Mezzanine

Club Guide

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PHOTO BY LYLE OWERKO

AMNESIA


853 Valencia

(415) 970-0012

ANNIE’S SOCIAL CLUB


917 Folsom

(415) 974-1585

ARGUS LOUNGE


3187 Mission

(415) 824-1447

ASIASF


201 Ninth St

(415) 255-2742

ATLAS CAFE


3049 20th St

(415) 648-1047

BALAZO18


2183 Mission

(415) 255-7227

BAMBUDDHA LOUNGE


601 Eddy

(415) 885-5088

BAOBAB


3388 19th St

(415) 643-3558

BAZAAR CAFE


5927 California

(415) 831-5620

BEAUTY BAR


2299 Mission

(415) 285-0323

BIMBO’S
365 CLUB


1025 Columbus

(415) 474-0365

BISCUITS
AND BLUES


401 Mason

(415) 292-2583

BOHEMIA LOUNGE


1624 California

(415) 474-6968

BOOM BOOM ROOM


1601 Fillmore

(415) 673-8000

BOTTOM
OF THE HILL


1233 17th St

(415) 621-4455

BROADWAY
STUDIOS


435 Broadway

(415) 291-0333

BRUNO’S


2389 Mission

(415) 643-5200

BUBBLE LOUNGE


714 Montgomery

(415) 434-4204

BUTTER


354 11th St

(415) 863-5964

CAFÉ CLAUDE


7 Claude

(415) 392-3515

CAFE COCOMO


650 Indiana

(415) 824-6910

CAFE DU NORD


2170 Market

(415) 861-5016

CAFE INTERNATIONAL


508 Haight

(415) 665-9915

CASANOVA LOUNGE


527 Valencia

(415) 863-9328

CATALYST
COCKTAILS


312 Harriet

(415) 621-1722

CAT CLUB


1190 Folsom

(415) 431-3332

CITY NIGHTS


715 Harrison

(415) 546-7938

CLUB CALIENTE


298 11th St

(415) 255-2232

CLUB DELUXE


1509 Haight

(415) 552-6949

CLUB NV


525 Howard

(415) 339-8686

CLUB SIX


60 Sixth St

(415) 863-1221

CONNECTICUT
YANKEE


100 Connecticut

(415) 552-4440

CRASH


34 Mason

1-877-342-7274

DALVA


3121 16th St

(415) 252-7740

DANNY COYLE’S


668 Haight

(415) 431-4724

DELIRIUM


3139 16th St

(415) 552-5525

DNA LOUNGE


375 11th St

(415) 626-1409

DOLCE


440 Broadway

(415) 989-3434

DOLORES PARK CAFE


501 Dolores

(414) 621-2936

DOUBLE DUTCH


3192 16th St

(415) 503-1670

DUPLEX


1525 Mission

(415) 355-1525

EAGLE TAVERN


398 12th St

(415) 626-0880

EDINBURGH CASTLE PUB


950 Geary

(415) 885-4074

EIGHT


1151 Folsom

(415) 431-1151

ELBO ROOM


647 Valencia

(415) 552-7788.

ELEMENT LOUNGE


1028 Geary

(415) 571-1362

ELIXIR


3200 16th St

(415) 552-1633

ENDUP


401 Sixth St

(415) 357-0827

FAT CITY


314 11th St

(415) 861-2890

FILLMORE


1805 Geary

(415) 346-6000

540 CLUB


540 Clement

(415) 752-7276

FLUID ULTRA LOUNGE


662 Mission

(415) 615-6888

FUSE


493 Broadway

(415) 788-2706

GLAS KAT


520 Fourth St

(415) 495-6626

GRAND


1300 Van Ness

(415) 673-5716

GRANT AND GREEN


1371 Grant

(415) 693-9565

GREAT AMERICAN MUSIC HALL


859 O’Farrell

(415) 885-0750

HARRY DENTON’S STARLIGHT ROOM


Sir Francis Drake Hotel

450 Powell

(415) 395-8595

HEMLOCK TAVERN


1131 Polk

(415) 923-0923

HIFI


2125 Lombard

(415) 345-TONE

HOMESTEAD


2301 Folsom

(415) 282-4663

HOTEL UTAH SALOON


500 Fourth St

(415) 546-6300

HOUSE OF SHIELDS


39 New Montgomery

(415) 495-5436

ICON ULTRA LOUNGE


1192 Folsom

(415) 626-4800

INDEPENDENT


628 Divisadero

(415) 771-1421

IRELAND’S 32


3920 Geary

(415) 386-6173

JACK’S CLUB


2545 24th St

(415) 641-5371

JAZZ AT PEARL’S


256 Columbus

(415) 291-8255

JELLY’S


295 Terry Francois

(415) 495-3099

JOHNNY FOLEY’S


243 O’Farrell

(415) 954-0777

KATE O’BRIENS


579 Howard

(415) 882-7240

KELLY’S MISSION ROCK


817 Terry Francois

(415) 626-5355

KIMO’S


1351 Polk

(415) 885-4535

KNOCKOUT


3223 Mission

(415) 550-6994

LASZLO


2534 Mission

(415) 401-0810

LEVENDE LOUNGE


1710 Mission

(415) 864-5585

LEXINGTON CLUB


3464 19th St

(415) 863-2052

LINGBA LOUNGE


1469 18th St

(415) 355-0001

LI PO LOUNGE


916 Grant

(415) 982-0072

LOFT 11


316 11th St

(415) 701-8111

LOU’S PIER


300 Jefferson

(415) 771-5687

LUCID BAR


580 Sutter

(415) 398-0195

MAD DOG IN THE FOG


530 Haight

(415) 626-7279

MADRONE LOUNGE


500 Divisadero

(415) 241-0202

MAKE-OUT ROOM


3225 22nd St

(415) 647-2888

METRONOME DANCE CENTER


1830 17th St

(415) 252-9000

MEZZANINE


444 Jessie

(415) 625-8880

MIGHTY


119 Utah

(415) 626-7001

MILK


1840 Haight

(415) 387-6455

MOJITO


1337 Grant

(415) 398-1120

MOOSE’S


1652 Stockton

(415) 989-7800

NICKIE’S


466 Haight

(415) 255-0300

OLD FIRST CHURCH


1751 Sacramento

(415) 474-1608

111 MINNA GALLERY


111 Minna

(415) 974-1719

PARK


747 Third St

(415) 974-1925

PARKSIDE


1600 17th St

(415) 252-1330

PIER 23


Pier 23

(415) 362-5125

PINK


2925 16th St

(415) 431-8889

PLOUGH AND STARS


116 Clement

(415) 751-1122

PLUSH ROOM


York Hotel

940 Sutter

(415) 885-2800

POLENG LOUNGE


1751 Fulton

(415) 441-1710

PUBLIC


1489 Folsom

(415) 552-3065

PURPLE ONION


140 Columbus

(415) 217-8400

RAMP


855 China Basin

(415) 621-2378

RASSELAS JAZZ


1534 Fillmore

(415) 346-8696

RED DEVIL LOUNGE


1695 Polk

(415) 921-1695

RED POPPY ART HOUSE


2698 Folsom

(415) 826-2402

REDWOOD ROOM


Clift Hotel

495 Geary

(415) 775-4700

RETOX


628 20th St

(415) 626-7386

RICKSHAW STOP


155 Fell

(415) 861-2011

EL RINCON


2700 16th St

(415) 437-9240

EL RIO


3158 Mission

(415) 282-3325

RIPTIDE BAR


3639 Taraval

(415) 240-8360

RITE SPOT


2099 Folsom

(415) 552-6066

ROCCAPULCO
SUPPER CLUB


3140 Mission

(415) 648-6611

ROCK-IT ROOM


406 Clement

(415) 387-6343

ROHAN LOUNGE


3809 Geary

(415) 221-5095

ROYALE


1326 Grant

(415) 433-4247

RUBY SKYE


420 Mason

(415) 693-0777

SAVANNA JAZZ


2937 Mission

(415) 285-3369

SHANGHAI 1930


133 Steuart

(415) 896-5600

SHINE DANCE LOUNGE


1337 Mission

(415) 421-1916

SKYLARK


3089 16th St

(415) 621-9294

SLIDE


430 Mason

(415) 421-1916

SLIM’S


333 11th St

(415) 255-0333

SOLUNA CAFE AND LOUNGE


272 McAllister

(415) 621-2200

SPACE 550


550 Barneveld

(415) 550-8286

STUD


399 Ninth St

(415) 252-7883

SUEDE


383 Bay

(415) 399-9555

SUGAR LOUNGE


377 Hayes

(415) 255-7144

SUITE ONE8ONE


181 Eddy

(415) 345-9900

SUPPERCLUB


657 Harrison

(415) 348-0900

1015 FOLSOM


1015 Folsom

(415) 431-1200

330 RITCH


330 Ritch

(415) 541-9574

TOP OF THE MARK


Mark Hopkins Intercontinental Hotel

1 Nob Hill

(415) 616-6916

TRANSFER


198 Church

(415) 861-7499

TUNNEL TOP


601 Bush

(415) 986-8900

12 GALAXIES


2565 Mission

(415) 970-9777

26 MIX


3024 Mission

(415) 826-7378

222 CLUB


222 Hyde

(415) 864-2288

UNDERGROUND SF


424 Haight

(415) 864-7386

VELVET LOUNGE


443 Broadway

(415) 788-0228

VODA


56 Belden

(415) 677-9242

WARFIELD


982 Market

(415) 775-7722

WISH


1539 Folsom

(415) 431-1661

BAY AREA

ALBATROSS PUB


1822 San Pablo, Berk

(510) 843-2473

ANNA’S JAZZ ISLAND


2120 Allston Way, Berk

(510) 841-JAZZ

ASHKENAZ


1317 San Pablo, Berk

(510) 525-5054

BECKETT’S


2271 Shattuck, Berk

(510) 647-1790

BLAKES


2367 Telegraph, Berk

(510) 848-0886

CAFE VAN KLEEF


1621 Telegraph, Oakl

(510) 763-7711

DOWNTOWN


2102 Shattuck, Berk

(510) 649-3810

FOURTH STREET TAVERN


711 Fourth St, San Rafael

(415) 454-4044

FREIGHT AND SALVAGE COFFEE HOUSE


1111 Addison, Berk

(510) 548-1761

JAZZSCHOOL


2087 Addison, Berk

(510) 845-5373

JUPITER


2181 Shattuck, Berk

(510) THE-ROCK

KINGMAN’S LUCKY LOUNGE


3332 Grand, Oakl

(510) 465-KING

MAMA BUZZ CAFE


2318 Telegraph, Oakl

(510) 465-4073

19 BROADWAY


19 Broadway, Fairfax

(415) 459-1091

924 GILMAN


924 Gilman, Berk

(510) 525-9926

NOMAD CAFÉ


6500 Shattuck, Oakl

(510) 595-5344.

PARAMOUNT THEATRE


2025 Broadway, Oakl

(510) 465-6400

RUBY ROOM


132 14th St, Oakl

(510) 444-7224

SHATTUCK DOWN LOW


2284 Shattuck, Berk

(510) 548-1159

STARRY PLOUGH


3101 Shattuck, Berk

(510) 841-2082

STORK CLUB


2330 Telegraph, Oakl

(510) 444-6174

SWEETWATER


153 Throckmorton, Mill Valley

(415) 388-2820

TIME OUT BAR AND PATIO


1822 Grant, Concord

(925) 798-1811

21 GRAND


416 25th St, Oakl

(510) 444-7263

UPTOWN


1928 Telegraph, Oakl

(510) 451-8100

WHITE HORSE


6551 Telegraph, Oakl

(510) 652-3820

YOSHI’S


510 Embarcadero West

Jack London Square, Oakl

(510) 238-9200

Pick up the beat

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› a&eletters@sfbg.com

Bop City. The Blackhawk. The Jazz Workshop. The Both/And. Keystone Korner. Kimball’s.

San Francisco’s world-renowned jazz club heritage has always been a part of the city’s matchless cultural identity. But the je ne sais quoi’s been missing for decades, because there hasn’t been a jazz club regularly booking national and international touring musicians into the city for more than 20 years.

That all changes this month with the Nov. 28 opening of Yoshi’s San Francisco. There’s been a Yoshi’s in Jack London Square for 10 years, the descendant of a North Berkeley sushi bar that morphed into a restaurant and music venue on Claremont Avenue in Oakland. Down by the waterfront, Yoshi’s became synonymous with jazz and was revered as both an artist- and an audience-friendly venue.

The brand-new club and restaurant at 1330 Fillmore holds down the ground floor of the freshly minted Fillmore Heritage Center, a 13-story mixed-use development that hopes to jump-start a renaissance in the scuffling Western Addition historic area. "Truthfully, I really don’t know why there hasn’t been another jazz club in San Francisco," says Yoshi’s artistic director, Peter Williams, the man charged with making sure the music part of the business stays in business. He’s been booking the artists at Yoshi’s for the past eight years. "Jazz is very risky," he continues, "and maybe people were feeling like they didn’t want to take the chance. These owners felt there was an opportunity."

The owners are Kaz Kajimura, one of Yoshi’s founders, and developer Michael Johnson. Their opportunity is costing $10 million, with the San Francisco Redevelopment Agency kicking in a $4.4 million loan as part of the total $75 million redevelopment project helmed by Em Johnson Interest, Johnson’s company.

Their idea of a new jazz club in the Fillmore District took shape four years ago, after a series of false starts with other developers and other discussed flagship venues, such as the Blue Note. Johnson sent out requests for proposals to jazz clubs around the country; Kajimura received one, and when he met with Johnson, the two hit it off. "Michael could see Kaz’s vision, and vice versa. That made it happen," Williams says. The building, designed by Morimoto, Matano, and Kang Architects, has a performance venue of 417 seats, 317 on the ground level and 100 more on a mezzanine. The restaurant, serving a modern Japanese cuisine created by executive chef Shotaro "Sho" Kamio, seats 370 in its combined dining and lounge areas. Success on the food side is a likely slam dunk — it’s in jazz presenting, much like three-point shooting, that percentages decline.

Williams is counting on Yoshi’s reputation among jazz professionals — musicians, managers, and agents — as a starting point. "We’ve put a lot of care into presenting the music in as respectful a setting as possible," he says. "I think that’s paid off for us."

CLUB DECLINE?


But jazz club culture has receded in the past 20 years, with the music finding support from institutions like SFJAZZ, which stepped into the developing void in the city 25 years ago. SFJAZZ executive director Randall Kline has always looked to organizational models like the San Francisco Symphony in terms of sustaining and growing the jazz art form. "What has happened is jazz has moved more into the concert hall and into more of a special-events format than a club format," Kline says. "There hasn’t been a great growth of jazz clubs in the country. But there’s a proliferation of festivals."

There are jazz clubs — Jazz at Pearl’s, under the strong stewardship of Kim Nalley and Steve Sheraton, is certainly a necessary element of North Beach, and farther north on Fillmore is Rasselas — but Kline believes there just aren’t as many live music clubs as there once were.

Still, despite the fierce competition for eyes, ears, and dollars, the fact remains that musicians need to play. Performance has always been one of the most effective ways for jazz artists to sustain themselves and build their audience. Not only is there no substitute for hearing the music live, but venue sales have also become a larger part of the overall sales picture, observes Cem Kurosman, director of publicity for Blue Note Records.

"Now, with fewer and fewer TV, radio, and mainstream press outlets covering new jazz artists, touring has become more important than ever," Kurosman says, "although there are fewer jazz clubs on the national circuit than ever before."

The Bay Area is one of the top four jazz markets in the country, and it behooves artists to gain exposure here. That wasn’t really a problem while the region was consistently supporting the music, when the music was here in the clubs and jazz seemed to swing up from the streets.

But times have changed, and no one recognizes that better than Todd Barkan, who ran Keystone Korner in North Beach. When Keystone closed in 1983, it was one of the last San Francisco clubs to regularly book national and international touring jazz groups. Barkan is now the artistic director of Dizzy’s Club Coca-Cola, the jazz club operated by Jazz at Lincoln Center in New York, and he’s also a highly regarded producer who works with numerous domestic and European jazz labels.

"The reason there hasn’t been anything in San Francisco proper for some 20 years is that it’s a new era," Barkan says. "San Francisco is not the bohemian place that it was when I started the Keystone in the early ’70s, which itself was a holdover from the psychedelic era."

While Barkan’s place could not rightly be called a dive, it was a funky little crowded club. From the stage to the bar, the setup at Keystone was significantly removed from the state-of-the-art amenities at Yoshi’s. In some ways, Yoshi’s splits the difference between the club and the concert experience, the hope being that the artists and the audience get the best of both worlds.

Barkan says the primary jazz audience now has different expectations than it used to. "It took a number of years to get the business set up to have the right kind of a club that could really be competitive and cater to a much more upscale audience, which is where the real jazz audience is now overall," he says. "For better or worse that’s where it’s at."

That audience is also spread throughout the Bay Area, which is important for a San Francisco–situated club to keep in mind. "San Francisco’s a little town," Barkan says. "With all due respect, ‘the city’ is only about 800,000. The Bay Area is 4.5 to 5 million people, but it’s very spread out." His North Beach club got a tremendous benefit from the freeway off-ramp at Broadway, which made getting into that part of the city from the Bay Bridge simpler.

But Yoshi’s San Francisco won’t survive on jazz alone, as Barkan and Williams acknowledge. "To do the kind of numbers and volume Yoshi’s needs, you have to have a diversified musical program," Barkan says.

Williams spins the challenge of putting butts in the seats as an opportunity to be creative. "I’ll have to branch out a little bit in what we do," he agrees. "I don’t think we’ll be able to do just jazz all the time." At Yoshi’s Oakland, Williams has added salsa dance nights on Mondays, and he consistently books fusion and smooth jazz performers like Keiko Matsui and neosoul acts like Rashaan Patterson.

The San Francisco spot will likely see a similar mix, though the inaugural performers are a mainstream ensemble called the Yoshi’s Birds of a Feather Super Band, which includes vibraphonist Gary Burton, saxophonists Ravi Coltrane and Kenny Garrett, trumpeter Nicholas Payton, and bassist John Patitucci. Veteran drummer Roy Haynes leads the band, which Williams created specially for the club’s opening.

Taj Mahal and the Phantom Blues Band follow, and later in December, Chick Corea, Charlie Hunter, and Rebeca Mauleón will perform. Next year will see guitarist Pat Metheny, pianist Gonzalo Rubalcaba, vocalist Cassandra Wilson, and guitarist Bill Frisell in multinight runs at the club. Williams will try various things, particularly in the early months. "December is mostly artists coming to San Francisco with one band and then going to Oakland with another," he says. Corea, Hunter, and Taj Mahal will all pull double Yoshi’s duty.

"It’s gonna be a learning experience to find out what works and what doesn’t and how the two clubs can work together," Williams says. He will also have bands play the first part of the week in San Francisco and then Thursday through Sunday in Oakland, reasoning that San Franciscans are looking for more things to do early in the week. And he wants the club to be a platform for local artists — probably early in the week as well — but says Yoshi’s will have to focus on national touring acts simply to get people into the club.

Local saxophonist Howard Wiley is bullish on the new club, hoping that, if nothing else, it brings some notice to jazz instead of more exploitative forms of expression. "I’m so tired of hearing about Britney [Spears] and strippers and all that stuff," he says. "I’m hoping and praying the pendulum will swing back and people will cherish things of value again. I always love it when more attention can be brought to the music."

Currently Intersection for the Arts’ composer in residence, Wiley put out the self-released Angola Project earlier this year. The music is based on African American prison spirituals with roots primarily in songs and stories from the Louisiana State Penitentiary in Angola, La. While Wiley hopes Yoshi’s can bring in artists like Billy Harper and David Murray, not necessarily household names even in mainstream jazz homes, he recognizes the reality of booking the club. "I’m not so into Rick Braun, but I understand," he says with a laugh, referencing the smooth jazz trumpet icon. "I just hope the club represents the music to its fullest, because it’s the only American contribution to global art."

ACCESSIBLE AVENUES


Former club owner Barkan hopes the new Yoshi’s anchors a reinvigorated jazz scene in San Francisco, one that can support another, smaller club as well, something with around 150 seats and less of an overhead, which a savvy veteran promoter like, say, himself might book. A smaller room certainly would make music more accessible to audiences. It might also underscore the notion that there just aren’t the headliners in jazz that there once were — the names needed to fill a room the size of the new Yoshi’s. "When the Keystone was up and running, we had Dexter Gordon, Elvin Jones, Gene Ammons, Art Blakey, Cannonball Adderly, Rashaan Roland Kirk, Freddie Hubbard," Barkan says. "The list was pretty inexhaustible.

"More than anything, jazz needs committed, dedicated presenters," he continues. "Yoshi’s is to be commended for what it does. They’re unsung heroes of this whole scenario."

The long-ago memories from San Francisco’s jazz club past sound like misty urban legends. Bop City, for instance, was the spot where Billie Holiday and Charlie Parker played. Saxophonist John Handy was just 18 when he joined John Coltrane onstage. Across town in North Beach, Miles Davis recorded his first live album at the Blackhawk. Charles Mingus recorded one of his best live LPs at the Jazz Workshop, and Adderly got famous from the one he recorded there. Do you remember Sun Ra’s expansive band flowing off the tiny stage at Keystone Korner? Jazz fans may have to resign themselves to the fact that it may never be like that again.

But there’s a San Francisco jazz continuum that includes those clubs, writers like the late Phil Elwood, producers such as Orrin Keepnews, and musicians including Joe Henderson, to name just a few. There have been many other forgotten heroes and great moments. And even though CD sales have slumped in recent years, reflecting the faltering music industry as a whole, there are as many good musicians around as ever, and most observers think an audience is there as well. For any live music scene to work, there have to be the players, the audience, and the venue to bring them together, and Yoshi’s hopes to do that for the Fillmore. "I just hope the Bay Area jazz community will band together, check this out, and make it work," Williams says. "It’s a huge undertaking. It’s going to be a beautiful room, there’ll be beautiful music, and if people come, it’ll be a success."

ROY HAYNES AND YOSHI’S BIRDS OF A FEATHER SUPER BAND

Nov. 28, 8 and 10 p.m., $100

Yoshi’s

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

Feeling one’s bones with Ghostface Killah and co.

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ghostface.bmp

By Chris DeMento

One can’t help heaping expectations upon a show like this – the Nov. 2 appearance by Brother Ali, Ghostface, Rakim, and the Rhythm Roots Allstars at Mezzanine: three big-name emcees, a 10-piece backband, a sold-out venue. It turned out to be fairly low-key evening, what with all the civility, the smoky supplication of so many mature hip-hop fans.

Brother Ali opened with a lot of righteousness, hyped Rakim and Ghostface, validated himself, then closed with a very clean, very tight freestyle. Ghostface made the most of his well-recognized Fishscale material and turned out some welcome oldies: 30 seconds of “Daytona 500” satisfied a craving that had been gnawing at me ever since some asshole ate my Ironman disc like eight years ago. Likewise, Rakim’s third-act performance called up more memories for me: the fragment of “Mahogany” he played was a real treat, same with versions of other decades-old rhymes like “Microphone Fiend” and “Don’t Sweat the Technique.” I was sated, but I can’t say I was exactly inspired by the music. Despite the spot-on efforts of the Rhythm Roots Allstars, who did a thorough job of imagining all the live tracks for each of the three MCs, it sounded like the same old hip-hop you knew and loved – the same old hip-hop that you still know and love, but at a greater distance.

Not to say old is bad… just old. Ghostface himself asked the crowd how many thirty-somethings there were in attendance, and the crowd returned a roar that probably shouldn’t have come as a surprise. Then he encouraged all to remember the late ODB, taking pause to reflect on the “‘All I Got Is You’ days.” This sort of nostalgia helps preserve the history of the art form. Indeed, much of the show seemed suspended, freshly dipped (thanks to the band), in a glass jar of formaldehyde labeled “hip-hop classic.”

Boo!

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› kimberly@sfbg.com

SONIC REDUCER If life is a cabaret, disco, or Costco excursion, then what about the sweet or sucky hereafter? Whether one believes in the interminable after-parties of the afterlife or not, one must get into the spirit of the season as a deathly chill breezes through the bones and the night shadows lengthen; try melting into the 15,000-strong crowd crawling down 24th Street and into Garfield Park during the Day of the Dead procession Nov. 2. The doors of perception are swinging wide — might as well stumble through and over a Burning Man–style performance art project, a random garage studio wine-ing passersby, or a shrine that speaks to you.

And what would the dead (not to be confused with RatDog) say? Would they wonder if that’s Devendra Banhart striding purposefully up 24th Street — or the ghost of luxuriantly locked Cockettes past? Why are the cash boxes of beloved nightspots like Thee Parkside and 111 Minna Gallery being hit by thieving tricksters? People and possessions come and go, but sometimes, mysteriously, they stick around. I was once terminally creeped out by an overnight stay at the Highland Gardens Hotel in Hollywood, where Janis Joplin slipped from this world into the next. Even otherwise sober arena rockers like those in Maroon 5 get the willies, as I found earlier this fall during a gang conference call on the edge of their current tour.

I asked frontperson Adam Levine why he ended up writing most of the songs on this year’s zillion-seller It Won’t Be Soon Before Long (Octone/A&M), and he chalked it up to an overflowing creativity inspired by intense solitude. I suppose alleged hookups with tabloid hotties like Lindsay Lohan and Jessica Simpson equal crap songcraft, so I wondered, "It didn’t have anything to do with the Rick Rubin house [where Maroon 5 recorded their album] or the ghost in it, supposedly?"

"Well, no," Levine replied. "That definitely kept me away from the house when I was wasn’t working, because of the strange spiritual goings-on."

Apparently, guitarist James Valentine, who stayed at the former Harry Houdini residence because he was "homeless at the time," had a solo encounter one night with a female phantom that walked into a room, then vanished. But spookier still is how catchy "Makes Me Wonder," off It Won’t Be Soon Before Long, is. One, two, even three hit pop singles don’t necessarily add up to the ghost of a chance in today’s fickle musical marketplace — and the predictable love-thang lyrical fixations of "This Love" and "She Will Be Loved" don’t necessarily appeal to sardonic souls who want to hear songs about vampires, aliens, and their favorite Suicide Girls. ("We’re certainly not reinventing the wheel or necessarily putting a flag anywhere," Levine confessed.) Still, one must appreciate the band’s attempt at levity with their cover of "Highway to Hell" on 2004’s 1.22.03.Acoustic (Octone/J). And AC/DC-style lasting power seemed to be on the minds of the Grammy-winning, multiputf8um group, which name-checked Prince and the Stones.

"I think that we don’t want to burn out," Levine said, "and there’s definitely this mentality that’s very strong these days about cashing in, and we’re much more interested in longevity. We’re also interested in cashing in to some extent — who wouldn’t be?" Valentine snickered as Levine continued, "We want to be taken seriously as a band, and there’s things that you need to do in order to make that happen.

"I think those artists that you mentioned have done that in order to stay relevant. I think that we just need to try as hard as we can and make sure that we’re not always taking a check just to take a check. I think that at the end of the day, it comes down to one thing, which is writing good music." Waving a lighter and building an altar won’t fly?

MAROON 5

With the Hives and Phantom Planet

Tues/6, 7:30 p.m., $39.50–$50.50

HP Pavilion

525 W. Santa Clara, San Jose

www.ticketmaster.com

LOOK OUT!

ENON


I’m high on the massive hand claps and grinding riffage of the Philly-Brooklyn band’s "Mirror on You," from Grass Geysers … Carbon Clouds (Touch and Go). Thurs/1, 9 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

UPTOWN GRAND REOPENING


Zero publisher Larry Trujillo and pals soup up the sound, lighting, and decor to showcase rock acts, live burlesque on Mondays, and electro nights on Saturdays. Birdmonster and the Morning Benders play. Fri/2, 9:30 p.m., $10. Uptown, 1928 Telegraph, Oakl. www.uptownnightclub.com

DO MAKE SAY THINK


Making thoughtful prog instrumentals for the 21st century with You, You’re a History in Rust (Constellation). Sat/3, 9 p.m., $15 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

MINIPOP


Fresh from getting fingered by BBC Radio 1’s Steve Lamacq, the SF dream poppers unfurl A New Hope (Take Root). Sat/3, 8:30 p.m., $10. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

TUNNG


Not to be confused with dung. The London nouveau folk band strum, detune, and jingle something fierce on Good Arrows (Thrill Jockey). Mon/5, 9 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

CLOCKCLEANER


WWKT: what would Kurt think? The Load Records combo pens tunes like "Missing Dick," off 2006’s Nevermind. Tues/6, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

Giddy, yup! New Young Pony Club makes us frisky

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By Todd Lavoie

“New Who What Huh?!” All right, maybe the name doesn’t exactly flow from the tongue in gently rolling syllables on the first go-round, but try it with me now, slowly, steadily: New Young Pony Club. Ah, there you are. Very nice. Again. New Young Pony Club. Great. Quick – now three times fast. Now you’re in fine shape for this coming Monday. Why, you ask? That’s when London indie disco-new wave revivalists New Young Pony Club storm the Mezzanine stage, silly.

The five-piece of hip young things and fashion-forward synth lovers insist on their Web site that New Young Pony Club isn’t just a mere dance band, but that they have a mission, a manifesto, even. A subtle manifesto, they add, but a manifesto nonetheless. Since they seem to keep their MO shrouded in mystery – unless, of course, my days of staying two steps ahead are sadly behind me and I just straight up missed the deeper gist of the sloganeering, a serious possibility I must grant as I catch another wisp of gray in my sideburns – I’m going to hazard some crazy-ass guesswork here and offer a theory to NYPC’s driving force. Ready?

Party hard. Oh, and look great doing it.

Cheap, loud, and reunited

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› kimberly@sfbg.com

SONIC REDUCER Hey, dude, while you were busy abiding, you totally snoozed on last year’s Budget Rock Showcase. We came, we were conquered, we rocked, we rolled, we had joy, we had fun, we had seasons at the Stork. Oh yeah, and we wet our lips, shook our hips, and swore we’d never dip back into that pretty, pretty poison of a garage rock fest, yet said soiree kept dragging us back the weekend of Nov. 10, 2006, for more wonderfully ear-piercing, guitar-centered punishment from the Guilty Hearts, the Shrugs, SLA, the Omens, and the Original Sins, spotlighting a barefoot and blissfully uncontrite Brother JT singing an awesomely odd cover of "I Want Candy." All crack for the rawboned rock ‘n’ roll crank.

This year’s Budget Rock busts the bank with two reunions to squander your spare change on and write home to your pasty-faced, pageboyed collector head–fanbo about. Primo: Boston’s real punk lost treasures the Real Kids, now pushing fiftysomething and still playing the gloriously hook-laden songs off their 1977 self-titled debut (Norton). Yeah, they looked like the Ramones, but the Real Kids eschewed comic book music stylings for heartfelt, rockin’ teen angst more in line with early wavers like Eddie and the Hot Rods or Rockpile. They looked forward by stripping down and glancing back to teen dreams and prepube debauchery.

And yeah, most of their songs are about girls, but that doesn’t mean the tunes haven’t stood time’s tests, which is why pockets of fanatics can be found from France ("They like us and Jerry Lewis," vocalist-guitarist John Felice says) to Japan, especially since the Real Kids regrouped in 1999 to play the Purple Onion. The group is only now rebounding after a year and half of casts and three surgeries on Felice’s left hand, injured by years of playing and arthritis, but the Realest Kid is looking forward to meeting old fans like Rancid’s Lars Frederickson, who came out for their Onion show. "He turns out to be a big Real Kids fan. The first records he ever got, from his older brother, were a Ramones album, a Voidoids album, the Sex Pistols album, and the Real Kids album," Felice recalls. "We had an influence on him!"

Influence can go all sorts of ways. Secundo on the Budget Rock reunion tip are the Bay’s all-female garage punk–surf combo the Trashwomen, who haven’t played since ’95. Trashwomen drummer Tina Lucchesi — late of the Bobbyteens and co-owner of Oakland salon Down at Lulu’s — remembers the band as the brainchild of Phantom Surfer Mike Lucas back in 1991. Guitarist Elka Zolot was already in the punk band Eight Ball Scratch, but Lucchesi and bassist Danielle Pimm had never played before. So, Lucchesi confesses, her boyfriend Russell Quan, once of the Mummies and now of the Flakes, taught her to bash three weeks before their first show. "We were shitty, so shitty," Lucchesi remembers, though the band managed to generate a fun Estrus album. In the interim, she says, "I’ve learned a lot. I’m a better drummer now. We’re older now. We’re not little girls. We’re not young and out of tune." *

BUDGET ROCK SHOWCASE

With the Trashwomen (Fri/26) and the Real Kids (Sat/27–Sun/28)

Call for times and prices

Stork Club

2330 Telegraph, Oakl.

(510) 444-6174

www.myspace.com/budgetrock

ARE THE GOOD TIMES KILLING TWO GALLANTS?

There can be such a thing as too much of a good time, attests Adam Stephens, 26, of Two Gallants, who call San Francisco home when they aren’t gallanting around the globe. The duo’s new self-titled Saddle Creek LP has got to be their best yet — and it’s their first working with a producer, Alex Newport, an experience that came with some tough love. "If he thought there was something inappropriate or inconsistent, he would point it out to us, which is really hard for us because Tyson [Vogel, the Gallants drummer] and I use our first takes as much as possible."

After their forthcoming shows at the Independent and a six-week European sortie, Stephens is finally hoping to chill out in the Bay. "When you’re touring as much as we are your sanity comes into question," the SF native admits. "I have a very deep love affair with the city, and after being gone so much I like to reexplore it. To me that’s a really peaceful, rejuvenating thing to do, just bike around the city all day and try to reclaim it." *

TWO GALLANTS

Fri/26–Sat/27, 9 p.m., $16

Independent

628 Divisadero, SF

www.theindependentsf.com

GET DOWN, BOY

SLEEPING STATES


Carve out a niche for There the Open Space (Misra). With Man Man. Thurs/25, 8 p.m., $13–$15. Slim’s, 333 11th St., SF. www.slims-sf.com

DIGITALISM


Electro über Alles. Fri/26, 10 p.m., $15. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

CARIBOU


After delivering one of the best shows of 2005 at Bottom of the Hill, electronic-rock maestro Don Snaith, a.k.a. Manitoba, comes back with Andorra. Sat/27, 9 p.m., $13–$15. Slim’s, 333 11th St., SF. www.slims-sf.com

COCONUT COOLOUTS


Tunes about pizza and the movie Twins. Sat/27, 2 p.m., call for price. Stork Club, 2330 Telegraph, Oakl. (510) 444-6174, www.storkcluboakland.com. Sun/28, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

UNKLE


Boasting a dynamic War Stories (Surrender All), the UK production collective makes its maiden live outing. Sat/27, 9 p.m., $20. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

Going after the Go! Team

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By Chris DeMento

If I had been liquored up, like good and wedding-reception drunk, the Go! Team, who appeared Oct. 19 at Mezzanine, would have doubtless been an even more enjoyable show. They crammed their set full of frenetic, fizzpop, indie-hop dance numbers, deviating only twice to play something softer, slower, more coquettish. The better part of it was all getaway cars, poprocks, and coke.

The old stuff – like “Panther Dash” and “Lady Flash” – is written with a recipe that calls for one part rock ‘n’ roll posturing, one part disco synthfunk, and one part hip-hop brio. Mix in a simplistic glockenspiel, substitute semi-inspired harmonica lines, tinker about on toy instruments – and smile pretty and laugh and keep it genki! And throw your hands up in the air and jump and yell, “Yay!” and “Go!” and “Whoo!” a whole bunch of times. The stuff they played off the new album bears a listening, if only for the sake of close comparison to the old. The crazydancy rock-hop formula still works.

The Go! Team should be noted for doing what so many UK bands before them have also succeeded in accomplishing – that is, for putting fundamentally American tropes to colorful, original use. Not to call them Lennons
– far from it. But it’s undeniable that the warm reception they received from their 35-and-younger Mezzanine audience had much to do with their manipulation of popular American forms, specifically hip-hop. Their approach presents itself just clearly enough, without overpowering the other ideas in the music – a convenient influence that remains almost topical so as not to scare off the alt-indie-dance-pop rockers. For the Go! Team, hip-hop works best as a component, a third of their sum polyphony, and in this way, lead vocalist Ninja provides a more rhetorical, rhythmically additive element than any real semantic purpose or tonal value – perfect for white folks who don’t own any Nas records but fondly recall the Rob Bass days. (And this is all right crafty on the part of the band, if you ask me.)

Go, Go! Team, go: More from cheer leader Ian Parton

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The Go! Team are all about the highly intense positivity. so it’s a little strange to find producer-songwriter-mastermind Ian Parton, 33, so somber and sober, speaking from the UK on the brink of their SF show tonight, Oct 19, at Mezzanine. Oh well, the fun is all over the new record, Proof of Youth (Sub Pop) – and that’s what counts. Here’s a bit more from our talk.

Bay Guardian: Did you have anything that you really wanted to accomplish with this new album?

Ian Parton: I wanted it to be noisier, more kind of ballsier, just a bit more wangy, a bit more kick ass, and a bit more live sounding. I always loved weird tunings and white noise and feedback and more aggressiveness. A bit more Public Enemy and more sing-along.

BG: Speaking of Public Enemy, how did you get Chuck D to perform on the album?

IP: Oh yeah, I never really thought it would happen. I still never believed it up till that very moment. It was six months in the making after the first e-mail was shot off – to nowhere, not knowing if we had the right address and wondering if it was really Chuck that replied or someone fucking around with us.

Tacos, “Widow”‘s peak, Gold beats: make it Fiery Furnaces, Chuck Prophet, and Fool’s Gold

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Whoa, there’s a lot going this weekend, as usual in the fairest of ‘Friscos. Let’s take a tip from our sponsor and take it a one day at a time this weekend.

First, the Fiery Furnaces are up tonight, Oct. 19, with Pit er Pat at Independent – and dang, their new album, Widow City (Thrill Jockey), rocks it old-school. As in feathered hair, air-brushed vans, and double gatefold vinyl, which by chance, Widow City is available on. Hey, it’s a great time to be a widow! (Cue video “Ex-Guru.”)

Next up on Saturday, Oct. 20, you got a hoedown to throw down: the Fool’s Gold Showcase at Mezzanine with A-Trak and DJ Mehdi, Kid Sister, Kavinsky, Nick Catchdubs, and Trackademicks. Let’s hope Kavinsky actually does something (check Michael Harkin’s CMJ blog) – but whatev, Chicago’s Kid Sister will make it all happen – here at SXSW.

Meanwhile on Sunday, Oct. 21, SF singer-songwriter extradordinaire Chuck Prophet is going to be toasting his new acclaimed CD, Soap and Water (Yep Roc) – with tacos, natch.

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Dude has hired a truck to treat the fans on Sunday at the Make-Out Room. Of the aforementioned grinds, Prophet said, “Yes, you heard right. Free tacos for all my friends! The taco truck will be courtesy of El Tonayense. I’m a carne asada man myself, but I hear they do a killer al pastor.” (Dig it – after paying the $10 cover.) Prophet also performs free at Amoeba on Oct. 21, 2 p.m. – so now you’ve no excuse to miss him! (You can also hear the album online here.)

CMJ 2007: If it’s Wednesday, it must be Celebration, Fool’s Gold, the Cool Kids, and Birthday Suits

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Passing out lane: Birthday Suits at Cake Shop. All photos by Michael Harkin.

By Michael Harkin

It’s been in the high 60s and low 70s out here in New York City, and while that is set to change pretty soon – the rain was set to start Thursday, the day I write this – the indie-rock sun shan’t set till early Sunday morning! A lot of shows went off Wednesday, Oct. 17 (Tuesday was a bit more low-key) – here are a few that I checked out and enjoyed:

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Celebration – good times.

CELEBRATION AT PIANO’S (BROOKLYNVEGAN SHOWCASE)

I was lucky enough to catch a set by Celebration, a Baltimore band whose organ-heavy psychedelic shoegaze-beat was a real treat to take in. Vocalist Katrina Ford explained that, because they were playing in New York, the group was larger than usual, boasting an additional fellow on the congas and a stellar saxophonist who added an element of voodoo jazz freakout to the occasion. Their material had a real infectious, danceable pulse and channeled the space-rock catharsis of Spiritualized on more than one occasion. I’d advise checking them out when they play at the Independent in San Francisco on Nov. 11.

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Cool Kids go bump in the night.

FOOL’S GOLD SHOWCASE AT HIRO BALLROOM

A-Trak, Montreal DJ and head of the new Fool’s Gold label, spun a closing with DJ Mehdi of the Paris’s Ed Banger Records, bringing about clever collisions between electro, old-school booty rap and French filter disco. Kavinsky, also associated with Ed Banger, was slated to “perform,” but primarily appeared to be standing around looking cool alongside the aforementioned DJs as they played a few of his 12-inch singles. He couldn’t do it himself?!

The Cool Kids were the flat-out business, man: old-school, oft-808-based breaks and rhymes about gold, pagers, cell phones, and being off the wall like the logo on Vans – you know, the skater kicks? Visuals scrolled behind them of BMX jumping, breakdancing footage, and lotsa Michael Jordan dunks. It was 1993 all over again! Their DJ was called DJ V.I.P.J. – pretty cool. The Fool’s Gold Showcase comes to the Mezzanine Saturday, Oct. 20.

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Steamy Birthday Suits.

BIRTHDAY SUITS AT CAKE SHOP

This Minneapolis two-piece was super-thrashy and catchy, pushing miniature, manic bits of punk spazzcore into the basement space of the Cake Shop on the Lower East Side. Guitarist Hideo rolled about on the floor for a bit, while Matthew – who drummed and sang with Hideo – was a whirring thunder behind the kit. Pretty neat-o stuff, and a blinding reminder that rock really ought to be a lot noisier than it often is.

Pay to play

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› kimberly@sfbg.com

SONIC REDUCER Some of the sweetest words to deliver to impecunious types like myself: pay what you can. This I can work with — be it a noise show at 21 Grand or the new Radiohead album. After blowing my newspaper wage-slave paycheck on rent, ramen, recreational intoxicants like lychee jellies, and sticker pics of my homegirls in goth Lolita getups, there’s not much cheddar left to slap on surplus grillables. So taking a cue from Radiohead, what say we pretend this is a just world where we have the leisure and the leeway to bitch the would-be Hills cast member behind the counter down a cent or two for that Elvis Reese’s cup? How much would we fork out for these recent releases?

RADIOHEAD IN RAINBOWS (SELF-RELEASED)


They get at least $5 for getting us talking again about wiping the high prices of CDs and putting the music out there on the imaginary block: how much is this worth, unheard? More than a million queued up for a taste and an alleged average of about $8 per album download. A bargain compared to iTunes’ $1 per track.

But what about the songs themselves? The sly wink lodged behind the downloadable album’s flexible price has kept in check the ear-popping pressure of creating another masterwork on par with 1997’s OK Computer (Capitol). In keeping with the darkly miniaturist mode of Thom Yorke’s 2006 solo disc The Eraser (XL), In Rainbows is a subtle, contained meditation on love, trapped in a bell jar when it doesn’t soar into creamy, cumulous, string-strafed regions ("Reckoner") or dip into the red, bristling with distortion and thumbing its nose at wincing audiophiles ("Bodysnatchers"). Fidelity is the last thing on the mind for this band off the leash, as on "House of Cards," on which burly bass lines buzz, glassy synths shiver, and Yorke oozes, "I don’t want to be your friend / I just want to be your lover." How about $9.99 and rising as I find new reasons to love In Rainbows?

SOULJA BOY TELLEM.COM (COLLIPARK/INTERSCOPE)


"Crank That (Soulja Boy)" gets about $2.50 for putting a crystallized Caribbean spin on crunk and imbuing steel drums with a certain refried dementia. SB also snatches 25¢ for working Robocop into the rhyme. But I’ll take that 25 back for the doofus idea of writing an ode to a Sidekick, pandering to the ringtone market. I’ll drop another $1 for the album title, which triggers flashbacks to the late ’90s, when every new business felt the need to add a ".com" to its handle. The final price.com: $1.25.

CAVE SINGERS INVITATION SONGS (MATADOR)


The way these Seattlites juxtapose ex–Hint Hint vocalist Pete Quirk’s adenoidal croon with skiffle snare, guitar drone, and nodding tambourine on "Seeds of Night" scores them at least $3, as does the barn-raising thrum of the eerie "Helen." But the group hug on the cover lands them in the $8 range. Is it ironic — a poke at the freely folkish movement from onetime rockers like former Pretty Girls Make Graves bassist Derek Fudesco? "It’s pretty genuine, actually," Quirk told me last week from his native New Jersey. "It’s not supposed to be a joke. We don’t really take ourselves too seriously, and we usually have a good time with the things we do — we do the group hug a lot!" Sounds like Cave Singers are actually pretty sensitive dudes. "That was our first band name, Sensitive Dudes, but it was taken," Quirk joked. My bid: $8 and a standing invitation to a friendly clinch.

THE GO! TEAM PROOF OF YOUTH (SUB POP)


I’d throw out $10 and a pint of blood for a daily dose of the superenergized Proof. Mastermind Ian Parton makes extremely aggro joy, collaborating with the rest of his band and working with Chuck D (embedding him in the bustling funk of "Flashlight Fight"), the Double Dutch Divas, Rapper’s Delight Club, and Solex. The up-on-the-upbeat Proof resembles a giddy kidsploitation action flick score on a Fruity Pebbles sugar high. Most important, the band has coalesced into a living, breathing entity. "The world doesn’t need another laptop geek onstage," a sober Parton explained from London. "I wanted to make it a real gang, if you know what I mean, with people who are quite different. I didn’t want to be just another indie band. I look beyond the NME." Kid’s rate: $10, give or take a box of Kix. *

THE GO! TEAM

Fri/19, 9 p.m., $15 advance

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

THE CAVE SINGERS

Oct. 24, 9 p.m., $12–<\d>$14

Independent

628 Divisadero, SF

www.theindependentsf.com

SIDELONG GLANCES

VELVET TEEN, SAY HI (TO YOUR MOM), AND A-SIDES


Pop sublime from Santa Rosa, Seattle, and Philly. Wed/17, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

MATTHEW DEAR’S BIG HANDS


Motor City’s microhouse might finds an indie-pop thread with Asa Breed (Ghostly). Thurs/18, 9 p.m., $22 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

MESHELL NDEGEOCELLO


The songwriter untethers a wide-screen ambition on her The World Has Made Me the Man of My Dreams (Emarcy). Mon/22, 8 p.m., $25. Independent, 628 Divisadero, SF. www.theindependentsf.com

AUDIBLE DELUSIONS ENSEMBLE


Free jazz, noise, punk, and electronica come out to play when XBXRX guitarist Steve Touchton brings together chums to celebrate ADE’s debut, Winter Weapons (Heathen Skulls). Tues/23, 9:30 p.m., free. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

JOE HENRY


Civilians (Anti-) issues timeless stories from the home front. Tues/23, 8 p.m., $20. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

Mad chatter

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› kimberly@sfbg.com

SONIC REDUCER What flying snacks do not kill me only make me harder, better, faster, stronger — come all ye children of Kanye West and Friedrich Nietzsche. I love San Francisco. Where else can you catch hell and come this close to getting brained by a pupusa hurled by a nattering, nutty nutbag in orangey pink stretch pants? I’m all the rage, ready for the crème de la Salvadoran vittle missiles.

I’m just cranked on shady luck like that, and was oozing my everyday allotment of pure, untrammeled harassability on a recent Sunday, just minding my own bad bidness strolling through the Mission District. Plenty of lukewarm trade in cell chargers and black velvet paintings of howling wolves and solemn American Indians with ghostly hands emerging from over their maws. Fresh-faced, black-eyed kids in Sunday finery toddled by as I finally landed in Las Palmeras to sample yuca frita con chicharrón. The familias around me were busy cracking crab when an elderly lady with an extremely fashion-damaged Phyllis Diller fright wig cruised alongside me and started in with "You better understand …" before launching into a diatribe en espagnol. Oh, to be the object of so much obsession — as she hobbled outside in royal snit, returning only to yell at me further through the restaurant window. Later, when the good folks at Las Palmeras handed her a conciliatory pupusa — balm to all that ails ya — she flung it, as hard as she could, at my offending, chomping image. Oh, but I don’t understand — I really, really don’t.

Ah Ess-Eff, as if you could ever stop providing safe harbor — or serving up mucho psychotic triggers — for so many mad men and women. You needn’t throw a pupusa far to find classic only-in-SF, Emperor Norton–<\d>style eccentrics or lunatics everywhere you wander. Yet my favorite inspired obsessive this week has to be Chicago’s Galactic Zoo Dossier zine impresario and psych king in his own write-right Steve "Plastic Crimewave" Krakow (least beloved: food-fighter lady marma-lardbutt).

Now out in all its hard-to-read yet lovely-to-behold DIY hand-drawn glory, Galactic‘s issue no. seven, published by Drag City, discharges a wealth of info — and interviews with the Incredible String Band’s Clive Palmer, Gary Panter, Ed Askew, the Strawbs, and Kevin Coyne — for all of us acid- and otherwise damaged lysergic eminencies. Ravin’ spot-on spotlights on dark psych creators like Sam Gopal and Crushed Butler make you wanna bolt out the door — or start up the eBay eye strain — to acquire these jewels. Krakow does give you a taste of the mind expansion under way with the included hot-rockin’ double CD of aged rarities like the Ukuleles of Halifax (a more than 30-strong, all-teen-girl ’70s Canadian uke orchestra) and contempo freak-beaters headed up by Bay Area locals like Assemble Head in Sunburst Sound, Charalambides, and the Stooges’ Steve MacKay and his Radon Ensemble. Shoving in a track by his wondrous Plastic Crimewave Sound and sprinkling his writing with more wells and OKs than a high school speech class, Krakow coughs up 100-plus pages for this issue — making it more booklike than zine-ish.

Still, Galactic foregrounds the fan in fanzine and hews more closely to the spirit of an obsessively handwritten letter than to that of a more sterile blog. And Krakow’s sincerity, knowledge, and breadth of taste — dude delves into Giorgio Moroder and the Banana Splits, revisits overplayed hit makers like the Bee Gees, and resuscitates faded pharaohs like Edwin Starr — inspire you to penetrate his dense scrawl. Also beyond cool: sheets of Astral Folk Goddesses and Damaged Guitar Gods trading cards — collect ’em all, from Jacqui McShee and Erica Pomerance to Jukka Tolonen and Keith Cross, shop hobbits! So this is new reading material for those wondering where to take their Windowpaned stares post–<\d>Ptolemaic Terrascope (now under the editorial leadership of Oakland drummer Pat Thomas of Mushroom and Runt/Water) and Arthur.

Being a lamezoid at crucial moments, I missed the previous six installments of Galactic, but you can catch the first four 300-run issues in the Galactic Zoo Dossier Compendium book-CD (Drag City). Don’t pooh-pooh, sir — you’re as likely to learn about Santa Cruz supergroup Druids as vanguard blues distortion peddler Pat Hare. And you just might like the way your mind feels, blown.

GET THE ROCK OUTTA HERE

N. LANNON


The dreamy former Film Schooler taps a new CD, Pressure (Badman). With Pancho Sanza and the Matinees. Wed/26, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

BONDE DO ROLE


Office boys and girls come out for the baile funk cuties’ armed and dangerous With Lasers (Domino). With JuiceBoxxx and Magic Bullets. Fri/28, 9 p.m., $13. Independent, 628 Divisadero, SF. www.theindependentsf.com

LADYTRON


When you’re 21 you’re no fun, but then you can get in to see a rare live performance by the English combo. With Great Northern. Sat/29, 10 p.m., $25 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

REMEMBERING NICK DRAKE


Nick’s sis, Gabrielle Drake; producer Joe Boyd; and songwriter Jolie Holland talk about the late artist. Tues/2, 8 p.m., $19. Herbst Theatre, War Memorial Veterans Bldg., 401 Van Ness, SF. www.cityboxoffice.com

These charming men

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› kimberly@sfbg.com

SONIC REDUCER Last night I dreamed that Morrissey played San Francisco. And waking, stumbling out of the top bunk, and triggering an avalanche of promo CDs, I was happy in the haze of that Estaban-drunken hour, but heaven knows I’m wondering, what difference does it make when that charming man has teased us so often before? Now I know how Joan of Arc felt, charging into Mr. Steven Patrick Morrissey’s onetime Los Angeles hood to flyer his street with mash notes. And on the cusp of Mr. Smith’s first San Francisco–<\d>proper shows since his two-night stand at concrete box Maritime Hall in 1999, I can’t help but wonder, my PETA poster child, why you have ignored your acolytes so, playing seemingly everywhere but here since canceling your 2004 Now and Zen Fest turn due to sinusitis and laryngitis. Do we make you sick? Is it my forlorn fashion sense? Our inability to untangle your artful Gordian knots of pop-song allusion? Is it my Kahlua breath?

Pop professionalism is such touchy subject these days — poke it with a stick and turn it over to find the now-chastened Britney Spears. Give it another nudge and find, on the other shining side, perhaps Prince and Morrissey, who’s fired away at his share of prefab stars who have no business fingering the hem of his tear-away dress shirt. Regardless of his latent music- and cultural-crit tendencies, Mr. So-Called Bigmouth is one of the greatest performers alive. I finally saw him in 2002 at Berkeley’s Greek Theatre, opening for Los Jaguares and utterly besotting the seething mass with "The World Is Full of Crashing Bores," "There Is a Light That Never Goes Out," and plenty of scrumptious previews of his You Are the Quarry tunes, and his magnificent feints and swoons, his fetal and Christlike poses during "Meat Is Murder," his heartfelt "Mexico," and the moment he tossed his shirt to the snatching crowd made me badger anyone who’d listen to give Morrissey a regular Vegas gig, years before Prince held down a brief lounge act there. So all those who have been missing the King (or are so green they don’t even remember one) or never believed he left the building, take (Irish blood, English) heart — Morrissey carries forth his flaming rock ‘n’ roll torch, embodying all the sexiness, expressionism, originality, professionalism, and subversion of long-gone rock regents like Elvis Presley. If you are a follower, this will only fan the fire. If you’re not a fan, you will be. Maybe Brit would have been forgiven if she had mumbled, "Gimme Moz," instead.

SOUNDING OFF James Murphy of LCD Soundsystem knows of what I speak, rasping amiably from New York City before embarking on a tour with the Arcade Fire. Hot on the heels on the infectious electro rock ‘n’ disco of Sound of Silver (DFA/Capitol), Murphy talked up the forthcoming vinyl and CD release of his "Nike thing," 45:33 (DFA) ("It was just a download thing, which infuriates me because MP3s sound like shit!") and a comp EP of remixes evocatively titled A Bunch of Stuff (EMI). Why the release frenzy — add in a Fabriclive mix CD by Murphy and LCD drummer Pat Mahoney — when the DFA Records cofounder could be enjoying his downtime watching The Fashionista Diaries and Ultimate Fighting with the missus?

"I don’t like things coming out on difficult formats," Murphy, 37, grumbles. "I don’t like it if something’s not on vinyl or CD, so I kinda regularly remember my roots as a big Smiths fan, scrabbling around. I know they put out [Louder Than] Bombs and Hatful of Hollow, where they compile all the little things so that you can find them on the right format. I try to diligently do that."

At least he can look forward to some carefree, cutthroat fun with the Arcade Fire. "We have band crush!" raves Murphy, who’s expecting to battle Win and Will Butler over a steaming croquet set. "Win is very competitive — there’s no i in team, but there is one in ‘Win’!"

Not to mention a declarative "Win." But what does the a in "James" stand for? "Aaayiii!"

MORRISSEY

Sun/23–Mon/24 and Sept. 26–27, 8 p.m., $65

Fillmore

1805 Geary, SF

www.ticketmaster.com

LCD SOUNDSYSTEM

With the Arcade Fire

Fri/21, 6 p.m., $26–$46

Shoreline Amphitheatre

1 Amphitheatre Parkway, Mountain View

www.ticketmaster.com

For more of the interview with James Murphy, go to the Noise blog at www.sfbg.com/blogs/music.

PARTY WITH ME, PETA

SAMARA LUBELSKI


The mind-morphing NYC psych songstress partners with Tom Carter and Christian Kiefer in Oakland and Giant Skyflower Band, Glenn Donaldson’s "bummer psych" outing, in San Francisco. Wed/19, 9 p.m., sliding scale. 21 Grand, 416 25th St., Oakl. www.21grand.org. Thurs/20, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

DIPLO


After editing the film Favela on Blast, Wesley Pentz touches down in Jessie Alley with collaborator Switch. Sat/22, 10 p.m., $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

JOHN MCLAUGHLIN


The fusion guitar maestro offers a taste of the SFJAZZ fall season. Sat/22, 8 p.m., $25–$80. Nob Hill Masonic Center, 1111 California, SF. www.sfjazz.org

OAKLEY HALL AND MIST AND MAST


The Dead live! Brooklyn’s bucolic sing-alongers strum along with Oakland’s indie chantey rockers Mist and Mast. Sat/22, 10 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

How soon is now?

0

› johnny@sfbg.com

REVIEW Sixteen minutes with Lars Laumann? Well, I didn’t say no, and discovered that his video Morrissey Foretelling the Death of Diana is as uncanny as its title is ludicrous. This present-day conspiratorial artifact makes a Smiths devotee feel like Jim Garrison during a virgin viewing of the Zapruder film. Laumann weds a looped melody from the Smiths’ instrumental "Oscillate Wildly" to TV news footage, music-video clips, and visions from the ’60s kitchen sink cinema that have inspired (and provided) Morrissey lyrics, using all of the above as a backdrop to a voice-over lecture that links the 1986 album The Queen Is Dead to the Aug. 31, 1997, death of Princess Diana. Even if you have no interest in (or an aversion toward) the title’s pair of late 20th-century British cult figures, the result casts a comic yet eerie spell.

At this point, it’s fair to say that Smiths-inspired art has become a subgenre, a phenomenon flourishing to the degree that it deserves a book-length essay — ironic, since most of the video and visual art projects responding to Morrissey and company are far superior to the shelf of books that have been written off of his name.

Laumann’s video doesn’t pack the emotional wallop of the Istanbul-set karaoke in Phil Collins’s installation dünya dinlemiyor (The world won’t listen), which did time at the San Francisco Museum of Modern Art last fall. But the Oslo, Norway, artist is exploring something different than is Collins, whose update of Andy Warhol’s screen tests allows for compassionate views and expressions of fandom. Drawing heavily from David Alice’s site www.dianamystery.com, Laumann’s short work reaches for the extraterrestrial stars in presenting the organic quality of conspiracy theory during the Internet era. As in Lutz Dammbeck’s Unabomber documentary The Net, the final conclusion (if there is such a thing) matters less than the numerous revelatory or ludicrous destinations that are part of the narrative’s crazy maze.

Morrissey Foretelling the Death of Diana helps kick off a staggered series of videos showcased over the next two months in "There Is Always a Machine Between Us," at SF Camerawork. Curated by Kate Fowle, Karla Milosevich, Chuck Mobley, and Chuck Orendorff, the overall exhibition toys with Skype, mouse-triggered wall projections, and an orange-hued approximation of living-room DVD viewing. Some viewers might find it inherently problematic for lo-res video to receive bigger-screen treatment. Regardless, the varied combos of form and context here aren’t as provocative as the material gleaned by the select group of Web trolls whose research is on display.

Web trolling as gallery fodder — is this just one more ploy to destruct ye olde sacred art space so it can be mistaken for YouTube or an amusement park? If so, I’m happy that the likes of Cliff Hengst, Matthew Hughes Boyko, and Matt Wolf are doing the handiwork. More than one contributor to the exhibition’s DVD library includes the YouTube mainstay CPDRC Inmates Practice Thriller, yet Hengst’s, Boyko’s, and Wolf’s compilation DVDs also showcase distinctively deranged aesthetics. Hengst gives us Anna Nicole Smith outtakes, Barbra Streisand swearing at a heckler, and an industrial clip he aptly titles Clowns vs. Old People: The Final Battle. Beginning with another YouTube hit, Cobra vs. Baby, Boyko’s DVD moves on to revealing moments when onlookers seize control of imagery from stars, such as an unedited version of Tom Cruise getting sprayed in the face at a War of the Worlds premiere and the aftermath of Tara Reid inadvertently flashing a post-op nipple during her zillionth red carpet stroll.

Wolf’s DVD, featuring moments such as Kerri Strug Olympic Vault (singled out for its revealing masochism) and a clip of Ryan Phillippe playing the first gay teen in daytime soap history, offers only a taste of the imitations of Imitation of Life found on his site, mattwolf.info. More than the research DVDs provided by some of the show’s other videomakers, it adds to the richness of his work on display. In Smalltown Boy, Wolf — who is currently working on a documentary about the late musician Arthur Russell — picks up the baton left by Todd Haynes sometime at the cusp of the ’90s, combining TV-documentary motifs such as voice-over and interview to tease out a link between the late David Wojnarowicz and a teenage girl obsessed with My So-Called Life. The conspiratorial thread that runs through "There Is Always a Machine Between Us" resides within Smalltown Boy as well, in a manner that is all the more effective for being muted.

Fifteen minutes with Markus Linnenbrink? Well, I didn’t say no — and didn’t regret spending that amount of time and a bit more with his wall painting, epoxy resin paintings, and sculpture at Patricia Sweetow Gallery. Though slick on the surface, with a lively sense of color that exposes the rote and drab quality of some Bay Area work, on closer examination the German Linnenbrink’s paintings possess candy cane sickliness. The queasy factor is only magnified by the suspended drops of paint that hang from the bottom of some works, or, in the case of ALLESWIRDWEITERGEHNINEEINPAARSEKUNDEN, by hundreds of pockmarks. (Twisting things inside out once again, these pocks are gorgeous on closer examination, resembling the interiors of porcelain saucers or cups.) The muscularity of Linnenbrink’s process — Clement Greenberg and Jackson Pollock would approve — is counterbalanced by his fondness for bits of glitter and his droll flair. Though he’s understated in comparison with Douglas Gordon when it comes to temporal commentary, his titles sometimes question whether it is the paintings or their viewers who are loitering.

THERE IS ALWAYS A MACHINE BETWEEN US

Through Nov. 17

Tues.–Sat., noon–5 p.m., free

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org

FIFTEEN MINUTES WITH YOU

Through Oct. 20

Tues.–Sat., 10:30 a.m.–5:30 p.m., free

Patricia Sweetow Gallery

77 Geary, mezzanine, SF

(415) 788-5126

www.patriciasweetowgallery.com

Looks that kill

0

› kimberly@sfbg.com

SONIC REDUCER When does music news boil down to a form of disaster reporting? Behold the universal slagging that accompanied the tepid Sept. 9 Video Music Awards performance by a sluggish, underwear-clad Britney Spears, postpreggers bulgy and freshly toasted from a supposed turn at Burning Man (yet another sign of the event’s apocalyptic death throes, scuttling my long-dreamed-of plans for a Playa Hater’s Camp at Black Rock?). OK, Brit is a mess — the nonstop media slam dance is starting to nauseate me, despite Spears’s unconvincing pleas to give her more.

But maybe in a microfragmented, nano-niched pop universe, we’re all just looking for a few things to agree on, like: Rihanna embodies class (is it the Posh Spice asymmetrical bob?), Justin Timberlake looks good next to his Mickey Mouse Club ex and his Sept. 12 Shark Tank opener Good Charlotte, and Spears needs a handler she can trust so we can cease critically burning her. There is such a thing as too much freedom — as several Mötley Crüe-dites have proved of late. San Jose native Nikki Sixx’s collection of ’80s journal entries The Heroin Diaries — out Sept. 18 — shows that it’s never too late to exploit one’s excesses, while Bret Michaels from Poison’s VH1 series Rock of Love takes The Bachelor‘s formula to a skanksome low, as his prospective mates — coldly self-promoting, sharky rock chicks all — manage to outshine the shameless star with their backbiting, bitchery, and oh so many looks that kill.

Yet it doesn’t have to be this way. Witness, a galaxy away, the communal, mammalian planet Animal Collective. Much has been made in the past five years or so of the collectivist spirit infusing art groups like Hamburger Eyes, Royal Art Lodge, and Space 1026. Music collectives have been overshadowed, although San Francisco’s Thread Productions collective seems to be finding its rhythm via Tartufi, Silian Rail, Low Red Land, Birds and Batteries, and Sky Pilots, and a few art ensembles like Forcefield persist via recordings.

Through it all, though, Animal Collective have continued to fly their fellow-feeling flag high, despite multiple solo outings, loudly thumping the drum for the notion of continual artistic exploration and Strawberry Jam (Domino), their latest, almost poppily upbeat album. All the members possess the freedom to leave anytime they want to — and to combust messily all over blogosphere gossip sites if they care to — but they choose to stay and play with their happily bent song structures.

Panda Bear, né Noah Lennox, has seen his share of success with this year’s solo Person Pitch (Paw Tracks) and has had to struggle with the tug of his Lisbon, Portugal, home, where he’s lived for more than three years with his wife and daughter, and touring with the loose collection of onetime Baltimore schoolmates now scattered between New York City and Washington, D.C. Stuck in traffic with Avey Tare (David Portner), Geologist (Brian Weitz), and Deakin (Josh Dibb) outside Toronto, where they have a show, the 29-year-old Lennox says earnestly, "I hope people show up. I get nervous about performing — it takes over from the worry about whether people are going to be there."

Strawberry Jam‘s title came to him during a dreamy airline encounter. "On the little tray of food was a packet of strawberry jam. I opened it up and looked at that stuff," he explains. "It was futuristic looking, gooey, but it also looked sharp in a way. I thought it would be cool if it we could get the music to sound like that."

The final recording, produced by longtime Sun City Girls producer Scott Colbourn, who also oversaw Feels (FatCat, 2005), drones and shimmers with fewer overdubs than they’ve used in the past, surging with the band’s trademark bell-shaking, ethereal gloss ("#1"), an almost Madchester bounce ("Peacebone"), and infectious, nearly melodic manifestos ("Winter Wonderland"). "I guess we wanted to do something different than anything we’d done before and hopefully different from anything we’d ever heard before," Lennox says. "That’s what we get psyched about overall."

Having only to dread the retread, Lennox even embraces that three-letter word — jam — in reference to the band. "Maybe there’s a bit of a crossover," he says sweetly. "That’s cool. There’s a lot of Grateful Dead fans in our band."

ANIMAL COLLECTIVE

Mon/17, 8 p.m., $25

Fillmore

1805 Geary, SF

www.ticketmaster.com

WHAT GOES AROUND

AD HAWK


Coalition of Aging Rockers just keeps on noisily aging: Charalambides’s Tom Carter and other acolytes pay tribute to the fab space rock fossils of Hawkwind. Wed/12, 6 p.m. $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

MASERATI


The Kindercore survivors play alongside Thread Records collectivists Silian Rail and Sky Pilots. Wed/12, 9 p.m., $8. 12 Galaxies, 2565 Mission, SF. www.12galaxies.com

YO MAJESTY


Sunshine State crunk-punkers promise to pick up where ESG left off. Wed/12, 9 p.m., free with RSVP at going.com. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

BONFIRE MADIGAN


Ex–<\d>SF riot grrrl cellist Madigan Shive joins the local Best Wishes. Thurs/13, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

TOMUTONTUU AND VODKA SOAP


Finland band generates eerie cryptonoise alongside Skaters spin-off project. Fri/14, 9 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

VHS OR BETA


The Southern dance rockers bring their comets. Fri/14, 9 p.m., $15. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

SPECTRUM


Spaceman 3 alum Sonic Boom helms one of the finest free street-fair experimento lineups ever at the Polk Street Fair. With Triclops!, TITS, Los Llamarada, and Lou Lou and the Guitarfish. Sat/15, noon–7 p.m., free. Polk and Post, SF. www.hemlocktavern.com

HANDSOME FURS


Wolf Parader Dan Boeckner breaks out his silky Sub Pop side project. Mon/17, 8 p.m., $10–$12. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

HIGH ON FIRE


Death be not proud, the Oakland metallists claim, waving a fierce new Relapse disc, Death Is This Communion. Tues/18, 7 p.m., free. Amoeba Music, 1855 Haight, SF.

Hot like Cole: Oakland girl makes great

1

Did you see her perform over the weekend? She killed it!

No, I’m not talking about B_____y S____s killing her career (as if) with a fascinatingly amateurish lip-sync of a song that didn’t sound that bad. That performance may have had current popular girl or pop tart du jour Rihanna looking for an umbrella to hide her giggles under (time is cruel), but the wreck factor was predictable amid today’s mania for celebrity ambulance-chasing.

I’m talking about Keyshia Cole, whose show at Mezzanine on Friday served up the kind of thrill you get when seeing someone really talented starting to peak in a way that makes you — and probably her — wonder just how great she can make this thing. After Hurricane Chris and the “One More Chance” remix (and Michael Jackson, Prince, Bell Biv Devoe — and Luther) heated up the club, Keyshia set it on fire with two half-hour sets during which she brazenly covered songs that Mary J. Blige covered early in her career, and — working a blond pageboy — brought an earlier Bay Area soul singer, the legendary Etta James, to mind. Decked out in white, with a pair of tough backup singers and a young band (her guitarist looked straight outta high school, with enthusiasm to match), Keyshia was like a sports-fit young Etta.

keyshia3.jpg

Fall Arts: Fall on high

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

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

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

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

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

Fall Arts: Outrageous stages

0

› kimberly@sfbg.com

AUG. 31


Beyoncé Will our dream girl arrive on a palanquin amid tossed rose petals? Or re-create the Guess jeans Brigitte Bardot zombie on the cover of B’Day, hoisted atop a blossom-spouting bidet? Oracle Arena, 7000 Coliseum Way, Oakl. (415) 421-TIXS

SEPT. 2


San Francisco’s Summer of Love 40th Anniversary Concert C’mon, people, now, smile on your brother and skip Burning Man, find a flower, and get in free to this concert. Behold survivors Country Joe McDonald, Taj Mahal, Lester Chambers of the Chambers Brothers, Canned Heat, New Riders of the Purple Sage, Jesse Colin Young, Michael McClure and Ray Manzarek, Brian Auger, the Charlatans, Dan Hicks and the Hot Licks, Dickie Peterson of Blue Cheer, and many more unusual suspects who may or may not remember that actual summer, flashbacks permitting. Speedway Meadow, JFK and Crossover, Golden Gate Park, SF. www.2b1records.com/summeroflove40th

SEPT. 3–4


Brian Jonestown Massacre The übertalented, longtime San Francisco psych-rock train wrecks return, dig? Independent, 628 Divisadero, SF. (415) 771-1421, www.theindependentsf.com

SEPT. 6


Bebel Gilberto Brazil is hot — Vanity Fair says so. Fillmore, 1805 Geary, SF. (415) 346-6000, www.thefillmore.com

Rilo Kiley Love their precocious story-songs or cringe at the lyrics? Put them under the black light to peruse the new wardrobe, album, and outlook on the old winsome farmers. Warfield, 982 Market, SF. (415) 775-7722

SEPT. 15


Colbie Caillat The husky-voiced Jessica Biel look-alike attempts to break the Jack Johnson mold — maybe. Fillmore, 1805 Geary, SF. (415) 346-6000, www.thefillmore.com

SEPT. 15–16


Treasure Island Music Festival Yaaar, blow me down some Golden Gate International Expositions! What it is about Treasure Island that brings out the barnacle-encrusted, vision-questing soothsayer in us? No wonder Noise Pop and Another Planet have touched down on the once-forbidden isle, transforming it into the site for one of fall’s biggest rock, pop, and dance music fests. Spoon, Gotan Project, DJ Shadow and Cut Chemist, MIA, Clap Your Hands Say Yeah, M. Ward, Two Gallants, Ghostland Observatory, Kinky, Zion-I, Earlimart, Flosstradamus, Au Revoir Simone, and more establish a beachhead, while Built to Spill and Grizzly Bear spill over into shows at the Independent and Mezzanine. Gurgle, gurgle. www.treasureislandfestival.com

SEPT. 17


New Pornographers Is AC Newman still spending his free hours with his SF lady friend? Prepare yourself for new porn pop from the New Pornographer: Challengers (Matador). Warfield, 982 Market, SF. (415) 775-7722

SEPT. 18


Peter Bjorn and John Scandinavian whistlebait keep blowing up. Warfield, 982 Market, SF. (415) 775-7722

SEPT. 21


Arcade Fire and LCD Soundsystem The Fire this time? DFA’s big kahuna is playing at my house. Shoreline Amphitheatre, 1 Amphitheatre Pkwy., Mountain View. (650) 541-0800, www.shorelineamp.com

The White Stripes What rhymes with "sticky stump"? The duo let the healing begin in Mexi-witchypoo getups, with biting story-songs and sexed-up nesting instincts. Greek Theatre, UC Berkeley, Gayley Road, Berk. www.ticketmaster.com

SEPT. 21–22


Amy Winehouse and Paolo Nutini The big-haired "Rehab" vixen reunites with her Scottish scrapper of a tourmate. Warfield, 982 Market, SF. (415) 775-7722

SEPT. 22–NOV. 30


San Francisco Jazz Festival SFJAZZ is jumping in honor of its 25th anniversary fest, starting with guitar genius John McLaughlin and the 4th Dimension and continuing with Ornette Coleman, Herbie Hancock, Pharoah Sanders, Ahmad Jamal, Ravi Shankar, Caetano Veloso, Les Mystère des Voix Bulgares, Youssou N’Dour, Tinariwen, Cristina Branco, Vieux Farka Touré, the Kronos Quartet with Wilco drummer Glenn Kotche, and the Bay’s own Pete Escovedo. Gasp. Various venues. www.sfjazz.org

SEPT. 23


Alice’s Now and Zen The battle of the Brit crooners ensues. Soldier boy James Blunt tussles with body-painted vixen Joss Stone as the Gin Blossoms look on helplessly. Sharon Meadow, JFK and Kezar, Golden Gate Park, SF. (415) 421-TIXS, www.radioalice.com

SEPT. 27


Arctic Monkeys The ingratiating punky popsters emerge from a deep freeze. Bill Graham Civic Auditorium, 99 Grove, SF. (415) 421-TIXS, www.billgrahamcivic.com

SEPT. 28–30


San Francisco Blues Festival This year’s looks like a doozy, bluesy outing, starting with the free kickoff performance by Freddie Roulette and Harvey Mandel at Justin Herman Plaza, before moving on to movies at the Roxie Film Center and Fort Mason performances by vocalist John Nemeth, boogie-woogie keymaster Dave Alexander, hot ‘n’ sacred Robert Randolph and the Family Band, Allen Toussaint, the Carter Brothers, Fillmore Slim, and Goldie winner Jimmy McCracklin. Great Meadow, Fort Mason Center, Marina at Laguna, SF. www.sfblues.com

OCT. 5


Daddy Yankee Reggaetón’s big daddy, né Raymond Ayala, brings newfound hip-hop roots on the road. Shoreline Amphitheatre, 1 Amphitheatre Pkwy., Mountain View. (650) 541-0800, www.shorelineamp.com

The Shins Wincing the night away. Greek Theatre, UC Berkeley, Gayley Road, Berk. www.ticketmaster.com

OCT. 5–7


Hardly Strictly Bluegrass Festival Get your spot in the shrubbery now: after drawing 750,000 last year, our hoedown overfloweth with the usual generous array of country, bluegrass, and roots roustabouts, including Emmylou Harris, Steve Earle, Los Lobos, Doc Watson, Charlie Louvin, Keller Williams, Bela Fleck and the Flecktones, Nick Lowe, Michelle Shocked, Boz Scaggs and the Blue Velvet Band, Gillian Welch, the Flatlanders, Jorma Kaukonen, Bill Callahan, the Mekons, Dave Alvin, and Blanche. Golden Gate Park, Speedway, Marx, and Lindley meadows, SF. www.strictlybluegrass.com

OCT. 6


Download Festival Break out the old smudgy eyeliner: the Cure have been found. Then upload shed-friendly modern rockers like AFI, Kings of Leon, Black Rebel Motorcycle Club, She Wants Revenge, Metric, and the Black Angels. Shoreline Amphitheatre, 1 Amphitheatre Pkwy., Mountain View. (650) 541-0800, www.shorelineamp.com

OCT. 8–9


Beirut Bold and brassy. Sprawling and sassy. Herbst Theatre, War Memorial Veterans Bldg., 401 Van Ness, SF. sfwmpac.org, www.ticketmaster.com

OCT. 9


Genesis "Turn It On Again: The Tour" — please, don’t. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-TIXS, www.hppsj.com

OCT. 17


Jennifer Lopez and Marc Anthony Re-create martial bliss-hell? El Cantante go for that! Mennifer — that just doesn’t have the same ring — undertake their first tour together. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-TIXS, www.hppsj.com

OCT. 20


Interpol We’re slowly warming to the cool rockers, who are sure to have their jet-black feathers ruffled by the Liars. Bill Graham Civic Auditorium, 99 Grove, SF. (415) 421-TIXS, www.billgrahamcivic.com

DEC. 6


Tegan and Sara So jealous of those who got to see them at Brava? Bet it stung. All you get is this, the last performance of their fall US tour. Zellerbach Hall, UC Berkeley, Lower Sproul Plaza (near Bancroft at Telegraph), Berk. www.calperfs.berkeley.edu

Visual raids

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Kimberly Chun


1. Billy Childish Who can fathom the mind of a Childish? The insanely productive garage rock legend carves out a space in yet another medium, exhibiting the woodcuts and paintings that inspired him to cofound the stuckism art movement, a figurative response to the Charles Saatchi–championed so-called Young British Artists.

Sept. 5–30. Reception Sept. 5. Needles and Pens, 3253 16th St., SF. (415) 255-1534, www.needles-pens.com

2. "American Cuisine" To serve man? Ramekon O’Arwisters riffs on the notion that people of color will be dished at America’s last supper, cooking up sculpture and other pieces that examine the cultural codes crammed into Oreos, watermelons, bananas, and other loaded comestibles.

Sept. 14–Oct. 14. Luggage Store Annex, 509 Ellis, SF. (415) 255-5971, www.luggagestoregallery.org

3. "Cliff Hengst and Scott Hewicker: S.A.N.E." The acronym may stand for the head-scratching "something, anything, nothing, everything," but we can all relate to the bad trips, group gropes, and ritualized get-downs of psychedelic flip-outs both yesterday and today. Those are the focus, filtered through ’60s exploitation flicks, of Hewicker’s paintings and videos, while Hengst relies on handmade signs and wall drawings to explore other unhinged hues. In conjunction with the exhibit, the duo have also put together Good Times: Bad Trips (Gallery 16 Editions), a volume of ill-fated acid-gobbling accounts.

Sept. 14–Nov. 3. Reception Sept. 14. Gallery 16, 501 Third St., SF. (415) 626-7495, urbandigitalcolor.com/gallery16/galleryframe.html

4. "John Slepian: Caged" Is it an alien hedgehog or some hairy displaced and dismembered body part? The onetime San Francisco Art Institute instructor’s interactive sculpture delves into what makes us feel human and how we identify with the, ugh, other.

Nov. 29, 2007–Jan. 5, 2008. Catharine Clark, 150 Minna, SF. (415) 399-1439, www.cclarkgallery.com

5. Maria Forde Keep your peepers peeled for this follow-up to the San Francisco artist’s 2006 solo show, "A Strange 31 Years," which comprised 32 oils based on each pop culture–dappled year of her life.

Dec. 1–22. Little Tree Gallery, 3412 22nd St., SF. (415) 643-4929, www.littletreegallery.com

ALEXIS GEORGOPOULOS


1. "Bruce Conner and James Rosen" Multimedia artist and filmmaker Conner will show a number of highly detailed drawings, contrasting with Rosen’s take on the often-religious paintings of old masters.

Oct. 31–Nov. 24. Gallery Paule Anglim, 14 Geary, SF. (415) 433-1501, www.gallerypauleanglim.com

2. "Something Was There: Early Work by Diane Arbus" An exhibition of more than 60 prints highlights the otherworldly, haunting world of Diane Arbus, capturing her early years, from 1956 to 1962.

Sept. 6–Oct. 27. Fraenkel Gallery, 49 Geary, SF. (415) 981-2661, www.fraenkelgallery.com

3. "Will Rogan" The artist’s photographs work an uncanny magic as deceptively everyday subjects are choreographed in a poignant, poetic way.

Oct. 4–Nov. 3. Jack Hanley Gallery, 395 Valencia, SF. (415) 522-1623, www.jackhanley.com

GLEN HELFAND


The contemporary art world tends to get all academic and serious on us, so it’s interesting to note that a good number of fall gallery and museum offerings mine colorful, dreamy realms of spectacle, luxury, and humor — a welcome respite from all the truly problematic shit going on out there.

1. "Libby Black: The Past Is Never Where You Think You Left It" This Goldie winner may have left San Francisco for her home state of Texas, but the move has served to sharpen her handmade take on the LVMH luxury empire. Black’s new work includes a Louis Vuitton disaster-center cot, complete with deluxe valise and accessories that stow perfectly underneath, and a series of paintings that exude the pansexual myths of the West — as found in high-fashion adverts. It’s the perfect prelude to the Union Square opening of the retail dream house, Barneys New York, this fall.

Sept. 6–Oct. 27. Reception Sept. 6. Heather Marx Gallery, 77 Geary, SF. (415) 627-9111, www.heathermarxgallery.com

2. "Take Your Time: Olafur Eliasson" and "Jeff Wall" Fitting factoid: Danish artist Eliasson, the subject of a San Francisco Museum of Modern Art–organized survey, was actually commissioned by Louis Vuitton to create its 2006 Christmas windows. The works that constitute this much-anticipated show are large scale and immersive and use water, light, and scent to generate natural phenomena and delightful shifts in perception. We’re looking forward to the tunnel that will wrap around the fifth-floor catwalk. A related exhibition is a showcase for Eliasson’s BMW-sponsored hydrogen-fueled race car enmeshed in a skin of stainless steel and ice. If you need something with a different kind of theory, check out SFMOMA’s other big fall exhibit, a major survey of Wall’s glamorously, cinematically politicized light box–mounted photographs, co-organized by SFMOMA director Neil Benezra.

"Take Your Time" runs Sept. 8, 2007–Feb. 24, 2008; "Jeff Wall" runs Oct. 27, 2007–<\d>Jan. 27, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Michael Arcega: Homing Pidgin" Bay Area artist Arcega’s stock in trade is a smooth fusion of easily accessible materials (his infamous manila folder galleon) and politically barbed pun (it was called Conquistadork). As part of the de Young’s Connections Gallery program, Arcega has been rooting around in the museum’s extensive Oceanic collections, creating new display contexts that highlight colonialization and the ensuing cross-cultural visual influences. Serious stuff, but Arcega’s sure to imbue it with incisive wit.

Oct. 6, 2007–Jan. 20, 2008. De Young Museum, Golden Gate Park, 50 Hagiwara Tea Garden Drive, SF. (415) 750-3614, www.thinker.org/deyoung

4. "© MURAKAMI" Los Angeles is not such a long haul to stop you from getting a look at this humongous homage to the Japanese artist, who arguably comes closest to carrying Andy Warhol’s torch. Takeshi Murakami’s got his own factory and corporate ID, KaiKai Kiki, and with it he’s produced a sprawling range of licensed characters, sexualized manga heroes, art business strategies, and a brand-new giant self-portrait as Buddha, all of which will be included in this show, organized by Paul Schimmel, the curating impresario who brought us the notorious art spectacles "Helter Skelter" and "Ecstasy."

Oct. 29, 2007–Feb. 11, 2008. Geffen Contemporary, Museum of Contemporary Art, 152 N. Central, LA. (213) 621-1741, www.moca-la.org/museum/moca_geffen.php?

JOHNNY RAY HUSTON


1. Open Studios Yes, the museums and even some smaller spaces have epic shows planned this fall. But are any of these blockbusters as truly expansive as Open Studios, an event that’s also closer to the everyday creation of art in the city than any other? Look for an interview in our Pixel Vision blog with ArtSpan executive director Therese Martin, whose vision includes activist elements and who is bringing new facets to Open Studios.

Oct. 6–Nov. 4. Throughout San Francisco. (415) 861-9838, www.artspan.org

2. "Joseph Cornell: Navigating the Imagination" and "Douglas Gordon: Pretty Much Every Film and Video Work from About 1992 until Now" These neighboring shows should illustrate waves in the flux between film and video and spark discord and discourse about their connections to museum space. Obviously, Cornell’s legacy is broader and richer than such concerns — as the rather opaque name of his exhibition hints, maybe? As for Gordon, 24 Hour Psycho is here.

"Joseph Cornell" runs Oct. 6, 2007–Jan. 6, 2008; "Douglas Gordon" runs Oct. 27, 2007–<\d>Feb. 24, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Capp Street Project: Mario Ybarra Jr." SoCal contemporary artist Ybarra has made a metamural for our city, the result of intensive research into the history of murals and the history of the Bay Area. I can’t wait to see it.

Sept. 6, 2007–Sept. 6, 2008. CCA Wattis Institute, Logan Galleries staircase, 1111 Eighth St., SF. (415) 551-9210, www.cca.edu, www.wattis.org

4. "The Fox Sisters Crack Their Toes" Paintings that use glitter and beauty products as main ingredients are a special San Francisco treat, thanks to the polish — nail polish, that is — flair, and talent of Rodney O’Neal Austin and the late Jerome Caja. Now Jamie Vasta adds ambiguity to the practice; you’d have to be looking beneath the sparkle to figure out she’s butch and, in some cases, to realize that she’s even using something other than traditional ingredients.

Nov. 1–Dec. 15. Patricia Sweetow Gallery, 77 Geary, mezzanine, SF. (415) 788-5126, www.patriciasweetowgallery.com

5. "James D. Phelan Art Award in Photography" This year’s winners include Walt Odets. As a teen, Odets had the guts to photograph family friend Jean Renoir and the observant instinct required to do an excellent job of it. Today he discovers surprising planes of vision, details, and passages within everyday settings.

Oct. 23–Nov. 17. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

STEVEN JENKINS


1. "There Is Always a Machine Between Us" Love your laptop more than your boyfriend? Logging on more than getting off? Salvage your relationship and sharpen your carpal-tunnel vision at this exhibition of interactive works inspired by and sourced from the Internet, where Chechen secessionists, mail-order brides, hand lickers, and Morrissey-mad conspiracy theorists meet the ghosts of David Wojnarowicz and Princess Di.

Sept. 6–Nov. 17. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

2. "Take Your Time: Olafur Eliasson" From some freezing fjord located in the dreamland between Vespertine and Volta comes Icelandic multimedia artist Eliasson, whose immersive installations play with temperature, moisture, and light to icy-hot effect. This ambitious retrospective — the artist’s first major US show — promises to transform SFMOMA’s pristine galleries into hallucinatory zones of global warming and feverish desire.

Sept. 8, 2007–Feb. 24, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Hiroshi Sugimoto: History of History" A welcome follow-up to this summer’s spectacular Sugimoto retrospective at the de Young, this savvy exhibition juxtaposes the Japanese artist’s deceptively minimalist photographs with prehistoric fossils and 15th-century religious artifacts from his personal collection. Will this be a history of progress, faith, or violence?

Oct. 12, 2007–Jan. 6, 2008. Asian Art Museum, 200 Larkin, SF. (415) 581-3500, www.asianart.org

4. "Biotechnique" Featuring a hothouse of hydroponic organisms, semiliving objects, mad-professor lab equipment, bacteria paintings, easy-being-green gizmos, and Silicon Valley inventions, the creepy-crawly conceptual "Biotechnique" digs beneath the topsoil of technology to unearth decidedly unnatural growths and cultures. Or, in the words of tennis racket–<\d>wielding arachnophobe Alvy Singer, "We’re talking major spider."

Oct. 26, 2007–Jan. 6, 2008. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2700, ybca.org

5. "Marie-Antoinette and the Petit Trianon at Versailles" Froufrou flourishes pile up like buttery petits fours in this frilly, silly, splendid re-creation of Kirsten Dunst’s shopaholic alter ego’s Versailles getaway. Queeny interior decorators, slip on your pretty pink pumps, eat cake, and prepare to swoon.

Nov. 17, 2007–Feb. 17, 2008. California Palace of the Legion of Honor, Lincoln Park (near 34th Ave. and Clement), SF. (415) 750-3600, www.thinker.org/legion

Where are all the payphones?

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› news@sfbg.com

Click here to read more about payphone deregulation

When the big earthquake, terrorist attack, or other civic disaster finally hits San Francisco, a lot of people are going to be in for a major shock: their high-tech cell phones and computer-based office telephone systems might not work.

But after the 1989 Loma Prieta quake and after the Sept. 11, 2001, terrorist attacks in New York City, residents found there was still a way to reach their loved ones and let the world know they were OK; they used an old-fashioned communications tool that’s low tech, securely grounded, publicly accessible, and reliable.

It’s called a pay phone.

Next time there’s a disaster, we may not be so lucky: pay phones, fixtures of the public landscape for more than a century, have been quietly disappearing. And many of those that remain don’t work. These essential communication tools — good for emergencies, privacy, and the poor — are falling victim to deregulation laws, the greed of telecommunications companies, and the public’s obsession with high technology.

In San Francisco they’ve departed in droves from sidewalk carrels; corner stores; bus shelters; subway platforms; office, museum, and movie theater lobbies; supermarkets; shopping malls; city swimming pools and YMCAs; diners; parks; and gas stations. They’ve been disappearing at a rate of about 10 percent annually for the past four years, down from roughly 400,000 at the height of the dot-com boom to 150,000 today, trade group attorney Martin Mattes told state regulators last year. The decline in San Francisco mirrors those in California and the nation.

And while pay phones may seem like quaint relics of another era, they remain an important part of the nation’s communications system, serving millions of people who for one reason or another don’t have or can’t use cell phones. And consumer advocates say the loss of the pay phone system is a serious problem.

Although cell phones are pretty ubiquitous, not everyone can afford one — and not everyone can use one. For socially marginalized people, pay phones are still a lifeline. For people who can’t use wireless technology — and can’t afford a home phone line — they’re essential.

Why are pay phones vanishing? The ready answer — cell phones — identifies the technology that’s replacing them and cutting into their profits. But it doesn’t completely explain why a society that once valued pay phones — and may ultimately remember that it still does — has let them disappear. That story has more to do with the politics of deregulation and the profits of telecom companies.

THE POWER OF OLD TECH


In the 2004 climate-change disaster film The Day after Tomorrow, Dennis Quaid plays a climatologist who anticipates dire consequences from a sudden oceanic temperature drop, which is triggered by global warming and leaves New York City frozen solid. From the beaux arts NYC Public Library where he’s taken shelter, the Quaid character’s son (played by Jake Gyllenhaal) needs to call Dad in Washington, D.C., but the cells don’t work. So he finds a half-submerged mezzanine pay phone with a dial tone ("It’s connected to the telephone lines," he notes brightly), drops in a couple of coins, and bingo — he gets Dad’s insider travel advisory.

Such a scenario — at least the pay phone part — isn’t science fiction. In fact, it has played out like that in NYC a few times and also did so in New Orleans after Hurricane Katrina hit in 2005. When the Twin Towers went down Sept. 11, cell phone masts went down with them. Lines were endless as outgoing calls from lower Manhattan funneled through two nearby landline pay phones, as reported on NBC’s Today. Ditto in the summer heat wave of 1999, when New York air conditioners on overdrive toppled wireless transmitters like dominoes, silencing cell phones from NYC to the Great Lakes. Landline telephones — including pay phones — continued to ring. And when the waters rose in New Orleans, residents flocked to pay phones made available for free use to contact loved ones and let the world know they were stranded.

Landline pay phones — like wired home and office phones — are simply more durable and reliable. "I love my cell phone," said Natalie Billingsley, who heads the California Public Utilities Commission’s Division of Ratepayer Advocates. "But I wouldn’t give up my landline. There’s not enough [wireless] network redundancy."

When the Loma Prieta earthquake hit the Bay Area in 1989, electricity and cell phone service were out for hours, but, Billingsley said, "landline phones were back up in 10 minutes."

Regina Costa of San Francisco’s the Utility Reform Network recalled that when the quake trashed Pacific Street in Santa Cruz, the public switch connecting local phones to the larger network worked despite a local power outage.

The reason, Costa says, is that the traditional wired phone network has a robust, independent electrical backup. Not so wireless transmitters and cable fiber-optic systems, both powered by the public grid.

"Wire lines are a really big public safety feature," Billingsley told us. Backup generators at switching points, where regional and long-distance lines converge, create "all kinds of redundancies" for rerouting calls if parts of the network go down.

That’s not just a technological issue. The new tech networks lack robustness and redundancy, Billingsley said, in part because such standards are no longer mandated. Before telecommunications were deregulated, companies were required to pay for reliability. Now reliability is no longer a public service. Under deregulation, reliability is more spotty. Last year state legislators addressed the need for adequate backup power-pack standards for Internet phones — but in the end, consumers will need to buy the backup systems.

In Japan, where the old but vital wired pay phone network has been reduced by more than half (from 910,000 to 390,000) since the public phone company was privatized in 1985, a public safety official recently warned against such shortsightedness. "To remove public telephones amounts to decreasing the means of communication during emergencies," disaster prevention program director Hitoshi Omachi of Yokohama’s Chiiki Bosai Laboratory observed in a May 8 Asahi Weekly article about cell phones overtaking pay phones. "People should think about measures to maintain public phones, including financial assistance from the central or local governments."

Then there are the social issues. Beth Abrams, director of Grupo de la Comida, which feeds 2,000 immigrants and refugees in the Mission each week, said many are dependent on pay phones. "The thing to remember," Abrams told us, "is that a pay phone could mean somebody’s life in an emergency, when time is of the essence." A child suffering an asthma attack or an adult with heart disease or diabetes (the occurrence of which is high in the immigrant community) "often needs immediate response and has difficulty walking far," Abrams said. Many people whom her group serves don’t have cell phones and rely on pay phones when caring for children outside the home or answering job ads.

Howard Levy, attorney and executive director of Legal Assistance to the Elderly, which serves about 1,000 clients a month, told us many seniors in the Tenderloin and in SoMa hotels don’t have home phones or cell phones. Besides the disincentive of cell phone cost, "folks beyond a certain age don’t feel comfortable with the technology," which is not designed for people "whose vision isn’t so great," Levy said.

Jennifer Friedenbach of the Coalition on Homelessness told us that "a lot of folks do have cell phones nowadays, on a prepaid card," but have only intermittent access, and none when the card runs out. "Poor people in general — people who have extremely low incomes — even if they have a phone at home, [it] can be shut off at times," she said. "Pay phones are really important for emergency situations for folks living outside," or when homeless people are first on the scene, to report an emergency.

In an impromptu survey of eight clients at the Independent Living Resource Center, a San Francisco disability-rights advocacy and support group, services coordinator Diane Rovai found three who had been seriously inconvenienced by lack of pay phone access. One needed a ride home from the airport and was stranded after an entire bank of pay phones was removed; another "missed a really important meeting" after getting wrong directions (the phone she finally found "was dirty and not in good repair"); and the third, who has no cell phone, has problems when she goes out to meet people.

"There are still people who depend on pay phones," particularly in rural communities, Anna Montes said. She belongs to San Francisco’s Latino Issues Forum and is a member of the PUC advisory committee on Universal Lifeline Telephone Service, which subsidizes phone service for low-income households.

Four percent of state households don’t have basic phone service, she said, and many of those are poor and Latino and rely on pay phones.

"Pay phones should be supported because there are individuals who can’t afford [cell phones] and places where wireless doesn’t work," said Bill Nussbaum, a telecommunications lawyer at TURN. "Public policy is a reason to wrap [pay phones] into the goal of universal service, the concept of maximum penetration with reliable and affordable phone service for all."

THE END OF PUBLIC SERVICE


One reason the government has allowed pay phones to disappear is that most people don’t think about them. Cell phones often seem like all one needs to stay in touch, at least to those who own them.

"There’s an unfortunate assumption that everyone has a cell phone. It’s not true," said Harold Feld, senior vice president of the Media Access Project, a Washington, D.C., nonprofit public interest media and telecommunications law firm.

Regulators used to feel it was important for people to have access to public phones, but "they don’t think it’s important anymore," he told us.

Feld pointed out that pay phones used to be owned by AT&T, which created and maintained the pay phone network as part of a widely accessible phone system. Government-guaranteed profit on the company’s investment essentially subsidized even those pay phones that weren’t profitable, an arrangement institutionalized by the 1934 Telecommunications Act. Moreover, as a regulated public utility, the phone company needed permission to get out of the pay phone business.

With the monopoly’s breakup in 1984, competitors could enter the pay phone market, and by 1996 AT&T could get out of it.

"The old Bell monopoly came with a historical sense of public service that did not survive the [company’s] breakup and the new cost-benefit accountants and the MBA bottom-line artists," technology historian Iain Boal, coauthor of Afflicted Powers: Capital and Spectacle in a New Age of War (Verso, 2005) told us. "Under neoliberal economic doctrine, all public goods are suspect."

Boal noted, "The new telecom companies had little or zero interest in the public phones they inherited. In fact, quite the reverse. It was in their interest to close or leave trashed any boxes that weren’t profitable and in general to force laggards to mobile phones."

It didn’t happen immediately, attorney Mattes, who has represented the California Payphone Association, a trade group, told us.

"Because the pay phone business was still pretty good in the late 1990s, the telephone utilities stayed in the business during those years, competing with the independents," Mattes said. Pay phone rates also rose.

But the economics of the pay phone business started to change around 2000, Mattes said, mostly due to wireless competition, and companies had difficulty collecting for toll-free calls and calls made through other long-distance providers. So telephone utilities started giving up their less-profitable pay phone locations.

"Bell South abandoned the pay phone market entirely about five or six years ago," Mattes said. "AT&T and Verizon have been gradually leaving the market, giving up their less-profitable pay phones at a steady pace."

From January 2005 to June 2007, AT&T reduced its pay phone lines in California by more than half — from 77,467 to 36,870 — according to PUC counts. And in the same period, Verizon went from 28,743 to 16,421 pay phones.

While the pay phone business was "modestly profitable," according to Mattes, it was mainly important to the utilities "as a platform for customers to make highly profitable long-distance calls." But, he said, with competition in long-distance and wireless services, the profits have been squeezed out of long-distance calls. Pay phone use also dropped dramatically, he said, due to wireless competition.

TURN’s Costa suggested that the old AT&T overpaid in its postdivestiture bid to acquire cable and bypass local exchange carriers for direct connections with its former customer base. Later, it abandoned the poor voice-quality network and may have needed to recoup losses.

"The Bells have a separate incentive to pull out copper," the older coaxial wire that connects almost all landline phones, Feld said. "The FCC says they don’t have to share [fiber-optic cable wire with competitors] as they do copper, and copper needs to be maintained. It was laid because regulators made them. It’s more costly to maintain than they can charge."

"Without regulation," Feld noted, "big companies can leave the [pay phone] market, but they can also increase line charges" — monthly fees for phone connection to the local exchange — "and interconnection fees" for long-distance connection, paid by callers and local exchanges to the nonlocal carrier for allowing calls to go through.

The loss of pay phone service is one more result of faith-based deregulation, the belief that the market will provide for everyone’s needs. "The demise of pay phones was utterly predictable," Boal told us. "It’s a disgrace."

And the impact of the disappearance of pay phones ripples beyond service needs.

OUTSOURCED


A sprawling ’70s low-rise cement building at West Portal and Sloat, once hidden by shrubs from view of the adjacent Muni tracks, is now vacant and slated to become the new Waldorf High School. It used to be the Pac Bell operators’ building, housing 35 workers, mostly women with more than 30 years of service, "the forefront of the [union] movement," said Kingsley Chew, president of Communications Workers of America Local 9410 in San Francisco.

Those operators answered 411 information queries and routed 911 emergency calls. Two years after winning a strike by shutting down the phone company, the operators saw their jobs outsourced in 2006 to Dublin and Pleasanton.

The majority of the local’s members are women, Chew said. Their male counterparts, mostly collectors in the coin department, are now gone, accounting for the loss of 25 to 30 union jobs in the past five years. Besides gathering coins from pay phones, the collectors maintained the phones and removed graffiti (which is more prevalent these days).

Pay phones once meant union jobs, and as their numbers have declined, so has the union. Local 9410 membership is down from 3,000 when Chew took office in 2003 to 750 today, with those still around mainly technicians who install and repair phones.

Chew calculated that one job here is financially equivalent to six jobs in India or the Philippines, where 1-800 calls are processed and workers are paid $400 a month. The city and the state lose local business tax revenues when jobs go overseas, he said, and the costs of vanishing pensions as workers are laid off are eventually externalized and borne by local residents when demand for public services rises.

There may be greater demand for pay phones soon: the major phone companies are expected to raise home-phone rates. Basic service rates have generally been averaged geographically, within a major company’s service "footprint," Lehman said, but deaveraging can soon occur, which will drive up the price of basic rural and high-cost urban services.

Meanwhile, two state programs supporting pay phones are being axed.

REGULATIONS DIE


Two pay phone regulatory programs remain on the books, one frozen and one barely operating. The PUC created both programs in 1990 as part of a legal ruling, when new pay phone providers were struggling to gain a foothold in former Pac Bell (now AT&T) and GTE (now Verizon) monopoly territory and consumers were encountering new system abuses.

One program, the Public Policy Payphone Program (PPPP, or Quad-P), was designed to subsidize phones located "in unprofitable locations to serve the health and safety needs of the public," while the other, the Payphone Enforcement Program (now known as Payphone Service Providers Enforcement), was established "to ensure that pay phone consumer safeguards are being followed." Both programs, which were expanded statewide, were funded by a monthly per-line surcharge on the industry, unlike other telecom public policy programs, which are supported by a percentage surcharge on consumers’ monthly phone bills.

But the list of potential state locations for subsidized pay phones was reduced from 67,000 in 1988 to 22,000 in 1989, just before the state programs were initiated, and to 1,975 in 1993. By 1998, when deregulation was complete and pricing went to market rates, Pac Bell had only 300 subsidized business phones out of 140,000, attributing the change to the increased number of independent providers and to multiphone contracts, which enabled revenues and costs to be averaged out.

Applications to designate or install Quad-P phones have to pass through the PSPE advisory committee, which hasn’t aggressively solicited them or approved more than two or three (with just one installed) of the 33 received since 2001, according to the Division of Ratepayer Advocates.

Almost nobody knows that Quad-P exists — or that anyone can file an application if a proposed site meets certain criteria. Currently, there are only 14 Quad-P phones statewide, mainly in parks, down from 40 in March, with 13 supported by AT&T and one by Verizon.

The PSPE was set up "to enforce, through random inspections, consumer safeguards for all public payphones … such as signage requirements, and rate caps for local, long distance and directory assistance calls within California."

Until recently, inspectors made the rounds of for-profit as well as subsidized pay phones, numbering more than 400,000 in the ’90s, on a rotation schedule that took a decade to complete. Between December 2001, when the project came under PSPE administration (it was formerly run by the industry), and June 2007, civil-service inspectors logged 133,893 violations on 39,444 phones, a rate that has slowed with staff downsizing. The DRA estimates its activities reduced the average rate of violations significantly. The inspection staff was cut in half last fall, to three, and other program staffers were transferred to other divisions to cut expenses.

The number of pay phones to monitor has declined, but with reduced inspections, violations have begun to rise. Numbering too few to be proactive, inspectors now respond only to consumer complaints registered on the PUC’s consumer fraud hotline. This number, not posted on pay phones, is 1-800-649-7570; it accepts calls between 9 a.m. and 3 p.m. Monday through Friday. There’s no after-hours message machine, but if you’ve got a computer and are still primed when you get home, you can log on to the PUC Web site, at www.cpuc.ca.gov, to report a complaint. Patterns of systemic abuse — and dead phones — are less likely to be detected from reactive, hotline-triggered complaints.

Last summer the industry’s PSPE advisory committee formally requested that both programs and the committee itself be eliminated and program surcharges ended, citing reduced activity and need. "All that Quad-P has done is subsidize its own costs," said Mattes, the attorney for the California Payphone Association. "It deserves a quiet burial."

The DRA argues that the reduction of these state programs is premature: even if dramatic market changes have made pay phones a distant second choice over wireless for many, the old technology is still important.

For one thing, predictions of the death of pay phones may be exaggerated. "It is likely that some core base of payphones will continue to be used regularly and earn a profit," the division observed in a July 2006 report, responding to gloomy industry forecasts.

For another, the actual basis for the pay phone network’s decline is far from clear. The division noted "a distinct lack of quantitative analysis regarding both the reduction … and demographic information about the location and need for payphones" in its program review comments, part of the PUC’s formal rule-making process (to be concluded in coming months, following administrative law judge Maribeth Bushey’s findings).

Acknowledging that "concerns about migration to wireless phone plans and cost recovery issues (including interconnection costs, phone card fraud, and 911 services)" need to be addressed, the division restated the universal service goals of both the ’96 act and the original 1934 Telecom Act, quoting a commission ruling from a decade ago, now more urgent: "Parties have not substantiated that telephone service will continue to be available at unprofitable locations to satisfy public health, safety, and welfare needs. Nor have they convinced us that the marketplace will replace the existing public policy payphones or fulfill the public policy objective in public health, safety, and welfare."

The DRA recommends a two-pronged strategy for stabilizing the for-profit market and assessing the need for subsidized pay phones — one that could potentially restore proactive inspections.

Instead of eliminating Quad-P oversight, it said, "the task, rather, is to address these problems by reforming and strengthening the program, as well as by assessing [systematically] the continuing public need for payphones" and finding ways to meet it. The division proposed a formal workshop or survey to compile data about profits and costs, locations, and demographics — hard data on where pay phones exist and where they don’t but are needed.

The DRA also suggests that regulatory oversight be overhauled; that the PUC exert closer control over pay phone service providers by imposing fines or through disconnection; that pay phones be registered or certified, as they are in numerous other states; and that new procedures be adopted for installing and removing pay phones.

Oversight is needed, the division says, even if the industry can’t pay for it; it recommends a surcharge on monthly phone bills, as there are for other public policy telecom programs. It also says an overdue audit of both programs is needed and that the hotline-triggered inspection regimen needs to be reassessed within 12 to 18 months of its inauguration last fall.

SAVING PAY PHONES


On the ground floor of San Francisco’s City Hall, a single pay phone remains among six phone bays. Under existing subsidy rules, the city — which contracts for multiple phones — is ineligible for a subsidy.

It seems like high time to figure out how to restore some conventional lines of communication. Instead of shifting the whole cost of backup phones to the public, why not consider allocating it between the industry and ratepayers, placing the industry’s contribution on a sliding scale to be reviewed every year or two along with revenues, and even incorporating a percentage of more competitive telecom video and cable profits?

Admittedly, this goes against the current tide. Avid deregulators — like former PUC commissioner Susan Kennedy, now Gov. Arnold Schwarzenegger’s chief of staff, and current commissioner Rochelle Chong — have aggressively promoted advanced technology and less oversight.

But is what’s good for AT&T and Verizon really good for ratepayers or small businesses? Letting the pay phone network — a real, decentralized public space — be dismantled just because many of us now have private cell phones violates fairness and common sense. Corporate-minded advanced-tech boosters may dismiss the older technology, but it serves everyone.

"Just because it’s old," TURN’s Nussbaum said, "so what?"<\!s>*

Black and white and color

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One of the most exciting aspects of being a newspaper editor is recognizing a wave of activity that isn’t connected to government mind control or onslaughts of corporate-sponsored and mass-marketed art. This kind of spontaneous mass energy is happening via photography in San Francisco right now. August is known as a slow month, but the city’s galleries are alive with contemporary photos. Bill Daniel’s latest look at the US landscape is opening at RayKo Photo Center, the Daniel-influenced vagabond spirit Polaroid Kidd has his first Bay Area show at Needles and Pens, Greg Halpern’s moody views of Buffalo and Kelli Connell’s double-minted prints are up at SF Camerawork, and at City Hall — through the San Francisco Arts Commission Gallery — the work of 32 local photographers is on view.

Baptized in arguments regarding its viability as an art form, photography remains as contentious as it is expansive. Witness a veteran such as Duane Michals sharpening his claws on the megapopular likes of Cindy Sherman in last year’s rant-monograph Foto Follies: How Photography Lost Its Virginity on the Way to the Bank (Thames and Hudson). We live in an era when the ready availability of portraiture seems to have made its definition even more reductive; via MySpace and more explicit sites, people use cameras to readily package themselves as products. Yet when black-and-white and color and digital and film collide with unpredictable results, photo portraiture can be as varied and lively as the work you’ll find on these pages.

Thanks to fellow Guardian arts editor Kimberly Chun for suggesting, late in the selection process, a focus on portraiture. This decision necessarily narrowed the Bay Area photographers to choose from; there’s a wave of garden- and eco-driven work being done by Bill Basquin and others, while Dusty Lombardo, R.A. McBride, and Jackson Patterson are discovering tremendous depth in interiors. Thanks also to Basquin, Daniel, Glen Helfand, Chuck Mobley, Katie Kurtz, and Dave and Ray Potes for their suggestions.

Twelve years ago I interviewed therapist and author Walt Odets because he was bringing much-needed humanity to discussions of the AIDS crisis; to find out that he’s also a superb photographer whose subjects have included Jean Renoir and his wife, Dido, is a revelation. In distinctive ways, Vic Blue, Robert Gumpert, and Amanda Herman reveal what journalism usually ignores or renders shallow. The intimacy of Vala Cliffton’s photos makes one ponder her presence within the scenes she depicts. Matthias Geiger shows a city you might not have noticed even when it’s been in front of your face. Stan Banos has an eye for the many shades of gray within the multihued and the cuckoo. Job Piston is that rare Bay Area photographer whose work brandishes a sexual edge that isn’t obvious or predictable. Jim Goldberg’s urban work has been canonically influential since the publication of Rich and Poor (Random House, 1985) and Raised by Wolves (Scalo, 1995). Photography is just one aspect of Désirée Arlette Holman’s hand-fashioned fantasy world, a place that looks like a wicked satire of our own.

If you’d like to see more about some of these artists, go to www.sfbg.com/blogs/pixel_vision. (Johnny Ray Huston)

44-Banos.jpg
Stan Banos

NAME Stan Banos

TITLE The Marine

THE STORY "This photo was taken in San Francisco during Fleet Week in ’04."

INSPIRATION "I’ve always had a vague obsession with time and place, and the camera is the best-suited instrument to record such transient moments (particularly when you can’t draw). I generally try to incorporate whatever signs of irony life can offer within a rectangle."

FAVORITE PHOTOGRAPHERS "I have more favorite photographers as an adult than I had favorite ballplayers as a kid: Bruce Davidson, Josef Koudelka, Diane Arbus, Garry Winogrand, William Eggleston, Stephen Shore, Carl de Keyzer, James Nachtwey, Cheryl Richards, Henry Wessel, Elliott Erwitt, Martin Parr, Lee Friedlander … the list is endless."

SHOW "Our World," at SF Arts Commission Gallery’s City Hall space, through Sept. 21.

WEB SITE www.reciprocity-failure.com

44-blues.jpg
Victor J. Blue

NAME Victor J. Blue

TITLE Honduran immigrants, Detention Center Tapachula Mexico

THE STORY "I went to the Guatemala-Mexico border to photograph immigration there. These guys had been caught trying to ride the freight train to the United States. We only had a few minutes to take pictures inside. They were on a bus back to Tegucigalpa within a day, probably just to try again."

FAVORITE MONOGRAPHS The Mennonites by Larry Towell (Phaidon, 2000), Exploding into Life by Eugene Richards and Dorothy Lynch (Aperture, 1986), Kosovo 1999–2000: Flight of Reason by Paolo Pellegrin and Tim Judah (Trolley, 2002), Under a Grudging Sun: Photographs from Haiti Libere 1986–1988 by Alex Webb (Thames and Hudson, 1989).

WHAT ARE YOU SHOOTING NOW? "The cost of the wars in Iraq and Afghanistan for the people of San Joaquin County."

WEB SITES www.victorjblue.com, online.recordnet.com/projects/iraq/Jose/index.html

44-Clifton.jpg
Vala Cliffton

NAME Vala Cliffton

TITLE Unicorn

THE STORY "Unicorn is a portrait of my niece and my brother after their trip to Hawaii. My niece is in love with Hawaii and could not seem to detach herself from her scuba gear that afternoon. My brother was trying to catch a nap before dinner. The combination of elements in this unposed portrait captures an essential and intriguing aspect of their father-daughter relationship."

INSPIRATIONS "The Family of Man [Harry N. Abrams] was the first photography book I can remember picking up and being interested in. Photography was always a part of our family life. One of my projects while at the San Francisco Art Institute was to print the black-and-white snapshots taken of the family over the years."

WHAT ARE YOU SHOOTING NOW? "I have spent the past couple or years working as a filmmaker and producing music videos, some of which I have put up on YouTube at youtube.com/alavala11."

SHOW "Our World," at SF Arts Commision Gallery’s City Hall space, through Sept. 21.

WEB SITE alavala.com

44-Geiger.jpg
Matthias Geiger

NAME Matthias Geiger

TITLE Train

THE STORY Train is taken from Geiger’s "Tide" series, which he describes as "an examination of human presence" in "places of transit and momentary rest…. The technique of layering still images allows past, present, and future moments to appear simultaneously, reflecting the notion that each moment in time is a construct of our memories, our presence, and our projections."

INSPIRATIONS "Direct physical experience such as being outdoors, dance, and meditation, as well as readings on metaphysics."

WHAT ARE YOU SHOOTING NOW? A series on utopian subcultures.

SHOW "Matthias Geiger: Tide." Sept. 6–Oct. 20. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

WEB SITE www.matthiasgeiger.com

44-gumpert.jpg
Robert Gumpert

NAME Robert Gumpert

TITLE Untitled

THE STORY "For the past 13 years I’ve been doing an off-and-on documentary project called ‘Lost Promise: The Criminal Justice System.’ This image was done in August 2006 while I was documenting the closing of San Francisco County Jail No. 3. Built in 1934 and beset by a number of serious issues and several lawsuits ordering its closure, the jail was finally closed in August 2006, when inmates were moved to County Jail No. 5, built on land adjacent to the old jail."

FAVORITE PHOTOGRAPHERS Don McCullin, Lewis Hine, August Sander, Leonard Freed, Gilles Peres, and Philip Jones Griffith.

WEB SITE www.robertgumpert.com

44-herman_rashad.jpg
Amanda Herman

NAME Amanda Herman

TITLE Untitled

THE STORY The image is taken from Herman’s most recent work, the short film Lost Island, which looks at the impact of Hurricane Katrina on one large family two years after the storm forced them from their home in Chalmette, La. Herman met the Morris family in Oakland while doing free family portraits for survivors at a relief day in October 2005, one month after Katrina drove them from their homes, and, she writes, "over time, I became interested in exploring the intricacies of one family’s experience with the disaster." Donations and income from the sale of the Lost Island DVD will go into a family fund to assist the Morrises as they rebuild their lives in Oakland.

FAVORITE PHOTOGRAPHERS Seydou Keita, Allen Sekula, Susan Meiselas, Jeff Wall, Wing Young Huie, Wendy Ewald, Jessica Ingram, Eric Gottesman, and others.

SHOW "Inchoate," through Aug. 11. Patricia Sweetow Gallery, 77 Geary, mezzanine, SF. (415) 788-5126, www.patriciasweetowgallery.com

WEB SITE www.amandaherman.com

44-holman.jpg
Désirée Arlette Holman

NAME Désirée Arlette Holman

TITLE Something Ain’t Right

THE STORY "This image is from a larger series of video and photo work depicting actors wearing crude, handmade (by me) chimp costumes. Something Ain’t Right was inspired by smoking chimps in zoos in South Africa and China. One zookeeper claimed that the chimps were smoking because they are frustrated. Could captivity make a chimp neurotic and lead it to smoke? Others claimed that the chimps were imitating tourists, recalling the cliché ‘Monkey see, monkey do.’ "

INSPIRATION "I am inspired by psychology, popular culture, figurative sculptures (including toys), art, and various types of fantasy and fiction making. I capitalize on the potential to create fantasy from realistic imagery through the use of the camera."

FAVORITE PHOTOGRAPHERS Currently include Tracey Moffatt, Liza May Post, and Suzy Poling.

SHOWS "CCA: 100 Years in the Making," at the Oakland Museum of Art, and a solo show at San Francisco’s Silverman Gallery. Both open in October.

WEB SITE www.desireeholman.com

44-piston.jpg
Job Piston

NAME Job Piston

TITLE A Year Later

THE STORY "I was making portraits of young Hollywood and became interested in deconstructing glamour. This is a good friend of mine who was sent away to a facility for a long while. I took this picture the first time I visited him. Today popular figures openly go to rehab; it too has become glamorous."

INSPIRATION "Complicated personalities, intimacy in public spaces, secrets, the figure, and the fountain of youth."

SHOW "Our World," at SF Arts Commission Gallery’s City Hall space, through Sept. 21; "Evidence of Things Unseen," Peninsula Museum of Art in Belmont, through Oct. 21; solo show at Silverman Gallery in San Francisco in October.

WEB SITES www.jobpiston.com, book-of-job.blogspot.com

44-Odets.jpg
Walt Odets

NAME Walt Odets

TITLE Greg Hoffspiegel, Palo Alto, California, 2007

THE STORY "Because it is so instantaneous, there is much chance in photography. This photograph seems to me about the gaze and emotion of the three figures, some combination of attention, reflection, loss, and pathos, as well as the visual organization."

INSPIRATION "I have taken pictures since I was 16. If I can use the camera in a way that forces deconstruction of what we normally see but do not observe, then I feel I have accomplished something."

FAVORITE PHOTOGRAPHERS "Henri Cartier-Bresson, of course, and Ed Ruscha and Lee Friedlander, for their elegance and form, intellect, and relentless literal rendering, respectively."

SHOW An October 2007 three-person show at SF Camerawork, devoted to winners of the James D. Phelan Award for photography.

WEB SITE www.waltodets.com/photo

44-Goldberg.jpg
Jim Goldberg

NAME Jim Goldberg

TITLE Untitled

PHOTO COURTESY OF STEPHEN WIRTZ GALLERY

THE STORY The image is drawn from "The New Europeans," a project Goldberg started around the time of the 2004 Summer Olympics in Athens. The series focuses on the journeys of refugees and immigrants from war-torn or economically devastated homelands in Iraq, Somalia, Sudan, Palestine, Afghanistan, the Philippines, and elsewhere to settle in Europe, specifically Greece and Ukraine. In June, Foundation Henri Cartier-Bresson in Paris presented Goldberg with the HCB Award so he could travel to his subjects’ countries of origin and tell the complete stories of their migration.

SHOW "Jim Goldberg: New Work." Oct. 3–Nov. 10. Reception Oct. 4, 5:30–7:30 p.m. Stephen Wirtz Gallery, 49 Geary, third floor, SF. (415) 433-6879, wirtzgallery.com

Church of Santino

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› johnny@sfbg.com

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

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

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

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

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

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

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

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

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

BAD BOYS OF RUNWAY

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

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

FABULOUS FASHION IN FILM FESTIVAL

July 27–<\d>Aug. 3

Castro Theatre

429 Castro, SF

(415) 863-0611

www.castrotheatre.com

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

To the ramparts, robots

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› a&eletters@sfbg.com

Aside from having one of the most awesome health care systems in the world, the Louvre, and an overall sense of sophistication, France is responsible for Daft Punk’s entrance into the world and the subsequent rebirth of a limitless club culture. Sure, we’ve got R. Kelly and Slayer, both of whom are as culturally relevant as the Paris duo, but unlike the aforementioned American icons, Daft Punk have scaled an aesthetic fence, resuscitating what many considered a moribund French music scene in a dynamic way that exceeds tabloids and all things shredding.

With or without their now-infamous mystique as masked robots, Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo have dominated dance floors with dynamic robohouse releases like 1997’s Homework, 2001’s Discovery, and 2005’s Human after All (all Virgin), which murdered charts in the United Kingdom and France while assaulting those in the States. But it’s not the grinding electropower of "Da Funk" that’s entirely responsible for the group’s forefront standing — it’s all about the Daft Punk vision.

In a genre brimming with predictable dance floor restrictions (i.e., the same four synth sounds and 120 bpm repetitions) and an overwhelming need to crowd-please, Daft Punk have never followed 4/4 guidelines or era-aligned clichés. After an intense bidding war, signing with Virgin, and hitting megastatus with Discovery, the duo immediately began realizing their ambitions, working with Japanese animation kingpin Leiji Matsumoto for the $4 million–<\d>budgeted operatic film Interstella 5555. Released in 2003, Interstella revolves around a "discovered" robot band taken hostage in space, with a separate episode for each Discovery track. Both MTV and Cartoon Network hosted the first few episodes, and many critics heralded the band for its satirical take on the entertainment industry.

Without supporting Human after All with a series of elaborate tour dates, the duo spent time prepping another cinematic addition to their creative canon and directed Electroma, a 70-minute silent-film opus. Based on the story of two robots driving through a desert in a 1987 Ferrari on a quest to become human, the film has already been compared to endeavors like Matthew Barney’s Cremaster Cycle. Electroma is far from a low-budget, art-school project, though: the futuristic costumes, for example, were dreamed up by Hedi Slimane.

In typical Daft Punk fashion, Bangalter and Homem-Christo maintained their sacred anonymity by choosing to direct the film and hire actors to live the robot dream. For the soundtrack, the duo also enlisted France’s psych tastemaker Sebastien Tellier and selected some moody hymns by Brian Eno and Curtis Mayfield, to name a couple. There have been several midnight screenings at clubs across the globe — one at Mezzanine is forthcoming — and the DVD will be released in August by Aztec International/Vice.

Speaking of which, Daft Punk have also earned a place in electrohouse history with their ties to the new French revolution — namely, Ed Banger Records and affiliates like the aforementioned Vice. Founded by production monolith and Daft Punk manager Pedro Winter, a.k.a. Busy P, the label has become synonymous with the gritty analog sound that Daft Punk carved into dance culture. Including many young French producers like Sebastian, Justice, Mr. Oizo, and Feadz — most of whom are barely old enough to legally get hammered at a stateside club — Ed Banger has earned its place at the top of the in-demand live-act pyramid, and its crew isn’t tied to serving out bangers exclusively either. Oizo recently directed the forthcoming film Steak, which was scored by Sebastian, Tellier, and himself.

Then there’s Kitsuné Music, another Paris label, which is nestled between Ed Banger and the Rapture on the list of Daft Punk’s top MySpace friends, a lofty position for those engaged in the cybernetworking circuit. Acts like Digitalism, Crystal Castles, and Riot in Belgium have earned near-cult status through Kitsuné and its heavily rotated compilation series.

With the exception of a few Coachella dates and one-offs, Daft Punk haven’t officially toured since supporting Homework in 1997, and now the duo are tearing through the States prior to Electroma‘s launch. Playing select arena dates, the duo are performing alongside their well-groomed legion of the new French crooners, including Kavinsky, Sebastian, and the Rapture. Most of the dates are already sold out, but in homage to Daft Punk’s legacy, the James Friedman–<\d> and the Rapture–<\d>owned Throne of Blood imprint is throwing a series of after-parties including said supporting acts — no Daft Punk, sorry — in clubs rather than in enormous amphitheaters.

Whether or not Daft Punk will eventually start building sculptures, go to medical school, or return to the realm of everyday club crushing remains unknown, but their place in dance culture is as solid as Bangalter and Homem-Christo’s impenetrable robot helmets.*

DAFT PUNK

Fri/27, 8 p.m., $48.50

Greek Theatre

UC Berkeley, Gayley Road, Berk.

(510) 643-6707

www.ticketmaster.com

We got the (electro)funk: Talking with Chromeo’s Dave-1

1

By Molly Freedenberg

You’d think a writer living in Tech Central and a musician who works almost exclusively with electronics would be able to figure out how to have an international conversation. But somehow, Chromeo’s Dave-1 (who was in London at the time) and I couldn’t get that archaic piece of equipment (you know, the telephone) to work for us. So we turned to ye olde computer. Below is the transcript of our email interview, emoticons and all (who knew Dave-1 uses smilies?). I’ll let y’all know if we actually talk face to face after their show at Mezzanine on Monday.
chromeo may truong 2_2.jpg

San Francisco Bay Guardian: So first of all, I love the new album. How was making this one different from making the first?

Dave Macklovitch: Well we took a while because we really wanted to come up with the catchiest songs. We took our time. We wanted this to be a more sophisticated record. We polished the arrangements, the mix too. We got Philippe Zdar to mix it, actually. And then it was also really important for us to put the emphasis on the lyrics this time around. So you know, that explains everything from “Bonafied” to “Momma’s Boy”…

SFBG:I know you didn’t know much about electronic music when you formed Chromeo. Is that still true? Either way, who’s been influencing you (or who have you been excited about listening to) in the past few years?

DM: I mean, now we’re up on all that stuff. All the Parisian stuff, London cats like Switch and Sinden, German cats like Digitalism and Boys Noize, we like all that. But we don’t come from that world. We discovered this through Chromeo and everyone who’s supported us over the years…