of Kenneth Anger Volume Two (Fantoma) are to be trusted, this is the case. But one can’t be faulted for suspecting that Anger has consciously decided to favor restraint over verbal fireworks when discussing his films. "There will always be mysteries," he decrees near the end of the second disc’s last moments, just after pointing out smoke from Lucifer Rising‘s burning script in one of the 1981 version’s final shots, a lingering, distant gaze at colossi in upper Egypt.

To say that the DVD issuing of Anger’s films has been long awaited would be an understatement. As months gave way to years, grumbles about what might be slowing or even permanently preventing the process mixed with a chorus of hopes regarding the film restoration efforts of Ross Lipman and the UCLA Film and Television Archive. Now that the restorations have been screened and the DVDs released, it’s time to rain praise on Lipman. Not only has he directed his and UCLA’s attention toward Anger and Charles Burnett — two filmmakers whose non-Hollywood artistry would have deteriorated and vanished otherwise — he’s delivered superb restorations that will change the way you see classic works. Both Anger collections deserve a place next to the just-released Killer of Sheep: The Charles Burnett Collection (New Yorker Video/Milestone Cinematheque) as one of this year’s most vital and rewarding DVD collections.

The Anger DVDs seem ordered according to a masculine-feminine divide, with volume one showcasing Hollywood and European pageantry, and volume two gravitating toward motorcycle machismo, rock ‘n’ roll, and the occult. One thing that becomes clear on watching both is that the films that benefit most from restoration aren’t necessarily Anger’s best known or most canonical. In volume one, 1953’s Eaux d’Artifice truly seems born anew: what was once black and blurred now pulses with distinct energy. I once saw Anger berate a projectionist immediately after the movie was screened; at the time it seemed like a peevish diva display, but now I realize what the projectionist (working with an old print) was up against and why Anger was enraged by the overly dim images that had just been projected. By shooting in sunlight on black-and-white film with a red filter, he created a unique, electric blue nighttime hue.

If it were merely crude, Eaux d’Artifice would be the ultimate water-sports fantasy, culminating in perhaps the longest and most gorgeous money shot in the history of film. (After using a totem as a hard-on in 1947’s Fireworks, Anger rendered sexuality through playful metaphor or the more direct hint of nude eroticism.) Simply put, it’s resplendent: in an extended pure-light-and-dark passage that echoes a hand-marked moment in Fireworks, Anger almost allows nature to do the drawing. The streams of water from the baroque fountains of Tivoli Gardens are Anger’s chief material, creating an effect that’s a more dynamic femme foreshadowing or Euroecho of Jackson Pollock’s action painting.

They run hot, then cold, then hot again, but jewel-like strings or streams continuously run and spill through Anger’s films, from the slo-mo-homo(genized) milky money shots of Fireworks — in which fire also blazes next to the reflective surface of water — to the beaded dresses of 1949’s Puce Moment, through Eaux d’Artifice, to the snakelike lava flows and volcanic eruptions of Lucifer Rising. This love of ornamentation in motion might reach a hallucinogenic delirium in 1954’s Inauguration of the Pleasure Dome, in which Samson de Brier literally swallows a series of jewels. While 1964’s Scorpio Rising is partly renowned for its subliminal qualities, trances invoked via overt repetition are another Anger motif, most at the fore in the lunar views of Rabbit’s Moon (1950–71; 1979) and the solar worship of Lucifer Rising.

Fantasma’s volumes of Anger’s films may not expose their mysteries or hocus-pocus, but the DVDs further reveal Anger’s impact on equally iconic but less experimental directors. That Martin Scorsese and David Lynch drew from Anger’s pop soundtracking is obvious — but one could also argue that the all-American family-room surrealism at the climax of Fireworks predates the Christmas tree rampage at the start of John Waters’s Female Trouble. Influence runs both ways, of course, and Aleister Crowley’s on Anger is also apparent, thanks to the presence of Anger’s 2002 slide show appreciation of Crowley’s frankly lousy paintings and drawings, The Man We Want to Hang, in volume two. The same wild eyes and crazed gazes that Crowley loved to draw dominate some of acolyte Anger’s far superior films, Inauguration and Invocation in particular.

Anger’s DVD commentary shares next to nothing about his soundtrack choices or his interpersonal dynamics with the many men who have stepped before his camera lens. But he does utter select camp trivia, witty anecdotes, and even symbolic explanations without giving away magic tricks. He repeatedly praises his interior designer grandmother, whom he considers a sorceress. He says Louise Brooks told him Eaux d’Artifice was his sexiest film, and that the film’s midget protagonist was discovered by Federico Fellini. He gossips that the star of his Puce Moment was a mistress of Lázaro Cárdenas, claims that Inauguration star de Brier "was rumored to be the bastard son of the King of Romania," says Invocation actor Sir Francis Rose is the in-joke inspiration behind a certain famous Gertrude Stein line, and notes with a tinge of irritation that Jimmy Page outbid him at a Sotheby’s auction of Crowley paintings. "Cameron thought she was a witch, and I’m in agreement with that idea," Anger says about the late painter-poet whose flame-haired appearance is the most vibrant of all of Inauguration‘s many grand entrances.

Only Lucifer Rising star Marianne Faithfull seems capable of sparking some off-the-cuff impish remarks from the cozy incarnation of Anger who recorded commentary for Fantoma’s DVDs. During a travel guide’s discussion of Lucifer Rising‘s journey through Icelandic, Egyptian, and Germanic Black Forest sites, Anger takes the time to softly but repeatedly chide Faithfull — perhaps because she mocks him in her autobiography? According to Anger, the mosquitoes of Egypt loved to bite Faithfull’s "tender inner thighs." But that tidbit is nothing in comparison with an anecdote he shares about her disguising heroin as face powder in order to smuggle it into Egypt. Whether this is true or false, it’s impossible not to laugh out loud when Anger states that, had this ploy been revealed, he and Faithfull would have faced a fate far different than — though just as dramatic as — the stories they’ve gone on to live: death by firing squad.

Housing: the urbanist approach

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OPINION We’re in a tough spot as a city when it comes to housing costs. As the price of living here goes ever higher, we lose everything special about the culture of San Francisco.

Here’s the dilemma: more people want to live here than we are creating places for.

Why do people want to live here? Cultural tolerance. Economic opportunity. To be part of a community that doesn’t feel like the rest of the United States. The same mix of reasons that caused most of us to come here.

But we are barely adding to the supply of housing. On average over the past two decades, we have produced around 1,500 units per year. The city would need to produce between 3,000 and 5,000 units per year to keep housing costs from going up. If we added 5,000 units a year, after 70 years we would have the same density as Paris.

We already know what happens when people in a city faced with high housing demand decide they like their community the way it is and do not allow new construction. You get Carmel and Colorado’s Aspen and Boulder. You get an ultraritzy resort town.

San Francisco is on the way to becoming the largest city to go down this path.

The easy answer is to blame gentrification on the high-rise condos for rich people. But the only thing that would gentrify the city faster than building those condos is not building them.

People are moving here. If they are not allowed to be stacked in little concrete boxes on top of other little concrete boxes, those with more money will displace those with less money, through the simple process of being willing to pay more for the Victorians and all the rest of the building stock. That’s why older housing units don’t sell for less than new housing units.

What do we need to do? Increase housing at all levels, but in a smart way:

Concentrate the housing in places with excellent transit and within walking distance of stores.

Add as much to the supply of affordable housing as possible. This costs about $200,000 per unit in subsidy. So if we want to help 10,000 families, we need $2 billion; if we want to help 25,000 families, we need $5 billion.

Carefully convert some of the historically industrial areas into new, mixed-use neighborhoods.

Stop requiring developers to build extra parking. Developers should never, ever be required by the government to build extra parking, since each space costs $40,000 to $75,000.

Require excellent design of new buildings. If people felt confident that most new construction was going to contribute as much to the city, in the long run, as the old buildings do, we would be halfway to solving the problem.

All of this, of course, happens to be the same strategy we need to embrace to fight sprawl and its attendant outcome, global warming. Not one more inch of farmland in California would need to be developed if we were just willing to put growth inside existing cities. But this requires fundamental changes in the way we have been planning our cities for a long, long time.

Gabriel Metcalf

Gabriel Metcalf is executive director of the San Francisco Planning and Urban Research Association.