In another sign that Mayor Gavin Newsom is increasingly looking past San Francisco’s needs into his own political future as a candidate for governor, he has announced the resignation of chief of staff Phil Ginsburg, a competent manager and bureaucrat who appears to have been forced out for not having sharp enough political teeth. Replacing Ginsburg is Newsom’s longtime homeless policy point person, Trent Rhorer, a young political animal whose fierce loyalty to Newsom has often been at odds with his obligations as a public servant. As head of the Human Services Agency, Rhorer recently helped gut services to humans in favor of big executive salaries for partisans like himself. In covering eight California counties over my newspaper career, I’ve never encountered a more politicized and less diplomatic department head than Rhorer, who seems acutely aware that Newsom is his meal ticket. “He’s a Newsom sycophant,” Sup. Chris Daly said.
Board of Supervisors president Aaron Peskin also makes another salient point about Rhorer: “This will be the first time in the history of San Francisco that we’ll have a chief of staff who lives in Oakland.” In fact, Rhorer has often joined the chorus of other outsiders like the Chronicle’s CW Nevius in sounding the suburban perspective on the realities of urban life, an approach we’ll likely see more and more of out of Newsom, whose recent flip-flop on cooperating with the feds is just the beginning of the jilting of San Franciscans in favor of more conservative Californians.
I asked Newsom’s press office (which has also become more partisan in the last year or so) about all of the above via e-mail, and press secretary Nathan Ballard responded simply, “Smart remarks like that one cost Peskin his seat on the selection committee.”
Oakland
Newsom political loyalist to head staff
Taste the Mochi
› kimberly@sfbg.com
SONIC REDUCER "If you build it, they will come!" A few famous first words from David Wang otherwise known as the ever-fruitful laptop lothario Mochipet when we spoke recently, and something to ponder as I gazed around his so-chill, so-frolicsome, and oh-so-free Fourth of July barbecue bash in Golden Gate Park. In a green, leafy nook near the fields where the buffalo roam, a DJ tent is up and housing such pals as Phon.o and Flying Skulls. Funk ‘n’ Chunk fire the grill with impressive flamethrower action, and Christian of the Tasty crew plunges fish-sauce-marinated chicks into the hot grease for Filipino fried chicken. Throw a Tecate on the whole thing, pet your mochi, and call it an awesome party despite the fact that, as Wang confides, "we did get started a little late because there were some rangers sniffing around."
Mochipet, “Get Your Whistle Wet”
Wang is accustomed to building where few have ventured before and as a collaborator extraordinaire who has worked with everyone from Spank Rock to Ellen Allien, he’s brought together communities of sorts in the most unlikely of locales (hence the name of his label, Daly City Records). Earlier that week we chatted by phone in lieu of digging into Hong Kong deep-fried pork chops and a sweet, cheap Filipino breakfast ("It’s like soul food for Asians everything’s either deep-fried or smoked") at Gateway restaurant near the literal and spiritual home of Daly City Records. The occasion is his forthcoming Mission Creek Music and Arts Festival, an improv-y and likely collaborative performance, as well as a whopping release show at Club Six for his latest disc, Microphonepet (Daly City).
A formidable gathering of all of Wang’s work and collaborations since 2001, Microphonepet overwhelms with its awesome sonics, roving from "Tangle" with Salva and Epcot and "Get Your Whistle Wet" with the Hustle Heads, to "Vnecks" with 215 the Freshest Kids and "Lazy Days" with KFlay. Where has Wang been hiding his crazily deep-fried, deliciously bleepy hip-hop production skills all this time? "Guess it got to the point where last year I got 20 tracks, so I just put them out as a record, because some of them are really cool," he explains. "I thought they were really diverse and it would be a good segue to my next record."
Wang has been pouring plenty of energy into that coming disc, which may be released on Daly City or an imprint like Ninjatune. He describes it as more personal: he’s skating progressive, jazz, and South American musical influences off trad Korean and Chinese sounds, and acoustic guitar off heavy electronics. "I’ve always written traditional songs but I’ve never really been comfortable releasing it," says Wang, who describes his early aural interests as veering toward jazz and salsa. "All my records before this have been experiments me trying new things. But they haven’t been as personal as this next record. I think of it as my first record, really. I’m a slow bloomer." *
MOCHIPET
MCMF show with Yoko Solo, Patrice Scanlon, and Blanket Head
July 18, 8 p.m., $7
Million Fishes Gallery
2501 Bryant, SF
millionfishes.com
Also Aug. 9
Microphonepet release show with Raashan, Mike Boo, Cikee, Daddy Kev, Dopestyles, Kflay, and others
9 p.m., $10<\d>$15
Club Six
60 Sixth St., SF
BATTLE OF THE FESTS: MISSION CREEK VS. DIAMOND DAYS?
No need to create a faux feud: fests that clash by night and warehouse shows are no problem. In response to learning that Diamond Days Heeb magazine’s hoedown, newly transplanted from Brooklyn to Oakland goes down the same week as this year’s Mission Creek Music and Arts Festival, founder Jeff Ray said, "I think it’s great. I like Heeb magazine. We haven’t completely settled on those dates, and I randomly picked this weekend normally we do it in May. Next time we might do it the first week of August." OK, so both fests also happen to include some of the same performers each has its unique attractions as well. Sparkling offerings at DD’s Ella Baker Center for Human Rights fundraiser include Los Angeles’ punky-garagey Audacity, Seattle’s rousing Whalebones, Ventura’s thrashy Fucking Wrath, and a mother lode of intriguing folk from the LA area ranging from the sibling sublimity of the Chapin Sisters to the resurgent pop of "Windy" scribe Ruthann Friedman.
July 17 and 20, Mama Buzz Café, Oakl.; July 1719, Ghost Town Gallery, Oakl. For details, go to www.myspace.com/diamonddaysfest
LOUDER, FASTER, STRONGER
APACHE
The garage rockin’ good times stream off this CutsParchman Farm supergroup’s debut, Boomtown Gems (Birdman). Wed/9, 9 p.m., $6. Elbo Room, 647 Valencia, SF. www.elbo.com
KODE 9
The London dubstep artist and Hyperdub label owner with a doctorate in philosophy gives a shout out to his boroughs. Thurs/10, 9 p.m., $12. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com
QUITZOW
The multi-instrumental wiz grabs for Solex’s crown with some goofy fun, like kitty-sampling "Cats R People 2" off her Art College (Young Love). With Settting Sun and the Love X Nowhere. Thurs/10, 8 p.m., $10. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com
RATATAT
A kinder, gentler Crooklyn combo? Rabid fans can expect polyrhythmic rock from LP3 (XL). Thurs/10, 9 p.m., $20. Slim’s, 33 11th St., SF. www.slims-sf.com
20 MINUTE LOOP
The SF indie rockers chime in on tabloid culture with their new, self-released Famous People Marry Famous People. Fri/11, 10 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com
Port O’Brien
PREVIEW A little more than a year ago, a "too-pretty-to-refuse-you" friend dragged me to a Bright Eyes concert. I remember almost nothing of the group’s set, and I wasn’t the drunk one. Connor Oberst, so hipster-slim you know he’s a lightweight, strutted on stage, Corona in hand, his stage presence as deflated as his sound, unsure of the notes in his repertoire’s half-octave range. His reputation as a talented musician debunked, he nevertheless justified his holding the helm at the label he founded, Saddle Creek, judiciously booking Oakland locals Port O’Brien as his opening band. Oberst isn’t the only A&R man with his eyes on O’Brien just last year the band toured Europe with Modest Mouse, and for good reason.
With a quivering-lip, about-to-cry delivery held in common with Oberst, O’Brien frontman Van Pierazalowski sings log-cabin laments to the supporting sounds of soft-pedaled piano, back-porch banjo, and guitar strums. When drummer Joshua Barnhart turns on his snare, tightens his drumheads and polishes his crash cymbals, the sound morphs into an Appalachian anthem, the folk instrumentation swallowed by vocals sung together by the audience and the entire band. O’Brien leaves its audience members wishing their hearts had ears in one instant, and bouncing on the balls of their feet, arms held high and voices raised in song the next. If Oberst specializes in wrist-slitting emo, O’Brien cleans the wounds with a fusion of old-wives witch hazel and indie antiseptic sting: modern moonshine melodies to shout and sob our separate ways to catharsis.
PORT O’BRIEN With the Builders and the Butchers. Fri/11, 9:30 p.m., $12. Café Du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com
Sneaky Creek
TORSTEN KRETCHZMAR
What is it that makes Torsten Kretchzmar so different, so alluring? Perhaps it’s that he knows what girls like as proven in the music video for "I Know What Girls Like," where the bespectacled German wins a barroom bro-down against a bunch of pool-playing dudes. Perhaps it’s because he’s the best Teutonic electropop icon since Klaus Nomi rocketed up to the sky. Or perhaps it’s because he’s quite frankly hot. Whatever the case, all will be screaming with Kretchzmarmaniac glee when he takes the stage. (Johnny Ray Huston) With Freddy McGuire, Justine Electra, and Katrina Lamb. July 16, 8 p.m., $5$15 sliding scale. New Langton Arts, 1246 Folsom, (415) 626-5416
JEL
Oakland sound collagist Jeffrey Logan impressed the heck outta everyone and their brothers with his artful Soft Money (Anticon, 2006). Next up, a putf8um single, which will guarantee plastic surgery for his entire family. (Kimberly Chun) With the Sixteens, the Fucking Ocean, and NED. July 17, 9 p.m., $7. Eagle Tavern, 398 12th St., SF. (415) 626-0880
EXTRA ACTION MARCHING BAND VS. WHAT CHEER?
Can’t wait for the battle of the brass? The blood-spitting firestarters of the Bay’s EAMB kick off MCMF, and the 18-piece Providence, R.I., ensemble WC closes it with oodles of horn-dog action. (Chun) Extra Action Marching Band with Nurses, Fluff Girl, and Butt holes Urfers. July 18, 9 p.m., $8. Eagle Tavern, 398 12th St., SF. (415) 626-0880. What Cheer? with Tiger Honey Pot, MGM Grand, and Super Secreta Especiale July 20, 3:30 p.m. (all-ages show), $5. Million Fishes Gallery, 2501 Bryant, SF. www.millionfishes.com. What Cheer? with Super Secreta Especiale July 20, 8 p.m., $10. Amnesia Bar, 853 Valencia, SF. (415) 970-0012
ARIEL PINK’S HAUNTED GRAFFITI
He’s baaack. (Chun) With Anavan, Late Young, Rainbow Arabia, and Hecuba. July 18, 9 p.m., $10-$15. Cellspace, 2050 Bryant, SF. (415) 648-7562
EARLIMART
There is life after Elliott Smith. The former Fresno-nauts have scored mucho acclaim for their layered, sonically enriched new album pun alert Hymn and Her (Majordomo). It’s the third most added college-radio album in the nation to boot. (Chun) With Built Like Alaska and the Parson Red Heads. July 19, 9:30 p.m., $14. Café Du Nord, 2170 Market, SF. (415) 861-5016
LADY GENIUS
Volunteer Pioneer is gone but not forgotten: this SF fivesome formed in the ashes of guitarist Jason Byers’ and vocalist-multi-instrumentalist Kyle Williams’ group, emphasizing the pop bliss of boy-girl harmonies. Wait for it, wait for it: their first EP on Gold Robot Records. (Chun) With Huff This, Gwendolyn, and the Parish. July 19, 9 p.m., $7. Hotel Utah, 500 Fourth St., SF. (415) 546-6300
Dye, dye, darlings
Feel like dyeing? If yes, there are many products available to help you do so, but it’s unlikely that any color you choose will be anywhere near as exciting as the fearsome fun that Bleachy Bleachy Bleach conjures up. By the time they’ve set a dance beat behind their computer-scrambled screams and guitars, second-guessing is out of the question: these two shred hard without having to bring any ordinary instruments on stage.
Band members Kadienne Eslami and Jessie Abbey met in high school in Pleasanton and often went to shows in Oakland, Berkeley, and friends’ houses before deciding to start a band. According to Eslami, who spoke about the project by phone from her Pleasanton home, it was the frequent re-dyeing of their formerly purple and pink heads of hair that brought about the Bleachy Bleachy Bleach name a moniker that also suggests the purging, triply frown-obliterating force of their music. Smiles are what got them started in the first place. "We started out playing through a PlayStation on a DDR mat, then started putting more emotion into it," said Eslami, who spells out her first name on one of the group’s earliest tracks, "Boobopera," before the bass beat kicks in and a splintered "easy lemon squeezy" rap unravels into screeches and buzzing chatter in French.
They employ noise in a variety of ways, alternately emotional and playful: the manic skitter of their new song "Toys" closes out its beat with a small dog’s bark. The duo also make use of a toy guitar, saxophone, and other assorted odd instruments in their convention-melting assemblages.
"Mostly what we do is record with instruments and collaborate with friends to make beats," Eslami says, "particularly Dylan Reznick from [the now-defunct band] Robin Williams on Fire, and most recently with Vice Cooler of XBXRX." When gigging on the John Bensonbuilt Bus venue and elsewhere, they sing on microphones alongside their programmed laptop, adding that human presence that makes their songs so affecting. "Tennies," a song off their 12-inch coming out later this year, is about a guy Eslami met on Muni who had holes drilled in his head: "he explained how when people talk to him, he interprets their sentences backwards and has to translate them back to himself." Backwards translation won’t be necessary to keep beat with the Bleach, but scratching a chalkboard could make for fun accompaniment.
BLEACHY BLEACHY BLEACH
With Rubber O Cement, Take Up Serpents, Ettrick, Amir Coyle, Mikey Yeda, and Hora Flora
July 17, 8 p.m. doors, $5
Balazo 18
2183 Mission, SF
Save SF’s campaign finance program
OPINION In 2000, San Francisco voters approved a system of public financing of campaigns for the Board of Supervisors, which in 2006 was expanded to the mayoral race. By eliminating the need for candidates to raise large amounts of private money, the program has been extremely successful at helping sever the link between big money and political decisions. But now this flagship program is threatened: Mayor Gavin Newsom is proposing to raid several million dollars from the public campaign fund.
Last September the mayor put forth a plan to take $6 million from the fund and give it to one of his pet programs: SF Promise. The cost of this program was only $525,000 the first year, begging the question of why the mayor was grabbing $6 million from the fund. Of course, Newsom had actively opposed public financing for the mayoral race, so it’s possible he wanted to defund the program. Supervisor Aaron Peskin wisely introduced legislation to fund SF Promise from the city’s reserve funds, thereby warding off the raid.
Now another proposal has surfaced to remove $5 million from the fund. According to Ethics Commission spending projections, removing $5 million will create a $1.7 million to $4.3 million shortfall for the next mayoral race in 2011 — and that’s just to meet minimum baseline funding.
The justification for this plan is that the city is facing a budget crunch and needs these funds. The mayor promises, promises, promises to return the funds later — but the only way to legally secure those funds is through a charter amendment, which the Mayor’s Office has declined to support.
This latest rationale rings hollow, and we only have to look across the bay to see why. Earlier in the decade, Oakland adopted public campaign funding, and after it was used in one election cycle, Oakland was hit with a budget deficit. The City Council decided to dip into the public financing funds in the gap. They promised, promised, promised that they would restore the funding once the deficit problems were resolved. Yet to this day Oakland still does not have public financing of campaigns — because, while it’s still the law, there’s simply no money in the fund.
Meanwhile, in San Francisco, members of the Budget Committee seem to be prepared to vote in favor of this dangerous proposal as early as July 3. While Supervisors Ross Mirkarimi and Chris Daly have wisely expressed opposition, Supervisor Jake McGoldrick, who has been a public financing supporter in the past, has so far expressed support for the cut. McGoldrick could end up being the swing vote, joining with public financing opponent Sup. Sean Elsbernd and mayoral ally Sup. Carmen Chu to support this legislation.
Dipping into the public financing fund for any reason sets a terrible precedent and undermines the integrity of this valuable program. Just as politicians should not draw their own district lines because of a conflict of interest, they should not undermine previously established campaign finance laws.
Rob Arnow and Steven Hill
Rob Arnow and Steven Hill have been the architects of public financing for mayoral and Board of Supervisors elections. Steven Hill also is director of the Political Reform Program at the New America Foundation. Contact them at info@voterownedelections.org.
MediaNews lays off toilet paper, pens

Denver-based MediaNews Group announced today that it plans to lay off all pens, note pads and toilet paper declaring that the cuts would enable the company to remain profitable while continuing to serve news to its readers.
The company, which owns several major daily newspapers in the Bay Area including the Oakland Tribune, the San Jose Mercury News and the Contra Costa Times, also disclosed that its reporters will no longer gather in buildings leased or owned by MediaNews as the company will be shedding all of its commercial office space in order to save yet more money. Instead, they’ll meet in freely accessible public parks where they will use scattered twigs to etch their stories into the dirt relying on cans and rope to call their sources. Bloggers will then summarize the etchings by peering over their shoulders, but attribution won’t be necessary, because, well, you can’t link readers to sodden earth.
MediaNews CEO Dean Singleton asked company employees during a press conference in a Denver city park to refrain from throwing beer cans at him so the company can recycle them for pocket change to pay down his vast army of creditors, which is currently threatening mutiny.
Singleton has also reportedly done away with “beats” at his newspapers and his few remaining reporters will from now on cover “whatever they can gather with crude tools available on the ground,” according to the only reporter capable of actually documenting the conference with a pen and note pad, a bored-looking Entertainment Tonight producer who was apparently passing time in the park before Val Kilmer made a rare, rumored appearance in an opulent Denver restaurant around the corner.
“These are strange times,” Singleton said at the conference. “It may appear on the surface that the American people care about the Zimbabwean elections considering the recent demand for coverage there. But my nose for news tells me its anti-union editorials on the front page of the Denver Post that they really want and need.”
Giants: Don’t give up on us yet

Aaron Rowland
Giants: Don’t give up on us yet
By A.J. Hayes
The San Francisco Giants may still be 10 games under .500 and play like a recreational softball team in their home yard, but after last weekend’s series win on the “road” in the 510, the club was whistling an optimistic ditty that sounded an awful lot like the old David Soul ‘70s hit, “Don’t Give up on Us Baby.”
Despite several tube socks full of calamities this season – several not involving Barry Zito – that left the Giants lugging a 36-46 season record at the schedule’s midway point, San Francisco somehow found themselves only five games out of first place in the National League West.
That fact, along with the Giants first two wins over the Oakland A’s since last May, had the clubhouse buzzing with excitement Sunday afternoon.
“We’ve had our struggles no doubt about that,” said Giants manager Bruce Bochy. “But nobody is out of the race for the division. We feel we’re still in this thing.”
San Francisco centerfielder Aaron Rowand, who had yet to scrub the lamp black from his face following Sunday’s 11-1 throttling of the white bucks gang, told me exclusively:
“This division is up for grabs, there’s no reason why we can’t jump in the mix and be a part of it. We’ve had some really good games and we had some really rough games. But were capable of being much better than we are now. Everyone in here truly believes that we have an opportunity to be in the mix when September comes around.”
There, two people officially affiliated with club orange and black went on the record with pennant race talk and weren’t whisked off by the guys in the CATS van.
Where there’s Will …
› kimberly@sfbg.com
SONIC REDUCER The cormorants know, the red-winged blackbirds have heard, and the quail would wail: the Marin Headlands and surrounding environs are imbued with more than a little magic. You don’t need to spend much time there to know this, rolling through pebbly Rodeo Beach or tromping down Tennessee Valley Road, soaking up the sagey scents and painting the digits dark red with crushed blackberries, as little girls wander by talking on seagull-feather faux cellies.
They will testify, as will Will Oldham a.k.a. Bonnie "Prince" Billy, a.k.a. ace Palace Brother, singer-songwriter, and star of Old Joy (2006) and Matewan (1987) to the area’s healing properties and the way its fresh breezes, rippled clouds, and hills in every hue of green ignite the imagination. After all, until recently Oldham was squirreled away at the Headlands Center for the Arts as an artist in residence. In one of the few interviews he’s consented to lately, Oldham told me he ended up doing much songwriting, including a commissioned piece with his Superwolf partner Matt Sweeney intended for a new Wim Wenders film.
"I felt super-fortunate," said the jovial, easygoing Oldham from Louisville, Ky., where he’d driven to from the Bay Area only three days previous. No matter that tornado warnings were all over the local media as he cast his mind back. "It was kind of a dream situation, because out there in the Headlands, there’s no cell phone reception. And once you cross through that tunnel, you’re in something you can imagine as wilderness and by the sea, and there’s a fair amount of wildlife snakes and skunks and turkeys and deer and coyotes and bobcats and seals, which, if you choose to, you can see more of than you see any human being on any given day."
He’ll be back in the Bay after touring Europe and playing a handful of US dates, ending in San Francisco. The occasion is Lie Down in the Light (Drag City), Oldham’s worthy, rootsier follow-up to the transcendent The Letting Go (Drag City, 2006). If the latter is colored by the otherworldly ambience of its Icelandic origins, then the new album is touched by the tender humidity of its Tennessee recording site, encompassing, according to Oldham, "a couple songs that sort of address using terms of love, devotion, and even lust songs themselves."
"I think," he offered, "at the end of the day, sometimes it can be the truest form of comfort, especially if you’re a singer. You can find in music just about any ideal emotional landscape you crave, whether it’s angst or rebellion or celebration or union or dissolution. It’s all there, and none of it’s going to call you back or text you at four o’clock in the morning or blame you for anything you did or didn’t do or slap you with a paternity suit."
Not that Oldham can speak on paternity suits. "My lawyer says I can’t answer questions like that," he demurred mirthfully. Meanwhile there’s some heavy weather to consider. "I do have a cellar," he said, not worried at all. "But I’m not the hiding kind. I want to see it if it comes. I think I can run faster than a tornado." *
KICKING, LICKING, GOOD
LOWER CLASS REVOLT
Kicking it blue-collar style, the comp celebration includes Rademacher, Tigers Can Bite You, and Light FM. Wed/25, 10 p.m., $4. Knockout, 3223 Mission, SF. www.theknockoutsf.com
JONAS REINHART
Kicking it Krautrock, the Citay collaborator’s Kranky release promises near-exotica grooves. Wed/25, 9:30 p.m., $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com
DILATED PEOPLES
Kicking it old-school, the Los Angeles underground hip-hoppers unleash The Release Party DVD in July. Thurs/26, 9 p.m. doors, $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com
GRAND ARCHIVES
Kicking it Vivaldi styley, if the composer wore Converse. The ethereal Sub Pop indie-rockers get with their folk label mate Sera Cahoone. Sat/28, 9 p.m., $13. Slim’s, 333 11th., SF. www.slims-sf.com
MUTE SOCIALITE
Kicking it free-noise mode with such Oakland exploratory musical surgeons as Moe! Staiano, Ava Mendoza, and Liz Allbee. Sun/29, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com
ALL THAT GLITTERS: LADY GAGA
It takes a lot of g-g-guts to name your act after the Queen tune "Radio Gaga," ‘fess up to the fact that you attended Catholic school alongside Nicky Hilton, and make it your personal mission to make pop cool once more. Lady Gaga, 22, has the moxie to undertake all of the above, having gone from setting hairspray afire on fringy NYC stages and attending Tisch School of the Arts at NYU to hammering out songs for Britney Spears, and making her own brazen dance-pop à la "Beautiful Dirty Rich." Why did she name her debut, The Fame (Streamline/Interscope)? "The concept is that it doesn’t matter who you are or where you come from or what you have, as long as you can embody a sense of inner fame and value of your own ideas, you can really be whoever you want," Lady Gaga opined huskily on her way to a Raging Waters gig in San Dimas. "I was nobody, and I’ve been jerking people for years into thinking I’m somebody I’m not. I used to get into clubs like when I was 16. I’d usually just walk right in because of the way I carried myself, the way I dressed, the way I spoke to people."
Sat/28, 8 p.m., $45. Temple, 540 Howard, SF; www.templesf.com. Sun/29, 6:10 p.m., Pride Festival, Civic Center, SF; www.sfpride.org
Asunder
PREVIEW Listening to Asunder is freaking me out. It’s the middle of the night, the moon is full, and I was barely paying attention to the plodding funereal doom. That is, until I glimpsed a foreign movement from the corner of my eye and, sensing a phantasmic force, my heart plummeted into my guts. If John Gossard’s eerie chants, likely effective at summoning Lucifer from the bowels of a very cold hell, didn’t raise ghosts previously unheard from in my creaky Victorian, what did?
It’s no secret if you’re even passingly attuned to local music happenings or ever pick up this paper that the doom-death community on both sides of the Bay is close-knit and as prolific as a war graveyard at the height of collateral damage. But Asunder just might be the darkest, dreariest, and most melodically melancholy of them all. But it’s too simple to relegate their metal dirges to the staid realm of the glacial and miserable; Asunder begs the question, "Can doom be dynamic?" and answers in the affirmative. Patience and subtlety, reverence and yes, the spiritual, are conjured in equal parts by down-tuned strings and minor keys. When their sophomore release, 2006’s Works Will Come Undone (Profound Lore Records) produced by the East Bay’s esteemed Billy Anderson (High on Fire, Saros) filled 72 minutes and 45 seconds with two epic tracks, it was risky but the foursome added enough slow complexity to make it work. Let their chilling arrangements and a newly upgraded sound system tempt your ghosts at the Oakland Metro Opera’s grand reopening.
ASUNDER With Trees, Necrite, Skin Horse, and DJ Bad Jew. Fri/27, 8 p.m., $8. Oakland Metro Opera House, 630 Third St., Oakl. (510) 763-1146, www.oaklandmetro.org
Asunder with Trouble and Mammatus. Wed/9, 8pm, $16-$18, Slim’s, www.slims-sf.com
Towards Carfree: Aboard a Portland-bound train
Steve Jones reports from the Towards Carfree Cities conference.

Our crew includes (from left) Jon Winston, Nancy Bodkin, Jason Henderson, and Brian Smith.
“We’ve got a runner,” the train conductor said over the PA system as we pulled out of Eugene, Oregon for the final leg of our overnight train from Oakland to Portland. Someone seeking good coffee had missed the train and was fruitlessly trying to catch up to us.
I was with a large contingent of Bay Area transportation policy experts, activists and thinkers – all bound for the Towards Carfree Cities conference — and we laughed. Then we laughed harder once we realized that Jason Henderson, a geography professor at San Francisco State, was no longer with us. Shit, we chortled, Jason didn’t make the train.
Co-conductor Justin Clark, who is just 22 but has been working for Amtrak for two years, walked by the aisle so I asked him what happened. “He decided to go to the coffee stand a block and a half up the street. I saw him running with the coffee in his hand,” Clark told me. He radioed conductor Archie Club, “and he said it was too late.” Clark said he might have stopped the train if it was his call, but it wasn’t.
“We don’t do it for fun,” Clark, whose tongue was pierced, said of leaving passengers behind and watching them run for the train. In fact, Clark felt a little bad as he stood in the doorway, watching the passenger try to stop the train: “I had to look away. I didn’t want him to see that I saw him.”
The trip had been a smooth one so far, leaving the Bay Area only a few minutes late, a sharp contrast to Amtrak’s reputation for long delayed trains, something activist Brian Smith connected to our runner: “That’s Amtrak’s new commitment to on-time efficiency.”
Jason walked up part way through my interview, so our crew was intact after all, soon to arrive for a big week in Portland.
Lit: Interview with Favianna Rodriguez
By Liam O’Donoghue
Favianna Rodriguez is from Oakland and she lives there today. She is the co-editor, along with Josh MacPhee, of Reproduce and Revolt: A Graphic Toolbox for the 21st Century Activist (Soft Skull Press, 192 pages, $19.95). On the eve of the book’s release party, she recently spoke about the project’s origins, forging connections between groups and the Bay Area’s role in activist art.
![]()
Cover of Reproduce and Revolt
SFBG: Even in the socially conscious art world, it’s usually men who get the most spotlight.So, first of all, I want to give you props for raising the profile of so many radical womyn artists with this book. Can you tell me about any challenges or goals specifically related to gender issues that you had with this project?
Favianna Rodriguez: I’m a first generation woman of color. My parents were immigrants. So it was very important to me for the book to represent not just women, but women of color. We’ve got lots of artists from Mexico, Peru, Colombia and Argentina in this book.
My co-editor, Josh MacPhee, is a white male – he’s cool, very anti-racist – but he understood that with a project like this, which involves getting global artists to submit royalty-free art, it was very important to have a woman of color in a leadership position. Of course, the political art world is male-dominated, so some of the sections, especially the “war and peace” chapter, were overwhelmingly male, and we really had to work on creating the balance of perspectives that we wanted [throughout the book].
But women of color aren’t the only ones that are generally under-represented – black men are another example. This book is just the first phase. We’re just getting started, because we’ve got a good selection of Latin American artists [featured in the book], but we want to expand to include more Asian and African artists with the next editions. It’s all about building networks.
SFBG: What inspired you to start this project?
FR: Josh was collecting graphics and I’d been talking with Bay Area women artists about doing something like this, so we decided to merge our projects. I wanted to make it a multilingual project and I brought in tech people so we could make this all happen online. This book was totally compiled and edited online. We did artist authorization documents and design and had political discussions online.
The book has over 300 images from 12 countries, and the Web site that will launch on July 1 is also going to be bilingual. It’s going to have all the graphics in high-resolution, available for download, because nobody wants to scan images anymore if they don’t have to.
Local Artist of the Week: Tara Tucker
![]()
LOCAL ARTIST Tara Tucker
TITLE Double Trouble
THE STORY “My work is about natural history and human psychology. All the animals in Double Trouble are from Africa. The secretary bird eats snakes. The snake in Double Trouble is a green mamba, a really dangerous part of the cobra family. The baboon is ‘me,’ and I’m hanging with my friend that is a bit of a user, but eats snakes.”
BIO Tara Tucker lives in Berkeley and teaches at Creative Growth in Oakland. She has an MFA in sculpture from California College of the Arts and is represented by Rena Bransten Gallery, where she had a solo show in 2007.
SHOW “Resisting Dominion: Nature and New Political Narratives,” Thurs/12 through August 16. Wed.–Sat., noon–5 p.m. Opening reception: Thurs/12, 6–8 p.m. San Francisco Arts Commission Art Gallery, 401 Van Ness, SF. (415) 554-6080. www.sfacgallery.org
WEB SITE www.taratucker.blogspot.com
The house that Hiero built
› a&eletters@sfbg.com
**Update: The Paid Dues Independent Hip Hop Festival has been cancelled. See below for more details.
I’m not accustomed to receiving rappers at my home at 8 a.m. an hour most rappers have only heard of but I made an exception for Tajai Massey, member of Souls of Mischief and Hieroglyphics. A self-confessed early riser and the first MC to ever accept my offer of a cup of coffee, Massey is a busy man.
While gearing up for the Hieroglyphics’ Freshly Dipped tour, which kicks off June 14 with the Paid Dues Festival at the Berkeley Community Theatre, the lanky 33-year-old head of the group’s Hiero Imperium label was about to head to Seattle for a spot date with his new rock outfit, Crudo, with Dan the Automator and ex-Faith No More frontman Mike Patton. Meanwhile Massey’s been juggling two upcoming projects, one of which he hopes to release in the fall: a new, self-produced Hieroglyphics disc and the fourth studio release by Souls of Mischief, produced by legend Prince Paul. In the interim, he’s prepping fellow Souls-member Opio’s second solo album, Vulture’s Wisdom, Vol. 1 (Hiero Imperium), for July.
Yet none of this accounts for our meeting. Our conversation instead focused on Massey’s other job: overseeing his own imprint within Hiero, Clear Label. Though begun in 1999 to release his SupremeEx trip-hop collaboration with Hiero Web designer StinkE, Projecto: 2501, Clear Label really established itself circa 2005 with two artists of a very different sort: Shake Da Mayor of "Stunna Shades" fame and Beeda Weeda, whose 2006 full-length, Turfology 101, yielded the hit "Turf’s Up."
While Shake has since departed, Beeda has cemented his Clear Label connection, moving his whole camp, Pushin’ the Beat (PTB), into Hiero’s two-story East Oakland compound, which was purchased by the veteran collective in 2004. Known within Hiero as "the Building," though designated "Hiero" by everyone else, the space houses nine rooms, five studios, and a small warehouse of T-shirts, CDs, and other goods. Soon Beeda’s friend and collaborator, J-Stalin himself signed to one of the Bay’s biggest rap independent labels, SMC began bringing his own Livewire crew by, including Shady Nate, Clear Label’s next signee.
Bulging with the usual conglomeration of computers, mixing boards, rough-hewn vocal booths, and a fine layer of empty 1800 bottles and Swisher Sweet ashes, PTB’s two ground floor studios contrast with the Building’s general tidiness, like a kids’ playspace in an otherwise adult house. Yet they also exhibit an atmosphere of dedication. Dropping by on any given day, among the crowd of just-past-high-school aspiring MCs, you might see Beeda and Stalin studiously hunched over spiral notebooks with Mistah FAB, working on their NEW (North-East-West) Oakland project.
And FAB isn’t the only high profile visitor: everyone from San Quinn to the Federation comes through. Too $hort stops by regularly, and even national acts like Dem Franchize Boyz and Cease of Junior Mafia have found their way here. Given that Beeda and Stalin are two of the hottest young Oakland rappers and attract such elite company, Hiero suddenly finds itself at the center of what might be called the Bay’s post-hyphy moment, one embodied in a tougher, less dance-oriented sound, combined with classic Bay slap and tempered by R&B overtones.
"I wasn’t after a bunch of streeter-than-street dudes," Massey said, laughing. "But I sure ended up with some."
THE OTHER BAY BRIDGE
Intentional or not, the current emphasis on street rappers is consistent with Clear Label’s overall mission.
"Our fans aren’t that forgiving. Even bringing up other acts like Knobody or Musab, who are on the same tip as Hiero our fans want Hiero music," Massey said, in reference to Hiero Imperium artists and the group’s demanding backpacker following. "So we’ll give it to them, and let Clear Label be the outlet for other acts, especially my relationship with PTB/Livewire."

Oakland hip-hop converges on the Hiero HQ. Photos by Alexander Warnow
It helps, Massey continued, that J-Moe, the CEO of PTB, has a vision. "That dude is a genius," the Clear Label honcho said. "He’s called the Machine, because he’s always working." With an uncanny ability to spot new talent like 17-year-old phenom Yung Moses, who J-Moe dubs "the future face of the franchise" the Machine is a crucial part of the evolution of Clear Label.
But Clear isn’t just a "street label," Massey continued. He’s working with a "rock ‘n’ roll" dude, Chris Maarsol, as well as League 510, which he describes as working in "really a new genre." Hailing from East Oakland, 510 blends lyrical, positive rap and house-influenced grooves in a mix the group calls "Town Techno." "It’s like bridging the hyphy movement and the alternative crowd," Massey said. "I know they’ll do well in cities like Miami, Chicago where they have a house scene and in Europe."
Interestingly, according to Massey, European fans have been more receptive to Hiero’s new connections than the domestic audience. "It’s crazy," he said with a laugh. Among other acts, Massey also scooped up Baby Jaymes, digitally re-releasing his 2005 debut, The Baby Jaymes Record (Ghetto Retro), and dropping a new single, "The Bizness," including Turf Talk. "Baby Jaymes is huge in Germany and Belgium, even Australia," Massey added. "I’m in Amsterdam and people are like, ‘Where’s Beeda Weeda?’ Out there people understand the association, whereas in Oakland, they have no idea. It’s odd how Europeans look deeper into it, and it’s a whole different language."
‘WE ALL FROM OAKLAND’
Perhaps it isn’t so odd. The language barrier may even facilitate European acceptance, because despite the differences between Hiero’s conscious lyricism and PTB/Livewire’s grimy topics, the musical bond is already there.
"There are more similarities than differences," Opio told me. "We all from Oakland. Hiero looked to Too $hort and E-40 when we began our independent hustle."
Though he admittedly can’t keep track of the crews’ ever-expanding rosters, former Hiero Imperium head Domino who, after helming the organization from its mid-’90s inception, stepped down in 2006 to concentrate on production also welcomes the influx of young talent. "As you get older," he said, "there’s not the same excitement as an artist. You can’t totally get it back, but you can feed off their new energy."
Beyond their shared approval, members of Hiero have already begun to collaborate with PTB/Livewire. Souls member A-Plus, for example, produced the dancehall-inspired opener, "Da Town," on Beeda’s new all-original mixtape, Talk Shit Swallow Spit possibly the hottest Bay Area disc this year while Casual appears on Beeda’s forthcoming album, tentatively titled Turf Radio. PTB, moreover, has added a more conscious lyricist, Tre Styles, upsetting what Opio describes as "the boxes the corporate market puts people in."
Massey agrees. "Look at Beeda or Shady. Their mentality isn’t ‘go dumb, go stupid,’<0x2009>" he noted. "Their lyrics are militant, and these guys are growing." Massey was also quick to point out the multidimensional side of J-Stalin, whose crime-ridden raps are infused with melancholy ambivalence about street life. "Stalin could be big like 2Pac," he opined. "He’s not trying to look hard. He’s a little dude, but he’s got all this heart and emotion."
Stalin himself is more modest, albeit slightly, at least concerning his upcoming SMC disc, The Pre-Nuptial Agreement. "Pre-Nup is going to be one of the greatest Bay Area albums ever," he said. "I ain’t saying I’m the best rapper. I’m saying I put together a great album." Judging by the songs he played for me that day including the radio-ready "Get Me Off" with E-40 he’s right. SMC’s Will Bronson is sufficiently confident in Stalin and Beeda to partner with Thizz Entertainment this summer to bring out the former’s Gas Nation as well as the latter’s The Thizzness, both pre-albums designed to tide fans over before their full-lengths in the fall.
"Stalin and Beeda are the only two new artists really buzzin’," Bronson said. "I couldn’t go a week without hearing about them."
As a result, Stalin and SMC plan to collaborate on future Livewire projects, including a group disc showcasing up-and-comers Shady and J Jonah, longtime members such as ROB, Lil Blood, and Ronald Mack, and newer recruits like Philthy Rich and 17-year-old Lil Ruger, whose wild, almost Keak-esque flow foretells fame.
The connection to SMC and Vallejo’s Thizz, moreover, suggests a serious new coalition which, given the waning of hyphy, threatens to become the next major force in Bay Area rap. "We’re just trying to keep the unity," Stalin concluded. "Because we’re all from different places, we wouldn’t be able to do this in the street."
UNITED FRONT
Such unity, always in short supply in the Bay, is one of the most intriguing aspects of the Hiero/PTB/Livewire situation. "We’ve got a movement, but it’s not a movement," said Jamon Dru, who, along with DJ Fresh, Tower, and others, formed the Whole Shabang, an autonomous production squad linked to both PTB and Livewire. "We’re trying to make music everyone will feel, not just the Bay. That’s put a hurt on us because we do have a ‘fuck everyone else’ attitude, like, ‘I don’t care if anyone else likes this shit.’ But we got families, friends, people in jail we gotta feed. We can’t be half-steppin’ like that."
Like Traxamillion, and unlike many local producers, Dru is candid about the influence of the radio on his sound. "It’s a little Southern-influenced," he said, "a little East Coast with Fresh chopping up samples, but with the 808s and a West Coast bassline. Every beat we make with samples, we gotta put an 808 knock in it." While it’s difficult to generalize, given the work of so many producers, Dru’s statement is a good sketch of the PTB/Livewire sound: it looks to the Bay’s older mob music through the modern lens of hyphy, even as it sheds the more gimmicky excesses of the latter.
Beginning his career under Beeda Weeda’s wing, Dru is already a mogul of his own, currently developing 19-year-old Gully, whose work can sampled on his mixtape Hustla Movement. Like Yung Moses, the saltier-voiced, vowel-stretching Gully is considered one of the most promising rappers in the camp, and the two are already slated for a collaboration. A song like Gully’s "Bush," imagining the life of a ghetto youth who suddenly finds himself a soldier in Iraq, even suggests that Hiero’s more politically progressive themes are creeping into the youngster’s work.
At present, however, Beeda remains the "face of the franchise" for PTB and Clear Label.
"Beeda’s got the biggest buzz," Massey said, "so it makes sense to lead off with him. I just want to set him up properly." Proper set-up in the Bay generally involves a "pre-album," and Beeda’s got three. Besides the all-original Talk Shit mixtape and The Thizzness, Beeda’s collaboration with DJ Fresh, Base Rock Baby an ’80s-themed disc referring to Beeda’s generation as the first to be born after the crack epidemic began appears in July.
"We’re going to push that online," Massey said, though there will be hard copies for sale. "Right now, if Beeda’s record sales matched his popularity, I’d be ready to retire." Still, he confessed, "everyone has Turfology, but only a few people bought it," citing the difficulties of selling albums in the era of burnt CDs and file-sharing, not to mention ongoing recession under the George W. Bush administration.
Another problem was the lag between Beeda’s video for "Turf’s Up" becoming popular on YouTube and the actual release of Turfology, confusing consumers who assumed the CD was already out. "This time we got the timing down," Beeda said. "We’ll build that buzz first, and everything will be ready to go." Nonetheless, as falling numbers of mainstream releases attest, selling albums has grown increasingly difficult regardless of timing.
"That’s not how we eat anymore," Dru said. "You put out an album to get shows and verse features [guest appearances on other artists’ songs]. So we gotta look at these songs as bait." Massey, meanwhile, is seeking other income streams to support his label and artists, like soundtracks and licensing.
As Massey confirms, street rap comes with headaches not usually associated with Hiero. A few weeks ago, as Clear Label began preparing Shady Nate’s debut, Son of the Hood, for release, Shady was arrested on an alleged weapons violation and remains incarcerated pending trial.
"They’re trying to throw the book at him," Massey said. "I’m hoping we can work it out because Shady’s a good dude, and his album is great." Even if Shady has to do a stretch in prison, Son of the Hood will probably see the light of day sometime later this year.
Ultimately the big question for PTB/Livewire is whether the coalition can achieve the mainstream success that eluded the hyphy movement. Beeda and Stalin think so, and with the support and mentorship of the Hiero camp, they have as good a chance as any in the Bay and maybe even the best.
With the long view of a rapper 15 years into his career, Massey is philosophical about the prospects of his Clear Label empire. "If we break even it’s cool," he said. "If we make money, even better. But if I break even, I’m happy, because it wasn’t a loss for me to put out great music."
PAID DUES FESTIVAL***
With Hieroglyphics and others
Sat/14, 5 p.m., $40
Berkeley Community Theatre
1900 Allston, Berk.
***This show has been cancelled. From the promoters: Guerilla Union and MURS 3:16 regret to announce that the PAID DUES INDEPENDENT HIP HOP FESTIVAL scheduled for Saturday, June 14 at the Berkeley Community Theatre in Berkeley, CA, has been cancelled due to matters beyond our control.
For fans that have purchased tickets to the show, we apologize for any inconvenience this may have caused. Refunds are available for ticketholders at the point-of-purchase.
San Francisco Ethnic Dance Festival
PREVIEW World premieres are not what you expect in traditional, culturally specific dance. But the myth of the unyielding art form passed from generation to generation dies hard, perhaps because there is comfort in believing that "some things don’t change." Sorry, but the village square has gone the way of stoop sitting. So-called ethnic dance started to change the minute it moved from the grange to the stage. What’s great about the enduring appeal of World Art West’s San Francisco Ethnic Dance Festival celebrating 30 years this year is that its producers encourage rethinking traditional forms so that they honor the past while embracing the future. It’s the only way an art can survive. To put more than moral support toward that effort, SF EDF gave out four 30th-anniversary commissions this year. Ensambles Ballet Folklorico de San Francisco presents its commission, Las Cortes Mayas, a celebration of Mexico’s regal past, this weekend. Another highlight is the first appearance of one of India’s classical dance genres, Kuchipudi, which is related to but faster-paced and more feathery than Bharatanatyam. Sindhu Ravuri’s solo is inspired by Indian temple sculptures. Hailing from Oakland is hip-hop/modern dance troupe Imani’s Dream in a premiere that reflects the youth group’s everyday reality. What else can you expect on this second of four weekends of cultural dance offerings? Afro-Peruvian footwork, Middle Eastern belly, Korean memorializing, Chinese court, Caribbean-flavored flamenco, and Scottish ritual dance. You’ll also hear a lot of live music: these days, EDF is almost as much a world music as a dance festival. And if that’s not enough to lure you in, throughout the month of June, World Arts West is offering a series of low-cost participatory workshops that welcomes all comers.
SAN FRANCISCO ETHNIC DANCE FESTIVAL June 129. This week: Sat/14Sun/15, 2 p.m. (also Sat, 8 p.m.). $22$44. Palace of Fine Arts, 3301 Lyon, SF. (415) 392-4400, www.worldartswest.org
SPORTS: Green (and gold) with envy

Image from the late, perhaps lamented, giantsvsas blog.
By A.J. Hayes
This coming weekend, the Giants will host the A’s for the 12th year of inter-league play. While San Francisco fans have typically viewed the cross bay series with a shrug and a ho-hum, to Oakland management and their fans, this cross-bay face off is serious business.
The clubs have been competitors for the affection of Bay Area baseball fans since 1968, when the A’s moved to town – but over the past decade the Giants have also become Oakland’s biggest rivals on the field.
Even during exhibition games, the A’s have historically played the Giants with an extra spring in their step. And don’t forget green and gold’s four game sweep of the Giants in the 1989 World Series (A’s fans certainly haven’t). Since inter-league play began in 1997 Oakland and holds a 34-28 advantage against San Francisco.
These Bay Bridge series (the series moves to Oakland June 27-29) also gives the A’s a chance to vent their long simmering resentment towards for all things orange and black.
Check out the copy of this promotional flyer for the A’s games this month:
“June. The Month of Champions. Teams representing 16 World Series titles since 1968. The Detroit Tigers, Los Angeles Angels, New York Yankees, Florida Marlins, Philadelphia Phillies…and the San Francisco Giants.”
The A’s and their fans never miss an opportunity to promote the fact that in the Giants have yet to win a World Series during their 50 years in San Francisco. It doesn’t matter how many home runs Willie Mays and Barry Bonds hit – where are the rings?
We can understand their bitterness. Because despite winning four world titles since coming to Oakland 40 years ago, the A’s have always played second fiddle to the Giants.
Ten City
› a&eletters@sfbg.com
For the last two years I have been trying to plant the term Afro-surreal into the collective unconscious. Unlike Afro-futurism, Afro-surrealism is about the present. In sound it conjures everything from Sun-Ra to Wu-Tang. In speech, it brings you Henry Dumas, Amie Cesaire, Samuel Delaney, and Darius James. In visual realms, the Afro-surreal ranges from Wifredo Lam to Kara Walker to Trenton Doyle Hancock. Afro-surreal stages are set for new productions of Jean Genet’s The Blacks (1959), George C. Wolfe’s The Colored Museum (1986) and Leroi Jones’ The Dutchman and The Slave (1964).
I’m always looking for an Afro-surreal movie. Maybe I’m the last of a dying breed.
The 10th San Francisco Black Film Festival (SFBFF), is billed as a bridge between worlds. But which worlds? Sirius and Earth? Black and other? Local and global? Oakland and San Francisco? San Francisco and itself? Dammit, they all apply.
Most of the SFBFF is taking place in the Fillmore District, and many sites are redevelopment showcases. Opening night at the Sundance Kabuki Cinema presents Nogozi Unwurah’s Shoot The Messenger (2006), a UK import about paranoia, self-loathing, love, and redemption. The after-party is at Rassales, so I might get a haircut and brush off the derby.
Yoshi’s Fillmore is hosting Donnie Betts’ Music Is My Life, Politics My Mistress: The Story of Oscar Brown Jr. (2005). Despite its connection to ongoing gentrification debates, the venue will be an apt and stylish location for a bio on Brown, an overlooked poet-singer-playwright-composer-social activist who penetrated the zeitgeist with his song "Forty Acres and a Mule." Certain other issues also spring to mind: The black derby again? The brown? Pin-striped wool pants and well-shined shoes, or suede boots?
The Melvin Van Peebles Awards Brunch (props to the festival for naming its short film award after the Afro-surreal mastermind behind 1971’s Sweet Sweetback’s Baadasssss Song) is taking place at 1300 Fillmore, which will also host a screening that includes the 2007 short film Lifted. Directed by Randall Dottin, it’s a magical realist piece about a dancer on the edge who finds herself on the wrong side of a subway platform, trapped by a spirit named "High John." The actors are great, which is just one reason why the supernatural story takes simplicity to the brink of facile schmaltziness without tottering over.
A housewife realizes she has superpowers in Chad Benton’s Women’s Work (2008), a warm, funny sitcom short with animation screening at the African American Art and Culture Complex. Around the same time, Yoshi’s is showing Nijla Mumin’s Fillmo (2008), a documentary about the gentrification currently taking place in the Fillmore. How’s that for mixed signals, homey?
Footsteps in Africa (2007), showing at the Museum of African Diaspora, is about the lives of the beautiful, mysterious, and enduring Taureg/Kai of Mali. These African nomads have survived thousands of years of drought, flood, and famine, and withstood acts of genocide. Director Kathi von Koeber’s portrait reveals the wisdom and strength of some of this planet’s greatest human survivors.
Considering the documented decline of black people in San Francisco, it’s a minor miracle that SFBFF continues to grow. Like MoAD, the festival is a testament to the artists and benefactors who’ve come to San Francisco, as well as to the aesthetes among SF’s native population. This year’s festival promises glimpses of vast black realities the kind that appear to be diminishing locally, yet somehow still manage to thrive.
SAN FRANCISCO BLACK FILM FESTIVAL
Wed/4 through June 15
See Rep Clock for listings
(415) 771-9271
Election night parties
Here’s a roundup of the main local election night parties:
Yes on A – Great American Music Hall, O’Farrell and Polk streets
Yes on F, No on G – Grace Tabernacle Church, 1121 Oakdale
Yes on G, No on F – Javalencia Café, 3900 3rd Street
Mark Leno – Campaign HQ, 1344 Fourth Street (at “D” Street)
San Rafael, CA 94901 (he might also stop by Lime, 2247 Market Street, where some DCCC candidates – including Laura Spanjian and David Campos – are having a party)
Carole Migden – Campaign HQ, 121 9th St., near Minna
Joe Nation – Wipeout Bar and Grill, 302 BonAir Center, Greenbrae
Fiona Ma for Assembly – Soluna, 272 McAllister
No on 98/Yes on 99 – 1601 Telegraph Avenue, Oakland
League of Young Voters, Sandoval for Judge, progressive DCCC candidates and some Yes on F and No on Prop. 98 supporters – El Rio, 3158 Mission Street
And then there’s the Bay Guardian’s “Don’t Dodge the Drafts” election night party, 7-9 p.m. at Kilowatt, 3160 16th Street btw Valencia/Guerrero. Bring your voting stub for drink specials.
Lit: Erick Lyle on rehab for Newsom and SF, the awful flair of Willie Brown, book box mansions and life in the City
This week’s Lit features a review of Erick Lyle’s new book On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95). Liam O’Donoghue recently talked with Lyle, who will be appearing at Get Lost Travel Books on June 4th and AK Press Warehouse in Oakland on June 5th:
By Liam O’Donoghue
SFBG: The phase “secret history” is in the subtitle of your book and the term “urban archeology” is used to describe it. Did it feel like an archaeological project — like you were digging up this buried history of the city — when you were compiling the book?
Erick Lyle: When I moved to San Francisco I was lucky enough to be around a lot of older folks who told me their stories about the city and I fell in love with this place instantly. I feel like I’ve got all those stories filed away in my mind, so that when I’m out, riding my bike around the city, if I’m at a certain intersection, for example, I’ll think, “Oh, this is where that punk club was in 1988, but it’s also where so-and-so broke up with her boyfriend in 1995 and there was that one time when a guy tried to hit me with a 2×4.” But I can see all these layers simultaneously in my mind, and for me, part of the enjoyment of living here for awhile is seeing how these layers fit together over time. It gives an added dimension to, for example, a protest event you might be doing, to understand how that event fits into the longer history of the area.
![]()
Erick Lyle, in his secret mansion enjoying the high life
As far as thinking about it as archeology at the time, I wouldn’t say that we were so self-conscious that we would do generator shows in the street so we could say, “This is history.” But if we don’t write this shit down, no one is, it’s not making it in the Chronicle or anywhere else. The things that happen in the doorsteps of the Mission or on the dance floor at the punk club or are spray-painted on the walls: these are the things that make up our lives. That’s the fabric of life in the city.
Scraper success
› a&eletters@sfbg.com
"This is what happens when Bay Area gas goes to 4 bucks!! We cant even afford to rap about cars..lol [sic]."
So reads one YouTube viewer comment for "Scraper Bike," a music video by local rap group the Trunk Boiz. Rather uncharacteristically for hip-hop, the clip includes a crew of hoodie-wearing, dreadlock-shaking young guys pedaling through the Oakland streets on their tricked-out bicycles. With zero support from radio, "Scraper Bike" became an underground hit last year, making alternative transporation cool for Escalade-obsessed East Bay youth.
"My scraper bike go hard, I don’t need no car," intones Trunk Boi B-Janky in the chorus of a song that’s so catchy it’s viral. Through Web word-of-mouth alone, "Scraper Bike" became one of the 20 most-watched YouTube videos of 2007. In March of 2008, the video was nominated for a YouTube Award, putting the Trunk Boiz in such illustrious company as Obama Girl.
With 2.5 million views and counting, "Scraper Bike" spurred a local trend now gone global, with folks from as far away as Turkey and Bavaria petitioning the Trunk Boiz to come pimp their rides. Yet scraper bikes are pure East Oakland, an homage to their four-wheel counterparts: long a fixture of East Bay car culture, "scrapers" are hoopty rides usually ’80s-era Buicks or Oldsmobiles made ghetto-fabulous with candy paint, huge rims, tinted windows, and booming speakers in the trunk.
Trunk Boi Baby Champ, inventor of the scraper bike, recalls his initital inspiration. "At that time I was real young and didn’t have no license or nothing," he says. "So I just wanted to take the pieces of the car and put it on a bike and mold it and shape it like that. I just took it and ran with it." In transutf8g the scraper aesthetic, not only does Champ outfit the bikes with neon colors and decorative spokes, he even wires up stereos to the handlebars and loads speakers on the rear. "That’s one of our promotional schemes," B-Janky informs me during a group interview at their West Oakland studio. "We ride around on scraper bikes eight deep, with speakers slappin’ our music."
Hustlers and entrepreneurs, the Trunk Boiz bring a whole new meaning to the Bay-slang term "out the trunk." The phrase refers to the marketing strategy immortalized by Too $hort, who early in his career famously sold music out of his car. Yet when the Trunk Boiz slang CDs "out the trunk," that trunk is less likely part of a Cutlass Supreme than a double-axle three-wheel cruiser essentially, a tricycle on the back of which is a wooden cart painted in Oakland A’s colors with the words "That Go!"
A rather endearing sense of juvenalia surrounds the Trunk Boiz mystique. After all, their average age is about 19. As one might expect of a group of more-or-less teenage boys, songs tend to focus on adolescent preoccupations such as partying, looking fly, and getting girls. But unlike blunt rappers like Lil’ Weezy who endlessly employs stale metaphors to describe their male members the Trunk Boiz make sex romps sound clever. In the track "Cupcake No Fillin’," MCs Filthy Fam and NB drop double entendres, extending the concept of "cupcaking" Oakland slang for flirting into a confectionary ode to casual, no-strings-attached hookups (i.e., with "no feeling").
It may not be a message mothers want their daughters to hear, but the kids love it. The video for "Cupcake No Fillin’" has nearly 100,000 YouTube views, and helped expand the group’s female fanbase by casting the rappers in a loverboy light.
Given the group’s penchant for high-energy antics, the Trunk Boiz were happy to ride the hyphy train while it lasted. They even got scraper bikes into videos for the Federation’s "18 Dummy" and Kafani’s "Fast (Like NASCAR)." None other than Too $hort called Champ the day of the Kafani shoot, urging the scraper bike crew to roll through and bring some local flavor. They continue to glean game from the legendary rapper through their involvement with East Oakland nonprofit Youth UpRising, where Too $hort volunteers.
Inspired by such mentors, the Trunk Boiz have become more civic minded than one might expect of a group that raps about going "SSI" ("Socially Stupid Insane") a track off their sophomore album, due out this summer. Not only are they involved with Youth UpRising and Silence the Violence but also with the "Ban the Box" reentry-reform efforts in Oakland as well as Bikes for Life, an antiviolence campaign launching July 13 with a ride around Lake Merritt. In August, they’ll attend the National Hip-Hop Political Convention in Las Vegas, where they’ll roll down the Strip on their scraper bikes.
Fortunately, when it comes to homegrown innovation, what happens in Oakland doesn’t always stay in Oakland. *
For more on Bikes for Life, call (510) 238-8080, ext. 310.












