Oakland

Poor turnout

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news@sfbg.com

The Guinness World Record for the largest mobilization of human beings was recently broken when 173 million people demanded that their governments eradicate extreme poverty around the world. But U.S. media barely noted the call and San Francisco’s event had low attendance, suggesting an uphill struggle for the cause in the world’s richest nation.

Millions gathered at more than 3,000 Stand Up, Take Action events in 120 countries Oct. 16-18 in an attempt to put pressure on governments to achieve the United Nations Millennium Development Goals, but less than 30 people gathered on the steps of San Francisco City Hall to support the movement.

Sup. John Avalos was one of the speakers at the event, organized by a coalition of local activist groups and student volunteers. Admitting that he was "expecting it to be a little bigger," Avalos said the event was just the start of what needed to be a much larger movement by the American people.

"There is a strange phenomenon occurring at the moment. It’s as if people are a little bit asleep about the need to be active," Avalos told the Guardian. "Because we have an administration they view as being more supportive of human rights and economic and social justice, people are being lulled into thinking things will just get better."

Standing just a short walk away from the birth place of the United Nations, Avalos bought attention in his speech to the rich history San Francisco has in mobilizing social change. "We do the best to live up to it, but we have a long way to go. Around the world this is the time to uproot poverty — we try to provide a safety net, but it could be stronger."

The Stand Up, Take Action, End Poverty Now! campaign is in its fourth year and is organized by the UN Millennium Campaign in an attempt to raise awareness of the Millennium Development Goals (MDGs), a series of benchmarks designed to eradicate global poverty.

At the United Nations Millennium Development Summit in 2000, 189 world leaders promised to "end poverty by 2015." The eight goals include eliminating extreme poverty and hunger, achieving universal primary education, and combating HIV/AIDS, malaria, and other diseases.

Rep. Barbara Lee (D-Oakland) has authored or coauthored every major piece of legislation dealing with global HIV/AIDS issues since she was elected to Congress. She told the Guardian that MDGs must be placed in context with poverty in America. "Sometimes people argue that we must look after our own first, but my position is that if you look at the eight Millennium goals, they all apply to our own country too," Lee said. "Look at the plight of people who are disproportionately affected by HIV/AIDS in our country — especially in African American and Latino communities.

"With the economic downturn, poverty rates in America are soaring, putting more people into circumstances the MDGs focus on outside of America," she continued. "I think it really is important to make those connections."

Lee compared the foreclosure crisis and lack of regulation in the financial markets over the last eight to 10 years to the "wild West" and calls America’s 47 million uninsured a "moral disgrace."

"It is about priorities and political will, and this will be determined by the voices of people saying it must be done," she said. "People have to push for these changes and remember that it didn’t just stop with the election. We have to raise awareness while at the same time working on changing policy. Otherwise we can get stuck debating issues and not doing the work that has to be done to change these very deplorable conditions."

Sup. David Campos was the only other supervisor to speak at the Civic Center event. He said he is committed to the fight against global poverty and wants to see the government represent the values San Francisco was founded on.

"We need to shed light and bring attention to one of the largest issues facing the world today — severe poverty," Campos said. "I really believe that as a city, as a state, and as a country, we not only need to make sure we push the U.S. to follow the lead of other countries, but actually become a leader in making these Millennium goals a reality."

After the event, Campos told the Guardian: "It doesn’t surprise me that more people didn’t show up to the event. But part of the task is to spread the word. San Francisco has been a leader in a number of these issues in the past, and I think we should play a key role in this one."

Campos said that one solution might be to put forward a resolution before the Board of Supervisors to support MDGs and have the city take a formal position on it.

"It is definitely something we are talking about to demonstrate San Francisco’s commitment to the issue," he said. "A lot of people don’t know about the goals, or the fact that the U.S. hasn’t really made them a priority. We need to spread the word and let people know this kind of a movement is only going to be a success if people take it upon themselves to play a leadership role."

Brian Webster, a volunteer who organized the SF event, drew attention to the large number of supporters for the MDGs in California. More than 250,000 people have signed up for the One Campaign, a global NGO that partnered with the U.N. Millennium Campaign in the events.

"For campaigners, it is now a matter of trying to join together and identify vast strategies to communicate what needs to be done," Webster said. "We will continue to educate communities, politicians, and civic leaders in what can be done this month, in the next six months, and ultimately, in the next six years."

While the Bush administration rarely mentioned MDGs while in office, many activists believe President Barack Obama’s public recognition of the goals at a recent U.N. summit demonstrates a change in American policy.

"In other countries, there has been more education and awareness about the goals. But here in America, it is almost like we are starting eight years late," said Anita Sharma, the North American director for the U.N. Millennium Campaign. "President Obama has said that the MDGs are American goals and has even talked about his plans for achieving them."

Also, despite the low numbers at the San Francisco event, Sharma says more than 190,000 people from North America participated in last weekend’s campaign, an increase of more than 70,000 from last year’s attempt.

"It’s not like Americans don’t care about global poverty — in fact we give more in charitable contributions than any other country in the world," she said. "It just takes quite a lot to get Americans into the streets and mobilized. There needs to be more education out there, that’s all."

Ananya Roy, a UC Berkeley professor of city and regional planning and education director of the Blum Center for Developing Economies, says she doesn’t think MDGs can be achieved worldwide by 2015. Even so, she stressed the important role they played in the framework of development.

Speaking at UC Berkeley’s Stand Up and Take Action Event, she said: "The goals are important because they are seen as a new global social contract that makes issues of poverty and inequality quite urgent. They also come with measurements and targets, which is meant to create accountability."

Roy placed particular emphasis on the eighth goal: building a global partnership for development. She noted that that increased awareness can change the ways the U.S. and European governments operate in terms of aid and trade.

"This multilateral contract requires more than simply the action and leadership of the U.S. and Western Europe," she said. "We need to think about poverty and inequality that is immediately around us, understand how we are involved in the production of depravity, and then we must act in solidarity.

"We need to be thinking about poverty as it exits here in the U.S. and not just as an abstract problem that belongs to someplace else," she added. "It is also our problem."

According to a 2009 U.N. report, progress toward achieving the MDGs has been slow in some cases and certain achievements have been reversed by the economic downturn. The report estimates that there will be 55 million to 90 million more people living in extreme poverty than anticipated before the crisis.

For Chandler Smith, media coordinator for the One Campaign — which campaigns for better development policies and more effective aid and trade reform — the Guinness certification marks progress toward achieving the MDGs. "That this year is breaking another world record speaks to the power of people to organize around the world, shows that we are a global community, and that there is a sustainability in the movement," he said.

"As for the North American aspect, we are always trying to educate people more about these issues. Our results show that a lot of our work has been done — but that we also have more work to do."

We want free parking!

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steve@sfbg.com

GREEN CITY The strong visceral reactions to extending parking meter hours in San Francisco and Oakland present a difficult challenge to those who seek to have motorists pay for more of their societal impacts and help offset declining public transit resources.

When the San Francisco Municipal Transportation Agency held an Oct. 20 public hearing on its proposal to extend parking meter hours to evenings and Sundays in order to better manage parking demand and raise $8.8 million for Muni in the process, the proposal was fiercely attacked as a tax on motorists and burden on businesses.

That outrage was expected from conservative factions — landlords, west side residents, and much of the business community — who consistently oppose progressive reforms. But it was surprising to hear the antiwar ANSWER coalition, an immigrant group, and self-described socialists also angrily opposing the proposal.

"The working class is being driven out, and I hope this is the straw that breaks the camel’s back," ANSWER’s Forrest Schmidt said at the hearing, calling for taxes on rich individuals and companies instead. "Someone else needs to pay for the budget deficit that giant corporations created."

"This is a class issue. The rich and the well-to-do don’t have to worry about where to park in this small and crowded city. They have garages or can afford to pay for parking. It is overwhelmingly working class people who are being hit and who will be hit much, much harder if the new policy goes into effect," ANSWER (which stands for Act Now to Stop War and End Racism) wrote in a press release the next day.

But it’s a demonstrably false statement that the working class will be disproportionately affected by the proposal. Average incomes for drivers are far higher than those of Muni riders, who have borne the brunt of MTA budget cuts and will be hit even harder if this proposal fails.

A recent Transportation Authority study associated with the stalled proposal to charge a congestion-pricing fee on motorists entering the city core found that only 6 percent of them earned less than $50,000 per year. And in the census tract around ANSWER’s Mission District office, where Schmidt said poor workers who need cars are being aggressively ticketed, less than half the households actually own cars.

Beyond the fact that drivers are generally richer than the carless, there’s the established fact that they don’t come anywhere close to paying for their full societal impacts, from road building and maintenance to health care costs from accidents and air pollution to global warming.

"These are facts that a lot of people ignore," said Tom Radulovich, executive director of Livable City, calling ANSWER’s position "just a very limited perspective that they haven’t thought through yet."

Indeed, when I discussed the campaign with ANSWER’s regional director, Richard Becker, his arguments were almost entirely anecdotal. "I participate in the scramble for parking on a daily basis," he said.

The emotional reactions to taking away free parking also cause critics to lose sight of the facts. The proposal only affects metered spots in commercial districts, not street parking in neighborhoods. And the study treats every neighborhood differently based on parking demand, with the goal of reaching 85 percent occupancy to make parking more available — the very thing many critics of the proposal are demanding.

"They don’t understand that if we don’t raise the price of parking, we’re going to raise the price of Muni. They are extremely naïve beyond all reason," said Jason Henderson, a San Francisco State University geography professor who has studied the politics of parking and is current writing a book on the subject.

"There are people who want to democratize unsustainable lifestyles," Radulovich said, calling it "a strategy without a future."

Transportation activist Dave Snyder got into a heated discussion with some ANSWER members outside the hearing room, faulting them for failing to oppose the Muni fare hikes and service cuts that were approved last spring and for refusing to accept the need to discourage environmentally damaging activities like driving cars.

"To use price to discourage that is indeed a regressive tax. It’s still worth doing, but we have to think about [ANSWER’s reaction]," Snyder later told us.

But Henderson, Snyder, and Radulovich see a silver lining in this discussion. "It’s a sign of progress," Henderson said. "The more this floats to the surface and we can deal with it now, the better we’ll all be in the long run."

The old Gov. Moonbeam shit

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Okay, I’ve got a lot of problems with Jerry Brown. He was an awful mayor of Oakland, sided with the developers and the cops, and seemed to lose almost all of his progressive insticts. He’s against raising taxes on the rich. He won’t even support marijuana decriminalization.

There are good reasons to criticize the guy, and I’m right there at the front of the line.

But I fear that’s not what the press is going to do over the next year. It’s way too much fun to dredge up the old Gov. Moonbeam shit

Check out Carla Marinucci today:

now’s a good time to re-introduce you to author Jerry Brown, whose ’90s book “Dialogues” also contains a few memorable quotes that may end up in some 2010 gubernatorial campaign ads …. For Brown fans, the material illustrates the intellectual curiousity and independence that they say set him apart in the current pack of pols. For conservatives, it’s more proof he’s still that ultra-liberal, wacky “Moonbeam” character.

(btw, ultra-liberal is the Chron’s disparaging term for progressive. Although C.W. Nevius seems to like “militantly liberal.”)

So here are some of the examples of questions Brown asked in his interviews that the Chron thinks are utterly wacky:

*To author and philosopher Noam Chomsky:

*”How would you compare the propaganda system in the so-called free world to an authoritarian system? What are the differences?”

Umm, Chomsky is a brilliant linguist, an expert on the use of words. That’s a perfectly legit question to ask him. And it’s based on what anyone who follows the news media knows very well — that a lot of what is presented as unbiased news is actually slanted to promote a point of view. Why is that strange or wacky?

OR:

*To Judi Bari, late “Earth First!” enviromental activist:

*”None of us is an isolated monad with this bundle of private property rights outside the fabric of these larger obligations. So I very much believe that it’s time to take another step in the evolution of capitalism. Right now, I don’t think the federal government can make that happen…it can’t even operate what it owns, so that’s not the answer. But we’re on a track of real destruction socially and ecologically and we have to understand that as clearly as we can in order to come up with a better set of rules.”

*To Wolfgang Sachs, author and enviromental researcher:

*”As you observe modernizing projects in the world today that are operated by multinational corporations without much interference from national governments, do you see fascistic elements there? There are certainly enormous changes imposed without the consent of the governed.”

Again: Brown’s points are pretty basic, pretty clear — and almost indisputably correct.

The Sacramento Bee has had fun with some of Brown’s old lefty stuff on KPFA, but again, I have to ask: What did he say that was wrong?

He called capital punishment “state murder” and said U.S. Sens. Dianne Feinstein and Barbara Boxer, both Democrats, had “sold out” U.S. truck drivers by letting their Mexican counterparts drive uninspected vehicles into the United States.

In one of the most controversial excerpts, Brown called the prison system a racket that pumped profits out of the poor’s misfortunes and into the pockets of prison guards.

“The big lockup is about drugs,” Brown stated in an excerpt from late 1995. “Here’s the real scam. The drug war is one of the games to get more convictions and prisoners. There’s a lot of chemicals out there and when certain ones are made illegal, they become a huge profit opportunity and bring violence, crime and more people to imprison.”

Again: What, exactly, is wrong with anything he said? It’s all perfectly true.

More from the Bee:

Garry South, a top strategist for Democratic gubernatorial candidate Gavin Newsom, said the KPFA (94.1 FM) broadcasts would make Brown vulnerable if he reaches the general election.

Brown opened an exploratory committee for a gubernatorial run last month but has not officially announced his candidacy.

“California Democrats need to ponder very seriously the prospect of putting up a candidate for governor who comes with reams of radio-show rantings and ravings like Brown,” South wrote in an e-mail.

Rantings and ravings? Does Newsom support the death penalty? NAFTA? The drug war? If he does, that’s a bigger problem than Brown’s off-the-cuff radio remarks.

Who the hell is Esinchill?

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arts@sfbg.com

MUSIC "Esinchill is one of the most … " Mistah F.A.B. pauses to reconsider. "No, Esinchill is the most underrated rapper in the Bay."

I agree, and "underrated" in this case means "underknown," because, once heard, Esinchill’s talents are undeniable. His is a lyrical wit based more on word choice ("I go from extremely docile to routinely hostile") than punchlines. With a million flows at his disposal, he’s equally able to freestyle or compose. Esinchill himself thematizes this: "Once you play me, then you like me, then you love me, and it’s ugly from there," he raps over the guitar-driven K-MAXX production "I Dare You," which opens Vigilante, his second solo album, released digitally (with CDs to follow) by Jake Records. Put him on a track with more famous rappers and, as F.A.B. says, "He overshines them all."

So why isn’t Esinchill better known? Partly because his career path has been atypical. The man born Erick Campbell started out with Digital Underground. He spent five years touring with DU, playing more than 200 nights a year, with crowds ranging from a couple hundred to 60,000. He even appears with DU on DJ Quik’s classic Balance & Options (Arista, 2000). Few Bay rappers can boast these types of credentials. Yet after two local releases — his solo debut Everything to Lose! (Rceason, 2002) and a duo disc with King Beef, Choice Cuts (Rceason, 2005) — Esinchill remains East Oakland’s best-kept secret.

"People don’t know how to market me," Esinchill says by phone from Atlanta, where’s he’s writing R&B and rock songs for Outkast’s Dungeon Family. Songwriting is Esinchill’s latest industry endeavor; in 2007, he even penned a Top 20 adult contemporary hit "Tuesday" for former Tower of Power singer Lenny Williams. His remark refers to the difficulty of landing a deal, but it also summarizes the second obstacle to his reputation: in the promiscuous world of Bay rap, where the primary way to build a buzz is through collaborations with well-known artists, the hard-to-categorize Esinchill remains aloof. He comes from the same East Oakland streets as gangsta rappers like Keak Da Sneak or Beeda Weeda, but he doesn’t rap about gangsta topics.

"If an artist chooses to rap about those kinds of things, selling dope, killing people, and robbing, it boxes you in," Esinchill says. "I would say the majority of the cats who rap like that don’t live that lifestyle. But I wouldn’t talk about nothing unless I’m doing it or seen it."

On the other hand, Esinchill’s not a backpack rapper. While there’s an undeniable political dimension to his work, it invokes direct emotional response. On "Where’s the Justice?" — the most overt number on the album, invoking the Black Panthers’ "Off the Pigs" — Esinchill tells of a DUI he got "when he wasn’t drivin’," shouting "I was a passenger! I was a passenger!" Anyone who has dealt with the arbitrary injustice of the police can identify, even as he emphasizes that whites don’t realize the extent of what African Americans endure regularly.

Such stranger-than-fiction personal anecdotes underscore what makes Esinchill compelling. Only on "All the Way Live," a parodic pimp song produced by Jake-One, does E assume a character. Otherwise he raps as himself, displaying an entire, idiosyncratic personality rather than the one-dimensional gangsta persona common even among great rappers. His lyrics retain their comic flair, but his subject matter is mostly serious, even somber.

"Growth is essential," Esinchill says, inadvertently punning on his name. "I’ve matured as a person, but also as an artist. And with song topics as well. Of course, I got the miscellaneous shit. But I also got thought-provoking songs and conceptual songs."

Such songs range include "Daddy Was a Sailorman," in which he travels through time to meet his 18-year-old father; "I Feel U," where he expresses his angst about a compendium of social evils; and "The ’70s," an homage to one of the characterful decades of the 20th century, featuring vocals by Latoya London — star of American Idol and the stage musical version of Color Purple — for whom E also has been writing songs. Aside from a few vocalists like London, David Hollister, and the Bay’s premier hookstress, Naté, collaborators are scarce, limited to the few locals who can vibe with Esinchill, like Casual from Hieorglyphics, and FAB himself. Otherwise E goes it alone, and the result is a true album. Apart from the Jacka’s long-awaited triumph Tear Gas (Artist Records/SMC), Vigilante has no competition among Bay releases this year.

"My goal is to put out hot shit and not fold under pressure to veer into the normal lane," Esinchill concludes. "At my core, I’m just different. I’m incapable of being normal, as far as music goes. I gotta stay to the left — that’s just me."

Stayin’ alive

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DANCE Oakland Ballet Company refuses to die. Its latest resurrection happened Oct. 16-17, after Ronn Guidi’s abrupt resignation in April had issued what used to be a thriving East Bay institution’s most recent death certificate. But some people can’t take no for an answer, and we all should be grateful to them. In this particular case, it’s the dancers — some veterans of the Oakland troupe, some freelancers but also members of Ballet San Jose and Smuin Ballet — who stepped into the breach. The choreographers donated their works. All but one of the pieces, Amy Seiwert’s Revealing the Bridge, had been performed by Oakland Ballet before. These works offered a glimpse of why the company has been such a vital part of Bay Area dance. It may have made a reputation for itself with the Diaghilev repertoire, but it was equally important in fostering contemporary ballet choreography, much of it locally grown.

The company, under the temporary leadership of Oakland veterans Michael Lowe and Jenna McClintock, has much going for itself: some money in the bank, a wealth of talent, and the good will of its audiences. Performing at Holy Names College — where the old company performed when money was really tight — brought in a crowd of young people, some of whom seemed new to ballet.

Book-ending three pas de deux with two ensemble pieces made for a varied, agreeably pleasing program that showcased ballet-speak in any number of dialects. Alonzo King’s 1990 Love Dogs showed him in much a less angular mood than his later works; Carlos Carvajal’s "Wedding Pas de Deux" from Crystal Slippers enlivened a grand tradition with young love; Seiwert’s Bridge smoothly stretched space. Val Caniparoli’s congenial and rhythmically smart Street Songs opened the evening; Lowe’s Double Happiness closed it with excellent duet work, but rather bumpy ensemble dancing.

Events listings

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Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 21

Distribution Workshop Artists’ Television Access, 992 Valencia, SF; festival@atasite.org. 7:30pm, free. Gain insight into the world of experimental film exhibition and distribution at this workshop and panel discussion featuring Joel Bachar from Microcinema International, filmmaker Jonathan Marlow from SFcinemateque, filmmaker Maia Carpenter from Canyon Cinema, filmmaker Craig Baldwin from Other Cinema, and associate editor and producer of Wholphin, Emily Doe.

Root Division Auction Root Division, 3175 17th St., SF; (415) 863-7668. 7:30pm, $35. Support artists and arts education at this community auction and benefit for local emerging artists and Root Division’s after school art program for Bay Area youth.

FRIDAY 23

Art in Storefronts 989 Market, SF; www.sfartscommission.org/storefronts. 5pm, free. Enjoy live music and pick up a map at the opening party for the Art in Storefronts program, where participating storefronts along central Market and Taylor streets will display original window installations done by San Francisco artists.

Crush It! The Booksmith, 1644 Haight, SF; (415) 863-8688. 6pm; $22, includes book. Meet Gary Vaynerchuk, host of the popular daily webcast The Thunder Show on tv.winelibrary.com, and get a copy of his new book Crush It! Why now is the time to cash in on your passion, a guide on how to turn your interests into businesses.

Haunted Haight Walking Tour Starts in front of Coffee to the People, 1206 Masonic, SF; (415) 863-1416. Fri., Sat., and Sun throughout October, 7pm; $20 advanced tickets required. Discover neighborhood spirits and hunt ghosts with a real paranormal researcher on this haunted tour which includes chances to win spooky prizes and a guidebook.

Leon Panetta Intercontinental Mark Hopkins, 999 California, SF; (415) 869-5930. 11am, $30. Hear CIA director and California native Leon Panetta discuss the current challenges facing national security. Attendees may be subject to search.

SATURDAY 24

BYOQ Music Concourse, Golden Gate Park, 55 Hagiwara Tea Garden Drive, SF; www.byoq.org. Noon, free. Come dance and play at the Bring Your Own Queer music and arts festival featuring bands, DJs, performances, art, fashion, and more.

Passport 2009 Mission Playground, Valencia between 19th and 20th St., SF; (415) 554-6080. Noon, $25 for booklet. Pick up a map and purchase a "passport" at Mission Playground and begin your adventure to various locations around the Mission to collect artist-made stamps that will personalize your Passport 2009 journey.

Save City College Sale Parking area of the Balboa Reservoir across from the San Francisco City College Ocean Campus Science Hall, 50 Phelan, SF; www.ccsf.edu/saveccsf. 9am-2pm, free. Help restore canceled classes at the City College of San Francisco for the Spring 2010 semester at this Save City College garage sale and flea market.

Opera Costume Sale San Francisco Opera Scene Shop, 800 Indiana, SF; sfopera.com. Sat. 11am-5pm, Sun. 11am-4pm; free. Get a last minute Halloween costume at the San Francisco Opera’s warehouse sale featuring hats, masks, fabrics, shoes, and handmade costumes for women, men, and children.

Potrero Hill History Night International Studies Academy, 655 De Haro, SF; (415) 863-0784. 5:30pm; free program, $6 for BBQ. Enjoy BBQ from Potrero Hill restaurants and music by the Apollo Jazz Group, followed by a performance by the I.S.A. Community Choir, and ending with interviews of unique long-time residents.

Walk for Farm Animals Ferry Market Plaza, meet behind the Vallicourt Fountain in Justin Herman Plaza, SF; 607-583-2225. Noon, $20. Help expand awareness of the unnecessary suffering that farm animals endure and help raise funds for Farm Sanctuary, a farm animal rescue, education, and advocacy organization.

BAY AREA

Exotic Erotic Ball Cow Palace 2600 Geneva, Daly City; (415) 567-BALL. 8pm, $79. Attend the 30th anniversary of the Exotic Erotic Ball, a lingerie, fetish, and masquerade celebration of human sexuality and freedom of expression featuring live music, DJs, and costume contests.

SUNDAY 25

BAY AREA

Sister of Fire Awards Oakland Asian Cultural Center, 388 9th St., Oak; (510) 444-2700. 11am, $50-5,000. Help honor four remarkable women: Civil rights and immigration advocate Banafsheh Akhlaghi, Colombian indigenous rights advocate Ana Maria Murillo of Mujer U’wa, employment and labor rights advocate and author Lora Jo Foo and Tirien Steinbach of the East Bay Community Law Center. Featuring brunch and live music.

MONDAY 26

Ghosts of City Hall SF City Hall, meet at South Light Court, through Polk street entrance, 1 Dr. Carlton B. Goodlett Place, SF; (415) 557-4266. 6:30pm, free. Hear stories of disinterred remains, assassinations, and other ghostly lore, like the little-known fact that a cemetery once covered Civic Center. Allow time for security check.

Extended meter hours proposal gets heard today

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By Steven T. Jones

In a couple hours, the San Francisco Municipal Transportation Agency Board of Directors will consider a controversial proposal to extend parking meter hours to evenings and Sundays, but it’s still unclear whether that body is inclined to take any action.

Alternative transportation and urban planning activists are excited about the chance to weigh in on a proposal that would raise nearly $9 million per year and begin to balance out the fare hikes and service cuts that Muni riders absorbed this year, while some motorists and business owners are likely to express their opposition.

Mayor Gavin Newsom has been expressing opposition to the item through the San Francisco Chronicle, but an item buried in yesterday’s Matier & Ross column seems to indicate that he’s backing off a bit, although they don’t seem to understand that this is a decision for the MTA board, not the Board of Supervisors.

As I’ve written before, this proposal will be a big test of whether the MTA board, whose seven members are all appointed by Newsom, is actually the independent agency capable of making tough decisions without regard to political consequences that the intent of 2007’s Proposition A, which gave them full authority over parking and public transit in San Francisco.

The meeting starts at 2 p.m. in City Hall’s Room 400, and the parking meter proposal follows a discussion of the agency’s deficit-plagued budget, appropriately enough.

P.S. Streetsblog SF has an excellent discussion of the proposal with parking guru Donald Shoup, who makes it clear why this study is so different for the meter rates increases in Oakland that caused such controversy.

Collective growth

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arts@sfbg.com

MUSIC Last December, Anticon celebrated its 10th anniversary with a concert at the Knitting Factory in New York. It was an emotional reunion. Many fans flew from around the world to see a hip-hop collective that hadn’t performed together since a 2002 concert at Slim’s in San Francisco. Peter Agoston, the event’s promoter, says it took a year to pull it together.

This was a far cry from 1999, when most of the original Anticon seven (along with more than a few couch-surfers) lived communally in an East Oakland warehouse. Tim "Sole" Holland, Adam "Dose One" Drucker, Yoni "WHY?" Wolf, Brendon "Alias" Whitney, Jeffrey "Jel" Logan, David "Odd Nosdam" Madson and James Brandon "the Pedestrian" Best sought to revolutionize hip-hop, injecting the art form with absurdist humor and beatnik poetry. Every month, they held court at Rico’s Loft in San Francisco, performing college radio hits like "It’s Them" and "Rainmen" as throngs of Bay Area backpackers shouted along. Doseone, Anticon’s madcap poet, says, "We were crew, posse, label, brotherhood, and boys-club."

A decade later, Anticon has become a brand and a myth. Baillie Parker, who faithfully attended those Rico’s Loft showcases, became an eighth member, label manager, and co-owner in 2001. Slowly (and sometimes painfully), he steered the label toward solvency, streamlining the collective’s unpredictable adventures into a small business. Then he ceded day-to-day responsibilities to his former intern Shaun Koplow, a student at UC Berkeley. After Koplow graduated, he moved back to his native Los Angeles, and now runs the label there.

Today, Anticon Records is surprisingly durable and stylistically varied. Recent albums include melancholy rock (Anathallo’s Canopy Glow, 2008), wintry indietronica (Son Lux’s At War With Walls and Mazes, 2008) and punchy, synthesized instrumental beats (Tobacco’s Fucked Up Friends, 2008).

Meanwhile, the collective that founded the label has splintered and scattered across the country. Some remained in the Bay Area (Dose One, Jel, Odd Nosdam, and Parker) while others moved elsewhere (Sole in Denver, Colorado; Alias in Portland, Maine; and the Pedestrian in Los Angeles; Yoni Wolf is currently "homeless" while he embarks on a months-long tour). They still own the label and make major decisions together. However, each pursues his individual career. Some collaborate, others do not.

What does it all mean? It doesn’t take a Rashomon-like investigation to figure it out. "We all send each other friendly [e-mail] messages every few months, but we’re not like this cult. And I think that’s good," says Sole. "When we tried to be a cult, we realized that none of us made very good cult members."

ORIGINS OF AN ICON

Anticon’s symbol is an ant, designed by Aaron Horkey of Burlesque Design. Ant-icon. The name comes from the Pedestrian, a Los Angeles native, and Sole, who grew up in Portland, Maine. The two met in 1992 on a Prodigy message board for cassette trading. Both were avid tape collectors, the lingua franca for music dispersion before the Napster era. They bonded over a love for the Los Angeles scene, where Freestyle Fellowship and the Shapeshifters pioneered speed-rapping and obtuse, free-associative rhymes; early Midwest battle-rap crews like Atmosphere and 1200 Hobos; and obscure Canadian groups like the Sebutones.

Anticon coalesced around a series of fortuitous happenings. Alias and Sole met when both lived in Portland; there was the 1997 Scribble Jam, famous in rap circles for its battle between Dose One and a pre-Slim Shady Eminem; Doseone’s frenzied networking skills brought him in touch with Jel, and then Sole; and Dose One made fast friends with WHY? and Odd Nosdam when he lived in Cincinnati in the late 1990s.

After Sole and the Pedestrian came up with the Anticon concept in 1998, Sole moved to Oakland to work for Listen.com. The rest of the crew eventually followed him there. "I was making $50,000 a year during the dot-com rush," he says. "I didn’t have any expenses, so I just put all the money into starting the label."

Anticon’s first release, 1999’s Music for the Advanced Hip Hop Listener EP was an invitation and a challenge, with Alias’ "Divine Disappointment," which imagines an argument between father and son, and "Holy Shit," a posse track marked by precociously off-kilter rap flows. A compilation, Music for the Advancement of Hip-Hop, followed later that year. "For me, it was about representing these underground aesthetic movements," says the Pedestrian.

But the only song anyone remembers from those records was Sole’s missive "Dear Elpee." On the surface, it was a battle record directed at El Producto, the incredibly talented rapper/producer whose group Company Flow recorded the 1997 opus Funcrusher Plus. El-P memorably coined the term "independent as fuck" to distance himself from mainstream rap, then lost in the throes of Puff Daddy’s hyper-commercial "jiggy" era. But Sole saw hypocrisy in East Coast tastemakers such as Rawkus Records, which distributed Company Flow’s records. He felt they excluded anyone who didn’t live in New York City, and was disgusted at how they extolled "independent" virtues while launching sophisticated marketing campaigns to promote themselves.

"Dear Elpee" wasn’t just a dis against a popular rapper, it was a distillation of Anticon’s scrappy, outsider stance. "Underground hip-hop is a mentality. It’s not supposed to be commercial. You’re supposed to spit an 80-bar verse and people are going to love it," says Sole. "I felt like [hip-hop] needed a little chin check."

On his subsequent two solo albums, 1999’s Bottle of Humans and 2001’s Selling Live Water, Sole honed his sarcastic and brutally honest persona. He criticized himself and attacked his unnamed enemies, exposing thoughts of paranoia and depression. With songs like the brilliantly melancholy title track, he sowed the seeds of what would later become known as "emo rap."

Meanwhile, Jel and Odd Nosdam (along with other producers such as Alias and DJ Mayonnaise) drew from a wide breadth of influences, from orchestral rock like Radiohead and Flying Saucer Attack to electronic acts like Boards of Canada. They made tracks using rudimentary equipment, including 4-track and 8-track recorders and SP-1200 sampling keyboards, resulting in songs that expounded a murky and intimate low-fi aesthetic.

Anticon’s recordings were imbued with a childlike playfulness. In 1998, Sole, Doseone, and Alias collaborated with Minneapolis rapper Slug [from Rhymesayers group Atmosphere] under the name Deep Puddle Dynamics. Alias explains the concept: "[The group name is] in reference to puddles … because of how they form, you sometimes can’t tell how deep they are until you stand in them or observe them really closely."

Deep Puddle Dynamics’ 1999 album, The Taste of Rain … Why Kneel (a title inspired by Jack Kerouac’s poem "Some Western Haiku"), mixed wide-eyed abstraction with introspective thoughts. On the yearning "June 26, 1998," they trade lines until their voices became a kind of Greek chorus. "What is the meaning of life?" they chant. "Fortune, health, knowledge, success / Woman, man, trust, progress / Culture, faith, healing, destiny / Endurance, family, science, society."

"It was so inspiring to be around those cats and see how they operate," says Alias of those recording sessions. His shy New England demeanor contrasted sharply with Doseone and Sole’s bravado. "It’s weird to go back and listen to it now. … It shows its age, and it shows its awkwardness."

However, Anticon’s precocious search for deeper truths through hip-hop, a genre often maligned for its lack of intellectual discourse, endeared them to listeners around the world. The collective helped spark a cottage industry of aspiring rappers, a sensibility built around tweaked flows and five-minute soliloquies, and nourished a brief, exhilarating moment of hip-hop experimentalism in the early 2000s.

Alias says, "I’ve been at shows and had kids come up and tell me how much my music has meant to them. They’ll tell me stories like when their father passed away, all they did was listen to ‘Watching Water’ [from The Other Side of the Looking Glass, 2002] for a week. Then they’ll show me that they have these Anticon-related tattoos or something. It’s crazy. It makes me feel embarrassed."

OFFBEAT STREET

If Sole is the blustery visionary who led Anticon into war, then Doseone is the eccentric who personifies its unfettered creativity. His catalog, issued via several record labels, ranges from the bleak tone poems of Circle, his 2000 album with producer Boom Bip; to Subtle, a band formed with Jel and keyboardist Dax Pierson. Over the course of three albums (including 2008’s Exiting Arm), Subtle molded rap, electronics, rock, jazz-fusion and whatever else they could find into a searing and dense whirlwind of word and sound.

"We were artists’ artists without a doubt. Still are," says Doseone. "It was DIY … and you could hear the flaws, the sensitivities, the trying-something-new, even when it was over the top or egregious."

Doseone’s strangely disembodied, half-sung raps epitomized Anticon’s greatness as an offbeat take on hip-hop culture. It should have made a bigger impact on the rap industry, and there are several reasons why it didn’t. First, Sole’s battle with the iconic El-P, whose music was just as experimental and groundbreaking as anything Anticon made, turned many people against him. And yes, Anticon was undoubtedly too weird for a generation raised on 2Pac and Jay-Z.

Most damaging were assumptions that Anticon was full of rich, ego-driven art-school snobs who made hip-hop for white people.

Those accusations struck Jel as funny. The Midwest native has been devoted to hip-hop for most of his life, and his placid, straightforward demeanor results from a staunchly lower-middle-class background. "All the shit that came out of nowhere about us not paying dues all comes from the racism that was involved," he says.

The Pedestrian admits that part of the problem was attitude. "When we were doing that whole pretentious ‘Music for the Advancement of Hip-Hop’ shit, for me it was about representing these underground aesthetic movements," he says. "I didn’t imagine we would look as white as we did. It really surprised the shit out of me. And in retrospect, we should have done things differently.

"In those early years, the crowd was pretty fucking white," he continued. "I know there was definitely a consciousness about it — we were thinking about it. But we were fucking kids. We didn’t know how to deal with these really difficult situations."

By the summer of 2002, when Anticon held a series of come-to-Jesus meetings to determine the label’s future, all of its members realized they weren’t a hive-mind group of crazy MCs à la Wu-Tang Clan (with Sole as the RZA), but eight very different people. Wolf, whose esoteric music masks a highly disciplined songwriting approach, felt those aspirations were "unrealistic." "There was almost a utopian idea about record-making, that it could almost be a socialist affair," he says.

As Anticon evolved from a movement into a traditional company, it meandered creatively and financially. Some released material that paled in comparison to past efforts (Sole’s Live from Rome, 2005). New signings, such as indie-pop multi-instrumentalist Dosh (self-titled, 2003) struggled to gain recognition for music that had nothing to do with hip-hop. Eventually, though, Anticon Records learned how to promote releases by its onetime collective as well as its growing indie-rock and electronic roster.

"The way it’s perceived by artists, particularly rock artists, I think they see it as a natural progression," says Sole of Anticon Records’ development. "All the outside-of-hip-hop-world friends we’ve made over the years see it as a natural evolution because what we’ve done has always been pretty melodic and rock and musical anyway."

Some of the onetime "cult" members who felt overshadowed during those early years forged individual identities. Alias, who always felt "awkward" when he rapped, moved back to Maine with his wife and focused on production instead. His efforts yielded 2007’s Brooklyn/Oaklyn, an evocative collaboration with Brooklyn singer Rona "Tarsier" Rapadas.

After a somewhat uneven solo debut (2003’s Oaklandazulasylum), Wolf formed a trio under his old WHY? moniker. Their next two albums (Elephant Eyelash, 2005; Alopecia, 2008) impressively blended Wolf’s prior talent for harmonies, loquacious wordplay, and poetic imagery with the band’s newly-minted melodic rock arrangements. By scoring rapturous national press, he epitomized Anticon Records’ new status as a fast-rising independent label.

WHY? just released its fourth album, Eskimo Snow, which consists of unused material from the Alopecia sessions. Wolf still does a fair amount of rapping, or rhyming in rhythm, even if the results can no longer be classified as strictly hip-hop. "I’ve incorporated it into my pantheon of musical styles," he says, adding that "the next record could be a disco record, for all I know."

BRAND OF OUTSIDERS


Anticon hasn’t abandoned hip-hop. Doseone and Jel just released their third album as the cryptically-named Themselves; their 2000 debut was notable for producing the indie-rap classic "It’s Them." With CrownsDown, Doseone returns to the arena he once flourished in. "There’s purity to the construction and presentation of this record that is derived from Guru and Premier," Doseone says, referring to the classic rap duo Gang Starr.

This year has also brought Chicago duo Serengeti & Polyphonic’s Terradactyl; and Bike for Three!, a collaboration between Buck 65 (formerly of Sebutones) and Belgian electronic musician Greetings from Tuskan. The difference between now and 10 years ago is that these albums aren’t the latest missives from Anticon the collective. They just enhance the label’s reputation for honest, lyrically-driven, complex music.

Amid all this activity, Anticon’s original theorists seem like the odd men out. Back in the day, the Pedestrian was the crew’s sardonic (and sometimes arrogant) prankster, sending out eloquent and confrontational press releases inspired by Dadaism and Situational Ethics. By 2002, however, the former high-school dropout went back to school, enrolling in Laney College. He transferred to UC Berkeley, earned a degree in literature, then enrolled at the University of Southern California, where he’s working on a PhD in ethnic studies.

"There was once an aesthetic collective. And now we’re a record label whose brand name has some lingering connection to that aesthetic," says the Pedestrian, who still treats hip-hop as a hobby and elaborate game theory. "But what we decide to put out and the music we all make is infused with those early years of collaboration. Those were important, foundational years for all of us."

Sole lives in Denver with his wife, and works as an IT technician for Denver Open Media, a public-access station. "It’s not my label anymore. I’m just one voice in it, and I try to contribute as meaningfully as I can to it," he says, adding that he wishes Anticon had a traditional rap profile. So for his new album, Plastique, he decided to work with Fake Four Inc., home to underground artists like Awol One and Mikah 9 (from Freestyle Fellowship).

With Plastique, he focuses on a wide-ranging critique of political injustice, capitalism, and Western hegemony, fed by radical works like Kurt Vonnegut’s Slaughterhouse Five and Guy Debord’s Society of the Spectacle. Sometimes, Sole fits the American lone wolf profile, railing about the world’s troubles.
"Do I wish it was still a crew? Yeah. I miss that. To me, that’s what it’s all about," he says. "But when you’re married, you don’t want to be hanging out all the time. You want to be home, making a stew and watching Heroes."

WHY?
With Mount Eerie, Au, Serengetti and Polyphonic
Sat/17, 9 p.m. (doors 8 p.m.), $16
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.gamh.com

SOLE
With Astronautalis, Sahib
Sat/17, 10 p.m. (doors 9 p.m.), $10-12
Uptown Nightclub
1928 Telegraph, Oakl
(510) 451-8100
www.uptownnightclub.com

Events listings

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Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 14

Jungle Effect Commonwealth Club, 2nd floor, 595 Market, SF; (415) 597-6700. 6pm, $15. Hear about the experience of Daphne Miller, MD, as she traveled to five countries around the world where common diseases, such as diabetes, heart disease, cancer, and depression, are rare to learn about how nutrition and indigenous foods can prevent chronic illnesses.

THURSDAY 15

Old Growth Redwoods San Francisco Public Library, Richmond Branch, 351 9th Ave., SF; (415) 557-4277. 6:30pm, free. Learn about the beauty, delicate ecosystem, and challenges we face to preserve California’s old growth redwood forests at this slide show and discussion with William Walsh, development director of the San Francisco Bay chapter of the Sierra Club.

Passage of Tibet’s Salween River KoKo Cocktails, 1060 Geary, SF; (415) 885-4788. Listen to extreme traveler, author, and NPR commentator Craig Childs recount his experience in the first expedition to descended the upper Salween River in Tibet. Featuring breathtaking images and exclusive video footage.

Wild Imagination Contemporary Jewish Museum, 736 Mission, SF; (415) 655-7800, litquake.org. 6pm, free. Hear children’s books authors Daniel Handler, of the Lemony Snicket series, Lisa Brown, and Jonathan Keats explore the privilege of writing for and about children. In conjunction with Litquake and the current exhibition, There’s a Mystery There: Sendak on Sendak.

BAY AREA

Indigenous Permaculture Ecology Center, 2530 San Pablo, Berk.; (510) 548-2220 ext.233. 6:30pm, $5-50. Learn about the methods and practices that traditional farmers from New Mexico use to steward land in order to create sustainable, self-sufficient communities.

SATURDAY 17

Alternative Press Expo Concourse Exhibition Center, 620 7th St., SF; (619) 491-2475. Sat. 11am-7pm, Sun.11am-6pm; $10 , $15 both days. Attend fun and informative programs focused on special guests and various aspects of independent and alternative comics, including some of the top creative talent working in comics today.

Potrero Hill Festival Brunch at the Potrero Hill Neighborhood House, 953 DeHaro; street fair 20th St. between Missouri and Arkansas, SF; www.potrerofestival.com. Brunch 9am, street fair 11am; brunch $10, fair free. Enjoy a traditional New Orleans Jazz Brunch made by students of the California Culinary Academy before heading over to a street fair featuring local vendors selling wares, arts, and crafts, live music, and activities for kids.

SOEX Grand Opening Southern Exposure, 3030 20th Street, SF; (415) 863-2141. 4-10pm, free.

Celebrate Southern Exposure’s new location and the Bay Area artist community by attending their inaugural exhibition, Bellwether, and letting loose at a block party on Alabama between 19th and 20th St. Block party to feature outdoor seating, food from local street food vendors, and music.

Theater Chili Cook Off San Francisco LGBT Community Center, 1800 Market, SF; (415) 255-7846. 2pm; $1 for tastes, $30 all you can eat. Support Bay Area theater organizations while chowing down on some traditional, vegetarian, or "anything goes" chili and vote for your favorite. Featuring live music.

Vegan Bake Sale Ike’s Place, 3506 16th St., SF; vegansaurus.com. 11am, free. Buy baked goods from over 40 bakers. including Violet Sweet Shoppe, Bike Basket Pies, and Fat Bottom Bakery. Proceeds from this delicious and conscientious sale to benefit Give Me Shelter Cat Rescue.

SUNDAY 18

Festival De Los Volcanes Horace Mann Middle School, 3351 23rd St., SF; (415) 642-4404. 10am, free. Join in on this second annual Central American cultural celebration featuring prominent local musicians, poets, rap artists, and community leaders.

Futurism Brava Theater Center, 2781 24th St., SF; (415) 647-2822. 4pm, 6pm, 7:30pm; $10, $15 for both programs. SFMOMA, Italian Cultural Institute, UC Berkeley, YBCA, and SF Center for the Book are teaming up to present a program in the tradition of the 100 year old avant-garde Futurism movement, which aims to combine every art medium. Enjoy a series of short live performances and films unique to this tradition at the Brava Theater. To find out about other Futurism programs happening throughout the Bay Area visit, www.sfmoma.org.

MONDAY 19

Gregory Maguire Jewish Community Center of San Francisco, 3200 California, SF; (415) 292-1233. 8pm, $10-18. Step inside the mind of Gregory Maguire, best-selling author of Wicked: The Life and Times of the Wicked Witch of the West, which became the basis for the Tony Award-winning musical, Wicked.

Joyce Carol Oates Herbst Theater, 401 Van Ness, SF; (415) 392-4400. 8pm, $20. See Joyce Carol Oates, author of 39 novels, including three forthcoming books, in an interview with KQED’s Michael Krasny as part of a literary series benefiting the 826 Valencia College Scholarship Program.

Reel Fabulous New Conservatory Theater Center, Decker Theater, 25 Van Ness, SF; (415) 861-8972. 7:30pm, $30. Catch the one-night-only benefit starring Bay Area Emmy-winning producer, columnist, critic, and historian Jan Wahl titled, Reel Fabulous: LGBT in Hollywood. The performance will feature stories and clips from films directed by, written by, or starring LGBT artists and technicians.

Veterans Stories Project Oakland Veteran’s Hall, 200 Grand, Oak; (925) 684-4424. 10am, free. Contribute your Pearl Harbor and WWII stories for an online museum project designed to collect and preserve the personal recollections of U.S. wartime Veterans. Homefront civilians who worked in support of the armed forces are also invited to contribute.

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Newsom reneges on parking, but the MTA shouldn’t

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By Steven T. Jones
409-cover.web.jpg
The Guardian explored the politics of parking in our July 1 cover package.

The San Francisco Municipal Transportation Agency, which will soon consider a long-awaited study into how to generate more than $1 million in additional parking meter revenue that was part of a May budget deal, faces another test of whether it is truly an independent agency or merely Mayor Gavin Newsom’s puppet.

As the backlash over extended meter hours in Oakland caused the City Council there to cave in to driver and merchant demands, Newsom – who likes to dress in green but has never really challenged the dominant car culture’s sense of entitlement – has signaled that he now wants to break the deal he helped broker and stop meter hours from being extended.

But under 2007’s Proposition A, which Newsom supported, this isn’t a decision for either the mayor or the Board of Supervisors, but instead for the theoretically independent MTA board. In fact, the whole argument for that change was based on giving that body the power to do the right thing even when craven, conflict-averse politicians get cold feet.

“Any decision on whether to extend meter hours is under the SFMTA Board of Directors,” confirmed SFMTA spokesperson Judson True, who also said the study is almost complete and could be released as soon as next week. He said it is a “study of parking with a variety of factors that will determine whether extended hours is a good idea.”

Drivers and merchants may squawk over extending meters into the evening hours, but with the city failing to put general revenue measures on the ballot and motorists not even coming close to paying for their full impacts and use of public spaces, this is a basic equity issue.

Muni riders took the biggest hit in the May budget deal, with their fares doubling since Newsom took office. Unlike in Oakland, San Francisco is well-served by public transportation, so there’s no good reason why motorists need such fiscal coddling. Newsom may be afraid, but the MTA board shouldn’t be.

Writers Issue: Eric Haven

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By Johnny Ray Huston

Lots to enjoy about Eric Haven’s The Aviatrix (Buenaventura Press, 32 pages, $4.95): killer anteaters, male masochism, surveillance run amok, a tiny but buxom beauty named Protona, a large monster named Melgor, noxious human odors that might even make George Kuchar blush, and a truly imaginative mind taking advantage of the kind of hilarious and radical shifts in perspective that can only happen in the frames of a comic strip. In conjunction with the appearance of a Haven comic in this week’s Writers Issue, I recently asked the Bay Area resident about his characters, his interesting day job, and his past connection to this rag.

SFBG You have a long-ago connection to the Guardian. Can you tell me the details?
Eric Haven Almost exactly 20 years ago, I entered the Guardian‘s annual cartoon contest. I won first place in the “best comic strip parody” category, and was quoted in the accompanying article as saying, “I hope to be a professional comic book artist by the time I’m 24!” or some such nonsense. I was incredibly naive and thought I could make money with my comics. Ha!

SFBG What books and artists did you like growing up, and today? What are your favorite B-movies?
EH In terms of comics, I was a Marvel zombie growing up. I would pick ’em
up for 10 cents each at a used bookstore in town. Their covers were torn off but I didn’t care… I could go in with a couple bucks and come out with a stack of comics.
Nowadays I tend to read stuff by single creators… not produced by a system which divides the chores among writers, pencilers, letterers, and colorists. I’ve recently enjoyed reading Prison Pit by Johnny Ryan, the “Sulk” series by Jeffrey Brown, and The Red Monkey Double Happiness Book by Joe Daly.
My favorite B-movies are ones where you can see budget constraints. Attack of the Crab Monsters, It Conquered the World, The Colossus of New York, etc. If it looks like the creature was cobbled together in someone’s garage, out of spare parts and supplies found in the attic, and then shot in someone’s back yard, I love it.

SFBG Tales to Demolish seems to cover any range of time and place, from prehistoric eras to present-day Oakland. Are there particular settings or periods you prefer rendering or are you drawn to drawing all manner of realms?
EH I enjoy rendering weird topographies, whether it’s ice-strewn glacial sheets or ancient dinosaur-infested forests or the wilds of my own kitchen. I’ve recently become obsessed with the history of Upstate New York, and have begun work on a comic which has many pages devoted purely to its geography and geology.

SFBG If the Aviatrix came across and read The Aviatrix, what would she think and have to say? How about Protona — what would her view of the book be?
EH The Aviatrix is well aware what’s going on, as I feel her looking over my shoulder when I draw. Who knows what she thinks? She’s inscrutable, unknowable. Protona would wonder why I drew her so tiny.
She’s actually not that small… close, though.

Word alive

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WRITERS The Eighth Annual Living Word Festival focuses on fresh young voices and includes readings, musical performances, art and fashion workshops, a youth town hall on healthcare reform, and live graffiti and B-boy battles. Below are two selections from the festival, which takes place Oct. 8-18 in San Francisco and Oakland.

UNTITLED


By Dennis Kim


… and I saw a shorty swimming in a white shirt baked brown by degrees and the air before him was bent by the lashes of the sun on the ground and there was no water to speak of. He was standing on a pile of crumpled mattresses behind our building. I recognized the bed on top, ravaged and stained by my childhood. Shorty wobbled with the thick air and he had no strength to jump. "Sun," I said, and he shielded his eyes. "Son, why are you standing there with no strength? Go inside." He lowered his hand and his eyes were like dried out lakes, gardens ground under the knees of a monstrous thirst, a treeless landscape, a toothless Eden. He said, "Water."

And my eyes died of thirst and I repented of my vengeance. I had made desolate the mansion and the alley and felled the seed for it laid in rotten fruit. The pure and the assassin stumble over the same stones and lie facedown in the same ditch.

I crave living water more than I do dead blood. Father above, let it rain.

Let it rain for the brother who cried facedown into the train platform, "Don’t shoot — "

And the ancestor who met the police with fingertips touching the sky and caught the bullets where he would carry a child …

Let it rain for soldiers draped on streetlamps and mailboxes, kicking at blank spaces the disappeared leave with curses that turn to dust in their mouths.

Let it rain for the thief and the man he robs when both discover they have nothing. They exchange greetings and go their way to new poverties.

Let it rain to wash the blood of the murdered into the gutters and the sea, where it meets the blood of ancestors turned to shark and anemone.

Let it rain to absolve all mothers …

Let it rain for the restless who twist into impossible signs on their beds, afflicted by the sickness of penitence …

But let it rain most of all for the child who opens his mouth to cry but cannot, for the city collapsing inside him. Let it rain because my children are thirsty and they can do nothing but cover their eyes.

Father above, break the sky in two.

Let it rain.

Dennis Kim at Living Water: Youth Speaks to Spirit (Oct. 18, 2 p.m., free. Glide Memorial Church Sanctuary, 300 Ellis, SF. www.youthspeaks.org).

PROLOGUE FROM MIRRORS IN EVERY CORNER: A PLAY


By Chinaka Hodge


I thought he was out of my league. Real tall, well put together. Big palms. Pretty, almost. This metered way with words. Had a steady job. Was wearing ties to work at the time. Built around rigor, and routine. That man loved to make a list. Checklists and to-do lists and have-done lists. Ought-to-do lists.

He sets the alarm for seven. Hits snooze once. Up for real at 7:30. Leans at the edge of the bed for two and a half minutes. Clears his throat through his nose. Turns the shower on. Forgets something in the bedroom. Back to the bathroom. Showers for ten minutes. Out the door by 8:13. Evening is the same. Asleep five nights a week by 10:56. Fifty-six. Clockwork with him.

And for him, there’s an honesty in that. To say I was drawn to that stability doesn’t really do the feeling justice. More like the compulsion we have as children to metronomes and see-saws. There is something absolutely mesmerizing about the rhythm of his predictability. Science. Like how you know how fast honey will dissolve in hot water. He sweetens me on time. Budgets the exact minutes it will take him to love me. Don’t know how he does that. Did that. When even I didn’t know what I needed.

Plus we were proportioned right. Nice heights for walking places, and for lying down inside each other. For talking copious amounts of shit. He was a good card partner. Conservative in his bids, leading with the suit he’d like me to return in. Not a stellar dancer, but better than me by far. And so we stuck fast to each other.

We had fun. Before Watts came and the wedding even, just sitting watching our shows. I remember the Cosby premiere with him. How on the weekends he’d stay up late late with me, cause I’d guilt him off his schedule, and he’d make jokes all in my hair. Push the laughs right through me. And I’d hug him in the mirror, make him watch how happy we were. To remind us both of the enchanted nature of what we were doing. In the time we were doing it. A fearless act: Black family in the middle of an epidemic. Intellectuals at play. The ease of our engagement.

So imagine our surprise when they told me the baby was white. White.

Whose child?

Chinaka Hodge and Universes at the Living Word Festival (Thurs/8-Fri/9, 8 p.m., $10–$20. CounterPULSE, 1310 Mission, SF. www.counterpulse.org).

Newsom agrees to meet with Local 1021

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By Tim Redmond

The members of SEIU Local 1021 have agreed to stand down for a day, suspend their unfair labor practices claim and hold off on sending protesters to Mayor Gavin Newsom’s campaign events — and he’s agreed to meet with the union tomorrow (Tuesday) morning to discuss their grievances.

Larry Bevan, a Local 1021 shop steward who works as a site tech at Laguna Honda Hospital, told me that Labor Council director Tim Paulson has agreed to mediate the discussion.

“I am told that the mayor will be there personally,” Bevan said. “Going through intermediaries doesn’t seem to be working.”

The union wants to challenge the mayor to live up to his promise during budget season — that he’d work to find a way to raise new revenue this fall so that 600 union members, most of them women of color, most of them front-line service workers in the Department of Public Health, wouldn’t face layoffs.

It’s too late for a ballot measure to raise new revenue. That plan fell apart when it became clear that the supervisors would not unanimously declare a state of fiscal emergency — a move that would have allowed a revenue measure to pass with a simple majority of the vote. WIthout all 11 supervisors, any attempt to raise taxes would require an insurmountable two-thirds majority.

The Oakland City Council agreed unanimously to seek new revenue, but in San Francisco, Supervisors Sean Elsbernd, Michela Alioto and Carmen Chu refused. All three were originally Newsom appointees.

Elsbernd told me that the mayor’s office tried to get him on board, but he refused to bend. The reforms that the mayor was proposing weren’t strong enough to get the relatively conservative supervisor to drop his opposition to new taxes. “Oh, they tried, all right,” Elsbernd said. “But the reform was bogus. I said no.”

But I have to wonder how serious Newsom was: He never picked up the phone and called Elsbernd personally. His chief of staff, Steve Kava, did that job.

Sorry, Mr. Mayor — when there are millions of dollars and hundreds of jobs on the line, if you actually want to get a reluctant supervisor who owes his career to you on your side, you talk to him personally. It still might not have worked — but sending an aide over with the message was clearly doomed to fail. It almost seems as if Newsom was fine with that.

At any rate, the unions will try to get Newsom’s support for a new fee on alcoholic beverages, money that could go directly to DPH. Maybe he’ll go along; maybe he’ll drag his feet. Still, Local 1021 got him to the table, which these days, with this mayor, is quite an accomplishment.

NY Fashion Week: Meet the students

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Fashion writer Laura Palmer learns more about the Bay Area students who showed in New York. Read her account of the fashion show here.

The seven fashion design students who showed at Bryant Park this season seem to reflect the Bay Area’s diverse cultural quilt. Here we unfurl the designs of all seven students, shake out their insights and inspiration, and uncover the daily lives of our budding local designers.

Amanda Cleary

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A native Californian, Amanda Cleary’s designs were inspired by packages. No, no, not that kind of package. Actual boxes. Her vinyly angular shifts have multiple armholes, square shoulders, and a dimension that does, in fact, suggest duct tape and cardboard. Interesting, surely, but as far as form meets function is concerned, the designs would perhaps better suited to a Martian runway, so all four armholes could be filled. If any of the aesthetic from Elie Tahari’s line rubs off on Cleary (since she recently interned with Tahairi), Cleary’s next fashion week jaunt may be more cohesive.

When she’s not busy with bonding (one fabric to another, that is), Cleary is watching flicks at Grand Lake Theatre in Oakland.

Sawanya Jomthepmala

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The geometric, origami designs that Sawanya Jomthepmala created were inspired by the stained glass in Thai Buddhist temples and the boats fashioned out of banana leaves during the Krathong Festival. (The boats are floated out to sea to bring good fortunes to those that release them.)

Quintessence

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THEATER San Francisco’s Brava Theatre is mostly dark, except for the spotlights on stage. Under the white light, singer Nomy Lamm’s face peers out from under the beak of a vulture headpiece. She flaps her feathered wings and thrusts her hips, like she is working a hula hoop in slow motion.

"I remember the feel of your hands on my body," Lamm sings. "Makes me scream, ‘Am I broken?’"

It is three weeks before the premiere of this year’s Sins Invalid’s performance art show of the same name, and artistic director Patty Berne sits near the back of the theater. She watches Lamm’s rehearsal intently, and as the performance ends, her face splits into an approving smile. "Oh Nomy, I am so frickin’ excited," Berne exclaims. "That was so hot — you don’t even know!"

Currently in its fourth year, Sins Invalid is an annual performance project about sexuality and disability. The upcoming show, which runs for three nights at Brava, showcases 12 performances from local and international artists, including Oakland’s Seeley Quest and the U.K.’s Mat Fraser. The collection of theatrical, musical, spoken word, and multimedia performances includes passages that are confrontational and provocative and moments that are soft and sweet.

According to Berne, who is also the cofounder of Sins, the show’s dimensions reflect the diverse issues that people with disabilities face, living in societies where they are traditionally perceived as unsexy, or even sexless. "[People with disabilities] are thought of as asexual and [it’s assumed] that our lives are defined by our disabilities," she says. "Thinking that we are neutered is absurd. It’s like assuming parents stop having sex because they have a child."

According to the Sins Invalid mission statement, the performance project not only supports artists with disabilities, it also strives to centralize "artists of color and queer and gender-variant artists." The goal of the organization, explained cofounder Leroy Moore, has been to create a community of historically marginalized artists and to provide a mirror for those who are disabled, queer, or of color.

The tone of this year’s two-hour show is set with Lamm’s opening act, "a sexy monster rock opera" called The Reckoning. Dressed as a vulture, Lamm plays a dejected animal that struggles to know itself and its place in the universe. In the more intimate Bird Song, she is an abandoned baby bird that sings from a nest made of stuffed panty hose and prosthetic legs.

"[Bird Song] is about quiet power. It’s like, ‘I know what I have, and when you’re ready to see it, come say hi,’" said Lamm.

Other artists, among them Fraser and choreographer/dancer Antoine Hunter, use their bodies to create powerful performances. In the solo act No Retreat, No Surrender, Fraser taps into his martial arts training to simulate being physically beaten to a soundtrack of insults commonly hurled by ableists. In The Scene, theater marries film in a sexually explicit and tense performance about a man who visits a dominatrix and unexpectedly undergoes an inner transformation.

Moore, who plays the visitor in The Scene, explained that in addition to flipping the notion of who visits a dominatrix, the piece is about loving oneself. "In the beginning [of the scene, the man going to the domme] is not sure what to expect. At the end, he comes to love himself and know ‘I am beautiful.’"

Since the inaugural Sins Invalid showing at Brava in 2006, what once was a one-night annual event has blossomed into a three evenings of performance. According to Berne, previous shows have packed full houses. The public’s reaction to the project, many Sins artists say, has been a validating — if not overwhelming — experience.

For Sins performer Quest, who lives day-to-day as a "broke-ass artist schlep," receiving shout-outs from past audience members is one of the most rewarding parts of the experience. "All year ’round, people are like, ‘I saw you at the show, and I told about my friend about you guys!’ People are circuutf8g the news and it’s totally gratifying."

By helping to create new dialogue among the disabled and able-bodied communities, many of those involved with Sins feel like they are making history — and as Moore states, rewriting the books as well. "[Being involved in Sins] feels like I’m correcting history for people with disabilities," says the Berkeley activist. "History is not written from us — it’s always about others. Now we get to speak our own stories."

Houston-based Maria Palacios, a spoken word artist who has been with Sins for three years, feels that the project passes the torch of hope to the next generation of people with disabilities. "When I was growing up, I didn’t have a Barbie with a wheelchair," Palacios said. "But now kids will have us as heroes to look up to — they will have a history in place already."

SINS INVALID

Fri/2–Sat/3, 8 p.m.; Sun/4, 7 p.m.

Brava Theatre

2789 York, SF

(510) 689-7198

www.brownpapertickets.com, www.sinsinvalid.org

Mainstream journalists defensive about start-up

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By Steven T. Jones

Reactions by many mainstream media journalists to the formation of the Bay Area News Project – a nonprofit news operation supported by KQED, the UC Berkeley School of Journalism, California Newspaper Guild, financier Warren Hellman, and possibly The New York Times – have been hostile, petty, dismissive, self-serving, and misleading.

It’s no wonder the public has turned away from big newspapers and is clamoring for media reform. Rather than focusing on the public benefits of more journalism, mainstream media journalists seem to have adopted the media consolidation mindset of their corporate masters.

A central theme of the criticism has been wariness of competition. The SF Appeal today reports on a memo to San Francisco Chronicle staff written by Metro Editor Audrey Cooper in which she vows “to smash whomever is naive enough to poke their noses in our market.”

Friday’s Chronicle story on the news, which was buried back in the business section and written by James Temple, frets, “some believe it could also threaten the remaining local news industry.” That trope was also sounded in an East Bay Express blog post by Robert Gammon (formerly of the Oakland Tribune, which is part of the anti-competitive MediaNews empire) entitled “UC Berkeley Threatens Bay Area Journalism.”

Yet there’s a rather obvious central flaw to their arguments: the nonprofit project won’t be competing for advertising revenue, so it won’t force “Bay Area news organizations to make further cuts to stay competitive,” as Gammon claims. Journalists competing to do better and better work is the kind of healthy competition that benefits everyone and shouldn’t cost anyone their jobs.

‘San Francisco Bay Blues’ revisited: Moving back to Jesse Fuller

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JESSE FULLER
Move on Down the Line
(Fledg’ling)

By Kimberly Chun

He was “the Lone Cat,” for sure. Bay Area blues-folk 12-string guitarist and vocalist Jesse Fuller went by that moniker back in the day — he died in 1976 at 80 — when he plied his one-man band (including his fotdella, a foot-operated hammer-and-pedal string bass of his own invention, and harmonica-kazoo-cymbals-washboard setup) on the streets of San Francisco.

The self-described “folk songster” spent years riding the rails after leaving his native Georgia, arrived in SF to work its shipyards as a wartime welder, and later opened an Oakland shoeshine parlor. He also penned blues-folk standard “San Francisco Bay Blues,” which went on to be covered by everyone from Ramblin’ Jack Elliott and Bob Dylan to Eric Clapton and Paul McCartney. Fuller certainly displays an inviting feline ease on the original version of that number on the lovingly assembled Move on Down the Line, supplemented by notes by music maven Joe Boyd and filled out with a number of tracks that aren’t on other Fuller discs in print. The songwriter’s version is the definitive ode to the city: brisk, breezy, driven by his evocative, supple drawl and bring-it-all-home kazoo solo. It’s the finale to a quirky, compelling, and essential document of a now-less-than-recognized piece of SF music history — a part of the Southern blues tradition that carved out his own place by the Bay.

Sunrise

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le.chicken.farmer@gmail.com

CHEAP EATS I take back everything I said about Kaiser. Not because the receptionist at the Oakland lab asked if my semen sample was my husband’s, and not because not one sperm was seen in said sample (although both these little details did make me smile) … but because the day after my incendiary diatribe hit the streets, causing widespread rioting or at least a knowing chuckle on the 21 Hayes bus, I got a phone call from an endocrinologist in Martinez.

A Kaiser endocrinologist, mind you.

Who was not a buffoon, mind you.

Rather, he spent more than an hour on the phone with me, which is longer talk-time than I had with my previous endocrinologist in four years, total. Whereas my previous n-doc said, and I quote, "Hormone therapy is not rocket science" (which is true, I admit, but still a pretty dumb thing to say while you are getting someone’s hormones all screwed up).

The new guy, who had researched my entire Kaiser career before he called, got it all back together, my hormones, my head … He knew every single thing about my medical past. He asked me questions no one else had ever asked, about my work, my mom, my kids, my opinions. He even asked me what my questions were, and when I said what they were, he answered them intelligently, patiently, and in detail, in many cases contradicting what other doctors had told me. An hour plus … on the phone!

While I was at work!

I’d never had a medical experience like this, where somebody both seems to care and has the time to do a thorough job of it. After we talked I got a long e-mail from him, putting it all in writing.

While we were talking, he completely rewrote my hormone regimen, likely adding 13 1/2 years to my life (just a guess). He made sure the new, safer prescription would be ready at the pharmacy of my choice by the next day. (It was!) He figured out the probable cause of my eight-week headache, effectively ending it on the spot. And, as if all that weren’t enough, he went ahead and gave me a hysterectomy.

"Excuse me?" I said.

He said he was putting it in the computer that I’d had a hysterectomy — that way I’d stop getting bugged by computerized notices and nurses about my next Pap smear.

To perform such a delicate operation over the phone seemed above and beyond the call of medicine; it bordered on miraculous. Dazzled by my new favorite doctor’s medical prowess, I neglected to mention that I actually love it when nurses try to schedule me for a Pap smear, or ask about my period, or if I’m pregnant — stuff like that. But I’m glad I didn’t say anything, because in retrospect I would gladly trade those fleeting moments of real-girl-glory for the even gloriouser distinction of having had an over-the-phone hysterectomy.

Who wouldn’t want one of those? I mean, Pap smears and periods come and go, but a hysterectomy is forever, even if you have it in a doctor’s office or operating room.

But speaking of carne asada, there’s the Sunrise Restaurant on 24th Street between Shotwell and Folsom. Judging from its name, and the extensive Latino and Americano breakfast choices on the menu, it’s more of a morning place. I went there at sunset, and wished I’d had breakfast for dinner.

The carne asada plate ($9.95) comes with black beans, rice, and salsa. OK: the steak was tough, and there’s nothing you can do about that but shake your head, maybe make a mental note to get something else next time. But: the beans and the rice really really wanted flavor. They didn’t taste like much of anything.

There are things you can do about that, one of which is called salsa. But the little tiny tin of what-they-call-salsa was surprisingly shockingly inedibly yucky.

Meaning: there won’t be a next time. When even the salsa sucks, you are sitting in an irredeemable restaurant. Or, in other words, ugh.

If it wasn’t for good old table top Tapatío, I would have gone away entirely undernourished. As it was, I went away caloried, but not much else. No nice taste in my mouth. No plan of ever returning. No good stories to tell.

SUNRISE RESTAURANT

Mon., Wed.–Thu.: 7 a.m.–8 p.m.;

Fri.–Sun.: 7 a.m.–9 p.m.

3126 24th St., SF

(415) 206-1219

Beer and wine

MC,V

L.E. Leone’s new book is Big Bend (Sparkle Street Books).

Microfinance for radicals

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news@sfbg.com

In 1969, 11 antiwar protesters loced up at the Santa Rita County Jail began questioning each other about the future of the movement. By the time they were released, they’d decided that the creative nonviolent projects that were emerging would all need funding — and the Agape Foundation was born.

Agape, which celebrates its 40th anniversary Sept. 24, is not the only progressive foundation in San Francisco, and not the only source of money for small progressive groups. But it is, in many ways, the boldest, the one most willing to take risks on organizations that are new, small, and doing things far out on the political edge.

Nina Dessart, Agape’s administrative director, says the group is "unusual for funding only social justice or change." And unlike other foundations that look for long track records, Agape funds startups. Indeed, an organization must be less than five years old to be eligible for Agape’s funding options.

"We love to be the first ones [to give aid to an emerging cause,]" Dessart said. "It is hard to get grants to organizations without track records."

Some big, nationally prominent organizations also have benefited from Agape’s money, including Amnesty International, the National Farm worker Ministry, and Bread and Roses.

Agape — the name comes from the Greek word for altruism — also prides itself on helping the likes of People’s Grocery in West Oakland, a small operation that promotes food and health awareness in an economically depressed community.

And long before microloans became popular, the folks at Agape realized that a little money could go a long way. For example, the National Farmworkers Ministry "used [a] 1959 Plymouth station wagon [purchased with Agape funds] continuously until its demise in the autumn," according to Agape records. The group used the station wagon to bring food and relief to families whose families members had been jailed for picketing, to carry protesters to picket lines from jail, and to map out the picket lines.

Agape funds have supplied portable toilets for antinuclear protests. The group has been funding gay military counseling since 1972. That same year, Agape underwrote a four-day "consciousness raising" conference for ex-prisoners and their families. In 1975, Agape paid for the construction of the Trident Monster — a submarine-like sculpture used to raise awareness of nuclear weapons.

In the 1970s and 1980s, Agape gave money and support to antinuclear organizations such as the Honeywell Project and the Abalone Alliance — a time when groups that were constantly engaged in civil disobedience and defying federal and state authorities would have had trouble getting tax-exempt status.

Indeed, tax-status assistance has been one of Agape’s most powerful tools — groups can use the foundation as a fiscal sponsor and not have to worry about wrangling with tax documents.

Women for Genuine Security, a Bay Area advocacy group, uses Agape to process contributions to "minimize administrative aspects of getting a tax-exempt status," coordinator Gwen Kirk told us.

Five years ago Agape broadened its focus from fundraising by starting an annual awards program to spotlight the people and groups that are creatively and actively working toward peace. Nicole Hsiang, an Agape board member, explains that around the initiation of the Iraq War, Agape started giving out peace awards "to the real heroes."

Last year the Agape Peace Prize went to Nancy Hernandez, youth program coordinator of H.O.M.E.Y. (Homies Organizing to Empower Mission Youth). Hernandez used the money from the prize to take rival Mission District gang members camping. These youth — and those helped by Youth Together and other organizations funded, aided, and spotlighted by Agape — are "the next 40," Hernandez says, the ones at the forefront of social change for the next 40 years in San Francisco.

Jacqueline Cabasso, this year’s recipient of the Enduring Visionary Prize, is executive director of Western States Legal Foundation, which helped form the nation’s largest antiwar coalition, US Abolition 2000 and the People’s Nonviolent Response Coalition after 9/11.

Eileen Hansen, acting director of Agape, puts it simply: "We fund new, struggling, barely formed groups that can hardly call themselves an organization — and nobody else will take a chance on them," she said. "When you look back at the social justice movement over the past 40 years and all the groups we’ve helped, you have to wonder where that movement would have been without Agape."

Agape’s awards ceremony and anniversary party is Sept. 24, 7 p.m. to 9 p.m. in the Green Room, San Francisco War Memorial, 401 Van Ness. $50 donation. www.agapepeaceprize.org.

Of human bondage

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culture@sfbg.com

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Swingin’ with a star: Madison Young, photographed by Pat Mazzera

San Francisco is America’s capital of kink. Consider Sunday’s Folsom Street Fair (www.folomstreetfair.org) as a flagship holiday and the Armory, occupied by Kink.com, as a kind of sexual City Hall, and there’s little dispute.

But it may seem peculiar for a city so committed to gender and sexual equality to be the patron city of BDSM: a complicated acronym that stands for bondage and discipline (BD), domination and submission (D/s), sadism and masochism (SM). In crude terms, BDSM relationships are marked by deliberate and sometimes extreme inequality, where a submissive party voluntarily forfeits partial or complete physical, psychological, and emotional control to a dominant one. Although "switching" does occur, D/s — the Dominant (capital D) and submissive power dichotomy — may seem to be everything our traditional concept of liberal empowerment and classical feminism rail against.

But while it might be difficult for some to grasp, BDSM — which includes a broad spectrum of sexual acts including (but not limited to) bondage, corporal punishment, electrostimulation, piercing, branding, suspension, golden showers, and asphyxiation, as well as general play relationships like age play, pet play, medical play, and cross-dressing — is controlled by a strict code of behavior referred to as "SSC," or "safe, sane, and consensual." San Francisco even has its own BDSM nonprofit, the Society of Janus, which was founded in 1974 to promote safe adult power exchange.

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Ropes aficionado Fivestar, photographed by Pat Mazzera

And unlike that other U.S. capital, Washington, D.C., where women are systemically outnumbered in the decision-making process, in San Francisco’s kinky community, strong and sexually empowered women are well represented — if not always well understood.

Women in BDSM, unfair as it seems, often receive some of the harshest criticism from a varied opposition. D/s women frequently find their lifestyles attacked by religious groups, academics, psychologists, and sexual conservatives, as well as much of the midsection of the United States. Whether stigmatized as self-loathing antifeminists or insatiable man-eating jezebels — or dismissed as insane — much misinformation has been spread about women (gendered, self-identified) who operate within the community.

However, the strong, independent-minded D/s women of San Francisco will have the vanilla (their term for those who do not engage in BDSM activities) know that BDSM is not what you think. Indeed, BDSM: It’s Not What You Think! premiered last year at the Frameline Film Festival. Frameline, the longest-running film festival dedicated to LGBT programming, featured a cast of prominent figures in the San Francisco leather community, many of them women.

For the women of bondage in our city, many of whom maintain 24/7 D/s relationships, BDSM is considered a liberating force. The following profiles are shout-outs to just some of these women, each representing a different facet within the BDSM spectrum. Most have participated in the community for more than a decade — and all really, really love what they do.

In San Francisco, the old Rousseauian adage "Man is born free, but everywhere he is in chains," could easily be rephrased as: "Woman is born free, and everywhere she uses chains to get off".

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Madison Young, photographed by Pat Mazzera

MADISON YOUNG, THE INGÉNUE

Madison Young refers to herself as the "kinky girl next door." With blue eyes, strawberry blonde hair, and a translucent, Kidmanesque complexion, Young is one of the most recognizable performers in the adult entertainment industry, though perhaps more recognizable to those who enjoy inflicting pain on women tied with rope.

"I found a Kink.com posting on Craigslist," Young says. "I had been involved in kinky sex before then, and was really into things like fisting and golden showers and light bondage. But I had never really done flogging or anything around rope bondage. Peter [Ackworth] was the first person who ever tied me up, and I fell in love with it instantly." Since then, she’s become famous, adored by fans for her raw, honest performances and for her incredible toughness.

And Young is really, really tough. Run a simple Google Image search and you’ll find photos of her subjected to things that would make a Navy Seal weep — like being suspended from one elbow by a single rope strung from the ceiling, with her legs pulled apart as far as legs can go. Young is one of the few working models who can withstand what is known as a "category five suspension," bondage positions so grueling they can only be endured for mere seconds. "I have a really high pain tolerance," she says. On a scale of 1 to 10? "Out of the models that exist, I’m a 10."

A self-identified masochist, Young’s interest in bondage is uniquely centered around rope. "I’m not really into metal restraints, scarves, zip ties, or anything like that. It has to be rope."

Young is also among a small but growing number of women who are writing, directing, and producing porn, and runs her own production house called Madison Young Productions. She also finds time to run Femina Potens, a female-focused art gallery located in the Castro.

www.madisonbound.com; www.feminapotens.org

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Midori, photographed by Constance Smith

MIDORI, THE SENSEI

Midori, the artist formerly known as Fetish Diva Midori, is adamantly opposed to being portrayed exclusively within the confines of BDSM. "A lot of people, sure, see my bondage stuff. But that’s just one of many, many things that I do."

That may be so, but all the same, you can’t talk about San Francisco’s women of bondage without including a legend like Midori. While she might claim "I don’t distinguish S-M, because it’s just all sexuality," she is a huge personality, respected sex-educator, and popular author in the realm of BDSM. Her sought-after bondage workshops include weekend-long intensives on "rope bondage dojo," a type of bondage she developed and trademarked.

For Midori, growing up in Japan has had an enormous impact on her work, and her heritage manifests itself not only her rope bondage specialty in but also in her academic interests. She published a collection of S-M stories titled Master Han’s Daughter based in a Tokyo of the future and developed a course on contemporary sex culture in Japan. She also has written instructional books like The Seductive Art of Japanese Bondage and Wild Side: The Book of Kink and taught sex education courses all over the world.

Although stunning, this one-time fetish model and former professional dominatrix is wary of her status as a sex symbol. "If people appreciate my writing and enjoy my classes and get something out of it, and dig my work because of my art and my activism and stuff that I do, hey, that’s great. I think I’m, like, way past the age of being the pretty something, because after all I’m well in my 40s. There are certain people in my private life, well, I hope they think I’m sexy. But beyond that, I hope people appreciate my work because of its content."

www.planetmidori.com; www.ropedojo.com

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Simone Kross, photographed by Constance Smith

SIMONE KROSS, THE ROLLING STONE

The perceived life of a traveling dominatrix is alluring: exotic getaways, extravagant dinners, five-star hotels transformed into makeshift dungeons. But the reality is not easy.

Says Simone Kross, a traveling pro-domme: "The perception is maybe that I am wealthy and I have clients flying me around and it’s really exotic and glamorous. It’s really not. It’s hard work, and I pay my own way. The clients and sessions help me fund getting from one place to the next, but it’s not as glamorous as it may seem. At least not for me."

Kross has no illusions about her frequently grueling work. While working out of hotels, she runs her advertising on Eros Guide, a large online erotic service listing. "I can get busy to the point where I might not see the outside of a hotel room for three or four days. After I finish my sessions I can be pretty tired, order room service, and go to bed. I could be doing sessions from one in the afternoon until 10 at night."

An added stress is traveling with heavy gear. "The biggest problem is weight requirements, because you have to keep it under 50 pounds," she says. What could be so heavy? "You’d be surprised," she says. "Leather and metal, D-rings, rope, whips. I don’t even use half the gear I pack, but you never know what someone requires for a scene. The shoes also tend to weigh quite a bit."

Explaining a suitcase full of floggers, rope, gags, whips, and harnesses to airport security might seem awkward, but Simone says "they have checked my bags because they are a little heavier, but no one has given me any problems."

You can see Kross, a gorgeous brunette with cheekbones that appear perfectly convex from every angle, in action on Men in Pain, a chapter of Kink.com.

www.simonekross.com

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Natasha Strange, photographed by Constance Smith

NATASHA STRANGE, THE PRINCESSA

Now that the age of feudalism has passed, not many women can admit to having a coterie of ladies-in-waiting, so Natasha Strange’s "pink posse" — cross-dressing clients who have offered their services to her — is quite the blast from the past. And their title is not in name only: these ladies (or "sissy boys") actually do wait on Natasha.

For instance, Sissie Sandra’s responsibilities include walking Strange’s dog and running errands, duties that Sandra faithfully blogs about on a site called "Sandra in Waiting." Who knew moving someone’s car to avoid a street- cleaning ticket could be so erotic?

To her ladies-in-waiting, Strange is "the Princessa": a draconian ruler (they wouldn’t have it any other way) whose Marie Antoinette-esque whims become the word of law. With her wide blue eyes and long wavy hair, she resembles a cupcake Glinda the Good Witch, and it’s not hard to see why her pink-clad sissies have grown attached over the years.

Strange lives a charmed life. Her career began at Fantasy Makers, a fetish house in Oakland, when she was 25. Through her relationships with dedicated clients, her talents as a mistress, and sheer luck, she has fallen into a life many young dominatrices can only dream of.

She doesn’t take that luck for granted. "I have been really, really lucky to establish myself with a clientele that is really devoted to me," she says. "I don’t have to go out and hustle nearly as much as I did when I started out, even in this economy."

While she isn’t taking new clients, Strange hasn’t retired as a dominatrix just yet.

"I don’t think good dommes really retire. They sort of fade away. They take their favorite clients and they go. That’s probably what I’m starting to do. I haven’t advertised anywhere in two years. I’ve taken 90 percent of my website down. But I still have my tight-knit little group of subbies and sissies."

www.kittenwithawhip.com; sandrainwaiting.blogspot.com

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Val Langmuir, photographed by Constance Smith

VAL LANGMUIR, THE ACTIVIST

If you’re not living a BDSM lifestyle, it’s unlikely that you’ve heard of the Exiles and the sizable contribution they have made to the San Francisco BDSM scene.

This group, an educational organization (for women) that teaches safe BDSM (between women), had several lives before becoming the organization it is today. Says Val Langmuir, co-coordinator, "The Outcasts was the name of the former group. It originated in 1984 and ceased to exist in 1997. The Exiles was founded in 1997 by former Outcasts and immediately held its first program: Guns, Knives, and Choking, Oh My."

While it appears as if these women enjoy flirting with death, hardcore BDSM is the reason the Exiles exist in the first place: they want to make sure women know how to engage in it and survive. Their classes have included controversial topics like "Brutal Affection: Punching, Kicking, Slapping, and Sex," "The Art of Hazardous Age Play," and a program educating attendees on breath play, or what Langmuir describes as "how not to kill yourself when engaging in erotic asphyxiation." Langmuir moved to San Francisco 12 years ago from London, where she protested the horrifying Spanner Operation in 1990 that saw 16 Manchester gay men arrested and thrown in jail for participating in BDSM. Since then, Langmuir has been dedicated to advocating the right to participate in BDSM.

She has been involved with the Exiles since its inception. "We have meetings in the Women’s Building the third Friday of every month. Usually at each meeting, I’ll see at least one new face."

www.theexiles.org

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Selina Raven, photographed by Constance Smith

SELINA RAVEN, THE MRS. ROBINSON

A former Catholic schoolgirl who attributes her sadistic tendencies to "all of those Sunday mornings spent contemputf8g the bloody figure of Christ," Raven began her pro-domme career in a structured, hierarchical way: she apprenticed. "There aren’t a lot of other women who are practicing BDSM as professionals who went through the process of apprenticing themselves to an older mistress. There’s only one other woman in SF right now, Eve Minax, who has actually done things in a more traditional manner."

Now Raven is not only one of the most established mistresses in San Francisco (and a 2007 Guardian Best of the Bay winner), but something of a mentor to up-and-coming dommes. Perhaps it’s because Raven benefited personally from the tutelage of an older mistress, Sybil Holiday, that she "always resolved to be a friendly face in the community, in being that person who I wish was around when I was 18: a little wicked but armed with good information and good experiences. That’s why I see myself as Mrs. Robinson."

A popular guest lecturer at UC Berkeley and sex educator at the Academy of SM Arts, an organization based in Menlo Park with workshops around the Bay Area, Raven is a happily-settled Oaklander with a supportive leather family. "I have my slave, and I have my former apprentice. And her boy lives with us too. I do not lack for love and companionship, but it’s not in the traditional hetero-normative form."

www.selinaraven.com

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EVE MINAX, THE TRANSFERRED QUEEN

"I love diapering," says Eve Minax. "Age-play is a huge force in my life."

AB/DL, which stands for adult baby/diaper-lover, is a paraphilia most people tend to find either comical or disturbing. Minax disagrees. "Diapering in and of itself isn’t about age play as much as it is about getting somebody into a primal state — that baby state, that place before you’re actually living, thinking, feeling, in civilization."

In terms of maternal figures, Minax — who is six feet tall in heels, with short spikes of orangey-red hair and a fluty, theatrical voice — looks more Auntie Mame than Mommy Dearest. That is, if Auntie Mame looked like she could flog you into an intensive care unit. (In fact, the first time I met Minax in person, her right wrist was in a cast. She sprained it while flogging a client too enthusiastically.)

And speaking of intensive care, Minax is known as much for her medical play as she is for age play — in case you’re on the market for a rectal exam.

After eight years of working in San Francisco and living in Chicago, Minax finally made the decision to make SF her home base last year, much to her own delight. "I come from Chicago. I’ve lived in Paris. I’ve lived in Melbourne. But San Francisco is the mecca for alternative sexuality. All everyone ever talked about was San Francisco! It was almost like having a religious experience. I wanted to wait until I was about to retire, but then finally I was like: fuck it, I’ll just move here."

Minax’s current projects writing a cookbook of "food and BDSM pairings", such as "pork ribs with a side of rubber gimp".

www.mistressminax.com

Editor’s note: This list is by no means exhaustive. There are an impressive number of women making an impact on San Francisco’s BDSM scene. In particular, we’d also like to give a nod to Cleo Dubois, Sybil Holiday, Madame Butterfly, Luncida Archer, Mistress Morgana, Fivestar, Maitres Madeline, Janet Hardy, Hollie Stevens, and Princess Donna.

Snap Sounds: Barbara Lynn

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By Johnny Ray Huston

barbaralynn0909.jpg

BARBARA LYNN

Here is Barbara Lynn

(Water)

A lost gem of Atlantic, saved by the boys of Water in Oakland. The clarity and purity of Lynn’s voice are rare — and don’t let those adjectives fool you into thinking she’s a frail flower. Here, the left-handed guitarist makes wise ballads she wrote as a teen burn as strong and steady as anything by Irma Thomas. It’s all in the voice.

Barbara Lynn, “You’ll Lose a Good Thing”

Playlist

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CROCODILES

Summer of Hate

(Fat Possum)

If it’s 1988 all over again, Crocodiles are our Spacemen 3, ready to deliver the perfect prescription: drum machines. vintage organs, drugs = god lyrics. They’ve got the best Jesus and Mary Chain death anthems too, and the occasional burst of energy, trading ‘ludes for upper-spiked punk on "Soft Skull (In My Room)." The poise and epic production here are surprising for a debut.

GRASS WIDOW

Grass Widow EP

(Make a Mess)

Bullseye. Times four.

BARBARA LYNN

Here is Barbara Lynn

(Water)

A lost gem of Atlantic, saved by the boys of Water in Oakland. The clarity and purity of Lynn’s voice are rare — and don’t let those adjectives fool you into thinking she’s a frail flower. Here, the left-handed guitarist makes wise ballads she wrote as a teen burn as strong and steady as anything by Irma Thomas. It’s all in the voice.

EMITT RHODES

The Emitt Rhodes Recordings [1969-1973]

(Hip-O-Select)

Oh, Emitt. At your peak you were picture-perfect: thick brown hair parted down the middle, angelic face with a doll’s complexion. The music business’ merry-go-round was cruel to you, but what glorious pop songs you’ve given us: "Live Till You Die" has been holding me together the last week or two, and it’s just one of many beauties from your self-titled 1970 LP.

SALLY SHAPIRO

My Guilty Pleasure

(Paper Bag)

The mystery girl who goes by the name of Sally and her partner in song Johan Agebjörn trade the melancholic depths of their first synth pop collection for lighter, sunnier fare. But the Expose-like "Save Your Love" has its charms, as does the song that pits love versus people dying in Africa.

SORCERER

Neon Leon

(Tirk)

On his second album, SF’s Daniel Judd veers away from the Hawaiian and beach themes and takes inspiration from novelist Elmore Leonard while adding some funk touches. But the tracks here still bloom and glisten like a tropical flower seen through time-lapse photography. "Dayglow" is gorgeous and many-faceted. "Raydio (Play It)" is the loveliest tribute to Ray Parker Jr. in the history of recorded sound.

What they do matters

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johnny@sfbg.com

Something is happening. San Francisco and the greater Bay Area is, even more than usual, home to some bands that hardwire the heart: Grass Widow, Nodzzz, Rank/Xerox, Mayyors, Ty Segall. But more than that, the place we call home is a nexus for a bunch of great new rock albums — ones that just might be classics. Girls’ Album (True Panther/Matador) is the popular one with the media blitz behind it, but the Mantles’ debut is the come-from-behind outsider, the secret star, the crushworthy keeper. You’ll know it when you hear it, from the one-two-three punch of the first trio of tracks: the Byrds-y jangle of "Disappearing Act"; the churning propulsive energy of "What We Do Matters"; and maybe most of all, the brooding balladry of "Look Away," a now-I-see-you-now-I-don’t relationship ode which possesses a kind of offhand melodic and vocal strength that sounds easy to achieve, but obviously isn’t, because so few ever manage to do it.

Those are some of the things that go into The Mantles (Siltbreeze), along with guitar blazes (the climactic "Thin Reminder") and the overall feel of a band as a thriving living thing. What went on outside the album is an entirely different story. The group recorded with Greg Ashley in Oakland, where the adventures often began before they entered the studio. "One day this cracked-out lady walked up and punched this other lady in the face right in front of our car," says drummer Virginia Weatherby. "There’s a giant pile of trash right in front of his [Ashley’s] door," chimes in bassist Matt Roberts. "This one afternoon I showed up and there was a guy by it wearing no shirt and a Yoda mask — it was totally absurd."

Fueled by friendship and romance, the Mantles are relaxed enough to enjoy absurdity, whether it arrives in the form of a shirtless dude in a Yoda mask or entails playing the role of "psychedelic band" and "mid-tempo downer" at a sweltering garage rock party where people are doing cannonballs into a pool. If anything, the group was too relaxed for Ashley’s spontaneous and live-sounding recording process, an achievement of sorts. "You think you have the situation figured out on the third day of recording," says vocalist-guitarist Mike Oliveras, as the group discusses the different facets of Ashley’s home studio and warehouse setup, where graffiti and ciggies floating in glasses of beer are one norm. "Then he [Ashley] comes down with a bounty of nice-looking tomatoes and says, Do you guys want any tomatoes? These are from my garden on the roof."

The Mantles is being released by Siltbreeze, a pairing that should yield interesting results. The pop immediacy of the group’s songs might make them seem a good fit for Berkeley’s Slumberland, even if they tend to rock a bit more vigorously and wildly than many groups on Mike Shulman’s rightfully vaunted label. A standout track like the easygoing, assured "Don’t Lie" — understated yet almost anthemic at the close — is more melodic than most music released by Siltbreeze owner Tom Lax, whose enthusiasm came from hearing the first of the group’s two 7-inch singles to date. "There’s a certain amount of people who will buy it [the album] because it’s on Siltbreeze," Roberts says. "And there’s a certain amount of people who will specifically not buy it because it’s on Siltbreeze."

Fortunately, The Mantles is the kind of album that defies expectations. Its shades of New Zealand-ry (an organ sound and laconic vocal delivery not far from Flying Nun groups such as the Chills and the Verlaines), its Paisley Underground touches (some reviewers have mentioned Steve Wynn and Dream Syndicate), and its better-than-NME‘s-C86-cassette pop appeal seem very au courant, but come across as natural as breathing. Oliveras’ vocal presence is both a weapon and a major reason for this — he’s got more confidence and presence than your average rocker, yet he never falls into cringeworthy or over-the-top rock star gestures. There’s no T.T.H. (tries-too-hard) to his or the band’s approach. This forthright pleasure and assurance might have grown from the group’s recording experiences to date, which range from the experimentation and live takes of Ashley to the precision and attention to detail of Papercuts’ Jason Quever, who produced one of their singles.

Along with friendship and romance, family plays a role in the Mantles’ music — not corny Christian family values, but a bond with family members that’s taken a variety of funny forms during the group’s existence. "At [a show at] Café Du Nord, my mom said she wanted a drink, and when I told her to go to the bar, she said, It’s not my milieu," says Roberts to much laughter. He lists his favorite show to date as one the group did for Oliveras’ family: "There was an audience of six people on patio chairs sitting 20 yards away from us," he says.

"The Mantles: Being Earnest," Oliveras jokes.

The Mantles has the arresting look required of a vinyl-only release, thanks to a stark and handsome design by local musician Nathan Berlinguette, art by Colter Jacobsen, and another family touch: the photo on the album’s cover. As evocative in a nostalgic way as the cover of Night Control’s Death Control (Kill Shaman) is in a 2009 manner, it’s a picture of a man holding a picture — a photo of Jimi Hendrix. The man, standing in front of a gorgeous mountain-lined horizon, is Weatherby’s father. "My dad is beside himself," she says with a smile. "He went to one of our shows recently and was walking around saying, Album Cover Guy’s here. Want to meet the album cover?"

THE MANTLES

Album release party

Oct. 1

Eagle Tavern

398 12th St, SF

(415) 626-0880

www.myspace.com/mantles

Pho la love

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le.chicken.farmer@gmail.com

CHEAP EATS Don’t worry, I sat down at the conference table in my office in Oakland with Earl Butter, a big bottle of gin, a small bottle of grapefruit soda, a bowl of ice, and two small glasses, and we talked until almost midnight. It’s taken care of. We’re all going to be okay. Even you.

He’d brought a couple bones over from Looney’s Barbecue, around the corner, but I’d already bloated myself on takeout pho from Kang Nam, around the other corner. While we were talking, a mosquito came in through one of the many open windows in my hot hot upstairs apartment, and established itself in the bedroom. Weirdo the Cat blinked.

Earl Butter is a peach. Technically, this isn’t true, but in some respects it’s the perfect way to describe him. He’s soft and furry and sweet, and there’s a little stem sticking out of the top of his head.

He grows on trees, for another example.

One of my favorite things about pho (pronounced pha) is that it’s pronounced pha (but spelled pho). Those crazy Vietnameses! The good thing about getting pho to go (pronounced pha to ga) is that — if all goes well — you will find they have packaged the "rare beef" separately. So it’s raw beef, sliced really very thin, and it cooks in the broth when you put the two together. That’s the idea. But you can always let the broth sit in your bowl, and go to the bathroom, and make a couple phone calls, and check your e-mail, and lecture your cat, and clear off your desk, maybe put a load of laundry in, and then add the beef to the broth. That way it won’t cook so much as warm up a little, and that’s how I like it. Jalapeños, bean sprouts, fresh basil and cilantro …

We go back a long way, me and all those things, but especially Earl Butter. It’s one of those friendships that, in spite of everything — remote control ownership disputes, abandonment issues, actual abandonment, bad advice given (and taken), pork-related deception, petty jealousy, petty thievery of hats, grand theft of an automobile, grand jealousy, strange smells in the bathroom, botched interventions, band blowups, automotive breakdowns, nervous ones, and, you know, everything, tube socks … you get the sense that nothing can stop you, no one can beat you. You go back a long way and you’re going to go forward an even longer way.

Being which as it may, the fucker brings me two cold bones, one spoon’s worth of black-eyed peas, onion rings (and I don’t like onion rings), and a half of a crab-cake with mayonnaise in it. True, I had already eaten, but did he know this?

No. He did not. Wait, maybe he did. I’m trying to remember our phone conversation while I was waiting for my broth to cool off.

Anyway, this isn’t about Earl Butter, or me, or barbecue, or pho, or even my love, Romeo (pronounced Romea), who will be here in five, four, three days. Watch out, everybody. You are about to be absolutely grossed out. If scenes of romantical bliss make you barf, close your eyes, OK? I’ll tell you when to open them.

Really the person I really meant for this one to be about was the mosquito. But you know what? I’m in love, and feeling intoxicated and insane. I’ll let you imagine the cartoonish battle of wits that went down in the bedroom. All. Night. That. Night. And the bloody mess I left on the bathroom door the next morning, when, Popeye-armed and pissed off, I finally found him, or her.

Call me crazy, but I’m going to leave you with a few words about Kang Nam: it’s a both is and isn’t kind of place. Nice track lighting and big, ugly overhead fluorescents. Nice art on the wall and taped-on paper flyers for specials. Of the two waitresspersonpeople I encountered, one was calm, the other running around like a waitressperson with her head still on.

I didn’t see what the hurry was.

I did like my soup. A lot.

KANG NAM PHO HOUSE

Daily: 10 a.m.-10 p.m.

4419 Telegraph, Oakl

(510) 984-0900

Beer & wine

MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.