Performance

Beyond the valley of vinyl

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› johnny@sfbg.com

No one turns the tables on the turntable quite like Otomo Yoshihide. San Francisco is a renowned turntablist holy land, thanks to the Return of the DJ comps David Paul has put out on Bomb Records, and the stylus-stylish feats of Q-Bert and the Invisibl Skratch Picklz. Yet the most audio-inventive and visionary SF-set turntable achievements to date probably reside within the new CD-DVD Multiple Otomo (Asphodel), largely recorded during the artist’s recent Bay Area visit. There, Otomo attacks the turntable’s potential for sound from dozens of wholly inventive angles, playing it as a musical instrument rather than using it as a piece of stereo equipment. Vinyl isn’t a necessary ingredient. Otomo shows a system that broadcasts music can also be used to make music. He turns an outmoded machine inside out and invents it anew.

Such praise for Multiple Otomo, while based in truth, likely means little to its chief creator. Whether he’s recording, engaged in sampling, or warping the parameters of live performance, he’s expressed little interest in consumer products and little regard for music that subjugates itself to words.

Nonetheless, the audio-only component of Multiple Otomo, Monochrome Otomo, is a CD of 18 tracks, each of which has a title and all of which trigger a writer’s descriptive imagination through their sonic properties. "Generator and Records" tracks rhythms of crackle — albeit with even less interest in pop repetition than snap-crackle-pop contemporaries such as Ryoji Ikeda and Thomas "Klick" Brinkmann. "Turntable Feedback" sculpts rusty, serrated chunks of cacophony with an authority that noise guitarists such as Nels Cline might covet. "Records" sounds like an infernal engine attempting to come back to life. Discarded technology doesn’t possess soul, but Otomo excavates soul from it. "Cardboard Chip Needle" features howls and horn squawks that are equivalent to nails on a chalkboard in terms of primal abrasiveness, yet Otomo — a free jazz heir of Masayuki Takayanagi, whose guitar assaults once famously caused student radicals to riot against him — also can use a six-stringed electric as a steel drum of sorts and create a gorgeously spooky, Harry Partch–like journey into a night forest.

But rather than chart new shades of purple with simile and metaphor, it might be better — or at least less silly — to use analogy when discussing Multiple Otomo. One track on the CD portion, "Cut Records," possesses a quality that isn’t far from what Peter Tscherkassky does on film: what might be the soundtrack to an old movie sounds like it’s fighting to escape the broken stereo that traps it. As Tscherkassky does in his mind-blowing celluloid reworks of Sidney J. Furie’s The Entity, Otomo taps into the convulsive properties of his media (equipment) and his medium.

One of Otomo’s behind-the-camera collaborators on the frequently awesome DVD portion of Multiple Otomo is filmmaker Michelle Silva of San Francisco’s Canyon Cinema, who has a definite appreciation of Tscherkassky. Like Tscherkassky, Otomo is the type of experimental artist whose work is directly pure and powerful rather than arcane or deliberately hard to understand. The visual component of Multiple Otomo is intimate with Otomo’s methods. Semiabstract close-ups rule, and Otomo’s hands get into all kinds of trouble. Indeed, Otomo is frequently multiplied, as the title promises, but he’s also got a trickster’s proficiency for disappearing from the scene.

In addition to textural visual splendor — overlays, scratched surfaces, kaleidoscopic reflections, screens within screens, the hypnotic spinning dances of fluorescent records, the hot, tarlike gleam of burning black vinyl — there are numerous humorous treats within some of Multiple Otomo‘s DVD chapters. While many of Otomo’s activities are a retro audiophile dude’s worst nightmare come to life, "Vinyls" is also playfully disrespectful in its approach to the collector mentality, putting an Al Green Hi Records classic through tortures while ultimately saving the worst violence for Evita and Supertramp. (Ah, sweet justice.) Though Otomo frequently proves you don’t need records to play a record player, on "Tinfoil," two bits of the titular object begin to resemble the legs of a dancer with an extreme case of the jitters.

Frankly, any object that finds itself near the hands of Otomo Yoshihide should have a case of the jitters. It’s bound to discover that its end justifies his means. *

www.asphodel.com

www.japanimprov.com/yotomo

Dine Listings

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Welcome to our dining listings, a detailed guide by neighborhood of some great places to grab a bite, hang out with friends, or impress the ones you love with thorough knowledge of this delectable city. Restaurants are reviewed by Paul Reidinger (PR) or staff. All area codes are 415, and all restaurants are wheelchair accessible, except where noted.

B Breakfast

BR Saturday and/or Sunday brunch

L Lunch

D Dinner

AE American Express

DC Diners Club

DISC Discover

MC MasterCard

V Visa

¢ less than $7 per entrée

$ $7–$12

$$ $13–$20

$$$ more than $20

DOWNTOWN/EMBARCADERO

Boulevard runs with ethereal smoothness — you are cosseted as if at a chic private party — but despite much fame the place retains its brasserie trappings and joyous energy. (Staff) 1 Mission, SF. 543-6084. American, L/D, $$$, AE/DC/DISC/MC/V.

Brindisi Cucina di Mare cooks seafood the south Italian way, and that means many, many ways, with many, many sorts of seafood. (PR, 4/04) 88 Belden Place, SF. 593-8000. Italian/seafood, L/D, $$, AE/MC/V.

Bushi-tei melds East and West, old and new, with sublime elegance. Chef Seiji Wakabayashi is fluent in many of the culinary dialects of East Asia as well as the lofty idiom of France, and the result is cooking that develops its own integrity. The setting — of glass, candles, and ancient lumber — shimmers with enchantment. (PR, 3/06) 1638 Post, SF. 440-4959. Fusion, D, $$$, AE/MC/V.

Café Claude is a hidden treasure of the city center. There is an excellent menu of traditional, discreetly citified French dishes, a youthful energy, and a romantic setting on a narrow, car-free lane reminiscent of the Marais. (PR, 10/06) 7 Claude Lane, SF. 392-3515. French, L/D, $$, AE/DC/DISC/MC/V.

Chaya Brasserie brings a taste of LA’s preen-and-be-seen culture to the waterfront. The Japanese-influenced food is mostly French, and very expensive. (Staff) 132 Embarcadero, SF. 777-8688. Fusion, D, $$$, AE/DC/MC/V.

Cortez has a Scandinavian Designs-on-acid look — lots of heavy, weird multicolored mobiles — but Pascal Rigo’s Mediterranean-influenced small plates will quickly make you forget you’re eating in a hotel. (Staff) 550 Geary (in the Hotel Adagio), SF. 292-6360. Mediterranean, B/D, $$, AE/DC/DISC/MC/V.

Cosmopolitan Cafe seems like a huge Pullman car. The New American menu emphasizes heartiness. (Staff) 121 Spear, SF. 543-4001. American, L/D, $$, AE/DC/MC/V.

NORTH BEACH/CHINATOWN

Maykadeh Persian Cuisine is a great date restaurant, classy but not too pricey, and there are lots of veggie options both for appetizers and entrées. Khoresht bademjan was a delectable, deep red stew of tomato and eggplant with a rich, sweet, almost chocolatey undertone. (Staff) 470 Green, SF. 362-8286. Persian, L/D, $, MC/V.

Michelangelo Cafe There’s always a line outside this quintessential North Beach restaurant, but it’s well worth the sidewalk time for Michelangelo’s excellent Italian, served in a bustling, family-style atmosphere. The seafood dishes are recommended; approach the postprandial Gummi Bears at your own risk. (Staff) 597 Columbus, SF. 986-4058. Italian, D, $$.

Moose’s is famous for the Mooseburger, but the rest of the menu is comfortably sophisticated. The crowd is moneyed but not showy and definitely not nouveau. (Staff) 1652 Stockton, SF. 989-7800. American, BR/L/D, $$, AE/DC/MC/V.

Pena Pacha Mama offers organic Bolivian cuisine as well as weekly performances of Andean song and dance. Dine on crusted lamb and yucca frita while watching a genuine flamenco performance in this intimate setting. (Staff) 1630 Powell, SF. 646-0018. Bolivian, BR/D, $$, AE/MC/V.

Rico’s touts its salsas, and they are good, but so is almost everything else on the mainstream Mexican menu. (Staff) 943 Columbus, SF. 928-5404. Mexican, L/D, ¢, AE/MC/V.

SOMA

AsiaSF Priscilla, Queen of the Desert meets Asian-influenced tapas at this amusingly surreal lounge. The drag queen burlesque spectacle draws a varied audience that’s a show in itself. (Staff) 201 Ninth St, SF. 255-2742. Fusion, D, $, AE/DC/DISC/MC/V.

Bacar means "wine goblet," and its wine menu is extensive — and affordable. Chef Arnold Wong’s eclectic American-global food plays along nicely. (Staff) 448 Brannan, SF. 904-4100. American, D, $$, AE/MC/V.

Basil A serene, upscale oasis amid the industrial supply warehouses, Basil offers California-influenced Thai cuisine that’s lively and creative. (Staff) 1175 Folsom, SF. 552-8999. Thai, L/D, $, AE/MC/V.

Big Nate’s Barbecue is pretty stark inside — mostly linoleum arranged around a pair of massive brick ovens. But the hot sauce will make you sneeze. (Staff) 1665 Folsom, SF. 861-4242. Barbecue, L/D, $, MC/V.

Butler and the Chef brings a taste of Parisian café society — complete with pâtés, cornichons, and croques monsieurs — to sunny South Park. (PR, 5/04) 155A South Park, SF. French, B/L/D, $, AE/DC/DISC/MC/V.

NOB HILL/RUSSIAN HILL

Crustacean is famous for its roast Dungeness crab; the rest of the "Euro/Asian" menu is refreshingly Asian in emphasis. (Staff) 1475 Polk, SF. 776-2722. Fusion, L/D, $$, AE/MC/V.

East Coast West Delicatessen doesn’t look like a New York deli (too much space, air, light), but the huge, fattily satisfying Reubens, platters of meat loaf, black-and-white cookies, and all the other standards compare commendably to their East Coast cousins. (Staff) 1725 Polk, SF. 563-3542. Deli, BR/L/D, $, MC/V.

La Folie could be a neighborhood spot or a destination or both, but either way or both ways it is sensational: an exercise in haute cuisine leavened with a West Coast sense of informality and playfulness. There is a full vegetarian menu and an ample selection of wines by the half bottle. (PR, 2/06) 2316 Polk, SF. 776-5577. French, D, $$$, AE/DC/DISC/MC/V.

Grubstake might look like your typical Polk Gulch diner — sandwiches and burgers, open very late — but the kitchen also turns out some good mom-style Portuguese dishes, replete with olives, salt cod, and linguica. If you crave caldo verde at 3 a.m., this is the place. (Staff) 1525 Pine, SF. 673-8268. Portuguese/American, B/L/D, ¢, cash only.

*Matterhorn Restaurant offers dishes that aren’t fondue, but fondue (especially with beef) is the big deal and the answer to big appetites. For dessert: chocolate fondue! (Staff) 2323 Van Ness, SF. 885-6116. Swiss, $$, D, AE/DC/DISC/MC/V.

CIVIC CENTER/TENDERLOIN

Mekong Restaurant serves the foods of the Mekong River basin. There is a distinct Thai presence but also dishes with Laotian, Cambodian, Vietnamese, and even Chinese accents. (PR, 1/06) 791 O’Farrell, SF. 928-2772. Pan-Asian, L/D, $, MC/V.

Olive might look like a tapas bar, but what you want are the thin-crust pizzas, the simpler the toppings the better. The small plates offer eclectic pleasures, especially the Tuscan pâté and beef satay with peanut sauce. (Staff) 743 Larkin, SF. 776-9814. Pizza/eclectic, D, $, AE/DISC/MC/V.

Pagolac For $10.95 a person you and two or more of your favorite beef eaters can dive into Pagolac’s specialty: seven-flavor beef. Less carnivorous types can try the cold spring rolls, shrimp on sugarcane, or lemongrass tofu. (Staff) 655 Larkin, SF. 776-3234. Vietnamese, L/D, ¢.

*Saha serves "Arabic fusion cuisine" — a blend of the Middle East and California — in a cool, spare setting behind the concierge’s desk at the Hotel Carlton. One senses the imminence of young rock stars, drawn perhaps by the lovely chocolate fondue. (PR, 9/04) 1075 Sutter, SF. 345-9547. Arabic/fusion, B/BR/D, $$, AE/DISC/MC/V.

HAYES VALLEY

Frjtz serves first-rate Belgian fries, beer, crepes, and sandwiches in an art-house atmosphere. If the noise overwhelms, take refuge in the lovely rear garden. (Staff) 579 Hayes, SF. 864-7654; also at Ghirardelli Square, SF. 928-3886. Belgian, B/L/D, $, AE/DC/DISC/MC/V.

Hayes Street Grill started more than a quarter century ago as an emulation of the city’s old seafood houses, and now it’s an institution itself. The original formula — immaculate seafood simply prepared, with choice of sauce and French fries — still beats vibrantly at the heart of the menu. Service is impeccable, the setting one of relaxed grace. (PR, 7/06) 816 Folsom, SF. 863-5545. Seafood, L/D, $$$, AE/DISC/MC/V.

Sauce enjoys the services of chef Ben Paula, whose uninhibited California cooking is as easy to like as a good pop song. (PR, 5/05) 131 Gough, SF. 252-1369. California, D, $$, AE/DISC/MC/V.

Suppenküche has a Busvan for Bargains, butcher-block look that gives context to its German cuisine. If you like schnitzel, brats, roasted potatoes, eggs, cheese, cucumber salad, cold cuts, and cold beer, you’ll love it here. (Staff) 601 Hayes, SF. 252-9289. German, BR/D, $, AE/MC/V.

*Zuni Cafe is one of the most celebrated — and durable — restaurants in town, perhaps because its kitchen has honored the rustic country cooking of France and Italy for the better part of two decades. (PR, 2/05) 1658 Market, SF. 552-2522. California, B/L/D, $$$, AE/MC/V.

CASTRO/NOE VALLEY/GLEN PARK

La Ciccia offers the distinct cuisine of Sardinia — Italian yet not quite — in an appealingly subdued storefront setting in outer Noe Valley. Pizzas are excellent, and the food is notably meaty, though with some lovely maritime twists. A unique and riveting wine list. (PR, 6/06) 291 30th St., SF. 550-8114. Sardinian/Italian, D, $$, MC/V.

Côté Sud brings a stylish breath of Provence to the Castro. The cooking reflects an unfussy elegance; service is as crisp as a neatly folded linen napkin. Nota bene: you must climb a set of steps to reach the place. (Staff) 4238 18th St, SF. 255-6565. French, D, $$, MC/V.

Eric’s Dig into the likes of mango shrimp, hoisin green beans, and spicy eggplant with chicken in this bright, airy space. (Staff) 1500 Church, SF. 282-0919. Chinese, L/D, $, MC/V.

Eureka Restaurant and Lounge combines, in the old Neon Chicken space, a classic Castro sensibility (mirrors everywhere, fancy sparkling water) with a stylish all-American menu that reflects Boulevard and Chenery Park bloodlines. Prices are high. (PR, 12/06) 4063 18th St. SF. 431-6000. American, D, $$$, AE/MC/V.

*Firefly remains an exemplar of the neighborhood restaurant in San Francisco: it is homey and classy, hip and friendly, serving an American menu — deftly inflected with ethnic and vegetarian touches — that’s the match of any in the city. (PR, 9/04) 4288 24th St, SF. 821-7652. American, D, $$, AE/MC/V.

HAIGHT/COLE VALLEY/WESTERN ADDITION

Metro Cafe brings the earthy chic of Paris’s 11th arrondissement to the Lower Haight, prix fixe and all. (Staff) 311 Divisadero, SF. 552-0903. French, B/BR/L/D, $, MC/V.

New Ganges Restaurant is short on style — it is as if the upmarket revolution in vegetarian restaurants never happened — but there is a homemade freshness to the food you won’t find at many other places. (Staff) 775 Frederick, SF. 681-4355. Vegetarian/Indian, L/D, $, MC/V.

Raja Cuisine of India serves up decent renditions of Indian standards in an unassuming, even spare, setting. Low prices. (Staff) 500 Haight, SF. 255-6000. Indian, L/D, $, MC/V.

Rotee isn’t the fanciest south Asian restaurant in the neighborhood, but it is certainly one of the most fragrant, and its bright oranges and yellows (food, walls) do bring good cheer. Excellent tandoori fish. (PR, 12/04) 400 Haight, SF. 552-8309. Indian/Pakistani, L/D, $, MC/V.

Tsunami Sushi and Sake Bar brings hip Japanese-style seafood to the already hip Café Abir complex. Skull-capped sushi chefs, hefty and innovative rolls. (Staff) 1306 Fulton, SF. 567-7664. Japanese/sushi, D, $$, AE/DC/DISC/MC/V.

Zazie is one of the best, possibly the very best, of the city’s neighborhood French bistros. The excellent food is fairly priced and the service well-honed; even diners in the open-air garden at the rear of the restaurant will feel coddled. (PR, 1/07) 941 Cole, SF. 564-5332. French, B/BR/L/D, $, MC/V.

Ziryab brings a touch of eastern Med class to a slightly sketchy block of Divisadero in the Western Addition. The menu graciously innovates Middle Eastern standards while adding a California twist or two for fun. Faux stonework lends a Vegas air to the setting. (PR, 3/07) 528 Divisadero, SF. 269-5430. Middle Eastern, L/D, $, AE/DC/DISC/MC/V.

Zoya takes some finding — it is in the little turret of the Days Inn Motor Lodge at Grove and Gough — but the view over the street’s treetops is bucolic, and the cooking is simple, seasonal, direct, and ingredient driven. (PR, 12/05) 465 Grove, SF. 626-9692. California, L/D, $$, AE/DC/DISC/MC/V.

MISSION/BERNAL HEIGHTS/POTRERO HILL

Cafe Phoenix looks like a junior-high cafeteria, but the California-deli food is fresh, tasty, and honest, and the people making it are part of a program to help the emotionally troubled return to employability. (Staff) 1234 Indiana, SF. 282-9675, ext. 239. California, B/L, ¢, MC/V.

Caffe Cozzolino Get it to go: everything’s about two to four bucks more if you eat it there. (Staff) 300 Precita, SF. 285-6005. Italian, L/D, $, AE/MC/V.

Caffe d’Melanio is the place to go if you want your pound of coffee beans roasted while you enjoy an Argentine-Italian dinner of pasta, milanesa, and chimichurri sauce. During the day the café offers a more typically Cal-American menu of better-than-average quality. First-rate coffee beans. (PR, 10/04) 1314 Ocean, SF. 333-3665. Italian/Argentine, B/L/D, $, MC/V.

Il Cantuccio strikingly evokes that little trattoria you found near the Ponte Vecchio on your last trip to Florence. (Staff) 3228 16th St, SF. 861-3899. Italian, D, $, MC/V.

Chez Papa Bistrot sits like a beret atop Potrero Hill. The food is good, the staff’s French accents authentic, the crowd a lively cross section, but the place needs a few more scuffs and quirks before it can start feeling real. (Staff) 1401 18th St, SF. 824-8210. French, BR/L/D, $$, AE/MC/V.

Circolo Restaurant and Lounge brings Peruvian- and Asian-influenced cooking into a stylishly barnlike urban space where dot-commers gathered of old. Some of the dishes are overwrought, but the food is splendid on the whole. (PR, 6/04) 500 Florida, SF. 553-8560. Nuevo Latino/Asian, D, $$$, AE/DC/DISC/MC/V.

Couleur Café reminds us that French food need be neither fancy nor insular. The kitchen playfully deploys a world of influences — the duck-confit quesadilla is fabulous — and service is precise and attentive despite the modest setting at the foot of Potrero Hill. (PR, 2/06) 300 De Haro, SF. 255-1021. French, BR/L/D, $, AE/DC/MC/V.

*Delfina has grown from a neighborhood restaurant to an event, but an expanded dining room has brought the noise under control, and as always, the food — intense variations on a theme of Tuscany — could not be better. (PR, 2/04) 3621 18th St, SF. 552-4055. California, D, $$, MC/V.

Dosa serves dosas, the south Indian crepes, along with a wealth of other, and generally quite spicy, dishes from the south of the subcontinent. The cooking tends toward a natural meatlessness; the crowds are intense, like hordes of passengers inquiring about a delayed international flight. (PR, 1/06) 995 Valencia, SF. 642-3672. South Indian, BR/D, $, AE/MC/V.

Double Play sits across the street from what once was Seals Stadium, but while the field and team are gone, the restaurant persists as an authentic sports bar with a solidly masculine aura — mitts on the walls, lots of dark wood, et cetera. The all-American food (soups, sandwiches, pastas, meat dishes, lots of fries) is outstanding. (Staff) 2401 16th St, SF. 621-9859. American, L/D, $, AE/MC/V.

Emmy’s Spaghetti Shack offers a tasty, inexpensive, late-night alternative to Pasta Pomodoro. The touch of human hands is everywhere evident. (Staff) 18 Virginia, SF. 206-2086. Italian, D, $, cash only.

Foreign Cinema serves some fine New American food in a spare setting of concrete and glass that warms up romantically once the sun goes down. (Staff) 2534 Mission, SF. 648-7600. California, D, $$, AE/MC/V.

Front Porch mixes a cheerfully homey setting (with a front porch of sorts), a hipster crowd, and a Caribbean-inflected comfort menu into a distinctive urban cocktail. The best dishes, such as a white polenta porridge with crab, are Range-worthy, and nothing on the menu is much more than $10. (PR, 10/06) 65A 29th St, SF. 695-7800. American/Caribbean, BR/D, $, MC/V.

Herbivore is adorned in the immaculate-architect style: angular blond-wood surfaces and precise cubbyholes abound. (Staff) 983 Valencia, SF. 826-5657; 531 Divisadero (at Fell), SF. 885-7133. Vegetarian, L/D, $, MC/V.

MARINA/PACIFIC HEIGHTS/LAUREL HEIGHTS

*Quince doesn’t much resemble its precursor, the Meetinghouse: the setting is more overtly luxurious, the food a pristine Franco-Cal-Ital variant rather than hearty New American. Still, it’s an appealing place to meet. (PR, 7/04) 1701 Octavia, SF. 775-8500. California, D, $$$, AE/MC/V.

Rigolo combines the best of Pascal Rigo’s boulangeries — including the spectacular breads — with some of the simpler elements (such as roast chicken) of his higher-end places. The result is excellent value in a bustling setting. (PR, 1/05) 3465 California, SF. 876-7777. California/Mediterranean, B/L/D, $, MC/V.

Rose’s Cafe has a flexible, all-day menu that starts with breakfast sandwiches; moves into bruschettas, salads, and pizzas; and finishes with grilled dinner specials such as salmon, chicken, and flat-iron steak. (Staff) 2298 Union, SF. 775-2200. California, B/L/D, $, AE/DC/DISC/MC/V.

Rosti Getting half a chicken along with roasted potatoes and an assortment of vegetables for $7.95 in the Marina is cause for celebration in itself. (Staff) 2060 Chestnut, SF. 929-9300. Italian, L/D, $, AE/DISC/V.

Saji Japanese Cuisine Sit at the sushi bar and ask the resident sushi makers what’s particularly good that day. As for the hot dishes, seafood yosenabe, served in a clay pot, is a virtual Discovery Channel of finned and scaly beasts, all tasty and fresh. (Staff) 3232 Scott, SF. 931-0563. Japanese, D, $, AE/DC/MC/V.

Sociale serves first-rate Cal-Ital food in bewitching surroundings — a heated courtyard, a beautifully upholstered interior — that will remind you of some hidden square in some city of Mediterranean Europe. (Staff) 3665 Sacramento, SF. 921-3200. Mediterranean, L/D, $$, AE/DC/DISC/MC/V.

Sushi Groove is easily as cool as its name. Behind wasabi green velvet curtains, salads can be inconsistent, but the sushi is impeccable, especially the silky salmon and special white tuna nigiri. (Staff) 1916 Hyde, SF. 440-1905. Japanese, D, $, AE/DC/DISC/MC/V.

SUNSET

Sea Breeze Cafe looks like a dive, but the California cooking is elevated, literally and figuratively. Lots of witty salads, a rum-rich crème brûlée. (Staff) 3940 Judah, SF. 242-6022. California, BR/L/D, $$, MC/V.

So Restaurant brings the heat, in the form of huge soup and noodle — and soupy noodle — dishes, many of them liberally laced with hot peppers and chiles. The pot stickers are homemade and exceptional, the crowd young and noisy. Cheap. (PR, 10/06) 2240 Irving, SF. 731-3143. Chinese/noodles, L/D, ¢, MC/V.

Tasty Curry still shows traces of an earlier life as a Korean hibachi restaurant (i.e., venting hoods above most of the tables), but the South Asian food is cheap, fresh, and packs a strong kick. (PR, 1/04) 1375 Ninth Ave, SF. 753-5122. Indian/Pakistani, L/D, ¢, MC/V.

Tennessee Grill could as easily be called the Topeka Grill, since its atmosphere is redolent of Middle America. Belly up to the salad bar for huge helpings of the basics to accompany your meat loaf or calf’s liver. (Staff) 1128 Taraval, SF. 664-7834. American, B/L/D, $, MC/V.

Thai Cottage isn’t really a cottage, but it is small in the homey way, and its Thai menu is sharp and vivid in the home-cooking way. Cheap, and the N train stops practically at the front door. (PR, 8/04) 4041 Judah, SF. 566-5311. Thai, L/D, $, MC/V.

*Xiao Loong elevates the neighborhood Chinese restaurant experience to one of fine dining, with immaculate ingredients and skillful preparation in a calm architectural setting. (PR, 8/05) 250 West Portal, SF. 753-5678. Chinese, L/D, $, AE/MC/V.

Yum Yum Fish is basically a fish store: three or four little tables with fish-print tablecloths under glass, fish-chart art along the wall, and fish-price signs all over the place. (Staff) 2181 Irving, SF. 566-6433. Sushi, L/D, ¢.

RICHMOND

*Pizzetta 211 practices the art of the pizza in a glowing little storefront space. Thin crusts, unusual combinations, a few side dishes of the highest quality. (PR, 2/04) 211 23rd Ave, SF. 379-9880. Pizza/Italian, L/D, $.

Q rocks, both American-diner-food-wise and noisy-music-wise. Servings of such gratifyingly tasty dishes as barbecued ribs, fish tacos, and rosemary croquettes are huge. (Staff) 225 Clement, SF. 752-2298. American, BR/L/D, $, MC/V.

RoHan Lounge serves a variety of soju cocktails to help wash down all those Asian tapas. Beware the kimchee. Lovely curvaceous banquettes. (Staff) 3809 Geary, SF. 221-5095. Asian, D, $, AE/MC/V.

Singapore Malaysian Restaurant eschews decor for cheap, tasty plates, where you’ll find flavors ranging from Indian to Dutch colonial to Thai. Seafood predominates in curries, soups, grills, and plenty of rice and noodle dishes. (Staff) 836 Clement, SF. 750-9518. Malaysian, L/D, ¢, MC/V.

Spices! has an exclamation point for a reason: its Chinese food, mainly Szechuan and Taiwanese, with an oasis of Shanghai-style dishes, is fabulously hot. Big young crowds, pulsing house music, a shocking orange and yellow paint scheme. Go prepared, leave happy. (Staff) 294 Eighth Ave, SF. 752-8884. Szechuan/Chinese, L/D, $, MC/V.

BAYVIEW/HUNTERS POINT/SOUTH

Bella Vista Continental Restaurant commands a gorgeous view of the Peninsula and South Bay from its sylvan perch on Skyline Boulevard, and the continental food, though a little stately, is quite good. The look is rustic-stylish (exposed wood beams, servers in dinner jackets), and the tone one of informal horse-country wealth. (PR, 3/07) 13451 Skyline Blvd., Woodside. (650) 851-1229. Continental, D, $$$, AE/DC/DISC/MC/V.

Cable Car Coffee Shop Atmospherically speaking, you’re looking at your basic downtown South San Francisco old-style joint, one that serves a great Pacific Scramble for $4.95 and the most perfectest hash browns to be tasted. (Staff) 423 Grand, South SF. (650) 952-9533. American, B/BR/L, ¢.

Cliff’s Bar-B-Q and Seafood Some things Cliff’s got going for him: excellent mustard greens, just drenched in flavorfulness, and barbecued you name it. Brisket. Rib tips. Hot links. Pork ribs. Beef ribs. Baby backs. And then there are fried chickens and, by way of health food, fried fishes. (Staff) 2177 Bayshore, SF. 330-0736. Barbecue, L/D, ¢, AE/DC/MC/V.

BERKELEY/EMERYVILLE/NORTH

Café de la Paz Specialties include African-Brazilian "xim xim" curries, Venezuelan corn pancakes, and heavenly blackened seacakes served with orange-onion yogurt. (Staff) 1600 Shattuck, Berk. (510) 843-0662. Latin American, BR/L/D, $, AE/MC/V.

Cafe Rouge All the red meat here comes from highly regarded Niman Ranch, and all charcuterie are made in-house. (Staff) 1782 Fourth St, Berk. (510) 525-1440. American, L/D, $$, AE/MC/V.

César You’ll be tempted to nibble for hours from Chez Panisse-related César’s Spanish-inspired tapas — unless you can’t get past the addictive sage-and-rosemary-flecked fried potatoes. (Staff) 1515 Shattuck, Berk. (510) 883-0222. Spanish, D, $, DISC/MC/V.

OAKLAND/ALAMEDA

Mama’s Royal Cafe Breakfast is the draw here — even just-coffee-for-me types might succumb when confronted with waffles, French toast, pancakes, tofu scrambles, huevos rancheros, and 20 different omelets. (Staff) 4012 Broadway, Oakl. (510) 547-7600. American, B/L, ¢.

La Mexicana has a 40-year tradition of stuffing its customers with delicious, simply prepared staples (enchiladas, tacos, tamales, chile rellenos, menudo) and specials (carnitas, chicken mole), all served in generous portions at moderate prices. (Staff) 3930 E 14th St, Oakl. (510) 533-8818. Mexican, L/D, ¢, MC/V.

Nan Yang offers too many great dishes — ginger salad, spicy fried potato cakes, coconut chicken noodle soup, garlic noodles, succulent lamb curry that melts in your mouth — to experience in one visit. (Staff) 6048 College, Oakl. (510) 655-3298. Burmese, L/D, $, MC/V. *

If she could turn back time

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› johnny@sfbg.com

"The only way out is forward!" a character exclaims roughly 65 minutes into 1972’s 111-minute-long The Poseidon Adventure. The same guy says the same thing around 46 minutes into Anne McGuire’s 2006 remake-reversal of exactly the same length, Adventure Poseidon The. Yet no matter how or when it’s sliced, the soon-to-be-doomed character’s sentiment isn’t quite right. In Ronald Neame’s original, the way out is actually up — albeit through the bottom of a capsized ship. In McGuire’s version, the way out isn’t exactly backward (she doesn’t merely rewind The Poseidon Adventure) but rather forward in reverse. By faithfully following the bread-crumb trail laid down by the 1972’s film’s editor, Harold F. Kress, McGuire rescues the film’s huge cast of survivors and casualties and its gargantuan ship.

In the process, McGuire gives viewers a chance to see a beloved cult movie anew. She may not have time for on-deck shuffleboard, but her rigorous reshuffling and storyboarding of The Poseidon Adventure is a rare example of formal art practice that never loses touch with the pop appeal of its source material. Ambivalent passion for the too-abundant things and people of pop culture is at the root of McGuire’s admirably varied movies to date and even her current official biography, which begins by stating that she was born in the valley of the Jolly Green Giant (meaning Minnesota).

In 1991’s classic Joe DiMaggio, 1, 2, 3, McGuire stalks-serenades the actual slugger as he takes a senior stroll through the Marina, and in 1997’s equally great I’m Crazy and You’re Not Wrong, she sings and rambles like a wigged-out ghost who’s emerged from cracks in Liza Minnelli’s and Judy Garland’s skulls during one of their black-and-white TV duets. Adventure Poseidon The isn’t the first time McGuire has hopscotched from an original film’s end to its beginning — she did so with 1992’s Strain Andromeda The. But in this case, as with her more performative work, she’s overtly drawing from life experience — she has survived a shipwreck. In that sense, this latest project is directly connected to a movie like 1996’s When I Was a Monster, in which McGuire takes a long mirrored look at her injured body shortly after she’d literally fallen off a cliff.

Circling against itself, Adventure Poseidon The‘s choppy dramatic momentum — each shot moves toward an end, then connects to the start of a scene that originally came before it — heightens the visual properties of Neame’s original. Characters retreat from dynamic deaths. Fatal falls through rings of fire become burning baptisms. Lit from below, dazed onlookers could have wandered in from a Euro art film of the ’60s. The ebbs and flows make one of John Williams’s less sappy scores more interesting. A viewer can dwell on the strange ’70s trend (see also: Dario Argento’s 1976 Suspiria) of people plummeting through stained-glass windows and wonder whether it’s Neame’s movie or John Waters’s 1974 Female Trouble that contains the most surreally violent abuse of a Christmas tree. And of course there’s Oscar-winning Shelley Winters, the movie’s underwater swimming champ and "600-pound swordfish," giving a truly heroic performance, triumphant even when her rump’s tinsel-strewn in close-up.

Lacking a Charlton Heston who has since gone gun crazy or a tainted O.J. Simpson, the cast of The Poseidon Adventure is both Ernest Borgnine–ed and benign in comparison to those of the disaster films that followed. When Jennifer Jones fell from a great glass elevator in 1974’s The Towering Inferno, she was following in the footsteps of Poseidon‘s Stella Stevens, and Ava Gardner’s fatal drowning in Earthquake‘s Los Angeles sewer tunnels the same year is another variation on that doomed-lady theme. One suspects that just as McGuire was born in the valley of the Jolly Green Giant, she also grew up in the era of the disaster movie. With Adventure Poseidon The — a perfect movie for what one can only pray is the end of the George W. Bush era — she returns to the scene of a catastrophe and proves that if there’s got to be a morning after, there’s also got to be a night before. *

ADVENTURE POSEIDON THE (THE UNSINKING OF MY SHIP)

Thurs/29, 6:30 p.m. (screening and artist talk), $5–$7

San Francisco Museum of Modern Art, Phyllis Wattis Theater

151 Third St., SF

(415) 357-4000

www.sfmoma.org

www.vdb.org

Look for an interview with Anne McGuire this week at www.sfbg.com/blogs/pixel_vision.

THURSDAY

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March 22

MUSIC

Places

Just when you thought there couldn’t possibly be another talented mystical voice on the modern songwriter scene, along comes Amy Annelle, a.k.a. the Places. In truth, she’s been living on the road for years now, from ancestral and actual homes in Portland, Ore., and Austin, and garnering nods in Billboard, which named her sixth album, Songs for Creeps (High Plains Sigh), one of the 10 best of 2006, along the way. (Nathan Baker)

8 p.m., $8
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com

VISUAL ART

“Myth by Method”

Katrina Lamb channels music- and art-school training into pieces that have inspired comparisons to Kiki and Herb and John Kelly — in other words, if and when she tortures an audience, she does so intentionally. Lamb also works in other media, and in the new show “Myth and Method,” she’ll focus equally on the humble work of line drawing as she trades off music and video explorations with the artist collective Lansing-Dreiden. (Johnny Ray Huston)

Through May 5
6 p.m. opening, 8–11 p.m. music performance, $3–$10
New Langton Arts
1246 Folsom, SF
(415) 626-5416
www.newlangtonarts.org

Angel’s wing

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› a&eletters@sfbg.com

Kudos to SF Playhouse for its part in introducing Bay Area audiences to Stephen Adly Guirgis. Guirgis is a member of New York’s LAByrinth Theater Company — a collective that includes playwright John Patrick Shanley and actor Philip Seymour Hoffman. Guirgis has been making a name for himself during the past decade as an actor, director, television writer, and more particularly, the author of several engagingly sharp and gritty off-Broadway comedies.

SF Playhouse had a hit on its hands last season with its slick West Coast premiere of Guirgis’s 2002 Our Lady of 121st Street. In that play, a circle of former Catholic schoolmates from Harlem reconvenes in the old neighborhood for the funeral of their bad ol’ but beloved teacher, Sister Rose. Alternately saint and sinner, more or less like the rest of them, Rose is seemingly larger than life now that she’s gone. Really gone: as the play opens, someone has swiped her embalmed remains from the mortuary, throwing the whole service into limbo as the characters, in a state of anxious expectancy, rip open both fresh and long-festering wounds. Together their stories slyly interrogate the nature of free will, right and wrong, and our ambivalent reliance on forms of moral accountability. Artistic director Bill English’s shrewd casting and razor-sharp staging brought the high-spirited ensemble work and Guirgis’s loosely interlocked scenes to life.

In Jesus Hopped the "A" Train, a Guirgis play originally produced in 2000 and now at SF Playhouse, a young Puerto Rican man named Angel Cruz (Daveed Diggs) finds himself in jail — after bursting into the church of a cult leader responsible for brainwashing his best friend and shooting the former in the ass. Angel, having tried every other means of rescuing his childhood pal, cannot see much of a crime in this desperate act. Mary Jane Hanrahan (Susi Damilano), the public defender initially assigned to his case, begs to differ. Yet something draws the haggard but upright lawyer to the recalcitrant Angel’s side. In a monologue addressed to the audience, she recounts a childhood memory of a similar (if not quite as illicit) act by her working-class Irish father.

Angel’s plight and Mary Jane’s legal defense make up one half of the play. Brutally assaulted in jail and in dire threat of being killed after his target, the Sun Myung Moon–like Reverend Kim, unexpectedly dies, Angel soon finds himself in a special protective custody lockdown wing at Rikers Island prison. The wing is overseen by a guard named Valdez (Gabriel Marin), whose frustration with institutionalized justice has given way to sadism. A deeply shaken Angel shares the yard with a kindly born-again serial killer named Lucius Jenkins (Carl Lumbly) as the latter fights extradition back to Florida, where he would face the death penalty.

As an exploration of ethics and the nature of personal responsibility, Jesus Hopped the "A" Train takes a slightly different route from Our Lady but winds up in notably similar territory. It teases out volatile questions from complacent notions of faith and justice while demonstrating the playwright’s marked gift for dialogue that is gritty but also dazzlingly vibrant and ferociously funny. English again shows judiciousness in direction and casting, and Lumbly in the role of Lucius is a real coup. Lumbly (the Berkeley actor best known for work in films and television shows such as Alias) turns in a finely tuned performance that is one of the best things on a Bay Area stage at the moment. Also, Diggs, a relatively young actor recently seen in Magic Theatre’s production of Elaine May’s triptych Moving Along, continues to prove himself capable of great things. The resulting production is a winner, no matter what a jury may decide.

UNDER THE RADAR


Last week Jess Curtis/Gravity’s Under the Radar slipped into San Francisco from Berlin for a smooth and gentle (except when it didn’t want to be) landing on the CounterPULSE stage. It’s a decidedly unsentimental and altogether moving night of dance theater that is, despite the name of the company, anything but heavy.

Two years in the making, this cabaret-style movement-based exploration of virtuosity and disability — or the mental limits we set for one another and ourselves — features an international seven-member ensemble. It’s composed of dancer-singer-musician-performers from the United Kingdom, Germany, Italy, and (in the case of the Chico-born, longtime Bay Area–based Curtis) the United States. Under the Radar‘s winning chemistry includes casual, puckish humor (the performers, who variously play instruments as a band or climb into harnesses for aerial solos or duets, watch each other perform with admiring and catty commentary that is surely meant to prod stultified consciences). The evening’s almost nonchalant quality belies its technical rigor, striking eclecticism, and inspired invention.

Axis and other dance companies have long made integrated work (for disabled and other performers) a staple of the Bay Area dance scene, and the addition of circus and cabaret elements is not in itself new either. But Under the Radar‘s highly theatrical amalgam is nonetheless freshly inventive, fun, and lovely to behold. What willingly comes down to earth can rebound to heavenly heights. *

JESUS HOPPED THE "A" TRAIN

Through April 21

Wed.–Sat., 8 p.m.; Sun., 3 p.m.; $18–$60

SF Playhouse

533 Sutter, SF

(415) 677-9596

www.sfplayhouse.org

UNDER THE RADAR

Through April 1

Wed.–Sun., 8 p.m., $18–$30

CounterPULSE

1310 Mission, SF

(415) 435-7552

www.counterpulse.org

www.jesscurtisgravity.org

>

SxSW rocking, mocking

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› kimberly@sfbg.com

SONIC REDUCER Every spring I wing toward Austin, Texas, and the South by Southwest conference and music fest like some PBR-swilling, Lily Allen–aping mockingbird, in the hope of getting my imagination kick-started by some mysterious band of outsiders from Leeds, Helsinki, or Cleveland, armed with only guitars, samplers, or taste-testing facial hair. Little did I realize I’d be clocked in the noggin instead by This Moment in Black History’s Chris Kulcsar at the Blender Balcony at the Ritz. Last I recall, the spazztastic singer had just dashed up the stairs into the audience, nodding approvingly at TMIBH’s righteous thrash. I felt the heel of his kicks against my skull moments later. "Did he just jump over me?" I asked a bespectacled Joe Indie Rocker beside me. "Well, actually, he kicked you in the head," he answered. Glad to be a part of the spectacle — spare me the head trauma next time.

Oh South by — more than 10,000 participants strong, more than 1,400 acts bringing their all and driving $24.9 million in revenue to the self-proclaimed "Live Music Capital of the World." Oh me (oh my) — little slumber, one missed jet, a new zit every hour (just call me Stresstradamus), and drawn by the promise of cool sounds, cold beer, hot barbecued pork and brisket-taco brunches by the cold, gray light of a hangover, industry hugging and mugging, wheeling and dealing, and special guests who just might not be that, er, special at this point ("Every time you see those words on the schedule, just insert ‘Pete Townshend,’ " one wag claimed after Townshend dropped in at both his girlfriend Rachel Fuller’s acoustic show and a Fratellis gig). Oh, the rumored celeb-actor sightings — Kirsten Dunst, Owen and Luke Wilson, Michael Pitt doing a Keanu with his neogrunge Pagoda. Oh, the surreal parties — bunnies getting jiggy with indie at the eighth annual Playboy "Rock the Rabbit" after-hours wingding with bunnies, Ghostland Observatory, and popscene’s Omar, as well as the usual Blender (showing "the stupidest rock movies ever" at its slick, MTV-ish clubhouse), Spin, Jane, Filter, and Fader fort exclusivity rites, filled with guest-listlessness, Fratellis performances, and gratis Absolut peartinis, Heinekens, and mini–Vitamin Waters. If you’re a glutton for hard-drinking pleasure or heavy metal punishment (see the free Mastodon by the Lake show, the Melvins’ Stubbs-packing powerthon, and some two dozen Boris performances), then SXSW is for you.

But for a three-time SXSWhiner like myself — and a very random sampling of festgoers accustomed to challenging Elijah Wood to rasslin’ matches — the fest generally underwhelmed this year. It’s still the biggest cross-the-board overview of the music biz around. But demanding party people with insectlike attention spans wanted to know, where were the Bloc Parties? (Oh, naturally they were there, playing oodles of shows, but did anyone give a bloc?) Tellingly, the Horrors were here, but where were the thrills (and I don’t mean the Irish combo)?

Yesteryear’s exciters such as the Gossip and Hella showed, and Spank Rock, Girl Talk, Simian Mobile Disco, and Flosstradamus repped, yet seriously, is Amy Winehouse all that? Sure, she could croon a ’50s R&B-inflected pop tune and rock a Ronettes-style beehive, but her performance was more memorable for the number of times she hiked up her low-riding jeans than her songs. "I’m dwunk," she slurred during her packed show at La Zona Rosa. "It’s not funny." Are Razorlight and Albert Hammond Jr. truly godhead? Caveat: I caught neither, but fess, when thin-blooded popsters like Peter, Bjorn, and John and Pete and the Pirates are vaunted as the hottest shit to stream from the cultural Sani-Jons, then something is very wrong. The fact that the Black Lips were on so many lips is perfectly understandable: they’re a fine garage punk band — onstage heaves or no — and worthy of the humps they’re getting years along, but we all know that. I wanted my mind blown as well as punted.

Barring that, where were Arcade Fire, Of Montreal, LCD Soundsystem, TV on the Radio, Deerhoof, OOIOO, and so many others currently touring — but perhaps too sensible or established to play a seemingly requisite dozen times? Whither MIA, the Hives, Queens of the Stone Age, Feist, Marilyn Manson, and others with anticipated 2007 albums to hawk? Are Coachella and its Rage Against the Machine reorientation giving SXSW a run for the splashy reunion buck (sorry, RATM guitarist Tom Morello’s Nightwatchman show with Slash, Perry Farrell, etc., doesn’t cut it)? Are SXSW’s sideshow and party scenes undercutting the panels and showcases? Perhaps the coastside cynics are spoiled because we think a Hoodoo Gurus gathering just doesn’t measure up to recent no-shows like Whitehouse.

Still, the ole rocks do get off, if when you least expect it, wandering past a bar, ears caught by some new emanation. That happened to me, when I stumbled on inspired, powerful performances like those of Toronto’s stunning, vibes-focused Hylozoists at Habana Calle and the Björkish–Kate Bushy lady band Bat for Lashes. And then not so unexpectedly, when you brave the puke and garage smells of the Beauty Bar Patio for an all-Bay hyphy throwdown with an energized Federation, packing their stunna glasses at night, an ebullient Saafir, and a speaker-mounting Pack. The fact that you have to go all the way to Texas for the latter makes SXSW the beloved monster that it is — it’s just getting harder to cut through the noise.

Back in black: Black Lips, Black Angels, This Moment in Black History, Black Fiction.

Some words never stop being fun: Holy Fuck, Holy Shit!, Shitdisco, Fucked Up, Psychedelic Horseshit.

All ze buzz: Paolo Nutini, Earl Greyhound, Pop Levi, Albert Hammond Jr., and Cold War Kids. *

For more on South by Southwest, click here.

Screaming for vengeance

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› a&eletters@sfbg.com

It was the unquiet dead, whispering in the dark, who set John Cobbett on his path.

In December 2001, Cobbett — a longtime Mission District rocker and guitar hero with such notably heavy outfits as Slough Feg, Ludicra, and Hammers of Misfortune — was on the East Coast visiting his identical twin brother, Aaron, a photographer living in Brooklyn, just across the East River from the smoldering ruins of the World Trade Center.

"I visited the site. It was at night and freezing cold," Cobbett notes. "I remember the sounds of the cranes and demolition machinery wrenching huge slabs of twisted metal and concrete from the wreckage. All through the night these eerie, mournful sounds reverberated off the surrounding towers. It was an incredibly haunted place."

The wound at that time was still so fresh, you see. But the grief, fear, and uncertainty were being transformed, alchemically, inexorably, into something very different: a television spectacle and a justification for war far removed from the dust, the heat, and the stench of burning corpses that Cobbett says lingered in his brother’s neighborhood for months.

As the tragedy played out — the dead painstakingly named and numbered, the TV newscasters falling easily into the cadence of wartime rhetoric — Cobbett realized he had to respond. But the methods of political rock seemed far too self-righteous, and even patronizing, given the scale of bloodletting and demagoguery.

The way forward was finally revealed one month later, during the 2002 Super Bowl halftime show, which included a performance by U2 and a remarkable moment of patriotic kitsch: at the show’s climax, Bono, with the names of the 9/11 victims scrolling overhead on a huge banner, opened his leather jacket to reveal the Stars and Stripes beneath.

The crowd went wild, but for Cobbett it was shameless propaganda. The phrase "trot out the dead" leaped into his head, and music and lyrics quickly followed.

"I got so fucking pissed," Cobbett says. "These victims are rolling over in the superheated rubble below Ground Zero. It was so cheap and so tawdry. I decided, ‘I’m going to take these motherfuckers to task.’ "

Gloriously rocking and extraordinarily angry, "Trot Out the Dead" would become one of several jaw-dropping centerpieces of The Locust Years (Cruz del Sur Music), a record that took five more years and several new band members to complete and may well be one of the most urgent and affecting works of rock ‘n’ roll — not to mention protest music — produced by a band in San Francisco or anywhere else. It is the soundtrack to the George W. Bush years, a musical wail of sorrow and fury all the more overwhelming for its mythic metal lyrics and its seamless blend of prog rock ambition, hard and heavy bombast, and massively killer riffage.

If this sounds over the top, well, it is, a fact to which Cobbett gleefully cops.

"No matter how ridiculous we are, no way can we get more stupid and ridiculous than the real thing," he says. "No matter how grandiose I can get with a metal song, there’s no way I can go to Iraq and start a war. No matter how sanctimonious I get, there’s no way I could match what was coming out of Rumsfeld’s mouth. The shit coming out of those people’s mouths — it was gold."

HAMMERS COME AND GO


One of five siblings born to a middle-class Rochester, NY, family ultimately sundered by divorce, the teenage Cobbett wound up in Washington, DC, in the 1980s and quickly fell in with the breakthrough hardcore scene of the era. Minor Threat, Bad Brains, and the Obsessed were his bread and butter, but with the emergence of Revolution Summer’s early emo bands in 1986, the music became, in his words, "specious and cloying."

Taking his cue from a friend who said he’d like San Francisco, Cobbett spontaneously packed his gear and hit the road. "Within a week I was living in the Mission District," he says, "and still do."

Before too long he had fallen in with Chewy Marzolo, a drummer with the heavy and hardcore outfit Osgood Slaughter. That carried them both into the 1990s, at which point the musical chairs began in earnest. Cobbett joined the Lord Weird Slough Feg, a band packing equal parts Celtic folk mythos and old-school metal pomp. There he connected with vocalist Mike Scalzi, who would later help define Hammers’ sound with a manly, operatic holler that would do Rob Halford proud.

Marzolo, meanwhile, was busily following what he calls a "one-band-to-the-next continuum" all the way to Cobbett’s first incarnation of Hammers of Misfortune in 1998. Along the way he founded Poverty Records, a vital imprint that documented the Mission’s explosion of grimy and creatively unfettered rock ‘n’ punk with a slew of 7-inch records and CDs from such essential bands as Fuckface, Lost Goat, Towel, and Hickey.

After an initial outing as Unholy Cadaver — a devil-voiced combo that congealed around San Francisco’s cultish homegrown black metal scene, along with such peers as Weakling and Ludicra — Hammers’ lineup was refined and completed with the addition of vocalist-bassist Janis Tanaka, late of L7 and Stone Fox. Black metal became not an end in itself but a subordinate element in a larger musical palette that came together on Hammers’ full-throttle debut, The Bastard (tUMULt, 2001). Despite its acoustic flourishes, spooky harmonies, medievalist illustrations, and Joseph Campbell–inspired lyrics, it ain’t no teenage Dungeons and Dragons fantasy adventure rewarding its heroes with heaps of treasure and experience points. The Bastard turns out to be an ecological revenge fantasy, in which the "trolls of wood and stone" storm the village to "slay the ones who chop and cut / Slay them in the their wooden huts." It’s a wicked metaphor for the fate awaiting those mortals who dare abuse the blessings of nature.

Despite the record’s subcultural acclaim from magazines such as Terrorizer and Lamentations of the Flame Princess — and the admiration heaped on its follow-up, The August Engine (Cruz del Sur Music, 2003), a hard rock parable of cliquish music-scene self-destruction — Hammers of Misfortune had chosen a road that was neither wide nor easy. What kind of metal was this anyway? True? Black? Epic? These fine points of genre fidelity may seem irrelevant to a die-hard music fan, but for labels the difference is a record they can sell or not. "I loved Hammers the first time I heard them, and it never occurred to me to question or examine their sound, which was this gloriously confusional, amazing, and intricate chunk of mind-blowing music, metal or otherwise," says Andee Connors, who put out The Bastard on his tUMULt imprint. "It might be confusing for folks who are very strict with their genre divisions."

There is only so much small labels can do, however, and Tanaka’s departure to play with pop vocalist Pink was another monkey wrench. The addition of Jamie Myers on bass and vocals carried Hammers through The Locust Years‘ recording sessions until she too took a bow, moving to Texas to raise her first child. Scalzi, disinclined to divide his time between two bands, also departed, to focus his attention entirely on Slough Feg.

ANTHEMS FOR DARK DAYS


Today Hammers are touring with a refreshed and potent lineup, teaming Marzolo and Cobbett with bassist Ron Nichols; vocalist and second guitarist Patrick Goodwin of retro muscle rockers Dirty Power; and the musically omnivorous vocalist Jessie Quattro, who was raised on Doc Watson and the hymns and "occasional barking" of Pentecostal Christianity. Sigrid Sheie, a classically trained pianist, has been a constant on the last two records, bringing musical formality and some of the most boss Hammond B-3 and Leslie keyboards heard in rock since the ’70s heyday of Deep Purple — particularly notable on "Election Day," the penultimate track on The Locust Years. The tune is a whirlwind instrumental workout that recalls such classics as Focus’s "Hocus Pocus" and Edgar Winter’s "Frankenstein."

The song is a joy to hear simply as rock ‘n’ roll and exemplifies the real musical exuberance Hammers bring to what is otherwise grim and woeful fare. The whole record leavens its bleak social commentary with what Cobbett describes as "little-kid enthusiasm" for rocking out in high style. The lyrics, while not necessarily dactylic hexameter, are still richly allusive as metalhead poetry, inviting listeners to suspend their disbelief, find their own meaning, and let the emotional sweep of the music fill in the blanks. Anything unstated by, for example, "Chastity Rides," a harmonically gorgeous paean to the Platonic ideal of politically conservative virtue, is made ever so explicit by the snarling, minor-key instrumental bridge. The same technique is also applied to great effect in "War Anthem," a stirring call to arms that blatantly steals its sentimental grandeur from "The Star-Spangled Banner" then yanks the veil aside to reveal the bald-faced rapacity of the masters of the war on terror — be they Islamofascists, Christian supremacists, or military-industrial profiteers.

From the record’s opening moments, with Cobbett’s guitar wailing like a thousand 9/11 banshees, to the dreadful prophecy of "Famine’s Lamp" — certainly one of the great rock ‘n’ roll dirges — clear through to the gleaming, high-tech, satellite-guided apocalypse of the album-closing "Widow’s Wall," The Locust Years appeals to me as a ferocious summation of all the shameless hypocrisy, betrayal, and avarice of the last six years. It is tremendously cathartic but not necessarily hopeful. The album’s title — borrowed from Winston Churchill, who coined the phrase in reference to the declines and compromises of the 1930s and their resolution in the gas chambers and killing fields of World War II — is an embittered indictment of the flag-waving, churchgoing citizen-consumer. Good Germans all, dutifully following their leader as the abyss yawns ever wider.

LITTLE USE FOR ILLUSION


No one in the band has any delusions that their underground heavy metal record is going to change the world — and not one of them seems willing to suck up to a music industry that would only turn it into focus-group approved, prechewed rage against the generic machine. Hammers is truly a Mission District group, deeply rooted in a seething community of fiercely — even dysfunctionally — independent musicians, labels, and fans with roots dating back at least 20 years.

But Hammers of Misfortune are also a band with a mission and a message — and a whole of good rockin’ to come. Sheie modestly hopes for at least a European tour and enough earnings to not have to worry about covering practice-space fees — then confesses she thinks the record deserves a Grammy. Quattro is in a similar mood, daydreaming of playing to an arena of "30,000 screaming fans." I hope it all comes true in spades.

As for Cobbett, he’s been touring with Ludicra and, fresh from exhibiting Hammers at South by Southwest, has a new concept album germinating in his mind. Something to do with a perfect storm known as Hurricane Katrina and the drowned city of New Orleans. Another victim of the locust years, to be immortalized in song.

The gods of metal are angry and sharpening their swords. *

HAMMERS OF MISFORTUNE

With Genghis Tron and Kylesa

Sun/25, 9 p.m., $10, all ages

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

>

Imitation of Kubrick

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› a&eletters@sfbg.com

John Malkovich dominates Colour Me Kubrick in much the same way a poodle might lift its pampered leg to claim each stationary street object with its personal scent. He’s offensive, oblivious, frilly, absurd — all in service to a character’s refined self-preservative instinct, of course.

This happens from his first seconds onscreen, when he’s just a background form moving blurrily down a rear staircase while we’re supposed to be focused on an attractive young foreground figure — who turns out to be the focus of Malkovich’s attention too. As late real-life Stanley Kubrick impersonator Alan Conway, the actor sashays toward us and his prey with such louche, pervy, fagalicious focus that he immediately becomes a deluxe comic creation who transcends offensive stereotypes.

Malkovich is such a mannered thespian and a weird cultural icon that Being John Malkovich (1999) could count (and base itself) on his amused participation. How many contemporaneous Hollywood stars would consent to pomo ridicule of themselves? He is so frequently wrong-but-interesting (in 1988’s Dangerous Liaisons, for starters) that one tends to forget the times he’s been brilliantly apt, as in The Sheltering Sky (1990) and Ripley’s Game (2002). He’s peculiar enough to almost always feel like stunt casting — akin to a CGI effect, vivid yet not remotely natural.

This is one reason he’s so perfect for Kubrick, drawn from one of those stranger-than-fiction news items in which everyday humanity’s vulnerable trust in itself is laid bare by some con-artist freak with delusions of grandeur. For a spell in the 1980s, middle-aged London dole queue yobbo Conway, no stranger to pulling scams, hit on a great one: impersonating Kubrick, the expat American considered by many the world’s greatest director, whose famous reclusiveness ensured that very few knew how he actually looked and sounded (i.e., nothing like Conway).

Conway used the starry-eyed glaze prompted by this sham identity to cadge free drinks and dinners from strangers (after all, would a wealthy celebrity like Kubrick bother carrying vulgar cash?), seduce young men (gay and straight — a promised career boost from cinema’s master proves to be major psychological lube), and generally act like the flaming fountain of specialness Conway thought he was. Several gullible real folk fell hard for this ruse, coughing up cash or freebies to buy favor from the "genius." In the film, they include fictive comedian Lee Pratt (Jim Davidson), posh restaurant owner Jasper (Richard E. Grant), even a heavy metal band. They were hoodwinked despite Conway’s not even bothering to research his role — he knew only superficial facts about Kubrick and often made pronouncements that would strike anyone with half a brain as ludicrous. (At one point he announces his next project will be 3001, with "Elizabeth Taylor as Mission Control.") Eventually Conway’s reputation (and embittered victims) hit the public radar, ending his game.

Malkovich is the whole show here. He’s fearlessly willing to play the fool — several times Conway’s chunky ass occupies center screen, underlining not just the protagonist’s but the actor’s ignorance of the concept behind a Stairmaster. Conway dons a steady stream of fashion don’ts (minikimono, anyone?), imbibes beaucoup vodka, and sobs so hysterically when his latest hot young lover storms out that you might think these histrionics are genuine at last. But that too is an act. Gloriously indulged, Malkovich revels in the role of a self-loathing wannabe narcissist who may not possess one genuine bone in his unlovely body.

Kept afloat by one spectacularly good performance and a delightful premise, Colour Me Kubrick is otherwise a somewhat leaky boat. First-time director Brian W. Cook suggests this may not be his ideal career role. His movie often haplessly jumps from one incident to another, as if connective scenes were axed by either budgetary or intellectual limitations. It relies too heavily on music cues from Kubrick flicks (such as the Moog classicals of 1971’s A Clockwork Orange) and in-joke cameos (Marisa Berenson, Ken Russell). Still, Cook’s earned the brownie points and then some necessary to make this film: he was Kubrick’s assistant director from 1975’s Barry Lyndon through the posthumously released Eyes Wide Shut (1999). (Scenarist Anthony Frewin also worked as Kubrick’s researcher, from 1968’s 2001 on.) Cook’s résumé is juicy with stellar successes, famous flops (Orca: Killer Whale, 1977), and cult flicks (1973’s original The Wicker Man, 1980’s Flash Gordon, the 1979 Who documentary The Kids Are Alright). He’s worked for Michael Cimino (1980’s Heaven’s Gate onward), occasional auteur Sean Penn, Brian de Palma, and Mel Brooks.

The world may not suffer greatly if Cook never directs another movie again. But if he doesn’t eventually write a tell-all professional biography, I will cry. I nearly cried during Colour Me Kubrick — but only because John Malkovich was almost too funny to bear. *

COLOUR ME KUBRICK

Opens Fri/23 at Bay Area theaters

See Movie Clock at www.sfbg.com

www.colourmekubrick.com

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Dance dance revolution

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"If I can’t dance, I don’t want to be in your revolution" is a club-friendly sentiment traditionally attributed to estimable anarchist Emma Goldman. But even if she didn’t put it in quite those words, the message is clear: changing the world doesn’t have to be a grim slog. Why struggle at all if it doesn’t result in a world we can actually enjoy? That’s where these benefit-hosting, rabble-rousing, community-oriented bars, clubs, cultural centers, and performance spaces come in. Like the spoonful of sugar that masks the medicine, a nice pour and a few choice tunes can turn earnest liberation into ecstatic celebration.

DANCING QUEENS


Billing itself as "your dive," El Rio defines "you" as a crowd of anarchists, trannies, feminists, retro-cool kids, and heat-seeking salseros as diverse as you’re likely to find congregating around one shuffleboard table. Whether featuring a rawkin’ Gender Pirates benefit show or a rare screening of The Fall of the I-Hotel as part of radical film series Televising the Revolution, El Rio encourages an intimacy and camaraderie among its dance floor–loving patrons less frequently found these days in an increasingly class-divided Mission.

3158 Mission, SF. (415) 282-3325, www.elriosf.com

THE REVOLUTION WILL NOT BE SANITIZED


Although it’s really an aboveground Mission storefront, Balazo 18 has a great "in the basement" underground vibe, and within its gritty labyrinth, upstart idealists lurk like scruffy Minotaurs. The low overhead and inclusive ambience has proven fertile ground for local activist functions such as the recent Clarion Alley Mural Project fundraiser and December 2006’s Free Josh Wolf event (freedom still pending). The dance floor’s generous size attracts top-notch local bands and sweaty, freedom-seeking legions who love to dance till they drop.

2183 Mission, SF. (415) 255-7227, www.balazogallery.com

STARRY-EYED IDEALISM


Applause for the Make-Out Room‘s green-minded stance against unnecessary plastic drink straws (it doesn’t serve ’em), its championing of literary causes (Steven Elliott’s "Progressive Reading" series, Charlie Anders’s "Writers with Drinks"), and its calendar of benefit shows for agendas as diverse as animal sanctuary, tenants rights, and free speech. Plus, not only are the (strawless) drinks reasonably priced, but the wacked-out every–day–is–New Year’s Eve disco ball and silver star decor hastens their effect.

3225 22nd St., SF. (415) 647-2888, www.makeoutroom.com

STOP IN THE NAME OF ART


The Rickshaw Stop hosts progressive literary luminaries by the library-load, raising the roof and the funds for programs such as the 61-year-old San Francisco Writer’s Workshop and the reading series "Inside Storytelling." Other beneficiaries of the Rickshaw’s pro-arts programming include SF Indiefest and Bitch magazine, and the club calendar is filled with queer dance parties, record release shows, and even an upcoming "Pipsqueak a Go Go" dance party for l’il kiddies with the Devilettes and the Time Outs. If teaching a roomful of preschoolers the Monkey isn’t an act of die-hard, give-something-back merrymaking martyrdom, well …

155 Fell, SF. (415) 861-2011, www.rickshawstop.com

CLOSE ENCOUNTERS


A dancer- and activist-run performance incubator, CounterPULSE hosts a diverse collection of cutting-edge artistes ranging from queer Butoh dancers to crusading sexologists to mobility-impaired aerialists. It’s also home to the interactive history project Shaping San Francisco and a lively weekly contact jam. But it’s the plucky, DIY joie de vivre that pervades its fundraising events — featuring such entertainment as queer cabaret, big burlesque, and an abundance of booty-shaking — that keeps our toes tapping and our progressive groove moving. Best of all, the "no one turned away for lack of funds" policy ensures that even the most broke-ass idealist can get down.

1310 Mission, SF. (415) 626-2060, www.counterpulse.org

MORE THAN THE SUM OF ITS PARTS


Sometimes a dance club, sometimes an art gallery — and sometimes not quite either — 111 Minna Gallery is pretty much guaranteed to always be a good time. Funds have been raised here on behalf of groups such as the Electronic Frontier Foundation, the West Memphis Three, and Hurricane Relief as a plethora of local and big-name artists and music makers — from Hey Willpower to Henry Rollins — have shown their stuff on the charmingly makeshift stage and the well-worn walls.

111 Minna, SF. (415) 974-1719, www.111minnagallery.com

THE HUMAN LAUGH-IN


It’s true — the revolutionary life can’t just be one big dance party. Sometimes it’s an uptown comedy club adventure instead. Cobb’s Comedy Club consistently books the big names on the comedy circuit — and it also showcases some side-splitting altruism, such as last month’s THC Comedy Medical Marijuana benefit tour and the annual "Stand Up for Justice" events sponsored by Death Penalty Focus. Even selfless philanthropy can be a laughing matter.

915 Columbus, SF. (415) 928-4320, www.cobbscomedyclub.com

OLD FAITHFUL


The headless guardian angel of cavernous, city-funded cultural center SomArts has been a silent witness to countless community-involved installations and festivals, such as the "Radical Performance" series, a Day of the Dead art exhibit, the annual "Open Studios Exhibition," and the San Francisco Electronic Music Festival. And plenty of fundraising celebrations have been hosted beneath its soaring rafters on behalf of organizations such as the Coalition on Homelessness, Survival Research Labs, and the Center for Sex and Culture. We’ve got to admit — nothing cries "community" like a space where you can drink absinthe and build misfit toys one night, dance to live salsa the next, and attend a sober seminar on pirate radio the following afternoon.

934 Brannan, SF. (415) 552-2131, www.somarts.org

STORMING THE CASTLE


Even if the Edinburgh Castle were run by community-hating misanthropes, we’d come here for the craic and perhaps a wistful fondle of the Ballantine caber mounted on the wall. But general manager Alan Black has helped foster a scene of emerging and established writers, unsigned bands, and Robbie Burns lovers in the lively heart of the upper TL. The unpretentious, unflappable venue also hosts benefits for causes such as breast cancer research and refugee relocation. And the Tuesday night pub quiz, twice-monthly mod-Mersybeat dance nights, and annual swearing competition keep us coming back for more (except maybe the haggis).

950 Geary, SF. (415) 885-4074, www.castlenews.com

SHAKE IT TILL YOU MAKE IT


Turning martini shaking into charitable moneymaking, Elixir has been the go-to drinks dispensary for fundraisers of all varieties since it launched its unique Charity Guest Bartending program. The concept is simple: the organizers of a fundraising effort sign up in advance, beg or bully a hundred of their best buddies to show up early and stay late, get a crash course in mixology, and raise bucks behind the bar of this green-certified Mission District saloon (the second-oldest operating bar in San Francisco). Did we mention it’s green certified? Just checking. Barkeep, another round.

3200 16th St., SF. (415) 552-1633, www.elixirsf.com

SPACE IS THE PLACE


A 2006 Best of the Bay winner, CELLspace has weathered the usual warehouse-space storms of permit woes and facility upgrading, and yet it continues to expand its programming and fan base into some very far-flung realms. From roller disco to b-boy battling, hip-hop to punk rock, art classes to aerial performances, the CELL has been providing an urban refuge for at-risk youth, aging hipsters, and community builders since 1996. Though we mourn the loss of the Bike Kitchen, which moved to its new SoMa digs, we’re glad to see the return of the Sunday-morning Mission Village Market — now indoors!

2050 Bryant, SF. (415) 648-7562, www.cellspace.org

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NOISE: How very SXSW – Federation, Saafir, Jandek, Silver Daggers, “Monotract,” and more

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Shame you gotta to go-go-go to Austin to see Bay hip-hop talents like the Federation, Saafir, the Pack, Kirby Dominant, and Rico Pabon. They more than made up for it with a Friday, March 16, showcase at Blender Bar Patio.

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Federation get up for Saafir, holding it up (and down) stage left in the audience. All photos by Kimberly Chun.

The rarely seen, good-natured Saafir was great, spitting “Crispy” and “Cash Me Out,” as the Federation cheered from the sidelines.

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Saafir makes The Transition live.

After the Pack – who were said to have performed atop booker Todd P’s car at his series of Mrs. B’s house parties earlier that week – Federation got it up for the crazed crowd, bringing out the Pack for the last few songs. More dancing was sighted in the Patio tent than, well, maybe ever…

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Federation stun ’em.

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The next night, March 17, the Load Records showcase at Room 710 brought out all-ages noise-skronk fave Silver Daggers, who invited the entire audience up on stage at the end. Thurston Moore was in the haus, helpfully finding a wallet on the floor.

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The crowd blew it up with Silver Daggers.

Next up, the broken-up NY band “Monotract” got up on stage – and lo, it was Moore with his Ecstatic Peace noise lineup including Monotract’s Nancy Garcia on guitar, Burning Star Core’s C. Spencer Yeh on violin and vocals, and Magik Marker’s Pete Nolan on drums. Nice, nice noise.

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Thurston Moore works it out with “Monotract” once more.

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On a completely different rock tip, I caught ex-Guardian staffer and Budget Rock organizer Chris Owen’s Hook or Crook showcase. By all accounts, Hank IV ruled; the Golden Boys followed with tuneful garage.

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Golden Boys horn in.

Burning Star Core also showed at Holy Mountain’s show at Spiro’s, March 16, alongside Blues Control, Lesbian, Wooden Shjips, and Psychic Paramount. Tokyo psych duo Suishou no Fune built slowly, burned softly.

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Burning Star Core on a slow burn.

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Suishou no Fune fuming.

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SF’s Wooden Shjips drew the biggest crowd that night – thought they sounded great, like souped-up Velvets. The frontperson for Psychedelic Horseshit cheered up front.

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Wooden Shjips bend light eerily.

One of the fest’s highlights, however, had to be Jandek’s extremely rare performance, backed by what looked like Oaklander and former Houstonite Tom Carter, at the Central Presbyterian Church. Vulnerable lyrics coursed through thoughtful noise improv – ending with the sole standing O that I witnessed this year.

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Is that Jandek or is that a preacher man straight outta Flannery O’Connor that I spy?

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NOISE: South, West, and all sorts of points at SXSW

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Oh me, oh my, what to do every day at SXSW – the competing pull of day parties and unofficial showcases and the panels and speakers during the day – and then the night parties and official showcases at night – has me torn like a paper bag full of giveaway matches, condoms, beer bottle openers, and random acts of swag. And outfits and tats and hair. “There’s a lot of hair going on,” said one girly wag in the elevator at my downtown digs. “And lots of interesting facial hair. We’re going shopping.” Inspirational! Oh, yes, and music, music, music.

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Oxford Collapse work those stripes. All photos by Kimberly Chun.

Here’s a rundown of a few recent soirees: Brooklyn’s Oxford Collapse busted it up at the Sub Pop showcase early on on Wednesday night. Furious mod aerobics by the bassist. Earlier Seattle’s Tiny Vipers kept it sweet and low. BTW it was impossible to badge your way into the Beggars Banquet and 4AD showcases in the neighborin Emo’s properties – where Calla, Voxtrot, Beirut, Mountain Goats, and Blonde Redhead were rocking. Queue you…

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About time.

So with that in mind, I lollygagged over to Beauty Bar where Best Fwends, Holy Fuck, and Crystal Castles were setting it off in the sparkly interior, and the Comas, Langhorne Slim, Jack, Illinois, and Annuals were busting moves in the patio. Amsterdam’s About were pretty durn electro-popping – throwing some bodily force into their boy-girl performance.

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Oh. Oh. It’s Oh No! Oh My!

Down the street on Sixth the Dim Mak party was swinging, sweatily, in the confines of Flamingo Cantina. Oh No! Oh My! impressed with proggish indie stylings before Pony Up, Scanners, Willowz, and Har Mar Superstar stepped up.

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Pandas on parade.

Australia seemed to be throwing mucho dinero at their homegrown music scene so showcases straight from Oz seemed to be everywhere – or maybe they just had mondo-efficient flierers. One of their number, Panda Band from Perth – what no Koala Band? – started promisingly enough with energetic rock that took intriguing melodic turns.

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Slaraffenand – say it 20 times fast.

Jet lag was starting to overtake one’s curiosity around the time Copenhagen, Denmark’s Slaraffenland came on at Mohawk at the Hometapes show. Interesting group – we all edged closer when the sax and trombone and effects pedals came out. I hereby dub the trombone the most ubiquitous unexpected instrument at this year’s SXSW.

Outside on the Mohawk patio, a Steve Earle-like Rob Crow was ripping – sounding like he was channeling Geddy Lee of Rush and playing some delicate, at times moving music. Think he dedicated a song to Corey of the Bay Area label, Absolutely Kosher. Has everyone acknowleged that Mr. Goblin Cock is something of a genius yet?

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Crow don’t blow.

More blogging to come – last night I kicked myself down Sixth for missing the afterhours Playboy party out in the boondocks, which word has it was surreal and chock-full of bunnies – hey, cabs were impossible to nab at 3 a.m. Is music sexy again? There did seem a preponderance of bottle blondes at this year’s SXSW.

Tonight, Friday, March 16, I’m looking forward to hyphy at the Beauty Bar with Federation, the Pack, and Saafir – if I can get in – and the Holy Mountain and Ecstatic Peace showcases as well as a Vice afterhours party. Scrape me off the floor when you’re ready to go-go.

Big wheel

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› kimberly@sfbg.com
SONIC REDUCER Perhaps Fall Out Boy said it most succinctly: this ain’t a scene — it’s an arms race. Joe Boyd — Hannibal Records founder, producer, general 1960s-era scenemaker and welcome arm for many an intrepid musical tourist, and now author of White Bicycles: Making Music in the 1960s (Serpent’s Tail, $18) — has seen battle on the front lines of UK rock. He knows when to drop his fascinating bombs, when to jump into the fray — such as when he stage-managed Bob Dylan’s landmark electric Newport performance — and when to step back and let nature or L. Ron Hubbard take the course — like the time his discoveries the Incredible String Band glommed on to Scientology. Battle-scarred but unbroken, Boyd has soldiered on down the road with Muddy Waters and Coleman Hawkins, scored early production credits overseeing Eric Clapton and the Powerhouse’s “Crossroads” and Pink Floyd’s first single, discovered Nick Drake and Fairport Convention, and gone on to make records for songwriting enlistees ranging from Toots and the Maytals and REM to Billy Bragg and Vashti Bunyan, in addition to organizing inspired scores for films such as McCabe and Mrs. Miller. So trust that Boyd knows whereof he speaks when he says that when it came to writing his first book, it was best to take a long view.
“Of course, I have read a lot of music books in my time,” the 64-year-old says on the phone from London, “and there’s a lot of books that I’ve read that are full of interesting information, but they’re very stodgy, and they’re very crammed with information that only guys who live alone with 8,000 LPs really want to know about. So I was very conscious of wanting to write a book that, every once in a while, occasionally, a young person or a female might want to read.”
Is Boyd trying to say that most music books seem to cater to male collectors? “Yeah, I’ve done a lot of book signings, and I can tell you what the queue looks like. There’s a lot of beards. There’s a lot of bald pates. There’s a lot of gray hair, and every once in a while there’s a twentysomething woman in the queue, and then you kind of make sure your hair is combed straight,” Boyd says mirthfully. “Then she comes up to the head of the queue and says, ‘Will you please sign it “To Peter”? It’s for my father for his 60th birthday.’<\!q>”
Of course, in attempting to dodge the earnest fan, Boyd has taken fire from the obsessives who say he didn’t include enough about, for instance, John Martyn. And some women, as luck and long lines would have it, have griped that he didn’t include enough about his love life. Guess they didn’t get to the end of a chapter deep in where, almost as a punch line, he allows that his on-and-off girlfriend Linda Peters — who was with him when he was producing his sole number one hit, “Dueling Banjos,” for Deliverance — eventually married Fairport Convention guitarist Richard Thompson.
Telling his tales plainly as if, he confesses, he’s “sitting at a table with a bottle of wine, dominating the conversation,” Boyd throws out his take on the fetal ABBA; the quasi-resident combo at his UFO Club, Pink Floyd; artists less known stateside, such as the Watersons; and crazy diamonds in the elegant rough such as the painfully shy Drake. Boyd produced 1969’s Five Leaves Left and 1970’s Bryter Layter (both Hannibal) and witnessed some of Drake’s sad decline, going as far to write, “There is certainly a virginal quality about his music, and I never saw him behaving in a sexual way with anyone, male or female. Linda Thompson tried to seduce Nick once, but he just sat on the end of the bed, fully clothed, looking at his hands…. Yet Nick’s music is supremely sensual: the delicate whisper of his voice, the romantic melodies, the tenderly sad lyrics, the intricate dexterity of his fingers on the guitar.”
“I don’t really say anything that isn’t already out there,” Boyd says now. “In a way what I’m saying is his privacy remains inviolate.” Boyd’s ear has also remained inviolate, as seen with the ’90s attention to Drake, whose “Pink Moon” Boyd licensed to Volkswagen, although “by the time the commercial came out, the records had been selling more and more,” from the initial 3,000 to 100,000 a year. “My feelings are best described as ‘what took you so long?’<\!q>”
Regardless, he continues, “I never made the sort of records that you put into the normal process. You had to come up with original strategies and eccentric ways of presenting a group in order for the kind of records that I made to sell.”
These days Boyd prefers to battle the page (his next book is on world music) rather than run a label after all he has been through with Rykodisc, which bought Hannibal, and Palm Pictures, which in turn swallowed Rykodisc. Still, the feisty music lover isn’t above a parting volley. “I’m optimistic about the music industry,” he says, equal parts wag and curmudgeon. “I think the dinosaurs will go to the tar pits and that will be fine. And all their distant cousins will turn into birds.”<\!s>SFBG
JOE BOYD
Tues/20, 7:30 p.m., free
Black Oak Books
1491 Shattuck, Berk.
(510) 486-0698
Also March 21, 7 p.m., free
Booksmith
1644 Haight, SF
(415) 863-8688
LISTEN, DON’T BE DISSIN’
DR. DOG
We All Belong (Park the Van) finds the Philly psych-swamp canines breaking out some toothsome songcraft. Thurs/15, 9 p.m., $10–<\d>$12. Cafe du Nord, 2170 Market, SF. (415) 861-5016
PINK CLOUDS AND THE PSYCRONS
Gnarly SF psych rockers caterwaul alongside paisley-drenched Kyoto kids — all hail garage skronk, mademoiselle. Sun/18, 8 p.m., $10–<\d>$12. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455
UNDER BYEN
Does this highly touted sprawling ensemble boil down to Denmark’s Bjorkestra — with kalimba, strings, and tuba? Mon/19, 8 p.m., $13. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750
SNAKE FLOWER II
Matthew M. Melton (Memphis Break-ups, the River City Tanlines) was stranded by his bandmates in San Francisco but has managed to peel out the muy groovy reptilian garage punk once more. March 26, 8 p.m., $5–<\d>$20 (Mission Creek fundraiser). 12 Galaxies, 2565 Mission, SF.

The corporation that ate San Francisco

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› sarah@sfbg.com

For the past decade, Florida-based megadeveloper Lennar Corp. has been snatching up the rights to the Bay Area’s former naval bases, those vast stretches of land that once housed the Pacific Fleet but are now home to rats, weeds, and in some places, low-income renters.

When the Navy pulled out of Hunters Point Shipyard in 1974, it left behind a landscape pitted with abandoned barracks, cracked runways, spooky radiation laboratories, antique cranes, rusting docks, and countless toxic spills.

A quarter century later, Lennar came knocking at the shipyard’s door — and those of other military bases abandoned in the waning days of the cold war — recognizing these toxic wastelands as the last frontier of underdeveloped land in urban American and an unparalleled opportunity to make big money.

Lennar had already won its first battle in 1997, seizing control of the Bay Area’s former military pearl in Vallejo when it was named master developer for the old Mare Island Naval Shipyard. Two years later it almost lost its bid for Hunters Point Shipyard when a consultant for the San Francisco Redevelopment Agency recommended giving the development rights to the Ohio-based Forest City.

Lennar fought back, calling on politically connected friends and citing its deep pockets and its track record at Mare Island.

A parade of Lennar supporters, many of them friends of then-mayor Willie Brown and Rep. Nancy Pelosi, told the Redevelopment Agency commissioners that Lennar was the only developer that had bothered to reach out to the Bayview–Hunters Point community. In the end, the commissioners — all of them mayoral appointees — ignored their consultant’s advice and voted for Lennar.

Nobody knows if Forest City would have done a better job. A developer is, after all, a developer. But Lennar’s victory at the shipyard helped it win the rights, four years later, to redevelop Treasure Island — long before it had even broken ground at Hunters Point. And a couple years ago, it parlayed those footholds into an exclusive development agreement for Candlestick Point.

Now the Fortune 500 company, which had revenues of $16.3 billion in 2006, does have a track record at the shipyard. And that performance is raising doubts about whether San Francisco should have entrusted almost its entire undeveloped coastline to a profit-driven corporation that is proving difficult to regulate or hold accountable for its actions.

Sure, Lennar has provided job training for southeast San Francisco residents, set up small-business assistance and community builder programs, and invested $75 million in the first phase of development. That’s the good news.

But on Lennar’s watch, a subcontractor failed to monitor and control dangerous asbestos dust next to a school at the Hunters Point Shipyard, potentially exposing students to a deadly toxin — despite promising to carefully monitor the air and control the construction dust.

And when the homebuilding industry took a nosedive last year, Lennar reneged on its promise to provide needed rental housing on Hunters Point — saying that its profit margins were no longer good enough to make rentals worthwhile. All of which raises questions about whether this company, which is working with Mayor Gavin Newsom to build a stadium at the shipyard to keep the 49ers in town, really has San Francisco’s interests in mind.

Bayview–Hunters Point native Dr. Ahimsa Porter Sumchai, a physician and a Sierra Club member, called the Lennar deal the "dirty transfer of the shipyard." She told us, "There is no reason why I’d trust Lennar more than I would the Navy and the federal regulators who have stringently worked on the cleanup of Hunters Point Shipyard, and yet it still remains toxic."

"This is just a play to get the shipyard," said Porter Sumchai, whose father was a longshore worker at the shipyard and died from asbestosis.

Part of the problem is systemic: the Redevelopment Agency hands over these giant projects to master, for-profit developers — who can then change the plans based on financial considerations, not community needs. And while Lennar likes to tell decision makers of its massive size and resources, the actual work at these bases has been delegated to limited-liability subsidiaries with far fewer available assets.

In this case, Lennar experienced a 3 percent drop in sales last year, a 29 percent increase in cancellation rates on homes, and a 15 percent dip in its fourth quarter profits. The downturn prompted Lennar’s president and CEO, Stuart Miller, to identify ways to improve what he described in the annual report as the company’s "margin of improvement" in 2007. These included "reducing construction costs by negotiating lower prices, redesigning products to meet today’s market demand and building on land at current market prices."

A Lennar spokesperson, Sam Singer, issued a statement to us saying that "Lennar BVHP is committed to operating responsibly, continually incorporating best community and environmental practices into our everyday business decisions."

But for a look at how Lennar’s model clashes with community interests, you need go no further than the edge of the site where Lennar has been digging up asbestos-laden rock.

DUST IN THE WIND


The Muhammed University of Islam is a small private school that occupies a modest flat-roofed hilltop building on Kiska Road with a bird’s-eye view of the abandoned Hunters Point Shipyard. This year-round K–12 school is affiliated with the Nation of Islam and attracts mostly African American students but also brings in Latino, Asian, and Pacific Islander children, many of whom have had problems in the public school system and whose parents can’t cover the cost of a private school.

"We find a way," the school’s mustachioed and nattily dressed minister, Christopher Muhammed, recently told the Redevelopment Agency in a veiled allusion to the financial nexus between the MUI and the Nation of Islam’s mosque and bakery on Third Street. "Many students aren’t members of our tradition but live across the street, down the street, or come from Oakland and Vallejo."

The minister is asking the Redevelopment Agency, the agency that selected Lennar and oversees the project, to permanently relocate the school. The school’s classrooms and basketball courts sit on the other side of a chain-link fence from Parcel A, which is the first and only plot of land that the Navy has certified at the shipyard as clean and ready for development.

Standing on these courts, the children have been able to watch heavy machinery digging up and moving huge amounts of earth in preparation for the 1,600 condos and town houses that Lennar wants to build on this sunny hillside, which has views of the bay and the rest of the shipyard.

The shipyard’s other five parcels are still part of a federal Superfund site, despite having undergone years of decontamination. Black tarps cover piles of soil that have been tagged as contaminated, and recently, radiological deposits were found in the sewers and soil. The Navy is still cleaning up a long list of nasty toxins, including PCBs and solvents, on Parcels B through F, the land Newsom now wants the city to take over so that it can hastily build a stadium for the 49ers.

But the minister’s request to relocate the MUI isn’t inspired by fear of Navy-related contamination or the impact of a stadium on the neighborhood but rather by the reality that asbestos is naturally present in this hillside and Lennar’s excavation work on the other side of the school’s chain-link fence has been kicking up dust for almost a year.

It’s not that Lennar and the city didn’t know about the asbestos. In April 2000 the environmental impact report for the shipyard reuse noted, "Because asbestos-containing serpentinite rock occurs at Hunters Point Shipyard, construction-related excavation activities could cause chrysotile asbestos associated with serpentinite to become airborne, creating a potentially significant impact to public health and safety."

So when Lennar proposed demolishing abandoned housing and roads and grading and transferring massive amounts of earth on Parcel A, the Bay Area Air Quality Management District demanded an asbestos dust mitigation plan that included sweeping and watering the construction sites and making sure that vehicle tires are washed before drivers exit.

The state Asbestos Air Control Toxic Measure also stipulates that if a school lies within a quarter mile of a construction site, local air districts can require developers to install asbestos dust monitors and shut down their sites whenever asbestos registers 16,000 fibers per cubic meter. The state requires these extra steps because children have higher metabolisms, growing lungs, and longer life expectancy. Plus, they’re lower to the ground and are likely to run, skip, hop, and play ball games that kick up dust.

Although Lennar agreed to abide by the air district’s requirements, the developer failed to properly implement this plan for more than a year.

The air district’s records show that Lennar’s environmental consultant, CH2M Hill, failed to include any air monitoring in its original plan for Parcel A, which is odd because the school is obvious to anyone who visits the site. It was only when the air district pointed out the existence of the Hunters Point Boys and Girls Club, the Milton Meyer Recreation Center, and the MUI, all within the quarter-mile limit, that Lennar agreed, at least on paper, to what the air district describes as "one of the most stringent asbestos dust mitigation plans in the state."

The plan combines the air district’s asbestos requirements with the city’s demands that Lennar limit "ordinary dust" that can cause respiratory irritation and aggravate existing respiratory conditions, such as asthma and bronchitis. Lennar agreed to implement the plan in the summer of 2005 and determine background levels of dust and toxins at the site before work began in the spring of 2006.

But that didn’t happen. For 13 months there is no data to show how much asbestos the MUI students were exposed to, neither for the 10 months before construction started on the cleared site nor for the first three hot and dusty months when Lennar’s subcontractors began massive earth-moving operations next to the school.

You’d think that after these failures became public knowledge, a devastated Lennar would have gotten a black eye and perhaps fired the subcontractors involved. Failing to protect children in a community that’s been the repeat victim of environmental injustice is a public relations nightmare, particularly in a part of town where distrust of redevelopment runs deep, thanks to the travesties in the Fillmore in the 1960s, followed by the city’s recent rejection of a referendum to put the Bayview–Hunters Point Redevelopment Plan to a public vote.

But while Lennar’s executives finally did the right thing last August by alerting the air district and replacing CH2M Hill, they didn’t release their two other subcontractors, Gordon Ball and Luster, nor did they sufficiently rein them in when violations continued, critics have testified at agency meetings.

And instead of apologizing to the air district and the city’s Department of Public Health for making them look like impotent fools, Lennar executives pushed back, contending that asbestos monitoring wasn’t necessary until May 2006 and that they didn’t need to water the tires of private vehicles.

They even listed economic rationalizations for the screwups that did happen. According to a memo marked "confidential" that the Guardian unearthed in the air district’s files, written by the air district’s inspector, Wayne Lee, Lennar stated, "It costs approximately $40,000 a day to stop grading and construction activity" and "Gordon Ball would have to idle about 26 employees on site, and employees tend to look for other work when the work is not consistent."

Meanwhile, the Department of Public Health was left reeling. Environmental health director Dr. Rajiv Bhatia told us, "It was very disappointing. We worked very hard. We wanted this system to be health protective. Whenever things don’t work, it takes time to get back to levels of trust. This hurts trust and credibility."

In September 2006 the air district issued Lennar a notice of violation for the period of July 14, 2005, through Aug. 3, 2006. Lee wrote that vegetation removal on the site "disturbed the soil and in some cases, likely resulted in dust." He also made it clear that "any track onto common roads could be tracked out to public thoroughfares and create asbestos dust plumes."

Lennar’s fines have yet to be determined, but they could reach into millions of dollars. State fines for emitting air contaminants range from $1,000 a day, if the violation wasn’t the result of intentional or negligent conduct, to $75,000 a day, if the conduct was deemed willful and intentional.

But as the air district weighs the evidence, one thing’s for sure: this wasn’t an isolated case of one set of monitors failing or one subcontractor screwing up. This case involves numerous violations and three subcontractors, two of which — Gordon Ball and Luster — are still working next to the MUI (neither company returned our calls).

Records show that once Lennar fired its environmental compliance subcontractor, CH2M Hill, properly installed monitors immediately detected asbestos dust, triggering 15 health-protective shutdowns during the course of the next six months. From these results, is it reasonable to conclude that had Lennar got its monitoring right from the beginning, further shutdowns would have cost Lennar’s construction subcontractors even more truckloads of money, as would have adequate watering of the site, which they didn’t get right for months?

So far, the only explanation for the watering deficiencies has come from Kofi Bonner, president of Lennar Urban for Northern California, who told the Redevelopment Agency, "Given the hilly terrain, it can only be watered enough so as not to create difficult conditions for the workers going up and down the site."

Lennar didn’t finally start to really control its subcontractors until January, when Lennar ordered Gordon Ball and Luster to "replace two site superintendents with new personnel who must demonstrate environmental sensitivity in conducting their work," according to public records.

MIAMI VICE


Headquartered in Miami Beach, Fla., Lennar began in 1954 as a small home builder, but by 1969 it was developing, owning, and managing commercial and residential real estate. Three years later it became a publicly traded company and has been profitable ever since, spinning off new entities.

Lennar Urban is one such venture. Established in 2003 to focus on military-base reuse, Lennar Urban recently produced a glossy brochure in which it proclaimed, "Military base reuse is our business — this is what we do."

Military-base development may be good business — but it isn’t always such a good deal for cities, particularly when communities don’t end up receiving what was promised on the front end.

In November 2006, Lennar announced it wouldn’t build any rental homes in its 1,600-unit development at the Hunters Point Shipyard. The Redevelopment Agency had originally approved a plan for 700 rental units on the 500-acre site, but Lennar said rising construction costs make rentals a losing investment.

Also in November, Arc Ecology economist Eve Bach warned the Board of Supervisors that Lennar’s public-benefits package for Treasure Island could be seriously compromised.

The package includes 1,800 below-market affordable housing units, 300 acres of parks, open space and recreational amenities, thousands of permanent and construction jobs, green building standards, and innovative transportation.

Bach summed up these proposals as "good concepts, uncertain delivery" and noted the discrepancy between Lennar’s stated desire for a 25 percent return and Budget Analyst Harvey Rose’s conservative prediction of an 18.6 percent return.

"Particularly at risk of shortfalls are transit service levels, very-low-income housing, and open-space maintenance," Bach warned.

With community benefits up in the air, high profits expected, and Lennar’s ability to regulate developers uncertain, many community activists question just what San Francisco is getting from the company.

"I can’t say that Lennar is trustworthy, not when they come up with a community benefits package that has no benefit for the community," activist Marie Harrison said. "I’d like to be able to say that the bulk of our community are going to be homeowners, but I resent that Lennar is spoon-feeding that idea to folks in public housing who want a roof over their heads and don’t want to live with mold and mildew but don’t have jobs or good credit or a down payment. I’ve heard seniors say, ‘I can’t even afford to die.’ Lennar is not being realistic, and that hurts my feelings and breaks my heart."

SHOE-IN


The story of Lennar and Muhammed University of Islam underscores the problems with a system that essentially relies on developers to regulate themselves. Bay Area Air Quality Management District records show officials didn’t know monitoring equipment at the site wasn’t working until August 2006, when Lennar discovered and reported the problem.

Lee reported after an Aug. 31, 2006, meeting with CH2M Hill staff, "They were not confident that the air sampling equipment was sampling correctly, due to faulty records and suspect batteries. CH2M Hill staff discovered depleted batteries and could not determine when they drained."

The air district’s air quality program manager, Janet Glasgow, told the Guardian, "The district had never been in this situation before, in which a developer, Lennar, came in and self-reported that they discovered a problem with their monitoring — something the district would never have been able to determine."

Worrisome as Glasgow’s statement is, there’s also the possibility that CH2M Hill’s failures might never have come to light had it not been for the city’s decision to demand another layer of dust controls. As Department of Public Health engineer Amy Brownell said, her inspectors were witnessing trails of dust firsthand, yet CH2M Hill’s monitors kept registering "non-detect" around asbestos.

"Which was suspicious," Brownell told us, "since they were doing massive earthwork."

Saul Bloom, who is executive director for Arc Ecology, a local nonprofit that helps communities plan for base closures and cleanups, told us he recalls "waiting for the first shoe to drop, wondering how there could be no work stoppages when Lennar was digging up a hillside of serpentinite."

The other shoe did drop shortly after the August 2006 meeting. It was black and well polished and attached to the foot of Muhammed, who began questioning whether the dust wasn’t harming his students.

But Muhammed found his questions weren’t easy to answer, given that Lennar had failed to monitor itself and therefore lacked the data that could have proved no harm was done, a scary situation since health problems from asbestos exposure don’t generally manifest themselves until many years later.

Those questions raised others about Lennar and whether it should be trusted to self-regulate.

D&EACUTE;J&AGRAVE; VU


In December 2006, Redevelopment Agency Commissioner Francee Covington asked Lennar’s environmental manager, Sheila Roebuck, if the company had any asbestos issues at other projects in the nation. Roebuck replied no, not to her knowledge.

But the Guardian has learned that Lennar already had problems with naturally occurring asbestos in El Dorado. The problems concerned dynamiting in hills that were full of naturally occurring asbestos and resulted in a $350,000 settlement in November 2006. The case involved two El Dorado Hills developers, Angelo K. Tsakopoulos and Larry Gualco, and their earthmoving subcontractor, DeSilva Gates Construction of Dublin.

As part of the terms of the settlement, the county agreed, at the behest of the developers, to make their earthmoving contractor, DeSilva Gates, who provided the dynamite, solely responsible for the settlement. Accused of, but not formally charged with, 47 violations of air- and water-pollution laws is West Valley, a limited liability company composed of Lennar Communities of Roseville, Gualco, and Tsakopoulos’s AKT Investments of Sacramento, with Lennar managing the LLC and AKT acting as the investor.

But as the Sacramento Bee‘s Chris Bowman reported, El Dorado Air Quality Management District head Marcella McTaggart expressed her displeasure directly to Lennar Communities, writing, "We are very disappointed to note that the agreed-upon measures to minimize … dust were completely disregarded by your company."

McTaggart’s words bear an eerie resemblance to Bhatia’s comments about how Lennar’s failure to protect the public heath "hurts trust and credibility."

"Ultimately, I’m very interested in being able to talk to the families and children who believe they have been harmed," Bhatia told us. "I want to help with people’s uncertainties and fears."

LEGAL PROBLEMS


Uncertainty and fear were on display at the Redevelopment Agency’s December 2006 meeting when Muhammed claimed that serpentinite, arsenic, and antimony had been found on his students and staff through "resonance testing."

Lung cancer experts doubt that methodology, telling us the only way to detect serpentinite in bodies is by doing an autopsy.

Following the minister’s claims, a rattled Bonner told the Redevelopment Agency, "Lennar cannot continue to be accused of covering something up or willfully poisoning the community because of profits. Lennar is a national public company, and the accusations and allegations are very serious."

Unfortunately for Lennar and the city, the company’s failures to monitor and control dust have left both entities exposed, since they formed a limited liability company without extensive resources, Lennar BVHP, to conduct the shipyard cleanup.

This exposure became even more evident when Muhammed returned to the Redevelopment Agency Commission in January with 15 MUI students in tow to ask for a temporary shutdown of Lennar’s site until a permanent relocation of the school had been worked out.

"It doesn’t seem proper to have peace discussions while the other side is still shooting," Muhammed said.

His relocation request got Bayview–Hunters Point community activist Espanola Jackson raising more questions: "OK, but where are the other residents going? How can you displace them? Have the residents on Kiska Road been notified? Or on Palou? Nope. You give people dollars to do outreach, but they don’t come to my door. Someone is being paid to not give the truth."

Scott Madison, a member of the Hunters Point Shipyard Citizens Advisory Committee, who’d observed large excavation machines breaking rock but not using water or any other dust controls, said, "I don’t understand how Lennar, who I believe has a sincere interest in doing right, can continue to have a contractor who is out of control."

Bonner explained that Lennar sent notices of default to its subcontractors and hired people from the community to be monitors, plus installed a secondary level of consultants to monitor contractors. But when Redevelopment Agency commissioner London Breed expressed interest in releasing the old contractor and hiring a new one, the agency’s executive director, Marcia Rosen, chimed in.

"Our agreement," Rosen said, "is not with the subcontractor. Our agreement is with Lennar." Her words illustrated the agency’s impotency or unwillingness to crack the whip over Lennar and its subcontractors. But when Lennar Urban vice president Paul Menaker began to explain that its contractors have a 10-day cure period, it was too much for Commissioner Covington.

"We’re way past that," Covington exploded. "We’re not hams!"

EXPLODING HAMS


Perhaps they’re not hams, but the commissioners’ apparent inability to pull the plug on Lennar or its subcontractors leaves observers wondering how best to characterize the relationship between the agency, the city, the community, and Lennar.

Redevelopment Agency commissioners have been appointed either by Mayor Gavin Newsom or his predecessor, the consummate dealmaker Willie Brown. But the incestuous web of political connections goes even further.

Newsom is Speaker of the House Nancy Pelosi’s nephew by marriage. Newsom’s campaign treasurer is another Pelosi nephew, Laurence Pelosi, who used to be vice president of acquisitions for Lennar and now works for Morgan Stanley Real Estate, which holds Lennar stock.

Both Newsom and Laurence Pelosi are connected to lobbyist Darius Anderson, who hosted a fundraiser to pay off Newsom’s campaign debts. Anderson counts Lennar as his client for Treasure Island, Mare Island, the Hunters Point Shipyard, and Candlestick Point, another vast swath of land that Lennar controls.

Brown’s ties to the agency and Lennar run equally deep, thanks in part to Lennar’s Bonner, who was Brown’s former head of economic development and before that worked for the Redevelopment Agency, where he recommended hiring KPMG Peat Marwick to choose between Catellus, Lennar, and Forest City for the Hunters Point project.

KPMG acknowledged all three were capable master developers, but the commission decided to go with the most deep-pocketed entity.

Clearly, Lennar plays both sides of the political fence, a reality that suggests it would be wiser for cities to give elected officials such as the Board of Supervisors, not mayoral appointees, the job of controlling developers.

DAMAGE CONTROL


Under the current system, in which Lennar seems accountable to no one except an apparently toothless Redevelopment Agency, you can’t trust Lennar to answer tough questions once it’s already won your military base.

Asked about asbestos at the Hunters Point Shipyard, Bonner directed the Guardian‘s questions to veteran flack Sam Singer, who also handles PR for Ruby Rippey-Tourk. Singer tried to dodge the issue by cherry-picking quotes, beginning with a Dec. 1, 2006, letter that the city’s health director, Dr. Mitch Katz, sent to Redevelopment’s Rosen.

Katz wrote, "I believe that regulatory mechanisms currently in place for Shipyard Redevelopment are appropriate and adequate to protect the public from potential environmental hazards."

The assessment would seem to be at odds with that of Katz’s environmental health director Bhatia, who has been on the frontline of the asbestos fallout and wrote in a Jan. 25 letter, "The failure to secure timely compliance with the regulations by the developer and the repeated violations has also challenged our credibility as a public health agency able and committed to securing the regulatory compliance necessary to protect public health."

Singer also quoted from a Feb. 20 Arc Ecology report on asbestos and dust control for Parcel A, which stated, "Lennar’s responses have been consistently cooperative." But he failed to include Arc’s criticisms of Lennar, namely that its "subcontractors have consistently undermined its compliance requirements," that it has "not exercised sufficient contractual control over its subcontractors so as to ensure compliance," and that it was "overly slow" in implementing an enhanced community air-monitoring system.

Singer focused instead on Arc’s observation that "there is currently no evidence that asbestos from the grading operation on Parcel A poses an endangerment to human health and the environment."

Lack of evidence is not the same as proof, and while Arc’s Saul Bloom doesn’t believe that "asbestos dust is the issue," he does believe that not moving the school, at least temporarily, leaves Lennar and the city liable.

"They formed a partnership, protective measures didn’t happen, the subcontractors continue to be unreliable, and dust in general continues to be a problem," Bloom told us.

Bloom also recommends the Redevelopment Agency have an independent consultant on-site each day and bar contractors who screw up. "Without these teeth, the Redevelopment Agency’s claims that they have enforcement capabilities are like arguments for the existence of God."

Raymond Tompkins, an associate researcher in the Chemistry Department at San Francisco State University and a member of the Remediation Advisory Board to the Navy who has family in Bayview–Hunters Point, says what’s missing from the city’s relationship with Lennar is accountability, independence, and citizen oversight.

"If you can’t put water on dirt so dust doesn’t come up, you can’t deal with the processes at the rest of the shipyard, which are far more complicated," says Tompkins, who doesn’t want the Navy to walk away and believes an industrial hygienist is needed.

"The cavalier attitude around asbestos dust and Lennar at the shipyard fosters the concerns of the African American community that gentrification is taking place — and that, next stop, they are going to be sacrificed for a stadium." *

SUNDAY

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March 11

EVENT

Dr. Sketchy’s Anti Art School

Luckily for artistically challenged people like me, Dr. Sketchy’s Anti Art School encourages such behavior. I’m sure my figures won’t look much better while I’m listening to the event’s promised “slutty jazz music” and participating in drinking and drawing contests, but who cares? (Elaine Santore)
4–7 p.m., $10
Stud
399 Ninth St., SF
(415) 637-8657
www.skidroche.com

MUSIC

SFJAZZ Collective

Listening to SFJAZZ Collective’s suave Live 2006: 3rd Annual Concert Tour: Original Compositions and Works by Herbie Hancock (SFJAZZ), you’ll know that this “Monk and Beyond” performance, launching SFJAZZ’s spring season, is gonna be a hot one. New trumpeter Dave Douglas joins SFJAZZ artistic director and tenor and soprano sax machine Joshua Redman for a deep look at the wonderfully madcap music culled from the brilliant corners of Thelonious Monk’s mind. (Kimberly Chun)

3 and 7 p.m., $20–$65
Herbst Theatre
401 Van Ness, SF
1-800-225-2277
www.sfjazz.org

WEDNESDAY

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March 7

FILM

Altman Tribute: McCabe and Mrs. Miller and 3 Women

This installment of the Castro Theatre’s Robert Altman tribute features two epics centering on the feminine mystique. McCabe and Mrs. Miller, from 1971, is a messy, unmelodramatic revision of the western. Similarly fixated on abstractions and identity, 1977’s 3 Women is dreamlike and hard to hold, with its title characters reutf8g in ineffable and sometimes mythic emotional situations. (Sara Schieron)

McCabe and Mrs. Miller, 2:15 and 7 p.m.
3 Women, 4:35 and 9:20 p.m.
$9 for double feature
Castro Theatre
429 Castro, SF
(415) 621-5288
www.castrotheatre.com

EVENT

Ellen Forney

Gritty, hilarious, incisive as the business end of a rapidograph, Ellen Forney makes cartooning seem as gloriously easy and fun as, well, scribbling in the margins of your college-ruled notebook during a heinously boring high school lecture. Whether she’s teaming with Dan Savage or simply waxing poetic — riotously — on the perfect music to die by in her new comics anthology, I Love Led Zeppelin, Forney is always beautifully perceptive about the pop-rockin’ alterna-culture she bolts from. I’m sure she’ll spring a few life lessons when she gives a multimedia performance promoting the volume. (Kimberly Chun)

7 p.m., free
Booksmith
1644 Haight, SF
(415) 863-8688
www.booksmith.com

Pop goes Panther

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Prince may have his devoted popites canonizing those purple-clad jewels once again after his recent Super Bowl halftime performance, but in Portland, Ore., there’s an equally crude one-man dance-aster who could soon take the crown from His Royal Badass. This beat blaster and master, however, comes in the form of a scrawny gyrator whose elasticlike body rapidly contorts, recoils, and slams against walls during his pop-flushed freak-outs.

Since 2002, Panther, a.k.a. Charlie Salas-Humara, has administered a hip-spasming dose of what his press literature describes as "damaged soul," fusing pulsating drum machines and bassy hooks with disheveled synths and glass-cracking falsettos. MTV2 has even taken a liking to the 32-year-old, nominating "You Don’t Want Your Nails Done," the single from his debut, Secret Lawns (Fryk Beat), for Video of the Year. During the video a brown-suited Salas-Humara rocks the microphone in a room cluttered with cardboard furniture, cell phones, and iPods. The fidgety performer busts into the Robot like a Tourette’s-afflicted Michael Jackson and beatboxes, "When you’re making these fists / You don’t want your hair / When you’re making these fists / You don’t want your nails done." Watching the video makes you want to grab the sweat-drenched vocalist by his shoulders and yell, "Go, white boy, go!"

But according to Salas-Humara, Panther’s intoxicating bite hasn’t taken that much effort. "It’s a great project because I don’t have to think about it, and there’s no concept besides whatever shit I pull together in my basement," he says on the phone from Portland. "It’s just me, and I don’t have to be a Gang of Four cover band or try and be some pop thing."

And Salas-Humara doesn’t always sound like he’s in pursuit of pop. Songs such as "Rely on Scent" and "Take Us Out" evoke a free jazz and R&B artiness and rely heavily on organ to keep them afloat. Others, such as "How Does It Feel?" and "Tennis Lesson," recall the mechanized keyboard bluster of early-’80s Herbie Hancock and the Art of Noise while integrating densely arranged hip-hop beats as their driving force.

Born in Florida but raised in Chicago’s suburbs, Salas-Humara moved to Portland in 1995 with his band, the Planet The. The trio stuck it out for 11 years, though Panther had already sprung to life before the group’s demise.

"I started doing Panther because somebody asked me to do one of those solo performance nights where people from different bands get together and play acoustic songs," he says with a laugh. "I thought it would be funny to terrorize it with prerecorded drum machines."

Salas-Humara claims that he thought he would never perform as Panther again, but he continued producing new music because his friends kept egging him on.

"It was really fun to try and fill up a lot of space on a stage with one person, so I started experimenting with dancing and doing different things with the stuff I would choreograph," Salas-Humara explains. "Basically, I just get weird."

In addition to the MTV2 nomination, 2006 saw Panther embark on tours with the Gossip and Ratatat, and Fryk Beat released the lauded 12-inch Yourself.

Gearing up for his first national tour, Salas-Humara confirms he’s a bit nervous about the jaunt.

"You never really know where your fans are," he says. "I’m sure it’ll be pretty awesome in some places and dismal in others. I guess that’s the way that it goes." (Chris Sabbath)

PANTHER

With Yip Yip, Lemonade, and Like Nurse

Thurs/8, 9:30 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

>

Snake oil

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› andrea@altsexcolumn.com

Dear Andrea:

Thanks for answering my question about performance anxiety ["Spectator Pumps," 2/21/07]. We solved the problem on our own. My girlfriend recognized that it was a confidence issue, so she went to the local sex shop and purchased an herbal male performance pill. We were both skeptical, but it actually worked within an hour. We proceeded to have awesome marathon sex. I had random boners for the next 48 hours.

My confidence was back pretty much instantaneously. We’ve had a healthy sexual relationship since then. We get a pill every now and again for kicks, but they are thankfully mostly unnecessary.

Love,

The "Mind-Blowing Sex, Not the Good Kind" Guy

Dear Good Guy:

I am simultaneously happy that you’re happy and terribly sad that I ever read your follow-up letter. Why couldn’t you have solved your problem with therapy or toys or pharmaceuticals or threesomes or gender reassignment surgery or anything, really, other than Dr. Woody’s Hygienic Vega-Vital Specific Elixir? Now I have to burst your bubble, and you have no idea how much I don’t want to do that.

Actually, you got past whatever was blocking you and now know you’re capable of having mind-blowing sex, the good kind, not only with those bull-pucky pills but, more important, without them. You may be immune to bubble-bursting of any sort, which is great, however you got there. They’re just, ugh, fake sex pills. I can’t help imagining those creepy late-night pseudoceutical ads with the happy, happy wife with the unhinged jaw like an adder’s — and shuddering.

I have a story that is vaguely apropos if you’ll just bear with me. Until fairly recently, I was plagued by crippling phlebotophobia — merely thinking of blood draws turned me clammy and faint, and having one, well, I don’t know what having one would have done, since I never let those needle monkeys get within a hundred yards of me. Since I wouldn’t get a blood test, I couldn’t get any serious medical care, which was fine with me but irritating to my partner, who preferred to think I’d make a good-faith effort not to drop dead on him without warning. So I resolved to do something about it, and since a couple therapist friends had been taking EMDR training, I decided to do that.

EMDR stands for eye-movement desensitization and reprocessing, a hypnosislike process that is supposed to heal posttraumatic stress and be useful for treating phobias, although there is no scientific basis for those claims. There are studies suggesting it works as well as any other therapy, but then there are also studies demonstrating that all therapy modes, semiscience and pseudoscience alike, work about equally well. The most likely explanation? Doing something helps. It doesn’t matter what you do, just do something, the more formal the something, the better. Paying for the something also helps, if you ask me, since most people believe, deep down, that something for nothing is worth what you paid for it.

I knew all this but was determined to do EMDR (it seemed preferable to talk therapy, because I hate talking about stuff). I tried not to think about it too much. I also took my copy of Skeptic magazine with the cover story called "EMDR: Just a Big Fat Fraud?" or close enough, and buried it under a pile of old shopping circulars for the duration. I knew what it would say, you see, and I knew it was true: EMDR is bunk. It was the bunk that seemed most convenient at the time, though, so I willed myself to let it work. It worked OK (I’ve had umpteen blood tests since), although I’m fairly convinced that slipping $150 through a slot in the therapist’s door every Wednesday at 3 p.m. would have worked equally well. Just do something.

"Just do something" also explains why some patients report an immediate improvement when they start antidepressants, even though the real effects may take as long as two weeks to kick in. There is also, more directly apropos here, the Viagra effect, whereby a filled prescription for magic beans reliably produces enormous, um, beanstalks, whether or not you ever open the bottle. You pointed out yourself that expecting to have disappointing, dysfunctional sex nearly guarantees that you will have it, so it shouldn’t surprise you that merely knowing there’s help available if you need it can be enough to break the cycle. If not taking a pill can fix you right up, it shouldn’t be news that taking one, even a pharmacologically inert one, can work even better.

There is one strange addendum to that, though, if you’ll stick with me: your snake oil pills may contain something besides snake oil, chalk, and blue dye number 26, and guess what that something might be? Consumer protection agencies both here and abroad have tested some alleged herbal supplements and found them to be adulterated with … sildenafil citrate. That’s Viagra to you, bub. You might be better off just getting the real thing. At least that way you’d know the dosage you’re not taking.

Love,

Andrea

Andrea Nemerson has spent the last 14 years as a sex educator and an instructor of sex educators. In her previous life she was a prop designer. And she just gave birth to twins, so she’s one bad mother of a sex adviser. Visit www.altsexcolumn.com to view her previous columns.

More Noise Popping

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By Deborah Giattina

I wouldn’t have traded seeing my fellow Bay Area Ladyfest 2002 organizer play her first Noise Pop show last Wednesday for anything–not even a Ponys/Gris Gris ticket. I’m referring to Macromantics (aka Romy Hoffman), who recently was signed to Kill Rock Stars. (Check out her first KRS release, Moments in Movement.)

Onstage, the chaos-loving Australian MC and erstwhile San Francisco denizen’s a capella onslaughts rocked the crowd as much as her body-moving escapades into metaphysical rapping.

Afterwards, my down under friend waved away a look-see at my snaps of her performance, stating, “I don’t believe in documentation.” This one’s gonna keep moving forward into uncharted territory rather than look back, but that doesn’t mean she minds if the rest of us cherish the memories.

macro.jpg

NOISE: Smoother sailing for Roky?

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Just in time to catch the afterglow of Roky Erickson’s awesome performance at Great American Music Hall last night: good news. According to Erickson’s publicists, the garage-punk legend has had his legal rights fully restored as of Feb. 23.

roky color.bmp

Roky’s camp writes: “In June 2001, Roky Erickson’s youngest brother, former Pittsburgh Symphony Orchestra principal tubaist Sumner Erickson, was appointed Roky’s legal guardian. Sumner established the Roger Kynard Erickson Trust to address Roky’s living expenses and other financial needs. From June 2001 till July 2002, Roky lived with his brother in Pittsburgh, where he finally began to receive the support and care he needs.

“Roky is now back in Austin. Not only has his health continued to improve dramatically, but as of Feb. 23, 2007, the guardianship has been dissolved. Roky is back, a free agent and the rock ‘n’ roll muse that he was born to be.”

His now-regular psychedelic ice cream social benefit will happen on Thursday, March 15, during SXSW at Threadgills WHQ, S. Austin, Texas, from 2-8 p.m.

This year’s event celebrates “Electro-Shock Survivors”; Erickson’s peeps write: “The Ice Cream Social is co-sponsored this year by the Coalition for the Abolition of Electroshock in Texas (CAEST). Many artists have been hurt over the years by the labels and biological treatments of the mental health system. Roky Erickson, Townes Van Zandt, and Jim Franklin are Austin music legends who suffered from psychiatric electroshock, also known as electroconvulsive therapy, or ECT.

“Roky and Townes’ son, J.T. Van Zandt, are among the musicians who are now publicly declaring their desire to protect future artists from being hurt by electroshock, calling for genuine asylum and compassionate care of artists and other citizens who might be having a hard time in life. Says Roky of being subjected to ECT treatments: ‘I wish I hadn’t had it and it didn’t help me.’”

Tickets for $20 are available at www.frontgatetickets.com and at Threadgills WHQ at 301 West Riverside Drive at (512) 472-9304.

THURSDAY

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VISUAL ART

Carl de Keyzer

This year the co-op Magnum Photos, founded by Robert Capa and other war photographers, celebrates its 60th birthday. Magnum is still owned by its photodocumentarian members, such as Carl de Keyzer, who used a two-week stay in San Francisco during 2000 to shoot Fleet Week and the Pride parade. De Keyzer’s nine monographs include 2003’s Zona, a study of the bizarre realities presented by Siberian prison camps in the post-Soviet era, and 1992’s God, Inc., a Winnebago tour through the extremes of US Christianity during the Gulf War. This exhibition brings together selections from both books. (Johnny Ray Huston)

Through April 28
Tues.–Sat., 10:30 a.m.–5:30 p.m., free
Robert Koch Gallery
49 Geary, fifth floor, SF
(415) 421-0122
www.kochgallery.com

EVENT

“The Progressive Woman: Continuing Artistic and Self-Defining Work Beyond Your Twenties”

Can you really have it all? For Women’s History Month, the women at Bindlestiff Studios round up a group of female Filipino American artists for a discussion on how they balance career, self, art, and family as they progress into adulthood. The panel includes singer-songwriter Golda “Supernova” Sargento and Eliza Barrios from the performance and visual art group Mail Order Brides. All proceeds from the event will benefit its continued support of artists. (Elaine Santore)

8 p.m., $8
Bindlestiff Studios
505 Natoma, SF
(415) 255-0440
www.bindlestiffstudio.org

Can’t explain

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› kimberly@sfbg.com

SONIC REDUCER What’s the difference between the Who and other boomer–classic rock combos hauling their bones out on the road these days? The fact that onstage at the cozy Reno Event Center on Feb. 23, midway through the kickoff for his group’s cockeyed US tour, Pete Townshend interrupted his own between-song hawk for the Who’s generally ignored recent album, Endless Wire (Universal), with a defiant disclaimer that went roughly like this: "We don’t care if you do buy it. Roger and I will soon be gone, and you won’t need to see us or buy anything because soon we’ll be dead. But now we’re here, and this is what we’re doing right now."

Then the black-clad Townshend, vocalist Roger Daltrey, drummer Zak Starkey, guitarist Simon Townshend, keyboardist John Bundrick, and bassist Pino Palladino launched into Endless Wire‘s "Wire and Glass: A Mini-Opera," which Pete Townshend ironically referred to as his band’s "Green Day moment." The centerpiece of "Wire and Glass" ‘s pocket rock opera, "We Got a Hit," rang with nostalgia and evoked, of all things, "Substitute," and Townshend sounded like both the angry young pop star he once was and the cranky old curmudgeon who would just as soon grumble "fuggit" than flog product.

And in the process Townshend sounded realer than most of the fossils buttressed by pricey pyrotechnics found in the last Stones tour. Is this an accomplishment? Perhaps, because Townshend was always one of the more ambitious and artful rockers of his g-g-g-generation and one of the most bare-faced and vulnerable (tellingly, the Who’s official site these days is the man’s own homespun blog at www.petetownshend-whohe.blogspot.com). Also, I don’t know about the old hippies who came out of the woods for the Who that night, but when you’re accustomed to the spectacle, dancers, rotating sets, and multiple costume changes that dramatize the majority of today’s arena pop shows — from Justin Timberlake to the Dixie Chicks — a straight-forward band performance is downright refreshing.

But I wasn’t sure what to expect when I fiddled around, making my way up to Reno, Nev. — home of the proudly gooberish National Bowling Stadium, hicks-run-amok comedy Reno 911!: Miami, and the neon-poisoned Last Days of Disco décor of kitschy-cute Peppermill Casino. Why start your tour in Reno, bypassing the Bay Area with a date in Fresno? Bad memories of Vegas, the site of bassist John Entwistle’s death during their 2002 tour kickoff? I’d never seen them live before: Keith Moon–era Who was way before my time; the late Entwistle epoch, too much for my music store–clerk blood. So it was the Daltrey-Townshend Who for me — along with a mix of gleeful, graying long-haired boomers in top hats and polo shirts, indeterminate Gen Xers, and a handful of youngsters — all much more male than a Stones, Robert Plant, or even Sex Pistols reunion show. Perusing the Ed Harris look-alikes, I’d venture there’s still something about Townshend — and maybe Daltrey’s ready-for-a-brawl manly rasp — that always spoke most directly to the smart art-nerd boys, at least in my high school. The Who always seemed to mirror men more acutely than women, despite those tributary pictures of Lily. Even now they work "Real Good Looking Boy" into the set, accompanied by an onscreen montage of Daltrey’s inspiration, Elvis Presley, and Townshend’s awkward intro: "It’s about being a little kid and looking at a big boy and having the courage to admire him as good-looking without any weirdness going on. Not that it is weird!"

But what’s vaguely weird is the fact that a once proudly forward-looking band such as the Who would sprinkle their set so liberally with favorites such as "The Seeker," "Anyway Anyhow Anywhere," "Baba O’Riley," and "Behind Blue Eyes," almost reluctantly putting forth new songs such as "Fragments," "A Man in a Purple Dress," "Black Widow’s Eyes," and those in "Wire and Glass," which cannibalize melodies, devices, and arpeggioed synth lines of songs such as "Who Are You" and baldly lift the curtain on a kind of nostalgia with tunes such as "Mirror Door," which hails sentimental, uncool icons like Doris Day. Even their opening song, "I Can’t Explain," was accompanied by target symbols, band insignia and posters, old photos of the band in Union Jack garb, and The Who Sell Out imagery — the latter once primo examples of pop art exploded, literally, in a rock ‘n’ roll context. The effect was powerful but somewhat of a disservice: the band itself is still hard-hitting enough to deliver its songs with absolute conviction, without the crutch of yesterday’s reminders, filled out by Ringo Starr’s competent though far from unhinged son Zak Starkey’s drum work; a husky-voiced but valiant Daltrey, who mastered his mic-swinging rotary-blade moves by the time the encore rolled around; and Townshend, windmilling and leaping, though with less athleticism than he might have had in the past.

Two hours into the show, all doubters were probably ready to push aside memories of the Who’s dead rhythm section, ravaged vocal chords, kiddie-porn controversy, unsmashed guitars, and a commercially stillborn album — and stand up for the "Pinball Wizard" encore. Though you wonder what it means when you’re in your late 50s and still singing "Meet the new boss / Same as the old boss" or "It’s only teenage wasteland. They’re all wasted!" and doing it, as Pete Townshend shouted jubilantly, "out in the fields of Nevada." The song remains the same, but now the band’s tone can’t help but have shifted. Perhaps you sound put out to pasture, a bit bitterer than you did as the angry know-it-all who was almost too smart for Top of the Pops. Or maybe a bit like Mr. Wilson, shaking his fist at Dennis the Menace and growling, "They’re all wasted!" You might sound more wise than nihilistic — can you explain how inspired you once were? *

Up on the roof

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During these past six lovely years of Bush and Cheney, one has become almost nostalgic about duels — the calling out of adversaries to settle matters of honor with pistols — even if one or both adversaries should hold high office. But the duel isn’t dead, of course; it’s just the pistols that are gone, replaced in many instances by fanged memoirs.

Walter Scheib and Roland Mesnier aren’t exactly Aaron Burr and Alexander Hamilton, but they are Washington, D.C., figures of recent vintage, they worked together, they plainly did not get along, and now each has published a book of reminiscences that does not flatter the other. Scheib was the White House chef from 1994 to 2005, and his book (with Andrew Friedman) is called White House Chef: Eleven Years, Two Presidents, One Kitchen (Wiley, $24.95); Mesnier was White House pastry chef from 1979 to 2004, and his memoir (with Christian Malard) is titled All the President’s Pastries: Twenty-five Years in the White House (Flammarion, $24.95).

Mesnier’s is the more unintentionally comic performance. He recounts history as a series of elaborate desserts served to the high and mighty. Scheib’s story, while briefer, carries greater significance, for he was hired by Hillary Rodham Clinton in 1994 to make the White House a setting for the best in American food and wine. He stayed on through the first term of George W. Bush, even as Hillary’s culinary revolution was chucked in favor of what Scheib calls "country club" cuisine: hot dogs, fish cooked to death, and lots of beef tenderloin.

Hillary turns out to be an unexpected point of convergence for this pair of kitchen antagonists. Both men respected and liked her, and Scheib, in particular, gives us a picture of a woman who, despite a rather icy public image, understood the broad and deep meanings of food, for human sociability and health as well as for the fate of the earth. Ronald Reagan might have made it his first order of presidential business to remove Jimmy Carter’s solar panels from the White House roof, but Scheib, with Hillary’s support, started growing organic vegetables up there. (Interesting factoid: far fewer insects are to be found several stories above ground, so the need for pest control in a rooftop garden is dramatically reduced.)

Memo to Hillary: if you make it, how about an organic rooftop garden and solar panels?

Paul Reidinger

› paulr@sfbg.com

Raising the BARR

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› a&eletters@sfbg.com

"I haven’t lived anywhere since April for more than 12 days." Brendan Fowler tells me this on the phone from New York, where he’s dug in to prepare for a national tour — his first with a live band — supporting BARR’s new album, Summary (5 Rue Christine). He’s a little out of breath from racing up apartment stairs while hyping the band ("I think it’s going to be bananas. I totally started crying the other day when we were playing songs for the first time. It sounds nuts"), but our interview remains hectic as he runs through his different projects and enthusiasms. It’s been a busy couple years for Fowler, even by the industrious standards of the DIY community, from which he draws inspiration — several BARR tours, including opening slots for Xiu Xiu and Animal Collective; a profile in Artforum; performances at prestigious venues such as New York’s the Kitchen and Los Angeles’s David Kordansky Gallery; the publication and proliferation of art and culture magazine ANP Quarterly; and now the new record, a rousing confessional several bounds ahead of 2005’s Beyond Reinforced Jewel Case (5RC).

As BARR, Fowler doesn’t really sing lyrics so much as spit them out — pages and pages of them — and this often seems to trip up reviewers. The music doesn’t quite have the measured flow of rap or the hard-bitten enunciation of spoken word. The twin spirits of hardcore and hip-hop loom large, but Fowler’s channeling is defiantly personal. There’s performance-art bravura akin to that of BARR’s first tourmates, Tracy and the Plastics, and Fowler’s unflinching intimacy reminds me some of the DIY, self-documenting impulse in Jonathan Caouette’s 2004 film, Tarnation.

Summary tightens the screws of Fowler’s sonic palette: his choppy drumbeats find balance with top-heavy piano chords and brainy bass lines. "The Song Is the Single" is a splashy party jam in the LCD Soundsystem mold, though elsewhere Fowler continues to tow his own line, whether on introspective confessionals such as "Complete Consumption of Us Both" or political rave-ups such as "Half of Two Times Two." Though Fowler studied free jazz drumming in college, the directness of his approach naturally blooms in performance, when he can, quite literally, reach out and touch someone. He performed at the Mama Buzz Café last spring and totally ruled the space, careening up and down, thinking aloud.

BARR is obviously Fowler’s personal outlet, though one could easily argue his larger contribution lies in his talent as a facilitator. Indeed, his generous, motivating artist’s spirit makes him something of a latter-day Wallace Berman. Berman cohered an eclectic circle of like-minded artist-explorers in his handsome homemade magazine, Semina, the subject of a recent, effusive show at the Berkeley Art Museum. A similar sensibility is cast in ANP Quarterly, the ad-free and free glossy Fowler coedits with Ed Templeton and Aaron Rose for LA skate-art-clothes magnate RVCA. Each ANP casts a wide net of coverage, profiling skateboarders, activists, and idiosyncratic entrepreneurs as well as outsider artists looking in and insider artists looking out. Perhaps most refreshing is the way ANP cuts such a wide swath across the country, with an eye for what’s happening in Phoenix and Iowa City as well as NYC and LA. Check out all these people doing their own thing, ANP tells us. It’s a spirited vision of America, one that Fowler rhapsodizes in "Half of Two Times Two" as being made of those "rebelling from the systems, and the norms that are saying ‘be bummed’ and ‘be bored,’ and they’re taking matters into their own hands, and that’s what matters."

Fowler articulates this free-thinking position more. "I do think about the outside world and bigger things but with an intimate, fine lens…. But I would hope that, on some level, the stuff that’s more intimate and fine would speak to the larger picture."

He laughs at his own seriousness and closes, "Fingers crossed." *

BARR

With Marnie Stern

Mon/5, call for time and price

Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com

>

Fix early warning for cops

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EDITORIAL The San Francisco Police Commission has finally approved a long-overdue plan to monitor problem cops — but the Police Officers Association managed to get it watered down to the point where it won’t be terribly effective. The whole sorry episode was an example of how the POA has been running roughshod over the Police Department and undermining even basic disciplinary procedures.

The commission has been talking about this for four years now, ever since the American Civil Liberties Union and the Controller’s Office released scathing reports outlining the city’s failure to monitor problem officers and identify cops who were prone to violent behavior.

The idea is simple (and it’s worked successfully in plenty of other cities): there are well-established patterns of behavior and performance signals that tend to be associated with police officers likely to get into trouble. The San Francisco system will track uses of force, citizen complaints, police-abuse lawsuits, officer-involved shootings, on-duty accidents, and vehicle pursuits and allow the department to do early intervention with any officer who seems to be developing violent or reckless behavior.

But that ignores two other key indicators — cases in which criminal charges are dismissed because of officer misconduct and cases in which the cops charge citizens with resisting arrest. If an officer is involved in an unusually large number of these sorts of cases, it’s a clear sign of potential trouble, Samuel Walker, a criminologist who’s a national expert on early-intervention systems, told the commission.

The POA, however, helped write the plan — and refused to allow those criteria to be included. The union also made sure that the tracking system can’t be used in considering whether an officer is promoted, disciplined, or allowed to train other cops. In other words, the Police Department can’t use its own data for what would seem to be standard management practices. In fact, POA officials threatened to sue the city if the commission made any effort to tighten the tracking program.

The system is hardly punitive to the cops. The first two times it triggers a red flag, the officer’s supervisor can use the information for closer monitoring — or can simply review the findings and determine there isn’t a real problem. Only after a third warning sign does the officer have to undergo counseling.

A good early-warning system can prevent police violence and abuse, and by weeding out problem officers before they do something that leads to a major lawsuit, it can save the city a lot of money. But the real point here is that the commission and the chief — not the police union — should be making decisions about management policy.

This program won’t go into effect until the end of the year; there’s still plenty of time for the commission to send it back for amendments without buckling to the demands of a rogue police union that has already done tremendous damage to the department’s reputation. Commissioner David Campos, to his credit, was the lone vote against it; the other members of the panel should follow his lead.*