Music

Where’s the party?

0

> a&eletters@sfbg.com

The best time to hear AC/DC — besides during the obvious coked-out, high-speed cop chase — is at a party. At least this is my personal fave: during a party I’m throwing and controlling the music being played.

I love the part of the night when it is appropriate to put on the first AC/DC song, really loud. It has to be pretty late — when the strangers start filing in, cigarettes are being smoked everywhere, and the rules have been tossed out. People need to be drunk enough to dance to AC/DC, after all — and the first song has to be "It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)."

The problem here is that once you start playing AC/DC, you have nowhere to go. You’ve reached the ceiling as far as loud rock ‘n’ roll music goes, from here you have to get into crazy metal or ubernoise in order to keep the bar set in the red. And if you play Pig Destroyer, even though the middle of the song might be awesome, awesome, awesome, by the time you get there, you’ve alienated almost everybody. So some restraint is necessary. I used to actually think about this while DJing parties and I eventually came up with the answer: what you do is play more AC/DC.

You start with Bon Scott-era stuff — a little "Jailbreak," "Beating Around the Bush," "Live Wire," and "Sin City" — then you drop Brian Johnson’s flat, cap-lidded bleat and the high-tech production of "Thunderstruck" on them. You’re now free to play "Safe in New York City," "Sink the Pink," anything — just stay away from "You Shook Me All Night Long," because you may as well play Bob Seger’s "Old Time Rock and Roll." And you gotta put on "Moneytalks" at some point.

AC/DC has a new album, titled Black Ice (Columbia). This is studio album 15 and is officially available for purchase either directly through the group’s Web site or at Wal-Mart. I didn’t get a promo copy of it and I don’t really shop at Wal-Mart much, except to get their spicy wings, which are fantastic, but I was able to hear some of the songs on YouTube, so I can give a somewhat informed review of the album. Like I said, I found the stuff on YouTube, but I didn’t watch the video for lead single, "Rock ‘n’ Roll Train," because, well, I love AC/DC, but even I have to admit that Angus Young wearing a school kid uniform as he approaches AARP eligibility is a little embarrassing.

I mean, the poor guy, he’s been duck-walking around the stage and over-performing for 40 years practically! Doesn’t it get to be like forced labor after a while? After, say, 30 years? Yipes.

Anyway here goes: the songs on Black Ice start with a bass line, then one guitar picks up the rhythm riff, then after exactly eight bars, the second guitar comes in, echoing the riff. Four bars pass, and the drums come in along with Brian Johnson screeching about women that could only have existed in the 1980s — "She’ll burn your eyeballs out," "she’s got it all," "she has two great danes on a leash," etc. Young peels off a blaring solo that erupts at exactly the right time, the chorus is repeated — peppered by "honey"s and "hey-hey"s from Johnson — and it all fades out. For my money, the tried-and-true formula works best on "Skies on Fire" and "Big Jack," which is about a guy who’s really got the knack and also never goes anywhere without a sack.

OK, the guys in AC/DC aren’t geniuses, and maybe they’ve been at it a little too long, but the formula still works, it always will, and Black Ice — like just about every one of their records — is not meant to be sat around with and listened to. The idea is to play it at parties, and you’re not supposed to look too closely at it. The idea is to let it wash over you. *

AC/DC

With the Answer

Tues/2 and Dec. 4, 8 p.m., $94.50

Oracle Arena

7000 Coliseum, Oakl.

(415) 421-TIXS

www.apeconcerts.com

Plucky 15

0

› superego@sfbg.com

SUPER EGO When, oh, when, will someone acknowledge properly that Kinko’s was responsible for rave — at least the good rave? So many legendary early 1990s parties sprang from adorable Apple IIe addicts frantically photocopying the two-toned fruits of stoned flyer-making labors at 3 a.m. onto Lift-Off Lemon and good ol’ Lunar Blue. We grateful ex-ravers, despite ongoing nerve damage, should really erect a mimeo-monument to that generic copyhouse — a mass of leftover smiley-face baggies and filthy chill-out room inflatables, perhaps, fashioned in the shape of a poor, perplexed clerk?

I’m chortling over the phone about this with Flash, the guiding light and graphic design arm of the Tribal Funk party production crew, formed 15 years ago by South City teen Keith Neves with just such a rush-job handout. "Keith was really sick of the rave scene’s slickness and commercialism back then, so he passed out a handmade flyer saying, ‘Meet at my house and let’s see if we can do it right. Get it back on track. Do it for less,’" Flash explains. A couple dozen people showed up, and the Tribal Funk saga was launched.

It’s a wondrously wriggly epic, dotted with giggling daisy logos and projected grinning cows, that kicks off with a 1993 Thanksgiving Day rave called "The Beginning" at the National Guard Armory in Concord and winds its way through the College of San Mateo dining hall, the Santa Cruz Civic Auditorium, and across "some rickety pier in China Basin." It brushes up against other well-known party names like the Gathering, Stompy Stomp, Coolworld, Toon Town, and Funky Techno Tribe and survives huge rain-outs, threatened cop busts, wily rival crews, and several cringe-inducing encounters with the word "phat." It amasses a rippling pool of luscious West Coast DJ talent: Carlos, Tony, DJ Dan, Cut Chemist, Z-Trip, and Charlotte the Baroness. Also, Chi-town house god Mark Farina — virtually unknown in the Bay when he spun at a 1994 Tribal Funk joint — will be rocking the nostalgia train with the wiggy Bassbin Twins as part of the 15th anniversary celebration at Mezzanine.

From its original collective, T-Funk has been pared down to Flash and the now-Los Angeles-based Neves, and has gone through several retirements — yet it’s still delivered a massive massive many Thanksgiving weekends since its first Turkey Day bash. Vibe feathers! "I know it sounds clichéd," Flash reflects, "but we’ve always been about musical cross-pollination. It seems like the right time for us to be around again. We started when the scene was weak, and I feel it’s gotten weak again — the underground SF-sound scene, I mean.

"Plus," he adds, "it’s hard to kick the party-throwing bug. It’s a drug — not about money, you’ll never make money, and not about ‘scoring chicks.’ There’s no feeling in the world like standing behind the DJ as 2,000 people jump up and scream for joy. You just gotta do it, man." *

TRIBAL FUNK 15 YEAR FAMILY REUNION

Sat/29, 9 p.m.–7 a.m., $25

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

CLUCK AND BEAR IT

Gobble all the stuffing you want, then dance as the rollicking, bear-and-other-friendly Blowoff party returns to Slim’s. I rarely recommend biggish parties like this — not because I don’t love me some bare-chested bear meat, but because I never trust the music at large gay-oriented affairs. But the last installment was a packed hairy hoot, and DJ duo Richard Morel and Bob Mould kept the beats interesting, rocky even. Claws out, kiddies.

Sat/29, 10 p.m., $15. Slims, 333 11th St., SF. www.slims-sf.com

Ex-Mormons and vodka milk: Meet Merkley???

0

Intrepid reporter Justin Juul continues his Meet Your Neighbors series, interviewing the Bay Area folks you’d like to know most.

merks1_1108.jpg

There’s this weird thing that happens in your brain when you’re about to turn 30. All of a sudden you begin to sense that the best part of your life is ending and that you’d better figure shit out quickly before the rest of your life starts to suck. The possibility that you might die, broke and alone, becomes more of a reality and you begin to obsess about “getting your life on track.” Most people go through a series of dramatic lifestyle changes at this point. They get “real jobs,” stop drinking whiskey every night, cut their hair short, and start dressing a like a mannequin from the Gap or whatever. They stop caring about parties and music and art, and they become infatuated with stability. These are the people you see in early evening sitcoms and on cereal commercials — happy Americans with smiling children, mini vans, and tract homes. But then there are people like Merkley, people who decided, somewhere around 30, that they didn’t want any of that shit.

Merkley is a photographer/artist who lives near the Haight district in a giant street-level apartment in a building that he also owns. That means he doesn’t pay rent and that he’s free do whatever the hell he wants all the time. His daily activities vary from month to month, but they almost always include taking pictures of naked women, drinking liquor, listening to DEVO, and thinking about his idol, Flavor Flav. When he’s not busy with that, he’s hanging out with his dogs, Snortzle and Butterface, or painting super-intricate pictures of old men in suits playing accordions on donkeys and shit like that.

Merkley is who I want to be when I grow up (minus the hippie hair). You can buy his limited-edition coffee table book, 111 ??? [SF Women You Know, at Home on the Sofa in their Favorite Shoes], here.

SFBG: Merkley, where are you going? I thought we were gonna do this interview.
Merkley: Yes! Wow, you’re right on time, aren’t you? I was just heading to the liquor store for some chocolate milk, but fuck it. I already have plenty. Come on in.

SFBG: Cool. Why do you need so much chocolate milk?
Merkley: Oh. It’s for this drink. I invented it. It’s called Chocolate Milk and Vodka. Want some?

SFBG: Well, it’s 1:00 in the afternoon, and I gotta drive soon, so I think I better stick to three beers for now. Don’t let me drink more than that.
Merkley: Sounds good to me. So what do you wanna know?

SFBG: First, how do you get all these girls to take their clothes off for you? Are they just hard-up porno chicks from Craigslist or something?

Getting into Tune-yards at Amnesia

3

tuneyards show sml.jpg
Put up your ukes: Tune-yards. All photos by Jen Snyder.

By Jen Snyder

The only thing I really knew about music from Vermont before Saturday was Phish, which naturally threw a big, damp drug rug over my entire interest in seeking out and discovering new jams from the state. But about a month ago, I found out that Citay (the Guardian’s triumphant Goldie winner) was going to be playing at Amnesia with a band called Tune-yards, hailing from Vermont. A Citay band member promised, “No joke at all – this is the best music I’ve heard and seen in years and years. I shit you not.”

I was somewhat conflicted at first, but a post-election, Obama-esque change-is–possible wave swept over me and I decided to not judge a state I had never been to, and to check it out.

Tune-yards, which had never previously played in San Francisco, did not disappoint. The project, which consists solely of Merril Garbus and her excellent digital voice recorder, was consistently intriguing. Garbus is very self-sufficient: she loops her own vocals, drums, and chanting over what looked like a cross between a children’s fake guitar and a ukulele.

Sounding out on the Silent Comedy’s backwoods indie rock

0

By Todd Lavoie

Bowler hats, banjos, backwoods hollers, and burlesque hawkers – sounds like old-timey goodness to me. San Diego’s mountain music-loving vaudeville-revivalists the Silent Comedy will be dishing out sepia-toned balladry and carny-shouted hootenannies to the Café du Nord crowd Friday, Nov. 21.

It should be one hell of a rompin’-stompin’, suspender-slappin’ shindig. Whether or not the band will share their homebrewed bathtub-gin onstage remains to be seen, but they’re certain to be generous with everything else you might need for a round or two of Prohibition-era revelry. OK, the bathtub-gin thing is pure speculation on my part; what else could possibly be fueling their deliciously unbridled rip-ups?

The quintet, formed in 2005 by brothers J. John and J. Benjamin from the remnants of their San Diego post-punk band Dehra Dun, is rooted in acoustic-based roots music – banjo, mandolin, and violin figure prominently – but indie rock has clearly played a significant role in shaping how they approach country and folk idioms.

Wonder as they wander

0

› a&eletters@sfbg.com

The great Langston Hughes titled a volume of his autobiography I Wonder as I Wander, invoking the notion of the poet in terms entirely personal and inevitably representative of a whole people, violently unsettled by history and restlessly searching for meaning, home, dignity — in short, for themselves. In Hughes’ art, this dovetailed with the image of the poet as blues singer and the blues singer as poet. His writing signaled that vernacular music as secular and sacred verse to a population caught up in forces larger than itself, but marked nevertheless by millions of singular experiences given individual voice in song.

The same themes of displacement and song run compellingly throughout the late August Wilson’s magisterial 10-play cycle of the African American 20th century, and rarely as forcefully as in 1988’s Joe Turner’s Come and Gone, currently receiving director Delroy Lindo’s fine, impressively cast production at the Berkeley Rep. But Hughes’ title applies readily to another great historical population as treated in another revival this month, making the stories evoked in Joe Turner and Traveling Jewish Theatre’s less successful The Last Yiddish Poet touchstones of broadly but pointedly similar significance.

Set in 1911 during the great migration of African Americans northward, Joe Turner‘s action unfolds in Pittsburgh’s Hill District. The setting is a boardinghouse operated by the basically decent but huffy Seth Holly (Barry Shabaka Henley) and his kindhearted wife, Bertha (Kim Staunton). Into this warm, burnished house comes a small assortment of transient borders, all more or less fresh from the South: the headstrong guitar player and manual laborer Jeremy (Don Guillory), the lovelorn Mattie (Tiffany Michelle Thompson), and the fiercely independent beauty Molly (Erica Peeples).

They join a more permanent lodger, pigeon-catching backyard shaman Bynum Walker (Brent Jennings). The Hollys are descendants of Northern freemen, but the others are a mere generation from slavery — possibly excepting Bynum, old enough to have been born a slave, and not counting the play’s lone white character, merchant Rutherford Selig (Dan Hiatt), who, as a descendant of slave catchers, has adapted unselfconsciously as a "people finder" among rootless African American migrants.

The main plot of Wilson’s evocative, earthy, and humor-laden tale of disunion, reunion, and fractured identities takes hold with the arrival of the grimly forlorn, vaguely menacing Herald Loomis (Teagle F. Bougere). Loomis’ story makes bitter sense of the play’s title, a blues lyric repeated throughout by Bynum and fashioned by Southern women whose men were disappeared and forced into labor by the infamous Joe Turner. Since his release from bondage, the anguished and haunted Loomis, a former deacon, has searched with trancelike focus for the mother of his shy daughter (Inglish Amore Hills, alternating with Nia Reneé Warren). The Hollys’ boardinghouse takes on the baleful aspect of Loomis entombed soul as his violent outbursts of protest and revelation — and the mediating, ministering wisdom of the perspicacious, wondering Bynum — edge the play beyond naturalism toward a mythopoesis of half-submerged history.

The resurrection of history and half-buried tradition, as well as the literal voicing of experience and identity, is also at the center of The Last Yiddish Poet, an otherwise very different kind of play from Joe Turner. Originally produced by Traveling Jewish Theatre in 1980 and now revived to lead off its 30th-anniversary season, the production is aptly peripatetic in structure as well as theme: two actors in vaudevillian comic getup (artistic director Aaron Davidman and TJT cofounder Corey Fischer, also the play’s cocreator and half of the original cast) roam about a limbolike white-on-white set scattered with occasional detritus, most particularly and strikingly a pyramidal display at the far left of the stage on which a mound of books lie in disarray. The actors eventually mount a low stage within the stage, behind a row of modest footlights composed of painted tin cans, and amid knowing cornball lines they announce that they are speaking in "Yiddish" accents, despite not knowing Yiddish, so that the audience will recognize their Yankee selves as Jews.

What follows is a reclamation of the language as a search for identity and authenticity, in several dramatic and musical modes and moods and in struggle with manifold forces of history, from assimilation to persecution to the blunt inconstancy of time itself. Director, cocreator, and TJT cofounder Naomi Newman admits in her program notes that reentering the play after many years was not as easy as expected. Much has changed with respect to the place of Yiddish in Jewish lives. There is a quality of hesitation in the updated staging, which undermines some of its poignancy, although the awkwardness disappears at key moments, including Fischer’s hulking, half-masked portrayal of Nakhman — the rebbe known for contributions spiritual and literary in Yiddish — and second-generation TJT artist Davidman’s channeling of formerly unfamiliar Yiddish verses, in what amounts to an act of possession in at least two senses. *

JOE TURNER’S COME AND GONE

Through Dec. 14

Tues. and Fri., 8 p.m.; Wed., 7 p.m.; Thurs. (except Nov. 27) and Sat., 2 (except Sat/22 and Dec. 11) and 8 p.m.; Sun., 2 and 7 p.m.; $13.50–$71

Berkeley Repertory Theatre

Roda Theatre, 2015 Addison, Berk.

www.berkeleyrep.org

THE LAST YIDDISH POET

Through Dec. 14

Thurs.–Sat., 8 p.m.; Sun., 2 p.m.; $30–$34

Traveling Jewish Theatre

470 Florida

www.atjt.com

Clean and saber

0

› kimberly@sfbg.com

SONIC REDUCER All allusions to Guns ‘N Roses much-contemplated, way-overthought, über-delayed ejaculation Chinese Democracy (Interscope) aside — is there such a thing as being too brainy or geeky to rock? Some might have pegged the cerebral, multi-syllable-slinging Decemberists as such: with its Brit-wave and Elephant 6 pop-literati influences, the band seemed to herald an aughtsy-totsy wave of archly smart indie pop (e.g., Arcade Fire) that drew from both stage-y American standards and college-radio playlists — theirs was less college rock than a college-educated rock. Add in the renown surrounding Decemberists’ 2005 San Francisco show, which cut "Chimbley Sweep" with a light saber duel, and eventually touched off playful competition with Stephen Colbert, and you’ve gotta wonder, how nerdy can one band get?

Well, attribute it to roving minds and too much drink, according to ever-cogitating, multi-tasking band leader Colin Meloy, 34. "I try not to be totally static onstage," drawls the songwriter by phone from his Portland, Ore., home as his 2-year-old son freaks out. "Typically if I go see a rock show, I just want to see a rock show and have the songs speak for themselves. But we’ll do gags, audience participation. Stuff born out of boredom and drunkenness."

Meloy and company’s restive imaginations most recently spawned a series of three singles titled Always the Bridesmaid, composed of tunes recorded last March but which weren’t quite right for the group’s March 2009 Capitol album, The Hazards of Love. The first 12-inch included "Valerie Plame," a jubilant shout-out, bustling with feisty accordion and brass, to the all-too-exposed CIA operative. "I would be listing to the radio and making dinner and hearing about Valerie Plame and what struck me was how perfectly the cadence of her name was for a pop song," Meloy explains. "’Valerie’ has been used in a lot of pop songs — there’s something about the first stressed syllable in a three-syllable name and the cadence onward, and the beautiful punctuation of the last name. It was just screaming to have a pop song written around it."

The last single — with the prettily melancholic, banjo-bedecked "Record Year" and the wistful, acoustic guitar-glittered "Raincoat Song" — comes next month. "I think it might be the only thing we ever released in December," quips Meloy.

As for the long-awaited LP, which the combo will likely play in its entirety on tour next spring, Meloy describes it as an "experimental narrative" forged after listening to a lot of old folk songs as filtered through ’60s-era British revivalists. "I noticed common elements were popping up and I thought it would be interesting to take those individual elements and throw them together in an extended song and see what sort of narrative it would create," he says.

"These days, to be a musician and to be constantly immersed in music, your outlook on music changes drastically," continues Meloy. "I find I rarely get the spine-tingling moments from music anymore. I think I’m jaded and immersed — you know how you work in a pizza place and get sick of pizza — and the spine-tingling moments are few and far between, but I find I’m rediscovering those moments in old folk songs. I find it in songs that make me weepy but have been around for centuries." *

THE DECEMBERISTS

Tues/25, 8 p.m., $30

Warfield

982 Market, SF

www.goldenvoice.com

BACK FROM THE JOINT: CHEECH AND CHONG

The comedy duo didn’t go entirely up in smoke with the ’80s: so-called "grumpy old stoners" Cheech and Chong return to the Bay for their first show in SF in, like, forever (Chong said manager Lou Adler’s feud with Bill Graham led to their blackballing), with a concert film in the works. How has the gray matter been, retaining the routines? "It’s all body memory," says the personable Chong, 70, from his Arizona stop. He attributes his skills and timing to writing and playing music. "I got my early comedy training with black jazz musicians. They are, without a doubt, the funniest people on the planet." Meanwhile the pair doesn’t pull any punches when it comes to each other. According to Chong, Marin initially pulled out of their act because "he wanted to play golf and get fat and get invited to parties," whereas Marin, 62, says he visited Chong once in the pen, but never got close to incarceration himself: "I’m smarter than that." So Martha Stewart is paying tribute to the twosome at their forthcoming roast? "She’s an ex-con," Marin wisecracks. "She relates to Tommy because she was in the joint."

Sun/23, 8 p.m., $39.50–$59.50. Nob Hill Masonic Auditorium, 1111 California, SF. www.livenation.com

BEAR WITH ME

MINUS THE BEAR


I like their math, class. Wed/19, 8 p.m., $20–$22. Bimbo’s 365 Club, 1025 Columbus, SF. www.bimbos365club.com

MISHAP SCIENCE FAIR


The Dead Hensons, TopR, the Missing Teens, and others make the chemistry happen. Sat/22, 8 p.m., $12 (free with project). Mighty, 119 Utah, SF. mighty119.com

YOUTUBE LIVE


You like to watch — and watch you will: the only way to catch Akon, Soulja Boy Tell ‘Em, Spinto Band, and other YouTube stars at Fort Mason is online. Sat/22, 5 p.m., free. www.youtube.com/live

BIZARRE BAZAAR


This burner-centric booty-shaker raises moolah for the Hookahdome camp. With Cheb i Sabbah and others. Sun/23, 2 p.m., $20–$30. Kelly’s Mission Rock, 817 China Basin, SF. www.kellysmissionrock.com

EARL GREYHOUND


"S.O.S." — NYC hard rocker alert. Mon/24, 8 p.m., $13–$15. Slim’s, 333 11th St., SF. www.slims-sf.com

THE ROSEBUDS


Dig the moody Life Like (Merge). Mon/24, 8 p.m., $12–$14. Independent, 628 Divisadero, SF. (415) 771-1422. www.theindependentsf.com

Child’s play

0

It can’t be easy, capturing the spirit of childhood and distilling all that wondrous essence into effective, life-affirming art. First, there’s the pile-up of cynicism we tend to amass over the years. Sure, we grown-ups might call this protective shield "realism," but it doesn’t exactly lend itself to fostering the same wide-eyed exuberance we felt as youngsters. On the opposite end of the spectrum: over-sentimentality. Simply put, schmaltz can kill a mood in no time — so let’s keep it away from the kiddies, shall we? There’s the dilemma: how to convey the innocence and excitement of youth without succumbing to corniness. We can’t all be Brian Wilson, after all.

Volker Bertelmann must have had a wonderful childhood. The Dusseldorf pianist and composer — known in the record shops simply as Hauschka — recently released an album’s worth of meditations and reminiscences about growing up in a small, woodsy German town, and I’d be hard-pressed to cite a more touching instrumental recording from this year. Ferndorf (130701/Fat Cat) — named after Bertelmann’s hometown village — glides along in a delicate dance between impish and introspective, evoking images of little boys and girls lost in playtime but also conjuring moments of quiet contemplation.

It’s an enormously engaging listen, made all the more magnetic by its unsentimental depiction of the emotional lives of children. Joined by a string duo, an occasional trombonist, and a grab bag of subtle electronic textures, Bertelmann’s comforting — but challenging — piano minimalism could very well be the new working definition for cinematic music. Ultimately, however, the 12 songs contained here should send listeners back to recreating scenes from their own childhoods. No movie required.

Hauschka live at Mutek 2007, Montreal

A classically trained pianist, Bertelmann has worked largely in the past as an exponent of John Cage’s "prepared piano" technique, in which items such as corks, straps of leather, and scraps of metal are attached to the instrument’s hammers and strings to create an endless array of clicks and rattles. With such a battery of odds and ends set in place, the piano can be transformed into a one-man percussion section of sorts. Earlier Hauschka works such as 2004’s Substantial and 2005’s The Prepared Piano (both Karaoke Kalk) were manifestos celebrating the possibilities of the technique. As one might guess, Cage’s presence could be spotted on both discs, as well as those of several other modern composers: Arvo Part, Philip Glass, and Steve Reich.

Last year’s Room to Expand (130701/Fat Cat) showed Bertelmann broadening his palette and introducing strings and electronics into the mix. Given that the pianist is also a member of synth-tweaking experimentalists Music A.M. and Tonetraeger, the addition of electronics to enhance the piano’s versatility was perhaps a natural extension of lessons learned from Cage.

Much of Ferndorfs playfulness emerges from the prepared-piano technique. "Barfuss Durch Gras" is a sputtering, plonking hydraulics-overdrive containing as many as 10 different piano textures at once, while the twitching waltz of "Heimat" derives much of its spunk from the curious union of a quasi-ragtime melody with a soft-footed pit-er-pat rhythm and disembodied horn sounds, all of which have been somehow generated by the same instrument. The Michael Nyman-esque "Blue Bicycle" has all the breeziness of a spring afternoon, but is pushed along urgently by pulsing circular piano patterns and the rush of two cellos, played marvelously by Insa Schirmer and Donja Djember. The string-drenched autumn tones of "Morgenrot" recall moments of Ryuichi Sakamoto or avant-chamber experimentalists Rachel’s, but also spotlight Bertelmann’s flair for bittersweet nostalgia.

In what might be the disc’s finest moment, "Schones Madchen" — a memory of young, innocent flirtation — imagines Amelie composer Yann Tiersen interpreting Reich. Delicate repetitions of piano flutters curve around lush curls of strings, clock-spring clicks and tics tap away underneath, and the wonders of early infatuation are compressed into less than four minutes.

HAUSCHKA

With Tom Brosseau and Magik*Magik Orchestra

Sun/23, 8:30 p.m., $10

Hotel Utah Saloon

500 Fourth St., SF

(415) 546-6300

www.thehotelutahsaloon.com

Warming to cold fact

0

Now that we’re deep into November, I can safely announce my choice for 2008’s top reissue: Sixto Rodriguez’s scrumptiously echo-rippled psychedelic folk-soul delight Cold Fact (Sussex/Light in the Attic). Originally released in 1970 by Sussex, the album never made a big dent in the American countercultural consciousness. Though it feels like an underground classic on par with the finest from such visionaries as Love, relatively few got a chance to hear it when it first emerged. Based on what I’ve read, Sussex didn’t have much pull with FM underground radio — the try-anything format for which Rodriguez was best suited — and thus the singer-songwriter was never exposed to his greatest potential audience.

Sixto Rodriguez, “Sugarman” (video by Yellowcatz)

That’s a damn shame considering that Cold Fact‘s riveting combination of barbed social commentary, blazing stream-of-consciousness delivery, and shiver-down-the-spine vocal testimonials — often heightened by understated studio freak-out-ery — would have connected with listeners seeking another voice tapping into the darker side of the hippie dream. While very much a product of the ’60s, the recording speaks directly to the rising levels of disillusionment in America at the decade’s turn. For last-name-only Rodriguez, a reconciliation of the bright-eyed optimism of Flower Power with the grim realities of the late ’60s takes place in the form of teeth-gritting folk spiels and soul-stirring calls for social change that barely conceal a seething rage. To seal the deal, he delivers his lyrics with infinite cool, coming across as both aloof and strident within the turn of a phrase.

As for those songs, the immediacy of numbers like "Crucify Your Mind" and "Sugar Man" pulls your ears the quickest. For all of their psychedelic embellishments, these tunes are essentially the sound of one man laying it out over the simple strums of an acoustic guitar. Even decades into the folk-rock phenomenon, many of Rodriguez’s songs will likely hit first-time listeners with that revelatory "Wow, how come I’ve never heard this before?" feeling.


RODRIGUEZ Sun/23, 2 p.m., free. Amoeba Music, 2455 Telegraph, Berk. www.amoeba.com. Sun/23, 8 p.m., $17–$19. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

‘Fight’ songs

0

› a&eletters@sfbg.com

On the night of Nov. 4, while President-elect Barack Obama was giving his victory speech in Chicago, Flobots were performing at the 9:30 Club in Washington, DC.

"We ended up performing just after McCain gave his concession speech, and then we stopped when Obama gave his acceptance speech," remembers Jonny 5, the rap band’s lead vocalist, on the road to New Haven, Conn. He calls the moment "full of euphoric disbelief." Outside the club "there were people everywhere in the streets, giving each other hugs, and impromptu parades."

It wasn’t the first time Flobots’ career path had intertwined with that of the president-elect. In September, when the Democratic Party held its convention in the group’s hometown of Denver, they participated in several ancillary events, including a concert with Rage Against the Machine. "The entire event was planned to support the Iraq Veterans Against the War, who had a march immediately after the event," says Jonny 5. "So we used the stage to rally people."

Flobots’ rise from regional upstarts to modern-rock radio stalwarts mirrors Rage’s emergence more than 15 years ago. Just as Zack de la Rocha and company did with their fuzzy emo-punk, Jonny 5 — along with rapper Brer Rabbit — adds rhymes to an exotic mix of jazz horns, funky breaks, and hard-rock guitar. And the six-member crew are equally consumed with progressive politics. Each song on Fight with Tools (Universal Republic/Flobots Music, 2007), the outfit’s second album, overflows with righteous anger and activist fervor.

Flobots, “Handlebars”

"We want money for health care and public welfare! Free Mumia and Leonard Peltier!" Jonny 5 and Brer Rabbit offer on "Same Thing." "We say, ‘Yes,’ to grassroots organization, ‘No,’ to neoliberal organization! Bring the troops back to the USA and shut down Guantanamo Bay!"

"Handlebars," of course, was Flobots’ breakout moment. Much of Fight with Tools, which Flobots released independently last year, before Universal Republic signed them and reissued the album this spring, feels overwhelmed by earnest slogans. But on "Handlebars," Jonny 5 weaves a stream-of-consciousness allegory about American exceptionalism while the rest of the band build, like an orchestra, to a cacophonous conclusion.

Jonny 5 says his influences range from hip-hop collectives such as Project Blowed to organic music ensembles like Ozomatli. The unusual chart success of "Handlebars," which soared into the Billboard Top 40 last summer, helped Flobots sell more records than any of their inspirations.

"Personally, I had this obsession or insecurity about whether we were really hip-hop, and whether we were representing the hip-hop community correctly. I don’t know … I was hung up on it," Jonny 5 explains. "[Influential indie rapper] 2Mex was with us for four or five dates on the West Coast, and the minute we would mention any criticism we’d get, he’d say, ‘Fuck that, man. Keep expanding. That’s what hip-hop is.’<0x2009>"

FLOBOTS

Sun/23, 8 p.m., $27.50–<\d>$30

Warfield

982 Market, SF

www.goldenvoice.com

Politics behind the picture

0

› news@sfbg.com

The new Harvey Milk movie, which opens later this month, begins as a love story, a sweet love story about two guys who meet in a subway station and wind up fleeing New York for San Francisco. But after that, the movie gets political — in fact, by Hollywood standards, it’s remarkably political.

The movie raises a lot of issues that are alive and part of San Francisco politics today. The history isn’t perfect (see sidebar), but it is compelling. And while we mourn Milk and watch Milk, we shouldn’t forget what the queer hero stood for.

Milk started out as something of a pot-smoking hippie. “The ’70s were a hotbed of everything,” Sup. Tom Ammiano remembered. “Feminism, civil rights, antiwar.” Milk’s early campaigns grew out of that foment. “Sure, he wanted to be elected,” Ammiano told us. “But the main ingredient was courage. He was fighting with the cops when they raided the bars … what he did was dangerous.”

Milk never would have been elected supervisor without district elections — and the story of district elections, and community power, ran parallel to Milk’s own story, for better and for worse.

Milk tried twice to win a seat on the at-large Board of Supervisors and never made the final cut. But in the mid-1970s, a coalition of community leaders, frustrated that big money controlled city policy, began organizing to change the way supervisors were elected. The shift from an at-large system to a district one in 1976 was a transformational moment for the city.

“I think that San Francisco doesn’t always appreciate the sea change that district elections brought,” Cleve Jones, a queer activist and friend of Milk who helped Dustin Black write the script for Milk, told us. “It wasn’t just important to the various communities that had been locked out of power at City Hall — it was the glue that began to grow the coalitions.”

Milk was elected as part of what became the most diverse board in the city’s history, with Asian, black, and gay representatives who came out of community organizations. The board, of course, also included Dan White, a conservative Irish Catholic and former cop. And it was the assassination of Milk and Mayor George Moscone by Sup. White — and the civic heartbreak, chaos, and confusion that followed — that allowed downtown forces to repeal district elections in 1980. That gave big money and big business control of the board for another 20 years, a reign that ended only when district elections returned in 2000.

Milk was a gay leader, but he was also a tenant activist, public power supporter, advocate for police reform, supporter of commuter taxes on downtown workers, and coalition-builder who helped bring together the labor movement and the queer community. It started, ironically, with the Teamsters.

“Those of us who came out of the antiwar movement remembered that the Teamsters supported Richard Nixon until the very last moment,” Jones said. “And they were seen as one of the most homophobic of all the unions.”

But in the 1970s, the Teamsters were at war with the Coors Brewing Company, and trying to get San Francisco bars to stop serving Coors beer. Allan Baird, a Teamsters leader who lived in the Castro District, saw an opportunity and contacted Milk, who agreed to help — if the Teamsters would start hiring gay truck drivers.

“It wasn’t just San Francisco and California,” Jones recalled. “We got Coors beer out of every gay bar in North America.” And gays started driving beer trucks.

Today, the queer-labor alliance is one of the most powerful, effective, and lasting political forces in San Francisco.

Milk was never popular among the wealthier and more established sectors of the gay community; he believed in a populist brand of politics that wasn’t afraid to take the fight to the streets — and beyond San Francisco. A central theme of the film is the fight against Proposition 6, a 1978 measure by conservative state Sen. John Briggs that would have barred homosexuals from teaching the public schools.

Milk, defying the mainstream political strategists, insisted on debating Briggs in some of the most right-wing parts of the state. He refused to downplay the gay-rights issues. And when Prop. 6 went down, it was the end of that particular homophobic crusade.

Milk was always an outsider, and he ran for office as a foe of the Democratic Party machine. “His campaign for state Assembly was all about Harvey vs. the machine,” former Sup. Harry Britt told us. “His main supporter was [Sup.] Quentin Kopp. He didn’t run as the liberal in the race; he ran against the machine.” And for much of the next 20 years, progressives in San Francisco found themselves fighting what became the Brown-Burton machine, controlled by Willie Brown and John Burton.

It’s too bad the movie wasn’t released early enough to have had an impact on Prop. 8, the anti same-sex marriage measure that just passed in California. Some critics of the No on 8 campaign say the message was far too soft, and that a little Harvey-Milk-style campaigning might have helped.

But for us, one of the most striking things about the movie is the fact that Milk and his lover, Scott Smith, were able to leave New York with very little money, arrive in San Francisco, rent an apartment on their unemployment checks, and open a camera store. That wouldn’t be possible today; the Harvey Milks of 2008 can’t live in the Castro — and many can’t live anywhere in San Francisco. The city is too expensive.

In fact, for all the victories Milk won, for all the successes of the movement he helped to build, much of his agenda is still unfulfilled, even in his hometown.

The first time Harvey Milk gives a public speech in the film, he’s standing on a soapbox … literally. He brings out a box with “soap” written on the side; a funny gag, but a serious and telling moment for him and San Francisco.

The issues that Milk spoke so passionately about in that speech included police reform, ending the war on drugs, protecting tenants and controlling rents, and improving parks and protecting people’s rights to use them liberally — all issues with as much resonance today as they had back then.

The movie leaves us with a painful question. For all the celebration of Milk’s legacy by San Franciscans of various political stripes, why have we made so little progress on some of his signature issues? We celebrate the martyr — but often forget what the man really advocated.

Support for gay rights is de rigueur for anyone who aspires to public office in San Francisco. But a quarter of city residents still voted to take away same-sex marriage rights in this election. Many older gay men today are barely able afford their AIDS medication and rent. And transgender people and other nontraditional types are still ostracized, unable to get good jobs, and sometimes treated contemptuously when they seek help from their government.

Sure, marijuana is supposedly legal for medical uses in California and pot clubs proliferate around San Francisco. But even these sick patients are still targeted by the federal government and its long arms in San Francisco, including former US Attorney Kevin Ryan, whom Mayor Gavin Newsom named his top crime advisor and who is now seeking to crackdown on the pot clubs. Why, 30 years after Milk was shot, does one have to claim an ailment or illness to smoke a joint in this town?

Two-thirds of city residents are renters, a group Milk championed with gusto, but we barely beat a state initiative in June that would have abolished rent control. Housing is getting steadily more expensive. And in this election, Newsom and his downtown allies opposed Proposition B, an affordable housing measure, and Proposition M, a common sense measure to prohibit landlords from harassing their tenants. Such harassment is a common tactic to force tenants from rent-controlled units, even though the City Attorney’s Office is currently suing the city’s biggest landlord, Skyline Realty, for its well-documented history of harassment. Newsom may be the champion of same-sex marriage, but when it comes to issues like tenants’ rights, we suspect that Milk would be appalled at Newsom’s gall.

Ted Gullicksen of the San Francisco Tenants Union noted that in the wake of Milk’s death and before the repeal of district elections, San Francisco established rent control and limits on condo conversions. The tenant movement has grown steadily stronger and more sophisticated, he said, as it had to in order to counter increasing economic and political pressures and creative gambits by landlords.

“The city has gentrified phenomenally since that time, and that’s put tremendous pressure on tenants and on condo conversions,” Gullicksen told us. “It continues to be a real struggle.”

Police reform was also a huge issue for Milk and his gay contemporaries, who suffered more than most groups from the behavior of thuggish cops protected by weak oversight rules and a powerful union. And today, the Police Officers Association is stronger and meaner than ever, but the oversight has improved little, as both the Guardian and San Francisco Chronicle have explored with investigations in recent years.

And in our public parks, San Francisco officials in recent years have banned smoking cigarettes, drinking alcohol, playing amplified music, and even gathering in large numbers without expensive, restrictive permits. Even in the Castro, where Milk and his allies took it as a basic right to gather in the streets, Newsom and the NIMBYs unilaterally cancelled Halloween celebrations and used police to chase away citizens with water trucks.

Is this really the city Harvey Milk was trying to create? In the film, he talks about transforming San Francisco into a vibrant, tolerant beacon that would set an example for the rest of the country, telling his compatriots, “We have got to give them hope.”

Well, with hope now making a comeback, perhaps San Francisco can finally follow Milk’s lead on the issues he cared about most.

>>Back to the Milk Issue

Holiday Guide 2008: Hip-hop gifts

0

For those whose music and style leans more Lil’ Wayne than Wayne Coyne, try some of the goodies on our homeboy (or girl) hotlist.

088-hfresh.jpg

1. Shadow plaid jacket ($325). HUF, 812 Sutter, SF. (415) 674-3744, www.hufsf.com; 2. SF Hat ($38). True Men’s, 1415 Haight (415) 626-2882, www.trueclothing.net; 3. 5-panel cap ($34). HUF, 812 Sutter, SF. (415) 674-3744, www.hufsf.com; 4. Jeepney Akira jacket ($96). True Women’s,1427 Haight, SF. (415) 626-2331, www.trueclothing.net; 5. Hellzbellz shirt ($38). True Women’s,1427 Haight, SF. (415) 626-2331, www.trueclothing.net; 6. Hellzbellz jeans ($98). True Women’s,1427 Haight, SF. (415) 626-2331, www.trueclothing.net; 7. Onitsuka Ultimate 81 ($72). Shoe Biz 2,1553 Haight, SF. (415) 861-3933, www.shoebizsf.com; 8. Buddah Apparel ($32). True Men’s, 1415 Haight (415) 626-2882, www.trueclothing.net; 9. Revolver necklace ($28); Starry Eyed brass knuckles ($22). Hello Drama jewelry, www.hellodrama.net; 10. Supra Skytop ($130). Shoe Biz II, 1553 Haight, SF. (415) 861-3933, www.shoebizsf.com; 11. LRG Jeans ($74). True Men’s, 1415 Haight (415) 626-2882, www.trueclothing.net; 12. Gold Coin "king coin" T-shirt ($37). D-Structure, 520 Haight, SF. (415) 252.8601, www.d-structure.com; 13. FTC Skatedeck ($36.95). FTC, 1632 Haight, SF. (415) 626-0663, www.ftcsf.com

More Holiday Guide 2008.

What do you remember?

0

PREVIEW "You can surely remember episodes from your childhood. Do you consider some of them or several so precious that you wouldn’t want to do without them?" "Is there an experience or experiences among your memories that you would describe as mystic, spiritual, or religious?" "What is your earliest memory?" "Which episode(s) of a sexual nature do you remember particularly fondly?"

These are but a few of the 50 questions that have been floating around the Internet and on printed questionnaires this fall. If you answered any of them, there is a good chance that your observations may show up in one of the season’s more unusual theatrical experiments, The Execution of Precious Memories, a collaboration by Nanos Operetta, Kunst-Stoff, and Blixa Bargeld, who created the first Execution in 1994 in Berlin. The idea is to develop a piece of dance/music/theater piece from the memories of people who live in specific places. So far Executions have taken place in London, Stockholm, Tokyo, and Kraków, among other cities. This is the first American version. Bargeld became famous in the 1980s as a cofounder of Einstuerzende Neubauten, one of the first and most influential industrial bands. But the Berlin native and current San Francisco resident is also an artist steeped in dadaism, an architectural critic, and one of the more radical and fascinating thinkers on contemporary culture, particularly as it plays itself out in Germany. Nanos Operetta founder Ali Tabatabai claims Bargeld as an important influence on all their work.

THE EXECUTION OF PRECIOUS MEMORIES Wed/19-Sat/22, 8 p.m.; Sun/23, 7 p.m.; $20. Project Artaud Theater, 450 Florida, SF. (415) 863-9834, www.brownpapertickets.com, www.kunst-stoff.org

Icy Demons

0

PREVIEW There’s liberatory potential in choosing a pseudonym, but the members of Chicago-area septet Icy Demons — Blue Hawaii, Pow Pow, Il-Cativo, Smart Cousin, Yo! Hannan, Monsieur Jeri, and the Diminisher — are probably just goofballs. Icy Demons are the sort of band whose surface weirdness is accompanied by both pop smarts and something fundamentally warped. What makes this trickier: their three albums, culminating in last year’s Miami Ice (Obey Your Brain), have inched toward accessibility while also housing some of the group’s most fully realized songs. While it’s tempting to say that Icy Demons are basically a pop combo that have clawed their way out of the slightly hazy, motorik groove of 2006’s Tears of a Clone (Eastern Developments) and 2003’s Fight Back! (Cloud Recordings), why not say that the inverse is true, that they’re a basically experimental ensemble using pop structure to vehiculate some of their best ideas?

However you choose to read them, Icy Demons are part of an emerging scene with unexpected roots and strange allegiances, centered on the Obey Your Brain label: core member Pow Pow plays drums for hokey Philly alt-bros Man Man, and the Diminisher and Blue Hawaii were involved in Bablicon, the Elephant 6–affiliated improv trio. But Icy Demons have less to do with those bands’ well-established aesthetics than with a natively skewed sense of tunefulness and music that seems to disappear between reference points. Miami Ice‘s "Spywatchers" hovers in the interzone between spy movie music and spacey post-rock, and the title track sounds like Brian Eno took the Paper Rad crew to Florida for a vacation of self-discovery. As for the rest of the transcript of what Icy Demons are up to, intuition suggests they will only reveal it a peek at a time.

ICY DEMONS With Yeasayer. Sat/22, 9 p.m., $15. Bimbo’s 365 Club, 1025 Columbus, SF. (415) 474-0365, www.bimbos365club.com

Immortal Technique

0

PREVIEW Peruvian-born, Harlem-raised rapper Immortal Technique, né Felipe Coronel, long ago broke with the TRL mold of spitting about bitches and ho’s, instead looking to the roots of hip-hop with his politically minded tracks.

On his third full-length, The 3rd World (Viper), he covers such topics as the gentrification of his Harlem hood and corruption in the music industry. The opener establishes him as a renegade in the rap world where it’s common to have an intro — be it the sound of bullets blasting or a slutty skit. Instead, the "Death March" is a forceful, beat-driven anthem that introduces its characters (Immortal Technique and DJ Green Lantern), dedicates the album (to the people of Latin American nations that have been tampered with by this country), and sets the stage for what is to come next (urban/guerrilla warfare and an album about it).

"Open Your Eyes" looks at the life of immigrants who are promised a better life in the states but come to realize that "privatization and electricity" do not equate to happiness, and explores the abuse of natural resources and indigenous peoples overseas. "Lick Shots," while not the strongest track on 3rd World with its annoying repeated refrain, goes for laughs with couplets like, "Marry a Muslim girl and fuck her five times a day / Every time right before we shower and pray." "Crimes of the Heart" gets slightly personal with an honest love story of a lonely two-timer "breaking hearts on the way to enlightenment," which Immortal Technique uses as a simile for an isolated republic. A little less narrative-bound but still hard-hitting and with a more polished production than Immortal Technique’s previous recordings, 3rd World offers hope for listeners who yearn for a return to music with a message. As the old adage goes, actions speak louder than words, and Immortal Technique remains true to his tunes with this concert for Afghanistan’s Children of War in partnership with Omeid International.

IMMORTAL TECHNIQUE with Hasan Salaam, Da Circle, Ras Ceylon, and DJ GiJoe. Thurs/20, 9:30 p.m., $19–$22. DNA Lounge, 375 11th St., SF. (415) 626-1409, www.dnalounge.com

Holiday Guide 2008: Seasonal sounds

0

› culture@sfbg.com

Thanks to the continued explosion of musically-oriented Web sites and blogs, you’ll probably be even more inundated than usual this year with "best of 2008" lists come January 2009 — far too late for your tuneful shopping needs. So we’re cranking one out early, organized by affinity groups — some slightly imaginary, some more concrete — in an attempt to cut through the loud hype and scattered bombast while amping up your gift-giving options. At the end is a suggested list of delectable upcoming live shows, if you’re more ticket-oriented.

FOR THE RETRO-FUTURIST DISCO HEAD


Electronic music is a good example of how griping about the state of a scene can sometimes release unexpected creativity. Syclops, nominally a Finnish fusion trio, is the latest we’ve heard from Maurice Fulton since his quasi-breakthrough electro-spazz project Mu. I’ve Got My Eye on You is the longest in a line of pretty epic wins for the label DFA and for electronic music generally: radiating out from "Where’s Jason’s K," the 10 tracks that make up the album tear ass from pharma’d-out Detroit techno to dreamy, lush deep space jazz.

Also: Shed‘s Shedding the Past (Ostgut Tonträger) if your giftee’s the type who longs for the halcyon days of high minimal glitch; Nôze, Songs on the Rocks (Get Physical) if his or her affection for tech house precision is matched only by a love of closing-time sing-alongs and Waitsian growls.

FOR LONG-LIMBED INDIE SCRAPPERS


It would be hard to write enough about "Black Rice," the best song on Canadian indie quartet Women‘s self-titled debut on Jagjaguwar. Starting from an absurdly unambitious guitar line, the song blossoms into something wildly and fiercely beautiful. It could be the impossible falsetto of the chorus, or the way the rhythm section comes unglued from the vocals and guitar, but the song condenses what makes the rest of the album — noisy, lo-fi interludes and all — so engaging. Everything seems held together provisionally on a song like the heartrending "Shaking Hand," but the chorus snaps into place with rubber-banded eagerness.

Also: Abe Vigoda‘s Skeleton (PPM) for its irrepressible youthful longing and controlled thrash; Benoît Pioulard‘s Temper (Kranky) for twining the threads of noise and surprisingly pretty, almost adult-contemporary songwriting into a neither/nor album that’s perfect for gray days.

WEIRDOS ONLY


Although more structured than anything they’ve done before, Saint Dymphna (Social Registry), the newest long player from New York’s mystical vibe crew Gang Gang Dance, still arrives packed with the otherworldliness that characterized its excellent predecessor, God’s Money (Social Registry, 2005). Three years in the making, the album itself is nothing if not well paced: the transitions between songs and the gradual build of rhythmic energy make it less kin to trad rock albums than to DJ mixes. When the swells crest, as on "First Communion" and "House Jam," electronic gurgles and processed sounds that might otherwise sound like trying too hard are transformed into pure pith: they’re as inviting and faceted as a just-split pomegranate.

Also: Paavoharju‘s Laulu Laakson Kukista (Fonal), since these Finnish folksters cover the dance floor with silt on "Kevätrumpu," bust some desperate torch techno on "Uskallan," and spend a number of other tracks sounding stuck between pagan classical radio and deteriorating field recordings; Rings is a trio of new primitives formerly known as First Nation — on Black Habit (Paw Tracks), the outfit sounds like it’s gotten into the Slits’ basements and started making music dictated from beyond.

POST-HIP-HOP BASS SEMANTICS


A DJ mix that stands alone as an album is a rare thing, but leave it to Jace Clayton, a.k.a. DJ/rupture, to make one, as he has with Uproot (Agriculture). Deeply, er, rooted in the bass plate tectonics of dubstep and cut with the finest in eclectic samples, ranging from experimentalist Ekkehard Ehlers to lazer bass don Ghislain Poirier, Uproot rolls deep with dubbed-out ambience, but DJ/rupture is just as happy to turn things upside down, as when he plunks down Ehlers’ gorgeous string loop, "Plays John Cassavetes, Pt. 2," around the mix’s halfway point. And if bangers of the future don’t sound like "Gave You All My Love (Matt Shadetek’s I Gave You All My Dub Remix)," which subs out dub’s organic space for Fisher-Price primary-color contrasts that split the brain evenly in two, I’m not sure it’s a future worth living in.

Also: for the more historically minded, Ragga Twins have released Step Out! (Soul Jazz), a retrospective that collects the work of a duo widely considered to be the inventors of that dubstep ancestor, jungle; Tank Thong Mixtape (Weaponshouse) by Megasoid happens to be free, so spend some money on a nice CD-R, decorate it with glitter, and watch exasperation turn to glee when your loved one blows out his or her speakers with this beast.

HEAVY STUFF


One of the year’s most life-affirming releases comes from a band called Fucked Up; its Chemistry of Common Life (Matador) is grounded in hardcore, and has hardness to spare, but makes its biggest impact when it lets a flute solo emerge from the tempest. With his basso profundo growl, singer Pink Eyes can sound like he’s gargling hot dogs, and harnessed to a song like "Black Albino Bones," with its cooing melody — the closest thing to pop the seven-year-old band has attempted — it makes for an unexpectedly moving juxtaposition. But the group’s real skill comes from mining the void left after the tribal affiliations of high school fall away; "Twice Born"<0x2009>‘s refrain, "Hands up if you think you’re the only one," could be the year’s Miranda July–esque rallying cry.

Also: if you’re wondering what Mick Barr’s been up to post-Ocrilim, the short answer, witnessed on Krallice‘s Krallice (Profound Lore) is black metal; Peasant (Level Plane), an all-encompassing slab of darkness by Baton Rouge–based Thou, is closer to trad sludge than to the transcendent drone of Sunn 0))), but no less impressively bleak.

SHOWS


The holiday season is not always a great time for shows (other than several Nutcracker incarnations), but for folks who want to gift live music this year there are plenty of sonic distractions. On the heels of Everybody (Thrill Jockey), its latest bout of sophisticated jazz rock, the eternally springlike Sea and Cake will make an appearance at Great American Music Hall just in time to counteract your seasonal affective disorder (Dec. 2, 8 p.m., $20). Sebastien Tellier rolls with the Daft Punk posse, so it’s no surprise that his music marries spot-on genre mimicry and a native sense of melody; check out the video for "Divine," in which the Beach Boys–meet–Lio jam turns into a global karaoke marathon of Tellier doppelgängers (Mezzanine, Dec. 4, 9 p.m., $15). There’s no rest for local workhorses Tussle and Jonas Reinhardt — they’ll be bringing their peculiar hot-cold takes on krauty electronics to the Hemlock Tavern (Dec. 6, 9:30 p.m., $7). And even if her music is not your cup of tea, Aimee Mann’s 3rd Annual Christmas Show should be a nice shot of seasonality in a city that tends to avoid big displays of Christmas spirit; consider it a good sign that Patton Oswalt, the stand-up comedian most deserving of your attention, will take part (Bimbo’s, Dec. 7, 8 p.m., $40). His looks call to mind a peripheral character from The Catcher in the Rye, and his preternaturally gentle music is specially designed not to hurt babies’ ears, but the earnest beauty of Jonathan Richman‘s songs might pierce your heart (Great American Music Hall, Dec. 7, 8 p.m., $15). Bearing a post-hardcore pedigree like whoa, San Francisco’s own Crime in Choir moves gracefully beyond its members’ backgrounds — At the Drive-In, the Fucking Champs — into (surprise!) instrumental prog territory (Hemlock Tavern, Dec. 13, 9:30 p.m., $6). *

Click here for more Holiday Guide 2008.

Another punk: Love Is All has a lot of feelings

0

By Brandon Bussolini

It would be hard to take someone seriously if they told you they were addicted to music. The notion of addiction might have more purchase for books or movies, but listening to music compulsively seems like a given for this generation. Music “helps” – in the broadest sense of that word: it can be restorative or push you into productive discomfort, and can help articulate feelings that might not get very far on language alone.

It’s easy to listen to Love Is All’s new album, A Hundred Things Keep Me up at Night (What’s Your Rupture), like water, two times a day easy, on the bus trying to calm down. With each listen, the disc becomes less like a collection of songs and more like a collection of vignettes, ones that seem to capture something important about what it feels like to be in the midst of your second adolescence.

Vocalist Josephine Olausson knows how to throw a good tantrum, but even amid the more blown-out sentiments of “Give It Back,” her delivery is so much more than merely spiteful as she delivers the lines: “All the love I gave you, give it back / Every time I praised you, I’m keeping track / Every minute on the phone / It was only cos I felt so alone.”

Partying with Girl Talk the second time around

0

girltalk1 sml.jpg
All the rage, all onstage: Girl Talk at the Fillmore. All photos by Lisa Weiss.

By Michelle Broder Van Dyke

We met up with Girl Talk, ne Gregg Gillis, before his second sold-out performance at the Fillmore on Oct. 28. We’d later witness him rising into the audience as he abandoned his Saran-wrapped laptop, plunged off the stage, and crowd surfed above sweaty bouncy bodies. He was followed by an entourage of party-throwers dressed in shirts adorned with glow sticks. If you must speak only one truth about Girl Talk, you must say that he breaks the mold of arms-crossed hipster shows and gets people pumped and partying. He also recommends throwing parties with babies.

SFBG: What did you do differently in preparing the Night Ripper vs. Feed the Animals?

Girl Talk: I think on the new one I had a lot more music prepared beforehand, and I had played a lot more shows. After Night Ripper’s release, I started playing a ton of shows, and the way I try out material is in the live setting. If I don’t have shows for a month, I might relax and not work that hard. But over the two years between [the albums] I played close to 100 shows, which is kinda like constantly working on stuff. I think even approaching Feed the Animals I had a lot more ideas set, so I could pick and pull. So I didn’t have to use everything.

girltalk 2 sml.jpg

Superfriends

0

Sometimes bands come together in the same way chords are formed: distinct sounds marry and create something bigger and brighter than themselves. I sat down at a bar with a few members of the Fresh and Onlys and left feeling like they were band wizards. Headed by Tim Cohen of the late Black Fiction, the Bay Area outfit is fleshed out by Shayde Sartain, Wymond Miles, James Kim, Grace Cooper, and Heidi Alexander. Although all have played in other groups, they made it click in the unlikely company of close friends. "When we first decided to do this, the reaction from our mutual friends was like, ‘At last!’" said guitarist Miles. It’s like when Batman and Superman and all their friends finally decided to join up and start the Justice League. Only this incredible six-piece is for real.

Perhaps that’s why the Fresh and Onlys have received such positive attention in the five short months they’ve been a formal group. "Basically it’s a recipe for instant soup," Cohen said. "You just pour the powder into the bowl and add water … We’re really comfortable making music together." As Black Fiction’s songwriter, Cohen was used to guiding his songs almost single-handedly. Now with a new ensemble of players who trust each other’s abilities, he has been able to let the tunes take their course. "It’s really freeing for me, and probably really freeing for everyone else."

The Fresh and Onlys’ live performances are completely rocking and true to their recordings, suggesting that you aren’t seeing a one-time special, but something manicured before delivery. As Miles explained, "Playing live can be strange because we are all shedding inhibitions. It’s like we’re some strange creatures behind the looking glass looking at one another and trying to figure out what the fuck this person is made of."

The damaged-pop psychedelic band proudly wears its eclectic influences — a wax museum of skewed adaptations of bands from the past, with a modern coating. Think Brian Eno, Christian Death, and the Dead Boys having tea, but in a grungy, lo-fi haze. Yet there is an undercurrent in the Fresh and Onlys’ sound that doesn’t deny the sadness of life. Cohen’s lyrics complicate the otherwise sweet and dewy songs, bringing a downbeat mood to songs like "Nuclear Disaster" or "The Mind Is Happy," though Cohen claims it’s unintentional: "You can’t control what goes in your brain and what comes out of it." The overall effect is that of a group of musicians playing the role of the leader and the orchestra at the same time, building and suggesting, following and provoking each other.

Plans for an album titled The No Foot Boogie are in the works, as the Fresh and Onlys weed through the 60 songs they’ve written, and the combo plans to go light on shows until the disc is released — a novel idea for a San Francisco band. Next show, prepare to boogie with both feet.

THE FRESH AND ONLYS

With Bronze, Skeletons, and Mayyors

Thurs/13, 9 p.m., call for price

Eagle Tavern

398 12th St., SF

(415) 626-0880

sfeagle.com

Lemonade from lemons

0

With a title as whimsical as This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That, it’s only appropriate that Marnie Stern begins her second Kill Rock Stars album with the sounds of a simple clapping game. "I am vanishing into the trees," she chants while rapping her knuckles on a hard surface. "Defenders get onto your knees. This Is It is a decidedly girly affair. Its CD-booklet artwork, illustrated by Brooklyn painter Bella Foster, depicts Stern as a hiker in the mountains, surrounded by watercolor flowers and pen-line squirrels and foxes. The lyrics seem full of self-empowerment phrases such as "you rearrange your mind" ("The Package Is Wrapped") and "so I rearrange and I don’t mind the change" ("Clone Cycle"). But the electric feminist explosion that is This Is It masks deep personal anxieties, something she describes as a "combination of zen and extreme loneliness." It’s why she lyrically reaches for zen bliss. It’s the musical equivalent of making lemonade from lemons.

"It was therapeutic," Stern says by phone from her New York City home. "That first song ["Prime"] is just about feeling alone, and battling that, and just trying to get as authentic as I possibly can. With ‘Shea Stadium,’ I had been watching some baseball movies such as The Natural. There’s a real epic feeling to those kinds of movies, and how the team overcomes. So it’s in part about that, and in part about a relationship with someone.

"It’s much more difficult to try and be positive," she continues. "At least for myself, I automatically go to the negative place because it’s much easier. But nothing good would come of it. As I progress, only really good things that happen when I embrace being positive."

Much of the laudatory press for This Is It from outlets such as Pitchforkmedia.com and The New York Times tends to ignore or criticize Stern’s violently happy lyrics in favor of her shredding. With only her second album, she has established herself as an ace guitarist. In an age where everyone’s afraid to play a monster lead solo, Stern lets it rip early and often, instead of sticking to boring rhythm guitar. On "Transformer," she taps out a volley of chords on the guitar’s neck, replicating Angus Young’s hook from AC/DC’s "Thunderstruck." For "The Crippled Jazzer," she picks out a lightning-fast and furious line.

"A lot of times people say I’m a virtuosic player, and I’m not," Stern says. When asked if she’s comfortable with mantle of indie-rock guitar hero, she exclaims, "No, of course not! No, no, and no! I’m not!" Instead, she modestly calls herself a singer-songwriter.

Stern first picked up the guitar when she was 15. "I didn’t really start playing until I was 21, 22," says the 32year-old musician. "It was really late. I didn’t take lessons." For her second album, This Is It, Stern wrote 30 numbers before settling on 12. Her goal, she says, was to make the songs coherent, with a clearer verse-chorus structure than her earlier work. Each number is made up of several unique 15-second guitar parts: she would write those first, then write a lyric for each part. "The tendency is for it to sound fragmented, because it’s just part-part-part," she says. "The joy for me in making the song is to get those parts to interlock together."

Stern self-deprecatingly refers to herself and This Is It as a poppy, accessible incarnation of noise bands she likes, such as Arab on Radar, Sheer Accident, the Flying Luttenbachers, and "that whole family of music. To me, my stuff is really straightforward." On one level, it’s a love of classic rock that sent her from the experimental noise community into the welcoming arms of pop music critics and fans. Still, it’s not her guitar playing, but her lyrics — and her conflicting emotions of karmic joy and nervy pessimism — that makes her a potential sonic revolutionary.

"Before I found music I was always pretty cynical about things," Stern says. "Then, as I found my connection with playing and writing songs, I began to feel that connectedness. It made me feel hopeful … It was the only thing that really satisfied me."

MARNIE STERN

With Gang Gang Dance

Fri/14, 9 p.m., $15

Bimbo’s 365 Club

1025 Columbus, SF

www.bimbos365club.com

Discos cumpulsivos

0

> johnny@sfbg.com

I don’t know about you, but I could go for a party or 200 right about now. If anyone can cram the spirit of 200 parties into one night, it’s Pablo Díaz Reixa, the playfully energetic one-man force behind El Guincho. Díaz Reixa’s music thrives on contradictions, and a core one is that his bedroom project isn’t insular. Instead it’s ready to overtake the streets with carnivalesque fervor. To paraphrase a sample that rubs up against Esquivel’s zinging piano at the beginning of "Fata Morgana," all of the joy of young people in love is conveyed in the simple melodies of Alegranza! (Young Turks/XL).

Díaz Reixa has described Alegranza!‘s congotronic chant-oholic delirium as an update of space-age exotica — a restless journey that never stops at one spot on the globe. For some, such terms might set off cultural-exploitation alarms, particularly at a time when Anglo indie rock is rife with mannered, stiffly incorporated Afrobeat routines. But Díaz Reixa’s interplay of influences has an autobiographical basis. Though he was based in the Barcelona barrio Gracia when he began recording as El Guincho, he grew up in the Canary Islands, where his grandmother, a music teacher, schooled him in music. His reverence for her is similar to the admiration that minimal-techno trailblazer Ricardo Villalobos has for his distant Chilean relation, the folksinger Violeta Parra. Partly inspired by an old Catalonian folk song by Los Gofiones, El Guincho’s party is radical rather than apolitical: before adopting the El Guincho moniker, Díaz Reixa wrote a Catalan Socialist Party anthem. Alegranza! takes its title from an uninhabited land mass at the northeast tip of the Canary Islands whose name also connotes joy in Spanish. But one could just as surely locate Díaz Reixa’s sound in the air, flying like a rare bird — an eight-eyed parrot, perhaps — around the eight miles of ocean that separate the islands from Africa. As Jace Clayton points out in a recent Fader profile, the El Guincho persona allows its creator to tap into both the soulful and impish aspects of the term duende. He’s the manic musical corollary of the somnambulant Spanish filmmaker Albert Serra, whose movies — such as this year’s Canary Islands-set Christ tale Birdsong — reenvision the traditional conquistador as a (to borrow wordplay from Michael Arcega) conquistadork. He’s serious enough to not take himself too seriously: an admirer of Henri Michaux’s and Guillaume Apollinaire’s writing, he knows that only the committed will tap into the undercurrents of frustration and morbidity within his basket of cheers.

"Palmitos Park," the rollicking track that kicks off Alegranza!, was inspired by seeing a crocodile trapped in miserable conditions at a zoo. But the tension between freedom and entrapment in El Guincho’s music is sublingual. Many of his songs shift from gleeful excess into exhaustion — and then miraculously back into excitement again. This dynamic seems present in Díaz Reixa’s overall approach to music (in 2007, he recorded an album’s or CD-R’s worth of songs, titled Folías, during one high night) and to life (he had to cancel El Guincho’s first US tour due to fatigue). It’s apt that his favorite record shop is a place in Gran Canaria called Moebius, because his music is a hallucinatory Möbius strip. Mandy Parnell’s Young Turks/XL remastering of the original Discoteca Océano release of Alegranza! effectively accentuates this quality.

Now that this country is officially an Obamanation, El Guincho is ready to lead us in rambunctious chants over melding, melting 5/4 benga rhythms. Díaz Reixa’s demeanor in concert has been likened to Animal from the Muppets, but the beloved block of wood that he uses to generate organic snare sounds and electronic beats has a connection to his musical beginnings as a percussionist in a classical orchestra. El Guincho’s pet sounds are as inspiredly fantasmic as 1996-era Cornelius, and a hyper answer to the Portuguese idyll of Panda Bear’s Person Pitch (Paw Tracks, 2007). They’re as creative as the Present — meaning the band of that name that just released the superb World I See (Loaf). They’re the sound of victorious Spain today — what Rafael Nadal would listen to if he had any taste in music. (Díaz Reixa is a tennis maniac.) Díaz Reixa touts current Barcelona bands like Thelemáticos and Extraperia as often as older influences like Souley Katna because his love of music is unquestionable. It’s delirious. It’s higher than high. It’s right on time. *

EL GUINCHO

With Tussle, Disco Shawn, and Oro11

Nov. 21, 9 p.m., $13–$15

Independent

628 Divisadero, SF

(415) 771-1422

www.theindependentsf.com

I can’t get over you

0

› a&eletters@sfbg.com

Few passions are more reckless than those of the ’60s garage-rock completist, so that just about any band that had one good song on a Nuggets compilation automatically becomes somebody’s idea of way better than those boring, overrated Beatles. Still, the era did have its tragically overlooked acts, few more so than the so-called "anti-Beatles" whose brief career is chronicled in Dietmar Post and Lucia Palacios’ documentary Monks: The Transatlantic Feedback.

The group originally came together as five US Army enlistees posted to Germany at the height of the Cold War. After their service stints ended, they decided to stick around as yet another "beat music" group covering Top 40 hits at clubs — at which point they were approached by Karl-H. Remy and Walther Nieman, two locals steeped in advertising design and conceptual art. They were looking to basically cast a band in a project whose packaging — from sound to attire — was already worked out.

Thus just when the world was starting to grow out its hair, string love beads, and sing folk harmonies about loving your fellow humans, the Monks were something else entirely: five guys clad in stark black suits with noose-like bolos, making nervous minimalist music that was "too little too fast" for comfort (though still danceable). Lead vocals caterwauled, backing ones were in unison. Percussion (played "with a certain amount of military discipline," the Fleshtones’ Peter Zaremba observes) consisted of pounded tom-toms plus harshly strummed banjo and Farfisa organ bleats; bass was cranked, guitar distorted. Staccato, nonsensical lyrics like "Hey I hate you with a passion /But call me!" trashed any pretense of romanticism.

These hard little pellets of avant-pop would be later considered by some "an early form of heavy metal," though Monks more closely anticipated the likes of the Contortions and Devo. Incredibly, they were doing this stuff in 1965.

Needless to say, popular acclaim did not ensue. Forty years later, reuniting for their first US gigs, the erstwhile Monks recall being actively "hated" by most audiences whenever they left their Hamburg home base. "Monk music" and its visual presentation was alienating even to the musicians themselves. They quit in 1967, returning to a United States drastically changed from the one they’d left six years before. All were amazed when the band’s tiny recorded output started accruing cult adulation in the post-punk era.

The Transatlantic Feedback is a great ’60s flashback, as well as a comeback saga of sorts. Original Monk bassist Eddie Shaw will be in attendance at the Red Vic’s opening night shows.

MONKS: THE TRANSATLANTIC FEEDBACK

Fri/14-Mon/17, 7:15, 9:25 (also Sat/15-Sun/16, 2, 4:15), $6–$9

Red Vic, 1727 Haight, SF

(415) 668-3994

Real Deal

0

› kimberly@sfbg.com

SONIC REDUCER Been down so long that the initial whooping, joy-drenched Obama-phoria of Nov. 4 felt — at least before learning of Proposition 8’s passing — like that moment during the flannel-flying whirl of the early ’90s, when the world finally seemed like Kim’s playground. When everywhere I looked, ultra-cool Kims like Kim Deal, Kim Gordon, and Kim Thayil seemed to signal the primacy of the K Word. Kim was the kid with perpetual Christmas morning going on. The universe seemed to smile down on us as we made art and did what we pleased, as if to say, "Whatever, dude, I mean, Kim. It’s your day."

But what did we do with our Kimdate apart from starting clothing lines, burning out like a black hole sun, and simply keeping on? The moment passed, though it was still thrilling to finally talk to one of those crucial Ks — namely Deal, on the occasion of her surprisingly revitalized, multi-hued new Breeders album, Mountain Battles (4AD) and her forthcoming two-fer at Slim’s — and to dig her breed of Midwestern rock ‘n’ roll realness. I mean, would anyone concerned with conjuring cool or projecting power really say she was bummed out and rocking the chub duds when asked about her typical day?

"I think I’m actually a little depressed," said the sometime Pixies bassist in deliberate, Kim-to-Kim tones from Dayton, Ohio. "I’ve been sleeping in really late and I don’t know why. I gained weight — maybe because I quit smoking a year ago. I’ve gained weight, and you know, I feel fat. So that’s an odd feeling for me. I’m not very confident, and I feel kinda stupid, so I dress really bad and I just wear sweats. You know, when you’re looking good and feel good, you have a spring in your step, and then when you’re heavy for some reason, you’re just like, ‘Ah, lemme just get these sweats on and do what I have to do today.’"

Chin up, Kim — at least you have the Steve Albini-recorded Mountain Battles with insinuating, melancholy songs like the doo-wop-inflected "We’re Going to Rise" and the dreamily minimalist "Night of Joy." "Can’t stop the wave of sorrow," Deal coos in the latter alongside Deal’s twin sister Kelley, Jose Medeles, and Mando Lopez. "This night of joy follows — oh, everywhere you go." That and at least Deal has vaulted past her smoker days of getting winded after running up stairs. With the help of a prescription medication that altered her brain chemistry, she managed to kick the nic fits. "I felt a bit like a sociopath taking it for three months last year," Deal said. "Now it’s worn off and I’m just fat." She chuckled. "It’s better than being a skinny sociopath! There’s far too many of those wandering the streets right now."

But back to the average Deal day. Long after all our Kim Kristmases, Deal told me that when she isn’t touring or planning, say, the Breeders-curated May 2009 All Tomorrow’s Parties in England, she continues to spend her spare hours helping her father care for her mother, who has Alzheimer’s: "She’s doing pretty good. She knows who I am and stuff, but she can get on a loop and repeat some crazy shit! But it’s like, ‘OK, mom, whatever.’" So there is a morning after — full of earthy laughter straight from Planet Deal. *

BREEDERS

Fri/14–Sat/15, 9 p.m., $27
Slim’s
333 11th St., SF
www.slims-sf.com

TRYING DANIELSON

"I feel like the leader of the band, but that’s taken 12 years to acknowledge out of false humility," confesses Daniel Smith, mastermind of that fluid project dubbed Danielson. "But in terms of song and the music and where it’s coming from, I’ve always emphatically said it comes from somewhere else." It’s easy to believe that the spirit provides, listening to Danielson’s wonderful new two-CD retrospective of rarities, remixed tunes, and live material: Trying Hartz (Secretly Canadian). Years before Polyphonic Spree fused gospel-y indie rock with performance art, Smith was finding true, genuinely genius inspiration among his "Famile" and in his Rutgers University vis-art studies. These days, the new father is "just trying to enjoy the process even if there are difficulties. I feel like you can’t separate the struggle with the making. Inspiration, the creative process, the questions, marching up the hill, sweating, and putting things on your credit card — it all relates."

With Cryptacize and Bart Davenport. Fri/14, 10 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

TAKE IT OUTSIDE

BISHOP ALLEN


The Brooklyn combo made Nick and Norah’s Infinite Playlist. Wed/12, 8 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

ROBYN HITCHCOCK


The ex-Soft Boy tackles his brilliant I Often Dream of Trains (Midnight Music, 1984) live. Wed/12, 8 p.m., $30. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

KRS-ONE AND MISTAH FAB


The old school meets one of the Bay’s new school. Fri/14, 9 p.m., $25. Shattuck Down Low, 2284 Shattuck, Berk. www.shattuckdownlow.com

KIOSK


The Iranian fusion group parties up its Bagh e Vahsh e Jahani (Global Zoo). Fri/14, 8:30 p.m., $35–$55. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

CHUCK D


Welcome to the truth-teller’s terrordome. Sat/15, 9 p.m., $15–$20. Uptown, 1928 Telegraph, Oakl. www.uptownnightclub.com

MCCOY TYNER TRIO


The jazz giant is joined by Ceramic Dog’s Marc Ribot. Tues/18–Nov. 22, 8 and 10 p.m.; Nov. 23, 2 and 7 p.m.; $5–$35. Yoshi’s, 510 Embarcadero W., Oakl. www.yoshis.com

Rap-erations

0

› a&eletters@sfbg.com

REVIEW Even if the rest of the "change" he’s been promising remains elusive, Barack Obama’s resounding electoral win is already change — and of a profound kind — given its undeniable impact on racial consciousness among African Americans, Americans at large, and no doubt people around the globe. Of course, nobody thinks racism disappeared overnight Nov. 4. If anything, the day marks an opportunity for a reinvigorated dialogue on the complexities of race and racism in the 21st-century United States. Dan Wolf’s vigorous and inviting stage adaptation of Bay Area author Adam Mansbach’s 2005 novel, Angry Black White Boy, might seem like an ideal instance, but in fact, although very entertaining, it rehearses a fairly familiar angle without moving much beyond it.

Mansbach’s satirical but searching story concerns a white Jewish suburban hip-hop enthusiast, Macon Detornay (played appealingly by Wolf), whose guilt-tinged identification with African American culture and corresponding aversion to the white mainstream has him uneasily straddling two worlds, eventually bringing them into comically dramatic collision. Macon’s guilt stems partly from a great-grandfather who, as a professional baseball coach, tormented the only black athlete who dared to hold his own on an all-white team.

Macon’s familial history is also, along with hip-hop, his bridge to dorm-mate and fellow Columbia University freshman Andre (played with laidback poise by Myers Clark), whom Macon arranges to live with after learning that Andre is the great-grandson of the same ballplayer his own ancestor victimized. Andre is bemused but generous in the face of Macon’s attempt to make amends. More skeptical is Andre’s friend Nique (a potent Tommy Shepherd, also supplying the fine original music and soundscape). But Macon, a part-time cab driver, earns street cred when he begins robbing his fares (white dudes played by fourth ensemble member Keith Pinto) at the first sign of idle middle-class racism, becoming a notorious outlaw his victims improbably recall as black. The three new friends form the Race Traitor Project to capitalize on Macon’s ironic celebrity, organizing a "day of apology" wherein white America confronts its racist demons. Naturally, things don’t go as planned, and the pressure brings latent tensions surrounding Macon’s fraught identity to a boil.

While wisely concentrating on the ample humor in a story that’s a bit contrived even for satire, director Sean San Jose and cast (all but Clark are members of hip-hop group Felonious) propel the action through a fluid, combustible mixture of music and movement, with sharp choreography from Pinto. But as staged, the themes are less than provocative, in part because the other characters remain subordinated to Macon’s limited perspective, itself almost too "black and white." Nevertheless, the cohesive, versatile ensemble and Wolf’s sympathetic approach translates, under San Jose’s attentive direction, into an engaging theatrical hybrid, whose punctuations and rhythms carry their own share of emotional content and cultural meaning.

ANGRY BLACK WHITE BOY

Through Nov. 23

Thurs.-Sun., 8 p.m., $15–$25

Intersection for the Arts

446 Valencia, SF

www.theintersection.org