Performance

Ralph Stanley and the Clinch Mountain Boys

0

PREVIEW Imagine an entry called "Hillbilly Music" on the Web site "Stuff White People Like." The lexicon of that sage barometer of upper middle-class culture might render something like, "Old-timey string band music, especially when performed by specimens plucked from unsophisticated rural communities; appeals to white people’s yearning for authenticity with the promise of a true white folkloric inheritance." Well, forget all that. It’s true that one of the most transparent examples of institutionalized segregation exists quite happily in the "traditional" aisle of your local record store (if you still have one) where soul and blues mean black; country and folk, white. Needless to say, our heritage of "string bands, songsters, and hoedowns," to quote a Rounder release of music by black Appalachian performers, is a glorious amalgam of Celtic, English, French, African, and Native American cures for hard labor, heartbreak, and hard times. Luckily, the Coen Brothers and their team knew that when they looked to the legendary bluegrass artist Ralph Stanley to provide the weight and pathos at the core of O Brother Where Art Thou (2000) with his startling a capella rendition of "O Death." Sure enough, "O Death" has shown up in both Anglo and African American traditions, folklorists say. And at the tender age of 81, Stanley still delivers a timeless performance that puts the soul in bluegrass and the country in the blues.

RALPH STANLEY AND THE CLINCH MOUNTAIN BOYS Fri/2, 8 p.m., $49.50. Also Sat/3. Freight and Salvage Coffee House, 1111 Addison, Berk. (510) 548-1761, www.freightandsalvage.org

Loaded

0

REVIEW How do you say Kier? "Kia" like the car, if you had asked former Deee-lite diva Lady Miss Kier, when she was, er, hea for a special performance at monthly, genre-defying club Loaded on April 4.

The once de-groovy entertainer whose Brooklyn drag queen persona, complete with exaggerated accent that can best be described as a Rosie Perez-RuPaul collision, charmed audiences back in the early ’90s when she convinced us we could bomb the world with ecstasy, armed only with the power of love and a good beat.

Maybe the routine’s grown stale, maybe the drugs have worn off, or perhaps I’ve become too jaded for a World Clique (Elektra/Wea, 1990) mentality after watching bombs over Baghdad, part two, but Kier’s performance this time around lacked sincerity. In fact, the once vibrant and agile songstress, who worked video screens and club stages in retro-futuristic catsuits and platform boots as part of the groundbreaking Dee-lite two decades ago, could no longer bring us together — or even get it together — that night, even aided by a skilled backing band including P-Funk’s Ronkat and trippy background visuals.

Before the set began, Kier — in a lime and aqua space-age church dress, topped off by an over-the-top monster weave that housed more extensions than AT&T — kept the ironically mustached and spectacled crowd waiting for a good 20 minutes while rigging up her PowerBook. The purpose of this preliminary step became clear as Kier opened with her new material, including the less-than-stellar "Go Down on Me."

If she managed to maintain her soulful vocals, it was difficult to hear, since they were so heavily processed. If her eyes were still glimmering beacons of hope, it was impossible to see, since they continually searched her computer screen for lyrics. And forget about high kicks, when tightly trussed-up Kier could only manage the occasional hand-chopping move. As expected, Kier’s closer — the perennial favorite "Groove Is in the Heart" — continues to set the dance floor ablaze. Still, Kier should heed her own wise words: "You’re only as good as your new material." I wonder: if that’s true, how one might say, deee-sappointed?

LOADED First Fridays, 10 p.m.–2 a.m., $20. Rickshaw Stop, 188 Fell St, SF. www.myspace.com/clubloaded

Ramblin Jack and Country Joe

0

Here’s a press release on an unusual coupling of musical legends as put together by Lee Houskeeper, press agent and worthy keeper of the flame for rock and roll music from the l960s and beyond:

Ramblin Jack Elliott And Country Joe McDonald
An Evening of Song, Stories, Wit, Wisdom and Much More . . .

Living Legends Share Stage for the
First Time in Berkeley April 25 & 26th

WHERE: Cafe de la Paz 1600 Shattuck Avenue, Berkeley, CA
WHEN: Friday & Saturday, April 25 & 26th -7:30 PM
TICKETS: $40 in advance (100 seats per night) Cafe de la Paz (510) 843-0662
http:///www.cafedelapaz.net

I first met Country Joe on stage at Woodstock a few years after he recorded a Woody Guthrie tribute LP in Nashville. In 1976 I met Ramblin Jack Elliott at my buddy Phil Ochs memorial in New York. Jack had introduced Dylan to Woody and has performed Guthrie songs his whole career. When I caught Jack at the Noe Valley Ministry earlier this year I was amazed that he and Joe had never met and got them together for this historic union Friday and Saturday in Berkeley.

This one time only get together will be a rare and historic treat for the lucky 100 per performance. There has been no advertising and I would be forever in your debt if you would let folks know about the show. The following is a

Two of Music’s Living Legends

and long time evangelical Woody Guthrie devotees Ramblin’ Jack Elliott and Country Joe McDonald recently broke bread together for the first time at Cafe de la Paz

…and something special happened. Jack picked up a guitar and started playing Woody Guthrie’s Ladies Auxiliary and Country Joe, who has been performing his critically acclaimed tribute to Woody: This land is Your Land (premiered at Cafe de la Paz, dropped his jaw when Ramblin Jack sang some long forgotten stanzas to the popular old Union ballad. After hours of swapping lies, stories and lessons on text messaging, the two decided to do an intimate one-time only show right in Cafe de la Paz’s intimate (100 seat) Fiesta Room.

Lee Houskeeper
Managing Editor
San Francisco Stories
(415) 777-4700
newsservice@aol.com

Les Savy life lessons

0

› duncan@sfbg.com

When I call Tim Harrington, he’s in a meeting. It’s 6 p.m. in New York, and for some reason, I guess because he’s Les Savy Fav’s vocalist, I assume this is some kind of band meeting or rehearsal. When I call back in an hour, he’s still in the meeting.

"Do you want me to call back tomorrow?" I ask.

"That’s OK," he says. "I have just declared my professional day over." His professional day, it turns out, ends in a meeting room at VH1 headquarters in Manhattan, not in a practice space in LSF’s native Williamsburg. In addition to doing graphic design at VH1, he’s pushing for "interactive TV-type things," like e-cards you can design online and "schedule times you want them to be on TV so you can tell your friends, ‘Tune in and see that I’m breaking up with you.’"

The job isn’t what I’d expect from a manically animated frontperson, but Harrington, who attended the prestigious Rhode Island School of Design where the band formed in 1995, could give a fuck about giving people what they expect. After three long-players and an EP of dissonant, angular, twin-guitar rock with pop sensibilities and cutting, insightful lyrics — culminating in 2001’s Go Forth on bassist Syd Butler’s French Kiss label — the group took six years to release a new album, last year’s Let’s Stay Friends. The declaration of an official hiatus in 2005 led fans to believe it might be the end.

Instead they opted for restructuring: "It was really hard to explain without sort of tearing the whole thing apart and putting it back together again."

Gone are the incessant van tours; in their place are what he calls "guerilla touring": fly out, play a few select shows, and return to Brooklyn and "real life," which, for Harrington includes a wife and a son, Benji, who’s not yet two. "It’s the best way to tour," he says, "but totally unprofessional."

The outfit’s "unprofessional" attitude, coupled with Harrington’s interactive ideas, led to an online video contest for the Let’s Stay Friends track "The Equestrian," a fetishistic pony-play barnburner: "How many times did you think you could canter past my house / Before I called you to my stable for a little mouth-to-mouth?" In between shots of My Little Pony make-out sessions, the winning video — chosen by YouTube viewers — showcased a pink-haired eight-year-old named Bunny rolling around on the ground and dry-humping a stuffed horse like a prepubescent version of "Like a Virgin"–era Madonna. Was it weird having a little kid lip-synching such an overtly sexual song?

"I love that kind of complicated double energy — the tension of two things competing with each other," Harrington says. "In our live performance that happens a lot." Live, the singer runs around the stage, bearded, bald on top, a little chunky, and manically energetic — often shirtless or changing costumes during a song, perhaps into a sequined cape, while the band plays calmly around him, seemingly oblivious, all the while cranking out fierce squalls of noisy rock that are clearly the force driving the madman in their midst. "I think that people who don’t like us, don’t like us because they’re like, ‘I like one side of it or the other, but I can’t understand how they both can be happening simultaneously.’"

Harrington is not at all the picture of your typical floppy-haired waif of an indie impresario, embarrassed to be on stage and kicking the mic stand. He’s open and enthusiastic on the phone, sounding slightly out of breath, like he just remembered "one more thing" to say. He uses the word "passionate" a lot, and it’s clear that feeling is the key element in his art.

Without taking away from the rest of the group, it’s the cognitive dissonance Harrington creates with his stage presence and lyrics that make Les Savy Fav so powerful. Let’s Stay Friends opens with a track about an only partially fictional band called the Pots and Pans, "who made this noise that people couldn’t stand." Despite their audience’s protests, the unit sticks it out, realizing on some level that they know what’s good for the listeners.

Harrington doesn’t particularly care what you expect, yet he’s not simply adopting a world-weary pose. Instead he’s exhorting you to want more out of music — and out of existence. Nowhere is this idea more apparent than in the album’s final track, "The Lowest Bidder": "We’ve been bought and we’ve been sold / They try but they can’t keep hold / We burn, but we don’t turn to coal / We’re hills all filled with gas and gold / Take the trigger from the lowest bidder / Take the bargain back again." Don’t settle for less.

Listening to Let’s Stay Friends reminds me that there’s more to life than the quotidian world of work meetings, parking tickets, and paying the rent. "Music is the food of love, but reality is waiting for the bus" is a Subhumans lyric I can never seem to forget. For Harrington, reality is passion and waiting for the bus. "An area of interest for me lyrically," he explains, "is to be able to address whatever the harshest and most negative elements are in life and society and defy that, not with a pie-eyed optimism, but with a really cold-hearted optimism.

Don’t expect the world to change. Change yourself. Change your perception of it."

LES SAVY FAV

With the Dodos

Sun/27, 8 p.m., $18

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750, www.gamh.com

SFIFF: Highway 51

0

THURS/24

The Last Mistress (Catherine Breillat, France/Italy, 2007) Catherine Breillat steps back from one of her bluntest provocations — 2006’s Anatomy of Hell — to deliver this barbed, intelligent adaptation of Jules-Amédée Barbey d’Aurevilly’s 1851 novel. Asia Argento is heroic as the titular courtesan, a seething, powerful woman working outside bourgeoisie bounds. On the eve of his marriage to a suitably chaste maiden, Mick Jagger–lipped Ryno de Maginy (Fu’ad Aït Aattou) narrates his decades-long affair with the magnetic mistress — telling the tale to his fiancée’s grandmother, who is rapt. An intriguing cocktail of classical framing and modern malaise, The Last Mistress is Breillat’s best work in years — not least of all because of her clear affection for the material. (Max Goldberg)

7 p.m., Castro.

FRI/25

Alexandra (Alexander Sokurov, Russia, 2007) Alexandra‘s 70-something title figure (Galina Vishnevskaya) takes the laborious journey to Chechnya, where the grandson (Vasily Shevtsov) she hasn’t seen in seven years is stationed at a large army base. This latest by Russian master Sokurov isn’t exactly narrative-driven, but it’s one of his least abstract, most emotionally direct works. In her first film role, opera veteran Vishnevskaya doesn’t need to sing to etch a character whose long-suffering indomitableness is Mother Courage as Mother Russia. (Dennis Harvey)

7 p.m., Kabuki. Also Sun/27, noon, Kabuki; May 4, 4:15 p.m., Pacific Film Archive

Black Belt (Shunichi Nagasaki, Japan, 2007) Hai karate! Ably armed with authentic martial arts aces in lead roles, auteur Nagasaki transforms his masterful piece of genre filmmaking into a parable, set on the eve of World War II, about the use of power and the wisdom of passive resistance. Black Belt trounces typical CG kung fu: that the actors are karate masters gives the film a texture of authenticity unseen since the days of Bruce Lee, Jet Li, and Jackie Chan, lending weight to thoughts and deeds. (Kimberly Chun)

8:45 p.m., Kabuki. Also Sun/27, 1:30 p.m., Kabuki; Tues/29, 1:30 p.m., Kabuki

Brick Lane (Sarah Gavron, England, 2007) Adapted from Monica Ali’s 2003 novel, Brick Lane is a clichéd, romantic, finding-one’s-home story. Nazneen (Tannishtha Chatterjee) submits herself to the unexciting life of pre-arranged marriage until she meets Karim (Christopher Simpson), who sweeps her off her feet. One of the most aggravating things about the film is that Nazneen finds the power to take charge of her life through her affair alone. Apparently her daughter’s constant plea for Nazneen to start verbalizing her will was of secondary importance. (Maria Komodore)

7:15 p.m., Kabuki.

The Golem with Black Francis (Paul Wegener and Carl Boese, Germany, 1920) An original score composed and played live by the Pixies’ leader is a mighty enticement, but even without it this classic 1920 German silent would be worth seeing. Drawn from medieval Jewish folklore, it tells of a rabbi’s creation of a clay man to protect the ethnic ghetto from a Christian emperor’s heavy hand. Codirected by Wegener, one of the masters of cinematic German expressionism (who also plays the golem), it’s an impressive, strikingly designed mix of horror, history, and political commentary. (Harvey)

9:30 p.m., Castro.

Just Like Home (Lone Scherfig, Denmark, 2007) Dogme95 filmmaker Scherfig hones her flair for bittersweet comedy with this goofily enjoyable ensemble piece about a misfit small town that falls into chaos. Much of the film’s story is seen through the eyes of a newcomer who has escaped from a bizarre religious cult; in accordance, Scherfig records the earnest bumbling of town folk through a unique lens, sometimes smeared with streaks of overexposed or double-exposed shapes and colors. The result is only as deep as a standard-issue Hollywood romantic comedy, but it’s deftly handled and slyly endearing. (Jeffrey M. Anderson)

6:15 p.m., Kabuki. Also Sat/26, 1 p.m., Kabuki; Sun/27, 4 p.m., Kabuki; Tues/29, 9:15 p.m., Kabuki

Lady Jane (Robert Guédiguian, France, 2007) Lean and mean as a killer B-movie, Lady Jane shows that the French noir still possesses a powerful measure of chilly fire. Its namesake, played by the 50-ish, formidable, and fierce Ariane Ascaride, perfectly embodies the genre. Roused from bourgeois slumber when her son is suddenly snatched, Lady Jane reconnects with two old partners in crime to raise a ransom. Director Guédiguian is overly fond of his flashbacks but redeems himself with the care he puts into imagery that avoids Bogart-by-way-of-Belmondo clichés. (Chun)

9:15 p.m., Kabuki. Also Sun/ 27, 9:45 p.m., Kabuki; Tues/29, 4:30 p.m., Kabuki

You, the Living (Roy Andersson, Sweden/Germany/France/Denmark/Norway, 2007) There is one thing wrong with Swede Roy Andersson’s movies: there aren’t enough of them. His fourth feature in 30 years is another almost indescribable gizmo that strings together absurdist tableaux to increasingly hilarious and elaborate effect. From an incongruous Louisiana brass band to unhappy barflies forever facing last call, the characters here are comic Scandinavian-miserabilist pawns in a cosmic joke told largely through music — and painted a fugly shade of lime green. Bizarre and delightful. (Harvey)

6:15 p.m., Castro. Also Sun/27, 8:30 p.m., PFA; Tues/29, 7 p.m., Kabuki

SAT/26

Fados (Carlos Saura, Portugal/Spain, 2007) Attempting to do for the Portuguese torch song what he once did for Spain’s gypsy blues with Flamenco (1995), Saura soars and stumbles with Fados, presenting wonderful performances and a few unfortunately dated modern-dance treatments. Chico Buarque, Mariza, Lila Downs, and Césaria Évora lend their varied styles and impassioned voices to the form. But one wishes Saura would have stepped aside further for the effervescent, soulful lilt of Caetano Veloso; the plush, liquid tones of Lura; the arch, curled-lip warble of Ana Sofia Varela; and old world narrative grace of Carlos do Carmo. (Chun)

2:45 p.m., Castro. Also Mon/28, 1:30 p.m., Kabuki; Tues/29, 8:45 p.m., Kabuki

Ice People (Anne Aghion, USA/France, 2007) The movies have long made the Antarctic the terrain of terrifying monsters and cute creatures, but the beings discovered by Anne Aghion in this documentary bare fatigue, not fangs, and they are far more prickly than cuddly. Aghion’s portrait of the inhabitants of the McMurdow Research Station spends most of its time with a satellite group of four geologists looking for 20-million-year-old leaf fossils. There’s more depth in the fantastic landscapes, which Aghion lenses far more flatteringly than she does her human subjects. (Sussman)

6:45 p.m., Kabuki. Mon/28, 3:30 p.m., Kabuki; April 30, 1:15 p.m., Kabuki

Mataharis (Icíar Bollaín, Spain, 2007) Charlie’s Angels this ain’t: these investigators and would-be Mata Haris of an all-female Madrid detective agency have the unwashed hair, sensible shoes, and bad marriages of everyday wage slaves. Actress-director Bollaín’s skillful, empathetic knack for capturing the grubby, low-light details of working women’s lives glimmers through the pale haze of this promising film. But she falters with the application of narrative-flattening sentiment, predictably reassuring story arcs, and the occasional cheesy slo-mo effect. (Chun)

4 p.m., Kabuki. Also Mon/28, 7:15 p.m., Kabuki; April 30, 9 p.m., Kabuki; May 2, 1:15 p.m., Clay

Walt & El Grupo (Theodore Thomas, USA, 2007) In 1941, Walt Disney and a band of animators, writers, and other artists — which came to be known as El Grupo — journeyed to South America on a goodwill tour. This documentary, codirected by the son of one voyager, gathers wonderful photos, home movies, and a dazzling collection of drawings and cartoon clips to re-create the trip. The trouble is that there’s no real drama. The cumulative view is as sharply Eurocentric as Disney’s was when he went on to make cartoons such as 1942’s Saludos Amigos. (Anderson)
1:15 p.m., Kabuki. Also Mon/28, 6 p.m., Kabuki; April 30, 12:30 p.m., Kabuki

SUN/27

Forbidden Lie$ (Anna Broinowksi, Australia, 2007) Norma Khouri made headlines and toured the talk show and lecture circuit as a crusading heroine when her 2003 international bestseller Forbidden Love highlighted the phenomenon of honor killings in pockets of the Muslim world. Trouble was, her heartrending story turned out to be a fabrication. As filmmaker Anna Broinowski grows increasingly exasperated with her subject’s fibbing and evasiveness, this documentary develops from an exposé into a portrait of a serial con artist one would be quite happy to see writing her next book from behind bars. (Harvey)

1:30 p.m., PFA. Also April 30, 12:45 p.m., Kabuki; May 2, 6:30 p.m., Clay; May 4, 8:45 p.m., Kabuki

Picking Up the Pieces (various, 2007) The most intriguing piece in this shorts program about things lost and found is Death Valley Superstar, Michael Yaroshevsky’s half-hour documentary focusing on Marc Frechette, who was picked off the street to star in Michelangelo Antonioni’s 1970 Zabriskie Point. Taking his role as a student revolutionary into real life, he subsequently tried robbing a bank, was arrested, and died in prison under suspicious circumstances. Also excellent is Radu Jude’s 25-minute Romanian drama Alexandra and John Magary’s The Second Line, a narrative revolving around a FEMA worker in post-Katrina New Orleans. (Harvey)

11:45 a.m., Kabuki. Also April 30, noon, Kabuki.

A Stray Girlfriend (Ana Katz, Argentina, 2007) Writer-director-actress Katz maps out post-breakup transience with a wandering handheld camera and oblique dialog. As her titular character explores a rural township on Argentina’s coast, each scene teeters between bewilderment and menace. Lynne Ramsay covered similar terrain in her minor masterpiece Morvern Callar (2002), though with a dream-inducing soundtrack and enigmatic ellipticism far beyond Katz’s more vanilla approach. (Goldberg)

9:30 p.m., Kabuki. Also May 1, 7:30 p.m., Kabuki; May 4, 6:15 p.m., PFA

MON/28

Cachao: Uno Más (Dikayl Rimmasch, USA, 2008) Actor, would-be bongo player, and Cuban music fanatic Andy Garcia does right by his idol, the late Cuban musical great Israel "Cachao" Lopez, in this passionate tribute sprinkled with SF sights and centered around a Bimbo’s 365 Club concert. The show was apparently a hot one — it also showcased Bay Area Latin music scholar John Santos, timbalero Orestes Vilato, and vocalist Lazaro Galarraga — and director Rimmasch does it justice by using the performance as a narrative framework for a history that parallels that of contemporary Cuban music. (Chun)

6:30 p.m., Kabuki. Also May 2, 1:15 p.m., Kabuki.

TUES/29

Standard Operating Procedure (Errol Morris, USA, 2008) After profiling Robert McNamara in 2003’s The Fog of War, Morris jumps down the chain-of-command to summon US soldiers punished for the infamous photographs from Abu Ghraib. Ever the showman, he cuts from burnished interviews and photos to reenactments and slow-motion rumbles — we "see" Saddam’s egg frying, giant prison ants, and an exploding helicopter. Such obsessive visualizations seem misplaced and morally confused. The Abu Ghraib story is, among other things, about the unstable, delicate nature of photographic representation. Yet Morris can’t resist auteur-stamped fireworks — how else to explain the typically nutty (and utterly incongruous) Danny Elfman score? (Goldberg)

Part of "Golden Gate Persistence of Vision Award: An Evening With Errol Morris," 7:30 p.m., Kabuki


>SFBG goes to SFIFF 51: our deluxe guide

Sibling rivalry

0

REVIEW This week most San Francisco cineastes will be focused on the International Film Festival — but please don’t let this Italian import, one of the best in years, leave town before you catch it. Cowritten (with director Daniele Luchetti) by Sandro Petraglia and Stefano Rulli of the fantastic Best of Youth (2003), the film shares that four-hour epic’s ability to pare decades of roiling postwar Italian political history into an absorbing personal drama. Accio (Elio Germano) is the youngest child, perpetually at odds with everyone in his poor family. He is a natural contrarian and zealot — first as a divinity student too self-righteously pious even for the priests to bear, then as an avid member of the Fascist Party. (His hometown is the small central Italian city Latina, a one-time party stronghold founded during the Mussolini era that previously had been an undrained swamp.) Those proclivities, not exactly fashionable in the story’s 1960s and ’70s setting, particularly exasperate Accio’s brother Manrico (Riccardo Scamarcio, one of those Italian men who are so good-looking they almost constitute a traffic hazard), a charismatic born leader who becomes increasingly involved in the Communist Party and underground radical actions. Still, blood is thicker than water — and by the end we realize this famiglia‘s constant yelling and slapping are as much forms of affection as anything else. And the siblings do have something else in common, namely a jones for Manrico’s upper-class girlfriend Francesca (Diane Fleri). My Brother has been compared to Italian leftist classics like Marco Bellochio’s Fist in His Pocket (1965) and Bernardo Bertolucci’s Before the Revolution (1964), no doubt largely because its manically malcontent protagonist — an indelible performance by Germano — and almost too-hyperactive imagery echo their restless intellectual agitprop. Fortunately, this is too warmly human a drama to share those films’ Godardian paternity.

MY BROTHER IS AN ONLY CHILD opens Fri/25 in Bay Area theaters.

Swooning over alt-folkie Kate Maki

0


A recent performance by Kate Maki in her home province of Ontario.

By Todd Lavoie

Front porch romantics and summer sunset swooners, set your heartstrings a-flutter in anticipation. Canadian alt-country-folk songstress Kate Maki will bring her enchanting “No Depression” melodies to Café du Nord Thursday, April 24, opening for weirdly wonderful Giant Sand mastermind Howe Gelb. Trust me: if you’ve ever tumbled weak-kneed and flustered over the down homey charms of a blue highway-rambling singer-songwriter in your lifetime, you’ll fall hard for Maki. I certainly have.

Boasting an arrestingly gentle, plainspoken delivery, Maki fashions impressive levels of pull-up-a-chair-and-stay-awhile intimacy out of uncluttered arrangements and emotionally direct lyricism. A cross between Suzanne Vega and Iris DeMent, perhaps, though I do detect threads of similarity with Gillian Welch – albeit with considerably less of that tattered black-and-white Dorothea Lange photo vibe going on here – as well as with fellow Ontarian Sarah Harmer.

It’s immediate, familiar-as-an-old-friend kind of stuff – and yet it’s all quite stimulating and at times even challenging. It ain’t easy to craft deceptively simple, homespun little charmers like those on Maki’s recently released American debut, On High (Confusion Unlimited/Ow Om) – a lot of folks try and fail, often out of succumbing to cliché or insisting upon self-perceived limitations of the genre. Not an issue here: this 27-minute introduction is loaded with forcefully understated little wonders. Can’t wait to hear ’em live.

Sheik it

0

How much hot queer Arab on the dance floor can you handle? If you’re dating me, it better be a lot.

Others can test their capacity for swivel-hipped, uluutf8g cuties this Saturday at what more sensationalist club critics might dub a "Battle of the Belly Dancers." Two gay-oriented Middle Eastern–themed parties, Bibi and Club La Zeez, butt bejeweled foreheads in different venues — on the first night of Passover, no less. But that’s a different geopolitical kettle of couscous.

Hitting up both events would be ideal, since each is put on by folks of SWANA (Southwest Asian–Northern African) descent; pumps out zills-tinkling contemporary and traditional Persian, Arabic, Latin, and South Asian floor bangers; and serves an underrepresented audience hungry for connection in these unfashionably volatile times. If you are forced to choose, I recommend Bibi. La Zeez, a monthly launched in March at Club Eight by Los Angeles playwright Saleem, is good fun but gives off a touristy vibe — "Magic Carpet" lounge, really? It also caters to a mostly mainstream gay male crowd and uses the word exotic in its press materials. Tacky.

Bibi, on the other many-ringed hand, is a quarterly charitable grassroots affair that has delighted queers of all genders for a year now and is hosted by local playboys Rostam and J. Maximilian. This time around, the party’s at Six and called Bibi Chic, so dress yourself fancy and free. Proceeds go to six queer Middle Eastern foundations, including Iraqi LGBT; IRQO in Iran; and Beirut’s fabulous new LGBT center, Helem. DJs Emancipacion, Masood, and Josh Cheon will throw down beats and performance artist Cherry Gallete and belly dancer Amira will dazzle the crowd.

And what about us queer Arab Americans who’ll be sitting down to Passover seder that evening with our gorgeous Jewish boyfriends? "Both of you come afterward! Bring cookies!" Rostam entreated me over the phone. "There’s room on our dance floor for everyone."

BIBI CHIC

Sat/19, 10 p.m., $15.

Six

60 Sixth St., SF

(415) 863-1221

www.clubsix1.com, www.myspace.com/bibisf

CLUB LA ZEEZ

Sat/19, 9 p.m.–2 a.m., $12–$15

Club Eight

1151 Folsom, SF

(415) 431-1151

www.eightsf.com

Wong takes wrong turn

0

Whether his focus is on a gangster who falls for his cousin (As Tears Go By, 1989), or a lovesick cop getting over a breakup (Chungking Express, 1994), or two men who move to Argentina seeking a fresh start (Happy Together, 1997), the world of Wong Kar Wai is always populated by heartbroken people whose unresolved emotions render them romantically challenged. The fluid cinematography, evocative music, and sublime use of slow-motion that accompanies these tales of unrequited love make Wong’s attractive cosmos all the more moving and melancholy.

Although My Blueberry Nights, the director’s first US production, has all of the above ingredients, it isn’t what one expects from Wong. Unnecessary explanatory voice-over and Hallmark-card dialogue destroys the subtlety that permeates most of his films.

During a recent phone interview, Wong attributed this lack of subtlety to the "straightforward" way he believes Americans express their feelings. But I suggest a lot of it has to do with Norah Jones being the film’s star. Although the director admitted the singer was the reason he made the film in the first place, her performance isn’t nearly as nuanced as that of Maggie Cheung’s in In the Mood for Love (2000). An equally plausible explanation might be that well-known mystery novelist Lawrence Block was Wong’s unlikely script collaborator.

Anyone familiar with Wong’s films will be disappointed by the cheery conclusion of My Blueberry Nights. But according to the filmmaker, what we witness is not actually a happy ending. Instead, we’re given what he calls "the happy beginning of another story," one whose ending is as open as it is inevitable.

MY BLUEBERRY NIGHTS

Opens Fri/18 at Bay Area theaters

See Movie Clock at www.sfbg.com

www.blueberrynightsmovie.com“>www.blueberrynightsmovie.com”>www.sfbg.com

www.blueberrynightsmovie.com

China’s internet censorship: what to do?

0

For those of us in the free speech and free press line of work, China’s censorship of the internet is a major practical and theoretical issue. Here is a reasoned approach by Peter Scheer, executive director of the California First Amendment Coalition (CFAC). B3

Make no mistake, China’s censorship of the internet is a crime against liberty on a mass scale. Still, American firms can’t just steer clear of the world’s biggest market. What to do?

By Peter Scheer

A milestone of sorts was passed in the first quarter of this year when China blew past the United States to become the biggest internet market in the world. At 225 million users, and still growing at double-digit rates, China’s internet is a business opportunity so grand and irresistible that it can blind normally circumspect people to the moral compromises that cooperation with Chinese government authorities inevitably entails.

I experienced this first-hand when, about a year ago, I made inquiries at the China offices of a number of American law firms to ask for help in comparing internet search results for searches performed inside China–within the “Great Firewall” of government censorship, as it is called–with the same searches performed from locations outside China (and therefore outside the firewall). The law firms demurred, explaining, with commendable candor at least, that they could not risk being observed submitting to Google and Yahoo search terms like “Tiananmen Square” or “Falun Gong”.

Mind you, these were American-trained litigators, the kind of lawyers who barely flinch in the face of a grand jury subpoena, and who spend their careers pushing back against the demands of government authorities. While usually immune to intimidation, they nonetheless feared the repercussions to themselves, their firms, and their clients from the mere act of typing a few search terms into an internet-connected computer. So seductive are the business opportunities in China that the risk of losing them transforms even hardened litigators into wimps.

In conversations with internet entrepreneurs and investors active in China, one often hears arguments that are more rationalization than logic. An internet CEO recently told me that freedom of speech is a “relative” value that, despite its appeal in western democracies, is not appropriate to China. Popular variations on this theme are that freedom of speech is an unaffordable luxury in a country that must be single-minded in its pursuit of economic development; that the people of China are more interested in consumer goods than personal and political freedom; and that westerners’ pressure on China to be more tolerant of dissent is a form of cultural imperialism.

Let’s be clear: Freedom of speech, freedom of political choice, and the rule of law are not relative values; they are absolutes. China’s regime of internet censorship is, without question, a crime against individual liberty on a truly mass scale. That it coexists with a fast-modernizing economy offering its people considerable choice in the economic sphere only makes the curtailment of personal freedom more offensive because less excusable. China does not need to suppress speech to achieve its economic goals. China’s leaders are more cynical than that. They maintain censorship solely to preempt challenges to their monopoly on political power.

This can be seen in the government’s censorship policies. Websites based inside China are subject to content restrictions that are, by design, so uncertain and unpredictable that they force internet companies to censor themselves. Standards that are unknown and unknowable, backed by the threat of license-revocation for companies and jail for individuals, create a pervasive fear that is far more effective than direct regulation at muting opposition to the government and its policies.

Websites based outside China, meanwhile, are subject to blocking by the Great Firewall based not on their content, but on their capacity to create, inside China, large, voluntary online communities that are independent of the government. These include nearly all blogging services, wikipedia and wiki platforms generally (wikileaks included), social networking websites and peer-to-peer technologies of all kinds, including photo-sharing and video-sharing businesses. In other words, the full panoply of internet 2.0 technologies.

Websites commanding vast audiences for user-generated content are seen by authorities as a grave threat. The Chinese government’s worst nightmare, after all, is a lone and anonymous Tibetan uploading to YouTube grainy cellphone videos of rioting police.

What should American internet companies do? To point out that doing business in China is morally compromising is not to say that companies must forswear the world’s biggest market–hardly a realistic option, in any event, for premier internet firms like Google, Yahoo, MSN, and Amazon. And while these companies might prefer to compete in China remotely–basing their servers outside the Great Firewall–government policies force them to set up shop inside China.

Those policies manipulate the firewall to degrade the performance of websites based outside China. Because all data from foreign websites pass through bottlenecks connecting China’s internet with the outside world, and because sensors at those bottlenecks further degrade transmissions across the firewall, non-Chinese websites are experienced from inside China as performing v-e-r-y
s-l-o-w-l-y.

This performance deficit is so substantial–and puts non-Chinese websites at such a huge disadvantage relative to their competitors inside China–that foreign websites must establish a presence inside the firewall. Indeed, Google, despite misgivings, established Google.cn within China in 2007 mainly for this reason, while Yahoo and Amazon crossed the firewall by investing in their Chinese domestic rivals.

American internet companies doing business in China should, for starters, acknowledge the extent of their self-censorship, not hide it or rationalize it or pretend that it is something other than the intensely unpleasant compromise that it is. Spare us the tortured and hypocritical justifications. It helps for companies to admit their complicity; to clarify that all is not as it should be or appears to be; to openly assert their disagreement with Chinese government policies (if they do, indeed, disagree); and to disclose specifics about how their content has been altered to avoid displeasing authorities.

U.S. firms also should do everything they reasonably can to protect their Chinese customers from the surveillance–and worse–of Chinese government authorities. If customer data and identifying information can be stored outside the firewall, beyond the reach of Chinese regulators and courts, they should be, even though that may involve greater costs. While this step does not assure protection of anonymous users (since control of a company’s license to operate in China gives the government considerable de facto leverage, quite apart from territorial limits on subpoenas and other legal processes), it is still meaningful.

If off-shoring of confidential user information is not feasible, companies must take steps to warn their customers about the risks of using their service. And finally, where warnings are not possible or go unheeded, companies should force customers to give their real names when using their websites–which will, in turn, force users to think carefully about what they say or do online. Ironically, the barring of anonymity is the surest means of getting users to appreciate the risks of saying what the government doesn’t want to hear.

Doing business on China’s internet is a messy, though potentially very lucrative, activity. Some companies may be so put off by the messiness that they stay away. For most, however, that is not a viable option. They must learn to be both honest with themselves and honest with their customers.
—-
Peter Scheer, a lawyer and journalist, is CFAC’s executive director. CFAC is involved in a legal initiative to use the World Trade Organization to force China to suspend its censorship of the internet on grounds it violates international treaties on free trade.

Permalink

Social Bookmarking
Add to: Digg Add to: Del.icio.us Add to: Reddit Add to: StumbleUpon Add to: Slashdot Add to: Furl Add to: Yahoo Add to: Spurl Add to: Google Add to: Technorati Add to: Newsvine Add to: Ma.Gnolia

CFAC Blog Posts
Add to Technorati Favorites
Copyright © CFAC:

Jovino Santos Neto and Harvey Wainapel Duo

0

PREVIEW “You know, Brazil is a huge country,” points out Bay Area clarinetist and saxophonist Harvey Wainapel. He should know – Weinapel has been making yearly musical pilgrimages to the world’s fifth largest nation since 2000, and has no plans to stop. The variety of musical traditions across cultures and regions is practically inexhaustible, he says, with perhaps only a single common thread: “they all swing like hell.” Naturally, that irrepressible, infectious rhythmicality will be on display as Wainapel partners with native Brazilian pianist Jovino Santos Neto for a wide-ranging exploration of their favorite musical territory. “Every jazz musician plays a little Jobim now and then,” explains Wainapel, referring to that ever-present “Girl from Ipanema” and her bossa nova companions in the jazz Real Book. But few possess as deep an understanding of Brazil’s disparate musical influences as this duo, who revel in the unique mingling of African, European, and indigenous elements. While Wainapel’s penchant for Braziliana has led him to perform with defining artists like Airto Moreira, FloraPurim, and Guinga, Brazilian-born Neto is literally the professor, having worked with Brazilian jazz legend Hermeto Pascoal for twenty five years and now teaching Brazilian music history. The lecture-demonstration format of this performance promises a lively education from two lifelong students of Brazilian music. “Hopefully,” adds Neto, “people will have a lot of fun.”.
JOVINO SANTOS AND HARVEY WAINAPEL DUO: “BRAZILIAN MUSIC FROM YESTERDAY, TODAY, AND TOMORROW” Fri/11, 7:30 p.m., $10-$15. Chapel of the Chimes, 4499 Piedmont, Oakl. (510) 228-3218, www.lifemarkgroup.com

Rock’s future, decades along

0

› kimberly@sfbg.com

SONIC REDUCER The money, the fame / And the public acclaim / Don’t forget who you are / You’re a rock and roll star." These bitter words by the Byrds roll over through my mind while watching the resurrection of three generations of rock hope realized — reappearing at a time when industry majors like Universal, Sony, and Warner Music are busy bowing to the social networking sphere, i.e., MySpace. The sands are shifting beneath the Rolling Stones, Bruce Springsteen, and REM, all bands I’ve waved my adoring fangirl flag for, all once toasted as the future of rock ‘n’ roll when the form was the sexiest game in town. Well, the future — along with the classic LPs, the heavily referenced and canonical tunes, the wives, the money-printing tours — has come and gone, so why not step back from an eyeballful of IMAX and think about whether such once-seemingly-ageless, now-clearly-aging mortals are holding the course or moving forward? Does size still matter?

Lord knows — and Sir Mick Jagger surely realizes — you can throw money at a prestige project: the new Stones–Martin Scorsese business partnership, Shine a Light, is proof. Sure, it’s a decent, energized Stones performance — much better than their 2005 date at SBC Park — and certainly the band comes off well in their love for the music (Keith Richards) and artfulness (Mick Jagger). Ron Wood even gets off a nice solo or two. But why bother documenting a Stones live period — the "Bigger Bang" jaunt, otherwise known as the highest grossing tour of all time — essentially recognized for simply raking in a buttload of money for the band? Not only have the Stones been the subject of a much better concert film-documentary — the Maysles brothers’ Gimme Shelter (1970), which Scorsese bows to by enlisting Albert Maysles for some camerawork — but rock fan Scorsese has already made a much more multidimensional and affecting concert flick (The Last Waltz, 1978) and a more evocative and heartfelt documentary about a musical icon (No Direction Home, 2005).

Rather, the Stones appear to be recontextualizing their dirty blues-rock for a new, well-heeled generation that can afford them: denuding "Sympathy for the Devil" of its menace and recasting it as a party anthem, far from the madding Altamont crowd. Jagger’s toned, dancer’s physique looks downright expensive as he attempts to repurpose arena poses in the intimate Beacon Theatre, as pricey as Richards’ Louis Vuitton ad and as well-fed as the scrubbed and fratty crowd down front in Shine a Light. Is such a display of power and funds sexier — or offensive — during a recession? Still, the last laugh seems to belong to the Stones: how else to read the final image of Shine a Light as the moon morphs into the Stones tongue than as, "See ya, suckers"?

Springsteen’s aging, gray-tressed mob at HP Pavilion on April 5 would never tolerate such winking behavior. As earnest and idealistic in their Silicon Valley fleece and chinos as the so-called New Dylan so many decades along, they yelled back at the holy rollers picketing the front of the Shark Tank — o demon rock "Born in the U.S.A." — and dutifully lowed, "Broooce!" after each song. Springsteen returned their devotion in kind with two and a half hours of superhuman passion that drew from new releases as well as from Darkness on the Edge of Town and The River (both Columbia; 1978, 1980). Even as Broooce rocked "Reason to Believe," off Nebraska (Columbia, 1982), as a bluesy rave-up, or told stories of leaving wife Patti Scialfa at home to monitor their teenagers, his hard-working, well-meaning decency kept shining through. These days sax sidekick Clarence Clemons may find it necessary to sit out many songs on his throne/easy chair set to stage left and organist Danny Federici is sidelined by melanoma, but the leader still possesses a unflagging fire and expansive romanticism — even if it is spent stumping for Hillary Clinton as of late. On Saturday night, what was striking was less how indebted the latest long-players by younger artists like Arcade Fire and the Killers are to Broooce than the long arm of his influence on so much ’80s radio rock: everyone from Don Henley to Patti Smith to the Pointer Sisters to John Mellencamp.

And whither goes the next greatest rock band, after Springsteen, to attain critical mass: REM? The combo drew kudos for their recent South by Southwest turn — and as with Brooce and the Stones, Michael Stipe, Mike Mills, and Peter Buck have chosen to grow louder with age, writing their new album on electric guitars rather than toning it down with dinner background Musak. More than 25 years into the band’s history, REM’s 14th album, Accelerate seems to plonk down in the Stones’ tax bracket with the opening "Living Well Is the Best Revenge," if not for the clearly articulated, biting irony of Michael Stipe’s lyric, "Baby I am calling you on that." Favoring rock ‘n’ roll blast in a compact 34 minutes, with only traces of the Velvety subtlety and Southern primitive melodicism I once treasured the band for, REM has instead picked up where "It’s the End of the World as We Know It (And I Feel Fine)" left off, retuning its glib soothsaying for post-WTO riots, post-Katrina times, driving it through a pop filter, and sprinkling "Sympathy for the Devil" whoos on the closer, "I’m Gonna DJ." "Look at the world and see plenty of reasons to be angry," guitarist Peter Buck has said, describing Accelerate. We’ll see if they still rage, live.

REM

With Modest Mouse and the National

May 31, 6 p.m.; June 1, 5 p.m., $39.50–<\d>$89.50

Greek Theatre

UC Berkeley, Berk.

www.apeconcerts.com

The new zoo blues

0

› gwschulz@sfbg.com

Ten years ago, the San Francisco Zoo asked voters for $48 million in bonds to overhaul its decaying animal enclosures, rebuild its entrance, expand educational facilities for children, and make a host of other improvements.

Every major figure in San Francisco with even an ounce of political ambition made sure his or her name was attached to the voter information pamphlet that went out to residents in 1997 urging passage of the bonds.

The list included Willie Brown, Dianne Feinstein, and Nancy Pelosi; members of the community college and school boards; the district attorney and city attorney then in office; Republican judges and local chambers of commerce; and countless grade school teachers.

The entire board of supervisors signed on, declaring that the improvements would "include new habitats where many of the animals will experience grass under their feet for the first time."

Prop. C passed, and the private San Francisco Zoological Society, which had taken control of the zoo from the city five years before, was on its way to introducing real live sod to exotic animal species. Just like a sanctuary, or even the wild itself.

But it hasn’t quite turned out like the pretty pictures suggested.

On March 18, the San Francisco Animal Control and Welfare Commission quietly released a report that made it clear many of the promises of that bond campaign were never kept. The private zoo didn’t spend the money the way all of those giddy city officials had told the voters it would.

The report was largely overlooked because on the same day the Association of Zoos and Aquariums, which inspects San Francisco’s zoo for accreditation, released its own long-anticipated investigation of what happened at Christmastime when a hulking Siberian tiger named Tatiana mauled three people, killing one.

That attack, as we all know now from the relentless headlines, is the sexier story. But the commission, in a document with much greater long-term implications, said that only two significant new exhibits were built using the bond money — the African Savannah and the Lemur Forest, completed in 2004 and 2002 respectively.

A scheduled $13.4 million Great Ape Forest was deferred from the list of projects. The zoo promised that project would "remain a fundraising goal for the SF Zoological Society," according to an update on the bond expenditures presented to the public in 2005. Orangutan and chimpanzee exhibits scheduled for improvement with the bond money were cancelled, the commission said, and the lone hippo was moved to an "arguably worse exhibit."

NICE RESTAURANT


Besides a new exhibit for grizzlies, habitations for the other bears "have not undergone any meaningful renovation," according to the commission.

And while the zoo spent the last decade downgrading projects promised to voters from the construction of new exhibits to the mere renovation of existing ones, others targeting the feel-good sensibilities of patrons that had little to do with actually caring for animals were completed as swiftly as possible.

The zoo’s miniature train system, "Little Puffer," was fully restored with $700,000 worth of private funds in 1998. A $4 million education center, which doesn’t actively house animals, was completed in 2001 using the bond money. A new entryway, improved streetscapes, parking, and a restaurant costing $20 million, which came largely from the zoo bonds, were completed two years late and $10 million over budget in 2002.

The renovation of an amusement ride for kids — the historic Dentzel Carousel — was also finished that year at a cost of more than $1 million. (Restorers spent almost 1,000 hours on each fake animal, according to the zoo’s Web site.)

"It’s evident that capital improvements from the bond measure focused on visitor amenities, not improvements for the animals," the report states. "The Joint Zoo Committee and Recreation and Park Commission did not provide adequate oversight to ensure capital improvements made with bond money focused on animal enclosures and exhibits."

The report also points in part to a 1999 performance audit of the zoo conducted by San Francisco’s respected budget analyst, Harvey Rose. The audit at that time argued that improving animal exhibits should come before building new gift shops and dining facilities, but that this recommendation was "not heeded," according to the commission.

"It was clear that none of that had been addressed," Mara Weiss, an animal welfare commissioner and veterinarian in the city, said of the 1999 audit.

Zoo officials received repeated invitations to attend recent commission meetings on the zoo, but they were mostly ignored. Weiss, however, acknowledged that the zoo was distracted by the tiger attack and resulting media circus.

‘UTTERLY IMPOVERISHED’


Early this year, three zoo experts from abroad visited the San Francisco Zoo at the request of the group In Defense of Animals. Each sent a letter to the supervisors that decried the conditions in San Francisco. Robert Atkinson, a former Oxford University conservation, welfare researcher and one-time curator at the Woburn Safari Park in the United Kingdom, noted a failure "to adopt modern approaches to animal husbandry." Peter Stroud, a former zoo director from Australia, described the Black Rhinoceros exhibit as "utterly impoverished."

"It is in fact completely barren…. This exhibit conveys the general impression of a stock yard in which the interests of the animals are of no concern whatsoever," Stroud wrote.

The crown jewel of the zoo’s animal habitations constructed using bond money, the African Savanna, was completed in 2004. It features giraffes, zebras, kudus — a species of antelope — and a bird aviary. But even that exhibit, the welfare commission argues, has problems.

"The new African Savanna exhibit was located in the most weather-exposed part of the zoo, and constructed without shelter or windbreaks for the warm-weather animals displayed there," the report states. "In fact, the most sheltered part of the African Savanna exhibit was designed for the human visitors, leaving the animals who live there exposed to the cold wind and fog off the ocean just across the street."

We tried to reach the zoo for comment, but an administrative assistant told us that spokesperson Paul Garcia recently left his job there and a replacement wasn’t available for questions. Another spokesperson was out of town. We were told that Bob Jenkins, the zoo’s director of animal care, might return our call but he never did.

Jim Lazarus, a former zoo executive and current rec and park commissioner, said the zoo had to devote significant funds to its entrance to comply with the Americans with Disabilities Act. In addition, he said, the cost of construction materials globally has ballooned since 1997.

"None of this money goes as far as originally thought with the worldwide demand for steel and concrete…. We need a multiyear plan, both in terms of priority construction and a capital campaign funding strategy, to complete the half of the zoo that hasn’t been renovated and that should be our goal," Lazarus said. "It’s a wonderful facility."

But future projects planned for the zoo appear to continue the emphasis on visitors. A wish list of projects from the zoo’s 2007 master plan update includes adding new conference spaces and retail, improving areas for family activities, creating a 1,000-seat amphitheater, installing yet another new café, and possibly a full-service restaurant called Windows on the Pacific.

The commission, however, has proposed that the zoo become a haven for saving animals rather than simply exhibiting them for the enjoyment of people. A rescue zoo, as they describe it, would provide a new home for exotic animals once held by private owners in inhumane conditions. Zoo veterinarians and other staff already possessing experience treating sick animals would naturally fit into the new concept, and the zoo’s past conservation efforts, like programs for eagles and wild cats, could be grandfathered in.

Deniz Bolbol, a co-coordinator of the Bay Area–based Citizens for Cruelty-Free Entertainment and supporter of the rescue zoo idea, describes the joint committee that oversees the zoo as a rubber stamp and says, "everything the zoo proposes is approved; everything is unanimous."

"The Board of Supervisors really needs to reform the zoo at its base," Bolbol said.

Lazarus opposes the idea of a rescue concept because he believes it won’t generate enough revenue to keep the zoo self-sufficient. Sup. Sean Elsbernd, whose district includes the zoo, was also cool to the idea, saying no one has an idea of how much it might actually cost. Discussions at the board about how the $48 million in bond money was spent, in the meantime, would likely take a back seat to the lingering citywide $338 million budget deficit.

Besides, he said, the zoo’s new Grizzly Gulch, where two bears that were close to being euthanized by Montana wildlife officials live, represents what the commission is asking for.

"In concept, it’s a great idea," Elsbernd said. "In concept, I also support every street being repaved every year. But there’s reality. There was no realism in their report that showed us how to achieve [a rescue zoo] in the means that we have."

The operating agreement between the Zoological Society and the city comes up for renewal in June.

A less perfect union

0

› jesse@sfbg.com

By nearly every measure, the Service Employees International Union has become a juggernaut. As the rest of organized labor has seen its share of the American workforce continue to dwindle, SEIU has brought in some 800,000 new dues-paying members in recent years. With the Democratic Party taking over Congress in 2006, the 1.9 million-member organization, rich with campaign funds, wields enormous political clout, and it will only become more formidable if Hillary Clinton or Barack Obama wins the White House in November.

But all is not well inside the labor giant. Andy Stern, the union’s president, has pushed hard for merging and consolidating local chapters into larger operations — and many SEIU members, especially here on the West Coast, say that’s turning the union into a top-down autocracy in which Stern loyalists wield undue influence and meddling officials from Washington, DC squelch dissent.

And now, the Guardian has learned, Stern operatives are using their money and organizing clout in a hard-hitting campaign — not to force an employer to the table or to toss out an anti-union politician, but to discredit another labor leader.

The campaign is part of a bruising power struggle between Stern and dissident local leader Sal Rosselli, who runs the Oakland-based SEIU affiliate United Health Care Workers West. In the past few months, union insiders say, SEIU officials, including a senior assistant to Stern, set up what one leader called a "skunk team" to undermine Rosselli’s efforts at winning key union delegate elections. At one point, the team — which involved a political consulting firm linked to big downtown businesses — discussed an opposition research file compiled on Rosselli by a health-care giant his union was fighting

And leading up to the delegate elections last month, SEIU staffers worked to promote Stern-supporting candidates, possibly in violation of union rules, while actively discouraging other union employees from campaigning. That’s led to a formal complaint alleging improper involvement by Stern’s staff in a local union election.

EMERGING TENSIONS


In 2005, Thomas Dewar went to work as a press secretary at Local 790, formerly SEIU’s biggest San Francisco outlet, which represented approximately 30,000 workers, most of them public employees. Local 790 was among the most politically progressive union shops in the country, supporting left-leaning candidates for office and progressive causes like public power. In early 2007, Andy Stern initiated a merger of 790 with nine other regional locals. The move was part of a larger consolidation in the state that saw the number of California union affiliates reduced by nearly half.

The new Northern California superlocal was dubbed 1021, as in "10 to one." Local 1021 has continued 790’s liberal activism. But right after the merger was finalized, Dewar and other sources told the Guardian, the atmosphere around the union changed for the worse.

"A lot of members had anxiety," Dewar recounted. Most troubling, he said, was the insertion of Stern appointees into leadership positions, including current president Damita Davis-Howard. "Members were upset. They saw co-workers whom they had elected unilaterally removed by a guy in DC and replaced by his handpicked appointments."

Ed Kinchley, a Local 1021 member who was appointed by Stern to the local’s executive board after the consolidation, shared Dewar’s memory of the tensions. "You had 10 different locals with 10 different ways of doing things. It’s difficult to merge all of that. A lot of people who had been elected to leadership positions were removed."

Dewar told us he struggled to adjust to his new working environment. But after his initial misgivings, he said he devoted himself to backing Stern’s vision for the combined local: "We were told over and over that change is hard. So I decided to give it an honest shot." Dewar said he worked to get good press for 1021 and to build Davis-Howard’s profile.

But early this year, tensions between Rosselli and Stern flared — and according to Dewar, top staffers at 1021 began to focus more and more of their attention on the feud.

"They were freaking out about Sal," he said.

Enraged at what he considered International meddling in the affairs of his Oakland-based local, United Healthcare Workers West, Rosselli resigned from SEIU’s executive committee in early February. He also began championing a "Platform for Change" to be voted on at the upcoming SEIU convention in June. Among other things, the Rosselli-backed slate of reforms would give local union outlets more say in proposed mergers and collective bargaining agreements. The platform, if approved, would also scrap the current delegate system for electing International officials and replace it with a one-member, one-vote structure.

According to Dewar’s account and to evidence obtained by the Guardian, top SEIU officials have been working overtime to counter Rosselli — even pushing the boundaries of the union’s own rules and colluding with political consultants who have often opposed organized labor.

‘THE ANTI-CHRIST’


In early March, Dewar said that in early March, Josie Mooney, a former Local 790 president who is now a top assistant to Stern, approached him about joining what she characterized as a "skunk team that Andy and I are putting together." Dewar recalls Mooney telling him that the purpose of the team was to counter Rosselli’s increasing popularity with the rank and file, and to sink Rosselli’s platform for the convention.

Dewar told us that Mooney asked him to join the skunk team during a brunch meeting at the Fog City Diner in early March. An e-mail exchange he shared with us shows that he and Mooney discussed having brunch at the diner on March 1.

Mooney did not return numerous calls for comment and, through an SEIU spokesperson, she declined to speak for this article. But Dewar told us Mooney promised him at the brunch that his assistance in her efforts would win him positive attention from Stern. The team, she reportedly told him, was directly authorized by Stern and "that resources would not be a problem."

Dewar said he vacillated about joining the team, torn about aiding what he considered to be an internal union smear squad. "In 1021, we’re conditioned to think that Sal Rosselli is the anti-Christ," Dewar told us. "But even still, he was still a part of the same union." A March 4 e-mail from Mooney’s SEIU e-mail account to Dewar shows her urging Dewar to make up his mind: "You have to give me your commitment. I am (as we speak) selling you at the highest levels. Don’t blow that :)."

Dewar eventually agreed to join Mooney, Tom DeBruin — an elected vice president of SEIU International — and someone Dewar said Mooney referred to as the team’s "silent partner" for a dinner meeting.

E-mails from Mooney and other attendees show that the meeting took place March 10 at Oliveto Restaurant in Oakland.

Mooney’s "silent partner" turned out to be Mark Mosher, of the enormously successful San Francisco consulting firm, Barnes, Mosher, Whitehurst, Lauter, and Partners (BMWL). John Whitehurst, another of the firm’s partners, also attended the dinner.

BMWL has worked for the SEIU since 2001. But its client roster also included Sutter Health and the Committee on Jobs. Both organizations have less-than-stellar reputations among organized labor. Nurses at 10 Bay Area Sutter hospitals recently walked off the job for a 10-day strike. The Committee on Jobs is one of the largest lobbying organizations for downtown San Francisco business interests and has fought against numerous union causes. Mosher told the Guardian by phone that, as of November of last year, the Committee is no longer a BMWL client.

THE ROSSELLI FILE


Dewar claims Sal Rosselli was the central topic of conversation at the dinner. At one point, he says, the participants discussed an "oppo research" file on Rosselli compiled by Sutter Health. The hospital giant has clashed repeatedly with Rosselli and apparently had sought to dig up dirt on him.

Whitehurst worked for Sutter in the 1990s. His efforts for the hospital chain during a ballot campaign in 1997 earned him a place on the California Labor Federation’s "do not patronize" list.

Mosher confirmed by phone that Rosselli’s file at Sutter did in fact come up at Oliveto that evening. But he said Dewar "baited" him and Whitehurst into discussing it. Furthermore, he said, Whitehurst reported that Rosselli’s file was "clean."

In fact, a March 12, 2008 e-mail from Dewar to Mosher suggests that the team focus on Rosselli’s "hypocrisy" and states, "Have we approached anyone at Sutter re: dirt on Sal? Have we been able to peek into their oppo file?"

Later that day Mosher replied, "John Whitehurst read Sutter’s whole oppo file on Sal in 1997." In a follow-up message, Mosher writes that the file "really supports the idea that he’s not motivated by money."

DeBruin did not return calls for comment. Kami Lloyd, communications coordinator for Sutter, disputed whether the oppo file even existed: "To my knowledge," she told us, "no such file exists at Sutter Health."

Reached for comment, Rosselli reacted angrily to news of the alleged "skunk team" and the fact that a research file on him, compiled by a corporation perceived to be anti-union, was being discussed among SEIU officials. "It’s shocking. It’s treasonous. For Andy Stern to be using our members’ dues money to finance [a smear] campaign against his own members in United Healthcare Workers, it’s fundamentally anti-union."

Mosher defended his firm’s involvement with SEIU. He told us that he and Whitehurst were "not brought on board to do negative things against Sal Rosselli." Instead, he said their mission has been to help tout the union’s accomplishments as it prepares to hold its convention from June 1-4 in Puerto Rico.

SEIU spokesman Andy McDonald echoed Mosher’s description of the firm’s duties. Both Mosher and McDonald brought up the fact that Whitehurst has also worked for Rosselli’s UHW union.

UHW’s Paul Kumar confirmed that Whitehurst is currently "on our payroll" to assist in a dispute against Sutter Health — the very company Whitehurst worked for in the 1990s and the same source that provided him with access to Rosselli’s research file. "These guys [BMWL] claim they are trying to reinvent themselves," Kumar said. "But to be on our payroll and to engage directly in executing a dirty tricks program … is about the most blatant violation of professional ethics I can imagine."

Whitehurst did not return calls for comment.

Dewar claimed he urged Mooney and the other attendees of the March 10 dinner to consider "appropriating" Rosselli’s democratic reforms. "The members would all wildly support it. And that way, if the International co-opted Rosselli’s ideas, then [the internal conflict] really would be about this clash of personalities, Rosselli versus Stern, instead of ideas." According to Dewar, Mosher and Whitehurst were receptive to the proposal to co-opt Rosselli’s initiatives, but that "Josie nixed it."

When we asked Mosher if he remembered this exchange from the meeting, he said his memory was "hazy" and that "a lot was being discussed that night."

Although Dewar was, by his own account, an active participant in the skunk team, he says he started to have second thoughts. The dinner at Oliveto, Dewar said, and the discussion of Sutter’s file on Rosselli, "made me want to take a shower … the cynicism I was exposed to was toxic."

One week later, he sent Mooney an e-mail informing her that, "Today’s my last day at SEIU … the circular firing squads that are now forming in the local and in SEIU nationally have left me jaded, stressed out, and depressed."

SEIU’s McDonald denied that the skunk team exists, or ever existed. He added that "the meeting [at Oliveto] was about talking about how [Mosher] could help SEIU communicate our message … within the context of the misinformation campaign being spread by Sal Rosselli and UHW’s leaders."

OUTSIDE INFLUENCE


The rancor between Rosselli and Stern has reached a boiling point in recent weeks. In compiling this story, we had to wade through reams of documents and endure long expatiations from officials and press flaks about the sins of the other side. Both factions have constructed slick, professional-looking Web sites to question the probity of their rivals, and both have coined kitschy names for their respective policy initiatives. The SEIU has countered Rosselli’s "Platform for Change" with what union leaders call a "Justice for All" platform.

But the internecine struggle may have driven Josie Mooney and other high-level SEIU staffers to do much more than vent about Rosselli or seek dirt on him from political consultants. E-mails obtained by the Guardian suggest that she and other SEIU officials worked to influence an important local delegate election last month — possibly in violation of union rules — and, some union members now allege, in violation of federal law.

Delegates selected in the election will attend the union’s international convention in June and will decide between the Rosselli’s "Change" and Stern’s "Justice" platforms. The outcome of that vote, and others like it, will shape the mammoth labor organization’s future for years to come. And the e-mails appear to show a concerted effort by Mooney and Stern loyalists to ensure that Rosselli’s dissidents don’t stack the convention and push through their set of reforms.

Referring to themselves in the e-mails as the "Salsa Team," SEIU staffers discussed strategy and coordinated campaign activity for the delegate election with high-ranking union officials like Mooney and Damita Davis-Howard, the president of Local 1021, the e-mails show. In a formal complaint, some members charge that these activities violated Local 1021’s Election Rules and Procedures — specifically Rule 18, which states that "while in the performance of their duties, union staff shall remain uninvolved and neutral in relation to candidate endorsements and all election activities."

While Rule 18 does not specifically spell out when union staff can advocate for candidates, other than proscribing such activities "while in performance of their duties," the e-mails in our possession are date- and time-stamped, and at least one was sent during normal business hours. Furthermore, the Guardian has obtained an internal memo from Local 1021 official (and apparent Salsa Team member) Patti Tamura in which she warned union staffers that the phrase "’performance of their duties’ goes beyond [Monday through Friday] and 9-5p."

One Local 1021 official who asked not to be identified told us that Tamura’s memo appeared to be a clear message that staff should stay completely out of the election. "They made it perfectly clear to the lower staff that your employment doesn’t stop [after hours]; you’re still staff. That means you don’t get involved. But now it turns out they themselves were doing it. That’s a double standard … it’s certainly not right."

The messages between Salsa Team members show them actively working to recruit potential delegates sympathetic to Stern’s platform and to aid Davis-Howard in her bid to represent the union at the June convention. One missive, dated Feb. 18, which appears to come from the personal e-mail account of Local 1021 employee Jano Oscherwitz and was sent to what appear to be the personal accounts of Tamura and Mooney, requests that a "message for Damita" be drafted.

A forwarded e-mail from that same day, from Oscherwitz to what appear to be personal e-mail accounts for Tamura, fellow 1021 staffer Gilda Valdez, and "Damita" includes a "Draft Message" with bulleted talking points, apparently for Davis-Howard to use as she "Collect[s] Signatures on Commitment Cards."

"Commitment cards" refers to pledges from union members to support certain delegates.

The e-mails go beyond merely aiding Davis-Howard and other Stern-backed candidates. They also include detailed strategy for opposing Rosselli and countering his message. A March 5 Salsa Team message includes an attached document with several talking points critical of the dissident leader. In the body of the e-mail, SEIU staffer Gilda Valdez advises Davis-Howard, Mooney, 1021 Chief of Staff Marion Steeg, and others to "Memorize the points in talking to folks." Valdez goes on to say in the e-mail that she "will be calling … about your assignments."

Reached for comment, Davis-Howard confirmed that the AOL e-mail account listed as "Damita" was hers. But she claimed no knowledge of the Salsa Team or the messages sent to her. "If you’re saying those e-mails went to my home computer, who knows if I ever even got them?"

Davis-Howard bristled at the suggestion that the Salsa Team’s activities violated union rules. "Are you trying to tell me that I can never campaign? Does it [Rule 18] say that I have to be neutral and uninvolved 24 hours a day?"

Calls to Mooney, Oscherwitz, Valdez, and Tamura were not returned. Through an SEIU spokesman, Mooney declined to comment.

A BAD AFTERTASTE


On April 4, three days after the Guardian first reported on the Salsa Team e-mails on our Web site, Sanchez and several other 1021 officials filed a formal complaint with the union’s election committee. In the complaint, they accuse Davis-Howard and the other team members of vioutf8g Rules 10 and 18 of the union’s election codes. Rule 10 forbids "the use of union and employer funds … to support any candidate."

Local 1021 executive board member and Stern appointee Ed Kinchley authored part of the complaint. According to the text, which was obtained by the Guardian, Kinchley wrote, "While telling other staff that they may be fired for any intervention in this election, Ms. Davis-Howard and the others involved secretly did exactly what they told other staff they were forbidden from doing."

The complaint was signed by 16 Local 1021 officials, including numerous members of the local’s executive board. It called on the election committee to remove Davis-Howard "from the elected Delegate list" and to bar Salsa Team members from attending the convention in June.

The issue also has landed in federal court, where UHW was expected to file against Stern and other SEIU officials, alleging interference in delegate elections.

More cynical sources both inside and outside SEIU told us they believe the Rosselli-Stern feud boils down to one thing: power — either holding onto or expanding it. But labor scholar and former Local 790 member Paul Johnston had a more nuanced perspective.

Johnston, who taught at Yale and, until recently, worked for the Monterey Bay Labor Council, told us he admired both leaders and the work each has done on behalf of the larger union. Calling the current strife "a huge can of worms," he added, "These are questions of principle and there are good ideas on both sides."

Stern’s push to increase the union’s bargaining and political clout through more consolidation, Johnston went on, "has some very positive aspects to it…. In the old days, many of these kind of mergers were done for purely political power. The mergers being conducted today [at Stern’s direction] are primarily strategic, though. But there are some power issues that inevitably arise." On the other hand, he said, Rosselli’s UHW, "is a dynamic organizing union that has [its] own issues."

SEIU skullduggery

0

>jesse@sfbg.com

As an internal power struggle wracks the giant Service Employees International Union, emails obtained by the Guardian suggest that SEIU officials may have violated union rules by working to influence an important San Francisco delegate election last month.

Delegates selected by Local 1021, based in SF, will attend the union’s international convention in June and will vote on a series of democratic reforms put forward by dissident labor leader Sal Rosselli. In recent weeks, Rosselli has clashed publicly with SEIU’s international president Andy Stern over Stern’s increasing consolidation of the 1.9 million-member labor organization.

And the emails appear to show a concerted effort by Stern’s senior staff and local loyalists to ensure that the dissidents don’t dominate the convention delegation.

Referring to themselves in the emails as the “Salsa Team,” SEIU staffers discussed strategy and coordinated campaign activity for the delegate election with high-ranking union officials like Damita Davis-Howard, the president of Local 1021, and Josie Mooney, a special assistant to Stern, the emails show.

Critics charge that these activities violated Local 1021’s Election Rules and Procedures – specifically Rule 18, which states, “While in the performance of their duties, union staff shall remain uninvolved and neutral in relation to candidate endorsements and all election activities.”

While Rule 18 does not specifically spell out when union staff can advocate for candidates, other than proscribing such activities “while in performance of their duties,” the emails in our possession are date and time stamped and several of them were sent during business hours.

Furthermore, the Guardian has obtained an internal memo from Local 1021 official Patti Tamura in which she warned union staffers that the phrase “‘performance of their duties’ goes beyond [Monday through Friday] and 9-5p.”

One Local 1021 official who asked not to be identified told us that Tamura’s memo appeared to be a clear message that staff should stay completely out of the election. “They made it perfectly clear to the lower staff that your employment doesn’t stop [after hours], you’re still staff. That means, you don’t get involved. But now it turns out they themselves were doing it. That’s a double standard … it’s certainly not right.”

The messages between Salsa Team members show them actively working to recruit potential delegates sympathetic to Stern’s vision for the SEIU and to aid Davis-Howard in her bid to represent the union at the June convention. One missive, dated February 18, which appears to come from the personal email account of Local 1021 employee Jano Oscherwitz and was sent to what appear to be the personal accounts of Tamura and Mooney, requests that a “message for Damita” be drafted.

According to the time stamp on the message, Oscherwitz sent it at 12:03 PM. Feb. 18 was a Monday. [Update: February 18th was the President’s Day holiday. However an email stamped 4:26 PM on the following day, Tuesday the 19th, shows Salsa Team members continuing to confer about Davis-Howard’s campaigning, as well as the recruitment of potential delegates.]

A forwarded email stamped 3:18 PM on that same day, from Oscherwitz to what appear to be personal email accounts for Tamura, fellow 1021 staffer Gilda Valdez, and “Damita” includes a “Draft Message” with bulleted talking points, apparently for Davis-Howard to use as she “Collect[s] Signatures on Commitment Cards.”

“Commitment cards” refers to pledges from union members to support certain delegates.

At the convention, scheduled for June 1 through 4 in Puerto Rico, delegates will weigh in on a series of reforms backed by Roselli, chief of the United Health Care Workers West. These reforms include eliminating the current delegate system for electing union leaders, giving local unions more authority in bargaining for their own contracts, and granting locals more say in proposed mergers.

Stern opposes Rosselli’s reforms. A March 5 Salsa Team message includes an attached document with several talking points critical of Rosselli. In the body of the email, SEIU staffer Gilda Valdez advises Davis-Howard, Mooney, 1021 chief of staff Marion Steeg, and others to “Memorize the points in talking to folks.” Valdez goes on to say in the email that she “will be calling … about your assignments.”

Reached for comment, Davis-Howard confirmed that the AOL email account listed as “Damita” was hers. But she claimed no knowledge of the Salsa Team or the messages sent to her. “If you’re saying those emails went to my home computer, who knows if I ever even got them?”

Despite her unwillingness to acknowledge whether she had received the messages, Davis-Howard bristled at the suggestion that the Salsa Team’s activities violated union rules. “Are you trying to tell me that I can never campaign? Does it [Rule 18] say that I have to be neutral and uninvolved 24 hours a day?”

Calls to Mooney, Oscherwitz, Valdez, and Tamura were not returned.

But some union members think there’s a serious problem here. In a written statement, Roxanne Sanchez, who was the president of the San Francisco local before it was merged with other Northern California locals to create 1021, accused Davis-Howard and the Salsa Team of “rigging the outcome” of the delegate election.

“This type of breach in ethical conduct – at such a high level – threatens the foundation of trust and confidence in our Union and in President Damita Davis-Howard’s ability to hold fair elections,” she said.

Sanchez informed us by phone that a formal complaint will be filed with the union’s election committee by Friday.

The price of gold

0

› news@sfbg.com

Five years ago, the overseers of San Francisco’s iconic Golden Gate Bridge were facing a $454 million budget deficit. That figure was larger than the gross domestic products of East Timor, the west African country of Gambia, and the Independent State of Samoa.

Investigative reporter Thomas Peele of the Contra Costa Times decided to try and figure out how a bridge in the United States could amass a funding shortfall that dwarfed the economic output of entire nations. For one, he reported in a 2002 story, the Golden Gate Bridge, Highway, and Transportation District used money from the tolls paid by motorists to bankroll an expensive transit system that includes a network of buses in Marin County and a fleet of ferry boats that collectively cost millions per year to operate.

Peele also discovered that the bridge’s 19-person board of directors, some members of which live far from the Bay Area, spent more than $56,000 over a two-year period just to cover trips — including meals, rental cars, and hotels — to regular meetings at the Golden Gate’s administrative offices in San Francisco.

The embarrassed district promised reforms and vowed to get its economic house in order.

But five years later, we’ve learned, very little has changed.

The district touts its substantial cuts in overhead, insisting everything possible has been done to avoid raising the toll on motorists. But the Golden Gate Bridge District’s financial problems aren’t going away — and the only solution the administration can come up with is perpetual toll increases.

Even that answer poses huge problems. The bridge doesn’t expect that the actual volume of toll-paying motorists, or the ridership on its buses and ferries, will rise in the near future at the same pace as its expenses, which are largely consumed by employee salaries, benefits, and other perks that the district’s hundreds of workers, including its board members, enjoy.

Public records show today that the district pays for health insurance for 14 of the (very) part-time directors. Last year alone, that insurance combined cost $48,000 — even though several of the board members, including two mayors and four county supervisors, are already eligible for insurance coverage in their home counties.

The bridge district’s projections show vast deficits stretching off into the next decade — and if the problem isn’t solved, a public transit system will be at risk. Riders, among them a high number of business commuters, make 9.4 million annual trips on Golden Gate’s transit system. If the fiscal mess continues unabated, the board will either have to hike tolls to larger numbers ($10, $15, $20?) or start cutting back on the buses and ferries.

The only alternative, says Golden Gate board member and San Francisco supervisor Gerardo Sandoval, may be to ask state lawmakers for the right to change the district’s charter so it can raise money a different way, such as through sales or parcel taxes.

But many of the board members, who benefit from the lucrative sinecure and the power of this bureaucracy, don’t want to take that risk. "Their fear is that if they go to Sacramento, no one’s going to ask them their opinion," Sandoval told us. "The end result is going to be some legislation that significantly changes the way the bridge is run."

BUY A BIB, SAVE A BRIDGE


Bridge officials say the projected deficit was a lot worse five years ago, before they instituted cost-cutting measures. The biggest cuts came in the form of eliminating nearly 200 positions, about a fifth of the workforce. The district also instituted a hiring freeze and forced workers to negotiate wage rollbacks and share more of the costs of their medical coverage.

Bus services from the district’s fleet of 200 were reduced by 22 percent in March and November of 2003, and taking a bus from Marin to San Francisco now costs 34 percent more than it did five years ago. The weekday fare for a ferry from Larkspur to San Francisco was raised a whopping 118 percent, and available ferry seats were reduced 23 percent by cutting trips. It can cost between $7 and $8 one-way to ride Golden Gate’s ferries and buses today.

But over the next five years, the district still anticipates its deficit will reach $91 million.

So after raising the toll five years ago, bridge officials want to do so again as soon as September. Motorists would pay $6 in cash, $5 if using a FasTrak prepaid device, and $3 instead of $1.50 for disabled drivers.

"It seems pretty clear that the [bridge’s] staff is driving the board of directors, and not the other way around, toward infinite toll increases," Sandoval said. "It’s a ludicrous idea, but that’s the only one they have right now."

Earnest bridge staffers point out in reports prepared for the public that they’ve implemented "revenue enhancements," such as putting out a donation box for visitors who might be willing to give up some pocket change and creating special sales programs at the gift shop.

Online trinkets for sale have even been expanded. At Goldengate.org you can purchase a piece of the bridge’s original cable for $175 or an $8 baby bib that reads "Golden Gate Bridge: Big, Strong and Awesome, Just Like My Dad."

But that’s not going to add up to $91 million.

Meanwhile, the anticipated deficit doesn’t even include capital projects like the nearly $185 million the district wants to spend overhauling and replacing its buses and ferries, or the $36 million it hopes to spend over the next 10 years deterring suicides, which are perhaps the second best-known feature of the Golden Gate Bridge after its aesthetic beauty.

And, of course, the bridge constantly needs repainting, thanks to the wind and salt air. "There’s more [required] maintenance on the Golden Gate Bridge than any other bridge in the country because of where it’s at…. It has to be looked after everyday by a crew of ironworkers and painters and whatever else is needed," said board president John Moylan.

The district’s largest operating expense involves paying the remaining 836 full- and part-time workers at the bridge and granting them fringe benefits like insurance coverage and supplemental pensions. This year alone salaries and benefits will cost about $100 million.

THE RED INK MOUNTS


About 60 percent of the district’s budget goes toward keeping its ferries and buses running, but key performance measures show that Golden Gate’s transit system does poorly in three crucial areas, including cost efficiency and effectiveness. When compared with national averages, Golden Gate Transit has one of the top five highest operating costs per "vehicle revenue mile" — a barometer of efficiency — out of the 150 largest transit agencies nationwide, making it more inefficient than BART, AC Transit in Alameda County, and the transportation authorities in Santa Clara and San Mateo counties, according to 2005 figures maintained by the federal Department of Transportation.

It’s common for transit systems to rely on government subsidies, and few environmentalists have sympathy for drivers who whine about toll increases from the comfortable interiors of their automobiles. Mass transit is the future of urban living.

"The Golden Gate Bridge may not be as efficient as other comparable systems," Sandoval said, "but if we abandon the investment we have made in mass transportation, it will really leave us with poor options in the years to come."

Alan Zahradnik, Golden Gate’s director of planning, adds that the bridge’s buses and ferries are dissimilar to other transit systems around the country because they tend to carry fewer commuter passengers over greater distances mostly during peak hours compared to transportation authorities like San Francisco’s Muni and AC Transit.

"It’s more expensive to provide suburban, fixed-route transportation," Zahradnik said.

Nonetheless, without an increase in the toll for motorists, the bridge expects to sustain annual deficits for each of the next 10 years until the red ink reaches $290 million.

So it would seem that if the district is asking everyone to tighten their belts, its board of directors should probably do the same. The extraordinarily large 19-member Golden Gate board contains more than twice as many directors as the seven-member board that oversees Muni’s trains and buses and the nine-member board that governs BART.

That’s a throwback to history. When the bridge district formed in 1928, several counties north and south of the span were asked to participate in the $35 million bond issue required to construct a road across the Golden Gate, and although the bonds were paid off decades ago, each of those counties still receives representation on the board.

"There have been attempts to topple the bridge district in the past, but they’re so hard-wired, it’s been impossible," said Susan Deluxe, a Tiburon resident and long-time critic of the district.

The list includes two counties located far to the north, Mendocino and Del Norte — the latter bordering Oregon. But the board’s structure hasn’t been tinkered with since its formation.

When asked whether the far-flung board has outlived its usefulness, the representative from Del Norte County, Gerald Cochran, explained that the distant jurisdictions help diminish tension between the representatives from San Francisco and Marin, who frequently argue over who should contribute more to maintain the bridge. Besides, he said, Del Norte stepped up to help make the Golden Gate Bridge happen in the first place.

"It’s not what we do today," Cochran said, "it’s what we did 75 years ago to get this bridge built. We make our contributions."

The travel expenses of the two directors representing Del Norte and Mendocino counties were the highest board-meeting travel costs he found back when Peele first reported on the board’s budget — $42,404 to cover trips from their home counties to San Francisco for regular board meetings over two years.

In 2002, bridge officials told the public that the district’s top-heavy administration would spend less along with everyone else to save money. The newest $6 toll was proposed "with the understanding that staff will continue to focus on finding internal cost savings," one staff report promised.

But that’s not exactly what new numbers we obtained from the district through a public records request show. Transporting distant directors to district meetings over the past two years cost more than $54,000.

Exasperated district staffers respond that travel for board members to conferences around the globe has already been trimmed and the number of regular meetings they hold in San Francisco were cut to save on the $50 stipends board members traditionally earned per meeting for serving.

A HEALTHY PERK


A majority of the directors receive health insurance coverage from the district, either Blue Shield or Kaiser — a perk that few other part-time boards in the state offer. Last year, that cost $48,000.

But many of the directors already receive coverage from plans in their home counties. The bridge paid $1,200 last year to cover Mike Kerns; he is also a Sonoma County supervisor, where he’s on a second plan that includes life, dental, vision, and health coverage — and costs taxpayers there about $63,000 annually, the clerk of Sonoma County’s board told us. Kerns was on vacation when we called his office at press time.

Board member Albert Boro receives health insurance through the bridge, but taxpayers in San Rafael, where he’s the mayor, pay an additional $19,000 annually to cover him there, according to figures provided by San Rafael’s city manager.

But Boro told the Guardian that the bridge coverage is "secondary and it’s only utilized when my primary doesn’t cover something…. It’s not a premium in the sense that it might be through the city [of San Rafael]."

Three San Francisco supervisors participate in the plan offered here for county employees, which annually costs taxpayers approximately $10,500 per person, according to the controller’s office. But the bridge also covers those individuals. The list includes Tom Ammiano, Jake McGoldrick, and Gerardo Sandoval and costs a total of $14,000 to cover all three of them, according to district numbers we requested.

Ammiano said the benefit could be done away with if it truly became a burden on the bridge’s budget. "That would take the will of the board," he said. "[Doing away with it is] not something I would be against, but I can only speak for myself."

Board director Bevan Dufty, also a San Francisco supervisor, declined to sign up for the coverage when he joined the bridge’s board in 2005.

"I had insurance and it seemed duplicative to me … I meet with people every day who don’t have insurance from all walks of life and so I felt fortunate," Dufty said.

Only about 12 percent of the 450 or so special districts that responded to a survey two years ago asking about health coverage said they offered such benefits to their directors or trustees, according to Neil McCormick, head of the California Special Districts Association. The group represents around 900 waste management, utility, fire, and recreation districts across the state. The Golden Gate district is not a member.

The real problem here is that after the district retired its bond debt in 1971, it never came up with an adequate revenue source to cover all of its operating or capital costs. Bridge officials never sought from state lawmakers a mechanism, for instance, to borrow money at a fixed rate, like school districts do.

So what will the bridge do in five more years? Nobody seems to know. According to San Francisco board member Janet Reilly, "That’s the $64,000 question…. There’s only so much toll tolerance among drivers."

Careers & Ed: Symphony of instruction

0

› culture@sfbg.com

It may have been San Francisco’s Davies Symphony Hall, but at times it felt more like a Pentecostal revival meeting. Forget about rules or decorum: when the spirit moved them, this crowd let loose. Imaginary batons twirled. Heads tick-tocked. Feet tapped. Giggling and applause burst out at all the wrong times.

You haven’t really experienced the symphony until you’ve sat among 2,200 first and second graders at their first live orchestra performance, hundreds of them conducting the orchestra from their seats.

"Movement is exactly what we want," says Ronald Gallman, director of the San Francisco Symphony’s Education Programs, Youth Orchestra and Adventures in Music (AIM) program. "We wouldn’t be doing our jobs if they were sitting with their hands folded in their laps."

Not everyone acts like inspired little savages; others revel in acting like adults. One girl watched the performance through a pair of improvised opera classes — tiny binoculars she brought from an explorer’s kit at home.

It’s somewhat of a relief to learn that kids of the iPod generation can still appreciate classical music. It helps that musicians in the AIM program understand a few basic principles of child psychology: keep performances short, allow plenty of opportunities to shout out and move around, and throw in a fart joke or two for good measure (the tuba player who introduced his instrument with a flatulent blast got the biggest laughs of any joke in the performance).

Founded in 1988, the AIM program serves first through fifth graders at every public elementary school in San Francisco — an impressive 75 schools — as well as third through fifth graders in some private and parochial schools, totaling more than 22,000 children. Beyond the innovation, this is only possible because the AIM program is funded entirely by private donors, foundations, and events like the Black and White Ball — which means that it’s offered at no cost to the schools. According to Gallman, this level of commitment to building equitable access to music education in public schools makes the San Francisco Symphony stand apart as a national leader.

The symphony performance is just one piece of the larger AIM curriculum, which includes four ensemble shows per year at each school as well as comprehensive materials to help teachers build interdisciplinary lesson plans around the AIM performances. Each school is able to choose the ensembles it wants — with options including jazz and all varieties of world music — thus allowing for culturally appropriate programming at different schools.

At the Claire Lilienthal School in the Richmond District on a recent school day, the Drei Brass trio had been chosen to perform for a gymnasium full of first and second graders seated on the floor, each of whom had been given a brightly colored plastic kazoo.

"Our show today is about three brass instruments and vibration!" announced Alicia Telford, the Drei Brass french horn player, her eyes wide and one eyebrow arched. She showed the kids how to feel the vibration in their vocal chords when they sung by placing a hand on the front of their neck.

Each of the brass players introduced himself as "an ambassador of ppppfffft," demonstrating that the music coming out of their instruments begins with a simple pppfffft blown into the mouthpiece — the same ppppfffft sound that the kids blow into their kazoos.

They also peppered their classical performance with recognizable tunes that the kids could intuitively follow, like the finger-snapping Pink Panther theme.

Kazoo-induced hyperactivity aside, it seems that teachers by and large are nothing but grateful for the AIM programming in their schools.

"Music is a great way to keep some children engaged who might not be the best readers or [who are] a bit behind. It’s a great way to keep them in the school system through high school."

According to JR Jowkalsky, a reading teacher at Willie L. Brown Jr. elementary school in the Bayview, the number of students who pursue orchestra or band in middle school has "mushroomed" as a result of the AIM Program.

Keith Jones, who has been teaching for 20 years and currently runs the 40-piece band at Willie L. Brown, reports that about one-sixth of the potential band students participate in the music program. Anything over 10 or 15 percent participation is considered good.

"AIM has given me 10 violins, symphony tickets for the kids, concerts here at school," he said. "It provides things that I could never provide to my students."

While the AIM program alone cannot revive public-school music education in an era of restricted funding, it’s not a far stretch to say that exposing every single public school student by the end of fifth grade to five symphony visits and 20 ensemble performances must help pick up the slack.

Now, if only there was something AIM could do to preserve the sense of wonder and complete abandon with which these kids enjoyed the symphony for the first time, conducting wildly from their seats like no one is watching.

Rhymin’ Riot XX-style at Yerba Buena

0

By Vanessa Carr

muz.jpg
Julie Atlas Muz (photo: Karl Giant)

Opening tonight, Fr/28, at the Yerba Buena Center for the Arts is The Way That We Rhyme a multimedia group show featuring work by a heavy-hitting line up of contemporary female artists that emphasizes performance and interaction.

Aptly titled, The Way That We Rhyme references a lyric from Le Tigre’s “Hot Topic,” a lengthy shout out to the feminist foremothers and heroines – from Angela Davis and Gertrude Stein to Kara Walker and Yoko Ono – who have shaped and inspired the current generation. Fittingly, Le Tigre’s homage includes Vaginal Davis and Tammy Rae Carland, two artists featured in the Yerba Buena show.

Le Tigre performs “Hot Topic”

Tonight’s opening party features San Francisco punk outfit Brilliant Colors and folk-bluesy rockers The Sarees, a DJ set by Erase Errata’s Jenny Hoyston, and performances by feminist performance and video art collective Toxic Titties and crazy comedienne extraordinaire Dynasty Handbag, as well as a film screening and interactive projects by a number of the participating artists.

Dynasty Handbag – “The Quiet Storm” By Jibz Cameron, Hedia Maron 2007

But it seems that Saturday – with its full schedule of interactive programs – is the day not to be missed.

Superlist: Make some noise

0

› superlists@sfbg.com

Don’t despair if your frequent oral treatises to progressive ideals end up falling on deaf ears. Instead, let your feet walk and your trumpet talk. Armed with even an undernourished musical skill and the will to disregard noise ordinances in your neighborhood, you can find a street band, whether bawdy or principled, to soundtrack your most ardently held beliefs. Oh, you’ll be heard all right.

Bateria Lucha (www.baterialucha.org) could be loosely translated as "drums for the struggle," but essentially the passion of the Brazilian percussion tradition to which the name refers has no cognate in staid English. Catalyzed by the initial uproar over the current Iraq war, Lucha founder Derek Wright envisioned a musical force that would unify and groove-ify the chants of protesters, not drown out their message. Today, aspiring bateristas can join Wright for multilevel Brazilian percussion workshops each Thursday in Oakland in preparation for Bateria Lucha’s musical surge tactics, employed everywhere from picket lines to San Francisco Carnaval.

If you’ve ever joined a human blockade on Market or picketed the Woodfin Hotel, you’ve certainly had your marching morale boosted by the Brass Liberation Orchestra (< a href="http://www.brassliberation.org" target="blank_">www.brassliberation.org). Hailing from Oakland and San Francisco, this dedicated group takes peace and social justice activism seriously, even when enticing a city block of protesters to shake it to the Black Eyed Peas. Dispatching a spirited crew of brass, woodwind, and percussion players to rallies and events around the region, the BLO welcomes new members who can keep pace with the music and the cause.

If it’s spectacle you seek, look no further than Extra Action Marching Band (www.extra-action.com), the drum majors of San Francisco values since 1999. Credited with being among the early subverters of the once mannerly marching band aesthetic, Extra Action still manages to shock audiences with antics and braggadocio, often posing profound questions such as: why perform on a stage when you can dance naked on top of the bar?

Offering youth classes in San Francisco since 1994, the leadership of Loco Bloco (www.locobloco.org) has already raised a generation of students into its own ranks. Each year, the nonprofit’s mentors in Brazilian drumming and dance prepare a performance group for participation in San Francisco’s Carnaval. Drawing a strong contingency of players already affiliated with Loco Bloco, rehearsals preceding the May parade are open to all ages and abilities. The $5 class fee for adult Carnaval participants goes toward scholarships for youth.

Oakland’s Loyd Family Players (www.theloydfamilyplayers.com) are no purists. Beats and hooks from the band members’ own diverse musical backgrounds have found their way into this bateria’s boisterous repertoire. Nevertheless, the lineup of Brazilian surdos, snare drums, shakers, and bells still carries the distinctive thump of authentic samba at its craziest. Props go to the fiercest female percussion section around.

A spirit of cheerful anarchy sustains the Los Trancos Woods Community Marching Band (www.ltwcmb.com), which began its long life on New Years Day, 1960, in a hilltop village tucked away behind Palo Alto. The application for new members requires only "the desire to have a good time," and rehearsals are limited to once a year. You can tag along with their procession through North Beach on Columbus Day as long as your "uniform" is suitably absurd, but you’ll know you’re really in the club when you find yourself halfway to Monterey honking New Orleans–style kazoo in the Castroville Artichoke Festival Parade.

The Musicians Action Group (Magband@aol.com), a self-described circle of "old left wingers," roots its music in the history of American activism, performing songs of the labor, antiwar, and civil rights movements. Born out of a need to make noise about social justice, MAG has played at major demonstrations and protests since 1981. The group welcomes newcomers who share their mission of supporting progressive causes with music that is historically and politically significant.

Intercontinental Collaborations 3 — The Symmetry Project

0

PREVIEW Have you ever heard of an "inter-corporeal kaleidoscope of flesh?" Neither have I. This intriguing mouthful is one of the labels Jess Curtis has affixed to his latest performance experiments in physicality. Yet for all his theoretical underpinnings, Curtis is a man of the theater. These days the choreographer, who started with Contraband 20 years ago and now lives and works part-time in Berlin, questions the act of performance — what it means to him, and what it means to us. Fallen (2002) and, particularly last year’s Under the Radar, offered highly imaginative and exquisitely structured possible answers to big questions on that subject. Curtis’s latest endeavor, Symmetry Study #7, premiered in Berlin last September. In it, he partners with Maria Francesca Scaroni in a series of improvisational encounters performed in the nude. The idea behind these couplings is to examine connection and separation on the most fundamental level and what they do to our perception of self. It sounds a bit like the Greek concept of the original human who was cut in two and forever tries to reunite with the other half. In contrast to the American premiere of Symmetry is the Jess Curtis/Gravity companion piece and a world premiere, Asymmetrical Tendencies, performed by Croi Glan Dance, a company of performers of different physical capabilities. Two very different Irish dancers, former Bay Area resident Tara Brandel and Rhona Coughlan of Croi Glan, also perform.

INTERCONTINENTAL COLLABORATIONS 3 — THE SYMMETRY PROJECT Thurs/27–Sat/30 and April 3–6, 8 p.m. CounterPulse, 1310 Mission, SF. $18–$20. (415) 626-2060, www.counterpulse.org, www.brownpapertickets.com

Switchboard Music Festival

0

PREVIEW While something like the Treasure Island Music Festival can be summarized in a nutshell — a day of indie rock and a day of electronica — the annual Switchboard Music Festival defies classification. Traditionally, a lack of stylistic consistency is frowned upon in the music world — some artists spend years searching for their own reliable sound — Switchboard organizers say times have changed. With file-sharing and iTunes inundating fans with music, composers have the opportunity to go wild. On a song-by-song basis, good music is good music, regardless of who produced it or what genre it is.

Like many of the acts throughout the day, San Francisco’s Aaron Novik seems to put his eggs in more baskets than the Easter Bunny. Novik is a self-described "clarinetist, composer, bandleader" who clearly has a propensity toward variety, as his projects span anywhere from psychedelic jazz to metal. At the festival, Novik will lead his traditional Jewish folk band the Yidiots, which includes Guardian editorial intern Dina Maccabee on violin.

Fellow musical butterfly Amy X Neuberg, the festival’s headliner, will demonstrate her wide range of musical manifestations. Oakland composer Neuberg’s performance centers on creative uses of her own voice, including some over-the-top opera, soft jazz tones, and spoken word — all looped in real time through a sequencer to create harmonies. Genres will bend and tear within her set and those of others, only to shatter with the first note of the following act.

SWITCHBOARD MUSIC FESTIVAL With Christopher Adler, Dan Becker, Del Sol String Quartet, Edmund Wells, Erik Jekabson, Gamelan X, Ian Dicke, Ian Dickenson, Inner Ear Brigade, Jonathan Russel, Robin Estrada, Ryan Brown, and Slydini. Sun/30, 2–10 p.m., $5–$25. Dance Mission Theater, 3316 24th St., SF. (415) 826-4441, www.switchboardmusic.com

Karaoke revolution

0

>a&eletters@sfbg.com

REVIEW The radio at my neighborhood Laundromat is a source of pop music melancholy. That a-ha song "Take on Me" gets me misty while folding socks — damn it.

Something similar happened when I first saw British artist Phil Collins’s captivating Smiths karaoke video project, dünya dinlemiyor (Turkish for "the world won’t listen") at the San Francisco Museum of Modern Art in 2006. The piece documents Turkish Smiths fans performing versions of the band’s classics in front of high-keyed landscape photo backdrops — many depicting sites far more tropical than Istanbul. Throughout the run of the exhibition, the cozy projection room was packed with people who stayed far longer than they would for more blatantly arty video pieces. They laughed with empathy — and perhaps to deflect the mix of emotions roused by their own powerful memory triggers.

Dünya dinlemiyor was just one-third of a recently completed trilogy by Collins: to bracket his shoot in Istanbul, he also conducted karaoke sessions at Bogotá, Colombia, and two Indonesian cities. All three were recently united as a triptych at the Dallas Museum of Art. That Texas metropolis — site of the 1992 concert DVD Morrissey: Live in Dallas — is a long way from here. But the monograph produced for the exhibition, Phil Collins: the world won’t listen (Yale University Press, 132 pages, $45), serves as something akin to an edifying concert brochure. This is particularly true of a historical essay (regarding the Smiths oppositional relationship to Thatcherism and corporate label hegemony) by music critic Simon Reynolds.

In addition to Reynolds’s observations, Phil Collins: the world won’t listen includes still photos from videos, related imagery, two other illuminating essays, and a particularly engaging interview with Collins. "Karaoke is a form of joyful treason in which you quite materially supplant your idol," he tells the book’s editor, Dallas Museum curator Suzanne Weaver. Her conversation with the artist illuminates his interest in mediated subjects, and positions his Smiths project as an anti–American Idol. "Every single season [American Idol] is about complete conformity around the idea of the songbook," he observes. Collins’ Smiths project shatters that conformity, presenting an international range of people swayed by the idiosyncratic, outsider, emo aura of, say, "The Boy with the Thorn in His Side."

Critic Bruce Hainley links American Idol to the George W. Bush administration in a manner that — fittingly, considering that the Smiths are a touchstone of Collins’s project — combines longing with astute social observation. "What does it take to be a celebrity (not a star), circa 2007?" he asks, and then provides the American Idol–inspired answer: "Twelve weeks, and consumers voting with more gusto than they have voted in any recent American presidential election." Just as insistently, Hainley points to the crush-generating erotic lure of pop music collateral, citing a shirtless Joe Dallesandro on the cover of the first Smiths album, as well as the camera’s apparent lust for a Smiths fan in a red T-shirt in Collins’s Bogotá-set video. Next, Liz Kotz provides descriptive insight into Collins’s other works, which subvert standard practices of popular media in their depictions of Kosovo refugees, Iraqi citizens, and people emotionally scarred by their appearance on reality TV.

Because musical performance is so central to Collins’s work, it’s a shame that this slip-cased volume doesn’t include a DVD with a few song snippets and examples of the similarities and differences between each national version of the project. But there are compensations: the book does sport images of the Smiths’ set lists, an unauthenticated 1981 handwritten note from Morrissey, and Hainley’s comic acknowledgment of Collins’s pop music namesake: "Why not Genesis karaoke?"

Patty meltdown

0

› superego@sfbg.com

SUPER EGO Clear the runway! Clear the runway! She’s got a Target elastic waistband and too many Walgreens L’Oreal home highlights in her shag — and she’s about to crash-land drunk off her Lucite Shoe Pavillion fuck-me pumps and into my $30 Blue Lotus powertini, with guarana extract, caffeine, taurine, and B vitamins 3, 5, 6, and 12. Somebody call Grey’s Anatomy on her jiggly, glitter-thonged ass, stat. Save me, Dr. McCreamy! Save my exorbitant cocktail!

Nightlife 911!!!

Hi. I’m writing to you from the bowels of underground club connoisseur hell, a.k.a. a gay bar in Las Vegas on St. Patrick’s Day during spring break. Try not to imagine it. On the giant video screen: a 2005 frat-boy rave remix of the Cranberries’ "Zombie." In the glass tanks lining the dance floor: live piranhas. Streaming through the door: distressed embroidered jeans and bleached-out cocka’dos. Kill me.

"What did you expect?" Hunky Beau reminds me not-so-gently. "This city has the freakin’ Liberace Museum. Drop the snob act." So I take some heart in the equality of it all. The Vegas homo-horror crowd out by the airport’s no different from the straight-when-sober one thronging the Strip, except the lesbians are real and the other women aren’t. Or rather, they’re 50 percent less real. Surgery is confusing! It’s like silicone algebra. And don’t let’s even glance at Vegas menswear, ‘k? When did Affliction team up with Hurley and Crocs to make Jams?

Other than the occasional squawk of stale reggaetón emanating from pastel Hummers on West Tropicana — not to mention a slew of rowdies screeching "The Star-Spangled Banner" throughout New York New York (never forget!) — the charge-card cocktails, Timba-hop tunes, and space-age bachelor ultralounge aesthetic of omnisexual fantasyland are bottle-serviced with a splash of Burner du Soleil myshtique. In Las Vegas, the apex of a corker evening is a Coyote Ugly boobarella with red contact lenses and vampire fangs writhing on a dry-iced bar to DJ Tiësto. The only thing missing, really, is a topless raver girl revue with dildo glowsticks and peekaboo JNCO jeans. I’m copyrighting this idea immediately.

Everything’s slathered in pimps-and-ho cheese and infernal strobing ultraviolet beams, grinding my delicate complexion into hamburger. Is this what you want, America? Awful-looking skin?

Like Manhattan and Miami — where three-quarters of San Francisco’s dance music movers-and-shakers are currently scratching their bikini waxes at the bubbly-drenched, forever-2001 Winter Music Conference — Vegas has now officially Disneyfied the salacious grit from my fond partial-memories of nightlife there, on and off the Strip. Bring on the recession, darlings! I’m all for having wild fun — this, after all, is how a majority of Midwesterners will be introduced to club culture — and I realize that a vibrant and shocking underground depends on a slick surface limelight to tunnel beneath. But please: what happens in Las Vegas, stay there.

Lady Go Boom Enough grumpy, let’s party! You may remember the excitably gorgeous Lady Tigra as one half of ’80s Miami Bass female electro-rap phenom L’Trimm, whose sub-woofin’ 1988 hymn to cracked windshields, "Cars That Go Boom" (Hot Productions), raised the fluorescent-suspendered rafters of club kids nationwide at the time. I was there, and Tigra was fierce. Now she’s back — grrrl! — with a slinky-nasty new album, Please Mr. Boombox (High Score), and a savvy plan to retake the alternative nightlife spotlight by teaming up with the cheekiest promoters on the West Coast. Fresh from her balls-out show at Los Angeles’s latest actually great party, Mustache Mondays, she’ll sink her claws into your dancey-pants with gender-bending vocalist and performance artiste extraordinaire Jer Ber Jones and the ever-beaky DJ Chicken at Cafe Du Nord on March 28. Her warped OMD-sampling jam "A Moon Song," especially, has been freaking the red zones in my headphones lately. And please note that I have not made a single tragic Tatiana the Tiger joke in this catty plug, mostly because I wish I’d mauled that hot dead Indian boy first and I’m still bitter. So there.

LADY TIGRA

Fri/28, 8:30 p.m., $15

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com, www.myspace.com/theladytigra

Improv Everywhere: The Musical

0

Now this is a mission after my own heart…

Members of the New York-based performance group Improv Everywhere planned a “spontaneous” musical-style song-and-dance number to be held in a food court in a Los Angeles mall. (These are the same folks responsible for Frozen Grand Central and the annual No Pants event.)