Pride

Cheap beer and rubber band balls

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By Justin Juul

San Francisco has the best liquor stores in the country. Oh sure, you could make the argument that New York City, with all it’s bodegas, and bullet-proof-glass-lined 24-hour sandwich shops is the real leader in this race, but come on. They don’t even sell beer at those places, and well, most of them just don’t have the personality of the shops you find here.

SF liquor stores got class, yo. There’s The S&W Market in the Lower Haight where the Pakistani couple spends all day bitching about the neighbors and stink-eyeing anyone who walks in the door. There’s The Transfer Market on Divisadero where you can barely hear yourself think over the Bhangra tunes blasting from the clerk’s surround sound speakers. There’s Mama’s in Noe Valley with the cool sign, Papa’s in The Castro that always smells like rotten meat, and a whole slew of other mom ‘n pop joints throughout the city where you can enjoy cheap beer, cool people, hot sauce, and some straight up weird shit. But none of these places is as awesome as Pride Superette on the corner of 22nd and Guerrero.

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Photo from the SF Chronicle

White tigers: Your fierce queer arts week at a glance

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Pride is a rock! Whether a diamond or a millstone depends on which side of the Miller Lite bottle you view the whole dang sprawling homolicious mess from. HOWEVER, as usual, there’s a plethora of amazing performances and events happening — not only the gargantuan upcoming Frameline and Queer Women of Color Film Fest (of which I and the fab Johnny Ray Huston write about in this Wednesday’s Guardian) but also the citywide 11th Annual National Queer Arts Festival, that started at the beginning of June and continues throughout. Here’s a few choice choices from the NQAF coming up this week.

BUT FIRST — bonus pics! did you know that Seigfried of Seigfried and Roy was in town on Saturday (at the the Castro’s Lookout Bar) to celebrate his 250th birthday with his “protege” Darren Romero, “The (Gay) Voice of (Twink) Magic”? See his wizardly wizened face below, with fab girl about town Miss Kate and kind-of-bitchy Gloss Magazine columnist Pollo Del Mar. (Photos by Darwin Bell.) Roy did not attend.

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Now, out with the claws, and check here for more NQAF info and great events:

>>Kirk Read, This is the Thing

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Kirk Read, photo by Ed Wolf

450 pound sex work clients, surly Guitar Center employees, teenage Satanism, and touring through rural Alabama with strippers — what else would you want an evening of spoken performance to deliver? Perennial SF literary hotshot Kirk Read takes on sex work, hallucinations, and the apocalypse in this multinight odyssey, with musical accompaniment by Jeffrey Alphonsus Mooney.
June 10-14, 8pm, $12-$15
The Garage
975 Howard
Tickets: www.brownpapertickets.com/event/32515

Yuks galore

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FILM FESTIVAL Sometimes the best thing a movie has going for it is its title, especially if that title happens to be Mutant Vampire Zombies from the ‘Hood!. Far and away the most expressively named selection at this year’s Another Hole in the Head Film Festival, Zombies imagines what would happen if a couple of rival gangbangers, a weary cop, and assorted other ragtag types emerged as the only humans unaffected by a mysterious solar flare. Zombie-movie conventions are followed (the obligatory lesson about shooting ’em in the head, etc.), self-referential jokes are cracked (Shaun of the Dead gets a shout-out). The most distinctive features here — casting erstwhile soul man C. Thomas Howell as the cop, an eye-rollingly dated Snakes on a Plane joke, and a truly disturbing twist that renders the zombies brain eaters and sex freaks — aren’t quite enough to elevate Zombies to the realm of must-see undeadness. To be fair, though, even Troma would have a hard time fulfilling the promise of something called Mutant Vampire Zombies from the ‘Hood!.

A better bargain for your gross-out buck is 2007’s Jack Brooks: Monster Slayer, a film I seized on after noting the top billing of Robert "Freddy Krueger" Englund. With higher production values than Zombie and a clever script (cowritten by John Ainslie and director Jon Knautz), Monster follows the titular hero (Trevor Matthews), a slacker dude plumber who’s been toting around some serious anger issues since childhood — when he witnessed a monster gobble up his entire family. Jack’s princess-bitch girlfriend (Rachel Skarsten) convinces him to enroll in a night-school class taught by the bumbling Professor Crowley, who ropes Jack into taking a look at the rusty pipes beneath his creepy old house. Cue: the unearthing of an ancient evil, and Crowley’s transformation from science geek to chicken-wing-gobbling, Jabba the Hutt–like menace.

Naturally this turn of events unleashes the inner warrior in Jack; the film is bookended by flash-forwards that suggest he becomes something of a Buffy for the monster population. But the main reason to see Monster is Englund, who’s having something of a mini-comeback between this film and the recent Zombie Strippers. Always a limber, engaging performer, Englund further proves there’s more to him than vivisecting Elm Street teens — though that’d be enough for me, really.

But back to the zombies. One of HoleHead’s programming edicts is apparently "never enough zombies," to the extent of capitalizing the Zed-word in their programming notes. Along with those mutant hood-rats, the fest also includes Wasting Away (2007), Trailer Park of Terror (question: when did zombies and white trash become so synonymous?), and Brain Dead (2007), the latter containing nearly as many gratuitous female nudes (full-frontal, in most cases) as it does alien-parasite-spawned undead beasties. Whatever, dude — you want class, look elsewhere. These HoleHead selections embrace crass with pride.

Other notable picks in this year’s festival include the locally made Home World, an uneven if ambitious sci-fi tale that owes a debt to Battlestar Galactica; a revival of Roger Vadim’s 1968 Barbarella, Queen of the Galaxy (free entry for Jane Fonda look-alikes and other costumed attendees); The Machine Girl, about a one-handed Japanese schoolgirl who exacts tasty, gory revenge on the baddies who offed her family; and, just ’cause it’s Uwe Boll, ‘Nam drama The Tunnel Rats, potentially the first film he’ll direct that spawns a video game instead of vice versa. HoleHead kicks off with the Bai Ling-starring The Gene Generation (2007), followed by a party headlined by all-girl psychobilly quartet Thee Merry Widows.

ANOTHER HOLE IN THE HEAD

June 5–21, most shows $10.50

Roxie Film Center

3117 16th St, SF

www.sfindie.com

Opening night party with Thee Merry Widows, the Zooby Show, and the Undertaker and His Pals

Thurs/5, 9 p.m., $5 (free with HoleHead pass or ticket stub)

Annie’s Social Club

917 Folsom, SF

www.anniessocialclub.com

Optimism in the Face of Defeat in the Bayview

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Text and Photos by Umayyah Cable

Having just left the HQ of the F is for Fairness campaign in the Bayview, I must report that the vibe was generally optimistic despite the fact that Prop F was decidedly dragging it’s feet through the election mud. Members of the campaign were staying positive as they gathered in a rented space on 3rd street, eagerly refreshing the SF Departments of Elections results page. Here’s a glimpse of the evening:

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As I was uploading these images I now find that Prop F has officially failed. Which makes the above pictures out dated and bittersweet.

While talking with members of the campaign, many of whom happen to also be members of the Grace Tabernacle Church in the Bayview, I was struck by a specific emotional aspect of Prop F that I hadn’t previously considered. In speaking with Jesse, a congregation member who wore a “YES on F” T shirt in Spanish, and a windbreaker jacket proudly emblazoned with an “I voted!’ sticker, I really got a sense of what this decision could actually mean for this community. Jesse spoke of raising his 9 children in the neighborhood (who are now raising his 27 grandchildren), coaching baseball, and looked on with pride and affection at the group of teenagers sitting across the hall from us.

If Lennar has its way with the Bayview and Hunter’s point neighborhoods of San Francisco, all those things which Jesse and many others hold dearest to them: children, family, and fostering a tight knit community, will be replaced by an overpriced playground for yuppies. Lennar will take its mountain of paper money and replace children and community with materialism and greed. And what’s a city without children? Futureless, directionless and growthless.

I must say, the results are somewhat disheartening. But given the optimism I witnessed this evening, I have some renewed faith that this community wont give up without a fight.

Motor psyched

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› kimberly@sfbg.com

Born too late, on the wrong side of the country, with the wrong rodents hanging from your tail? Considering my abiding love of Elvis Presley, Al Green, Big Star, Shangri-La Records, and Memphis barbecue, I should have perhaps switched lives with Snake Flower 2 vocalist-guitarist Matthew Melton.

The Bay Area transplant from Bluff City still retains the courtly, sweet-tea manners of a Southern gentle-rocker, despite the trouble he’s seen in the name of scorching biker psych, tambourine-bashing vixens named Bunny, and dustups with such garage-rock kin as the Black Lips. When I tell him I have the hots for his native Memphis, Melton’s instantaneous happiness and hometown pride blasts right through the phone line.

"Thank you so much!" he exclaims. "I love Memphis too." He should: Melton’s love of raging garage-rock was honed playing in the city alongside the Memphis Break-Ups and the River City Tanlines, as well as the Lost Sounds’ Jay Reatard and Alicia Trout, whom he performed with in the Bare Wires. No wonder Snake Flower 2’s first full-length, Renegade Daydream (Tic Tac Totally), is so utterly bitchin’: it’s overdriven, romping-in-the-red hot-rod rawk for kids whose minds were forever fractured by dog-eared, rifled copies of Nuggets LPs, Steppenwolf’s gnarlsome guitar tone, Roger Corman cinematic cheapie sleazies, and the Standells’ heightened snot levels. Renegade Daydreams‘ supercharged, fuzz-doused frenzies are the choicest tidbits plucked from, Melton says, "the first batch of songs I wrote after I escaped from the South."

He didn’t intend to end up in Oakland, a town he lovingly describes as comparable to Memphis in its desolation and "blankness." Two years ago, Melton was stranded in San Francisco by his original Snake Flower bandmates, including an ex called Bunny, who, he says, "ended up leaving me for an art school professor who looked like John Lennon. We were touring across country in this Volvo, and by the time we got here, we were at each other’s throats."

After attempting to follow his erstwhile Snake Flowers back to Los Angeles via Greyhound, making it only as far as Santa Cruz, and hitchhiking back to the Bay, Melton decided to simply add "2" to his band name and sally forth, hooking up with and firing various rhythm sections (Paula Frazer filled in as a touring drummer in one early incarnation) until settling on bassist Carlos Bermudez and drummer Johnny Axe.

The supremely "dirty and blown out" sound of the disc, as Melton describes it, comes courtesy of mastering by Weasel Walter and all-analog tracking by Jay Bronzini (the Cuts, the Time Flys) on a Tascam 38. "You get a lo-fi sound that barely meets fidelity standards," says Melton happily. "I’m right there on the cusp. When it sounds too clean, you lose some of the soul and feel of it." In the meantime, Melton is already prepared to make his next long-player, which he’ll record himself on his own Tascam 38 while refining that biker psych tag ("It’s a combination of ’60s garage rock and ’70s motorcycle anthems — like Mad Max meets Alice in Wonderland") that a friend laid on him. He’s even penned a song titled "Biker Psych" for Snake Flower 2’s next seven-inch on German label Red Lounge.

Melton also seems to be finally relaxing into the Bay Area music scene, playing in Photobooth and reforming Bare Wires with the Time Flys’ Erin Emslie. "It took me a long time to assimilate here," he confesses. "Being from the South, I’m very open. Here I feel like I gotta keep my guard up. But I’ve met so many great musicians. I’m not going anywhere." *

SNAKE FLOWER 2

Fri/23, call for time and price

Annie’s Social Club

917 Folsom, SF

(415) 974-1585

www.anniessocialclub.com

Mother’s Day don’t

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› andrea@altsexcolumn.com

Dear Readers:

I recently received a press release saying,

Although moms appreciate flowers and breakfast-in-bed on their special day, this year Dad should try to spice things up and not be so predictable! Booty Parlor offers items to add some fun to Mother’s Day that Mom and Dad can enjoy, together …

It went on, predictably, to hawk a number of chocolatelike items intended to be smeared on bodies (in bed, mind you) and removed in some fashion other than rigorous showering, heavily scented oils and bath bombs, and something which may or may not have been a vibrator but both image and text were too busy being coy to tell me. How do I loathe the idea of a "sexy" Mother’s Day? Let me count the ways.

It isn’t just the seXAY-fication of a faux-holiday properly celebrated by the delivery of adorably botched breakfasts made by pride-puffed seven-year-olds to mothers enjoying a morning off from domestic drudgery; it’s also that "should" sticking out there like a sore thumb that deserved everything it got: "Dad should …." Sez who? And who, we may ask, is "Dad," and what is he doing in that sentence? Either he’s your dad, who has no place in this scenario, or he’s your children’s dad, a role that only exists in relation to the people he is "Dad" to. This is not confusing. Imagine a bath that a male parent takes with his children; now think about a bath that a male partner takes with you. Who is your daddy?

While we’re counting, whose idea of sexy is this anyway? It’s not that it’s meant to appeal to a clumsily imagined male sense of what a clumsy male thinks women think is sexy (that really did make sense, I promise, go back and reread if you don’t believe me) — it’s that it’s nobody in particular’s idea of sexy. It is, as a friend put it, "the sex-related equivalent of the ‘festive hot chocolate assortment’ you give your coworkers at Christmas."

Do mothers even want sex or "sexiness" for Mother’s Day? Some would, sure. Many would welcome a reminder that Beloved Spouse still thinks she’s attractive. Fewer would welcome an additional duty ("being sexy") thrust upon them on what promised to be a day off. And yes, I do know how that sounds. As much as I may hate the popular idea of a mom doing pretty much anything to get out of having sex with her hubby, that’s exactly the sitcom-ish image this thing gives me. I picture an exhausted, vaguely shrewish, newish mom and a horny, sulky husband who’s resorting to ham-handed hinting. "Oh, God," she thinks, "chocolate sex paint and satin undies on a stick. Christ, maybe if I blow him he’ll go away and let me sleep late."

Although this ugly picture contains the usual stereotype’s tiny ring of truth, we don’t need to promulgate it. Parents in this culture hardly need any encouragement to see their roles thus, and I certainly don’t intend to promote this vision of connubial unbliss as either inevitable or permanent. I am all for sexy marriage. I had sympathy for author Ayelet Waldman when she got into that ridiculous brouhaha a few years ago when she meant to say that grown-up love and lust, not children, are the heart of a marriage, but she ended up sticking her foot down her throat and gacking up something about how she loves her husband so much she’d throw one of her children in front of a bullet for him. I didn’t say I agreed with her, mind, but I did think it was about time somebody spoke up for the hot bond that preexisted the children and, one hopes, will burn on long after the children are on their own. Just not on Mother’s Day. I think Mother’s Day is a bit silly, but if you’re going to celebrate it, it ought to have more to do with the family unit and less to do with dad’s. After the family stuff — a lovely evening out and copious oral sex, why not? — but no springing "sexy" surprises and no sticky body paint. Ever, really.

I asked a number of female friends how they’d like a bunch of sex toys (assuming nicer sex stuff than this) for Mother’s Day and only one thought she might. She retracted it, though, when I wrote, "It’s really just a come-on for a blow job by someone who feels he hasn’t been getting enough of those." "I pictured the body paint on the woman!" gasped my correspondent.

Was she right? Was I too cynical? Is it too much to ask that a man who wishes for more blow jobs say something or do something rather than buy something? Nobody loves a gift basket or a tap on the shoulder, and this is both at once.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Summer 2008 fairs and festivals

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Grab your calendars, then get outside and celebrate summer in the Bay.

>Click here for a full-text version of this article.

ONGOING

United States of Asian America Arts Festival Various locations, SF; (415) 864-4120, www.apiculturalcenter.org. Through May 25. This festival, presented by the Asian Pacific Islander Cultural Center, showcases Asian Pacific Islander dance, music, visual art, theater, and multidisciplinary performance ensembles at many San Francisco venues.

Yerba Buena Gardens Festival Yerba Buena Gardens, Third St at Mission, SF; (415) 543-1718, www.ybgf.org. Through Oct, free. Nearly 100 artistic and cultural events for all ages take place at the Gardens, including the Latin Jazz series and a performance by Rupa & the April Fishes.

MAY 10–31

Asian Pacific Heritage Festival Oakland Asian Cultural Center, 388 Ninth St, Oakl; (510) 637-0462, www.oacc.cc. Times vary, free. The OACC presents hands-on activities for families, film screenings, cooking classes, and performances throughout the month of May.

MAY 15–18

Carmel Art Festival Devendorf Park, Carmel; (831) 642-2503, www.carmelartfestival.org. Call for times, free. Enjoy viewing works by more than 60 visual artists at this four-day festival. In addition to the Plein Air and Sculpture-in-the-Park events, the CAF is host to the Carmel Youth Art Show, Quick Draw, and Kids Art Day.

MAY 16–18

Oakland Greek Festival 4700 Lincoln, Oakl; (510) 531-3400, www.oaklandgreekfestival.com. Fri-Sat, 10am-11pm; Sun, 11am-9pm, $6. Let’s hear an "opa!" for Greek music, dance, food, and a stunning view at the Greek Orthodox Cathedral of the Ascension’s three-day festival.

MAY 17

Asian Heritage Street Celebration Japantown; www.asianfairsf.com. 11am-6pm, free. The largest gathering of Asian Pacific Americans in the nation features artists, DJs, martial arts, Asian pop culture, karaoke, and much more.

Saints Kiril and Methody Bulgarian Festival Croatian American Cultural Center, 60 Onondaga; (510) 649-0941, www.slavonicweb.org. 4pm, $15. Enjoy live music, dance, and traditional food and wine in celebration of Bulgarian culture. A concert features special guests Radostina Koneva and Orchestra Ludi Maldi.

Taiwanese American Cultural Festival Union Square, SF; (408) 268-5637, www.tafnc.org. 11am-5pm, free. Explore Taiwan by tasting delicious Taiwanese delicacies, viewing a puppet show and other performances, and browsing arts and crafts exhibits.

Uncorked! Ghirardelli Square; 775-5500, www.ghirardellisq.com. 1-6pm, $40-45. Ghirardelli Square and nonprofit COPIA present their third annual wine festival, showcasing more than 40 local wineries and an array of gourmet food offerings.

BAY AREA

Cupertino Special Festival in the Park Cupertino Civic Center, 10300 Torre, Cupertino; (408) 996-0850, www.osfamilies.org. 10am-6pm, free. The Organization of Special Needs Families hosts its fourth annual festival for people of all walks or wheels of life. Featuring live music, food and beer, a petting zoo, arts and crafts, and other activities.

Enchanted Village Fair 1870 Salvador, Napa; (707) 252-5522. 11am-4pm, $1. Stone Bridge School creates a magical land of wonder and imagination, featuring games, crafts, a crystal room, and food.

Immigrants Day Festival Courthouse Square, 2200 Broadway, Redwood City; (650) 299-0104, www.historysmc.org. 12-4pm, free. Sample traditional Mexican food, make papel picado decorations, and watch Aztec dancing group Casa de la Cultura Quetzalcoatl at the San Mateo County History Museum.

MAY 17–18

A La Carte and Art Castro St, Mountain View; (650) 964-3395, www.miramarevents.com. 10am-6pm, free. The official kick-off to festival season, A La Carte is a moveable feast of people and colorful tents offering two days of attractions, music, art, a farmers’ market, and street performers.

Bay Area Storytelling Festival Kennedy Grove Regional Recreation Area, El Sobrante; (510) 869-4946, www.bayareastorytelling.org. Gather around and listen to stories told by storytellers from around the world at this outdoor festival. Carol Birch, Derek Burrows, Baba Jamal Koram, and Olga Loya are featured.

Castroville Artichoke Festival 10100 Merritt, Castroville; (831) 633-2465, www.artichoke-festival.org. Sat, 10am-6pm; Sun, 10am-5pm, $3-6. "Going Green and Global" is the theme of this year’s festival, which cooks up the vegetable in every way imaginable and features activities for kids, music, a parade, a farmers’ market, and much more.

French Flea Market Chateau Sonoma, 153 West Napa, Sonoma; (707) 935-8553, www.chateausonoma.com. Call for times and cost. Attention, Francophiles: this flea market is for you! Shop for antiques, garden furniture, and accessories from French importers.

Hats Off America Car Show Bollinger Canyon Rd and Camino Ramon, San Ramon; (925) 855-1950, www.hatsoffamerica.us. 10am-5pm, free. Hats Off America presents its fifth annual family event featuring muscle cars, classics and hot rods, art exhibits, children’s activities, live entertainment, a 10K run, and beer and wine.

Himalayan Fair Live Oak Park, 1300 Shattuck, Berk; (510) 869-3995, www.himalayanfair.net. Sat, 10am-7pm; Sun, 10am-5:30pm, $8.This benefit for humanitarian grassroots projects in the Himalayas features award-winning dancers and musicians representing Nepal, Tibet, Bhutan, India, Afghanistan, Pakistan, and Mongolia. Check out the art and taste the delicious food.

Pixie Park Spring Fair Marin Art and Garden Center, Ross; www.pixiepark.org. 9am-4pm, free. The kids will love the bouncy houses, giant slide, petting zoo, pony rides, puppet shows, and more at this cooperative park designed for children under 6. Bring a book to donate to Homeward Bound of Marin.

Supercon San Jose Convention Center, San Jose; www.super-con.com. Sat., 10am-6pm; Sun., 10am-5pm, $20-30. The biggest stars of comics, sci-fi, and pop culture — including Lost’s Jorge Garcia and Groo writer Sergio Aragonés — descend on downtown San Jose for panels, discussions, displays, and presentations.

MAY 18

Bay to Breakers Begins at Howard and Spear, ends at the Great Highway along Ocean Beach, SF; www.baytobreakers.com. 8am, $39-59. See a gang of Elvis impersonators in running shorts and a gigantic balloon shaped like a tube of Crest floating above a crowd of scantily clad, and unclad, joggers at this annual "race" from the Embarcadero to the Pacific Ocean.

Carnival in the Xcelsior 125 Excelsior; 469-4739, my-sfcs.org/8.html. 11am-4pm, free. This benefit for the SF Community School features game booths, international food selections, prizes, music, and entertainment for all ages.

BAY AREA

Russian-American Fair Terman Middle School, 655 Arastradero, Palo Alto; (650) 852-3509, paloaltojcc.org. 10am-5pm, $3-5. The Palo Alto Jewish Community Center puts on this huge, colorful cultural extravaganza featuring ethnic food, entertainment, crafts and gift items, art exhibits, carnival games, and vodka tasting for adults.

MAY 21–JUNE 8

San Francisco International Arts Festival Various venues, SF; (415) 399-9554, www.sfiaf.org. The theme for the fifth year of this multidisciplinary festival is "The Truth in Knowing/Threads in Time, Place, Culture."

MAY 22–25

Sonoma Jazz Plus Festival Field of Dreams, 179 First St W, Sonoma; (866) 527-8499, www.sonomajazz.org. Thurs-Sat, 6:30 and 9pm; Sun, 8:30pm, $40+. Head on up to California’s wine country to soak in the sounds of Al Green, Herbie Hancock, Diana Krall, and Bonnie Raitt.

MAY 24–25

Carnaval Mission District, SF; (415) 920-0125, www.carnavalsf.com. 9:30am-6pm, free. California’s largest annual multicultural parade and festival celebrates its 30th anniversary with food, crafts, activities, performances by artists like deSoL, and "Zona Verde," an outdoor eco-green village at 17th and Harrison.

MAY 25–26

San Ramon Art and Wind Festival Central Park, San Ramon; (925) 973-3200, www.artandwind.com. 10am-5pm, free. For its 18th year, the City of San Ramon Parks and Community Services Department presents over 200 arts and crafts booths, entertainment on three stages, kite-flying demos, and activities for kids.

MAY 30–JUNE 8

Healdsburg Jazz Festival Check Web site for ticket prices and venues in and around Healdsburg; (707) 433-4644, www.healdsburgjazzfestival.com. This 10th annual, week-and-a-half-long jazz festival will feature a range of artists from Fred Hersch and Bobby Hutcherson to the Cedar Walton Trio.

MAY 31

Chocolate and Chalk Art Festival North Shattuck, Berk; (510) 548-5335, www.northshattuck.org. 10am-6pm, free. Create chalk drawings and sample chocolate delights while vendors, musicians, and clowns entertain the family.

Napa Valley Art Festival 500 Main, Napa; www.napavalleyartfestival.com. 10am-4pm, free. Napa Valley celebrates representational art on Copia’s beautiful garden promenade with art sales, ice cream, and live music. Net proceeds benefit The Land Trust of Napa County’s Connolly Ranch Education Center.

MAY 31–JUNE 1

Union Street Festival Union, between Gough and Steiner, SF; 1-800-310-6563, www.unionstreetfestival.com. 10am-6pm, free. For its 32nd anniversary, one of SF’s largest free art festivals is going green, featuring an organic farmer’s market, arts and crafts made with sustainable materials, eco-friendly exhibits, food, live entertainment, and bistro-style cafés.

JUNE 4–8

01SJ: Global Festival of Art on the Edge Various venues, San Jose; (408) 277-3111, ww.01sj.org. Various times. The nonprofit ZERO1 plans to host 20,000 visitors at this festival featuring 100 exhibiting artists exploring the digital age and novel creative expression.

JUNE 5–8

Harmony Festival Sonoma County Fairgrounds, Santa Rosa; www.harmonyfestival.com. $30-99. One of the largest progressive-lifestyle festivals of its kind, Harmony brings art, education, and cultural awareness together with world-class performers like George Clinton and Parliament Funkadelic, Jefferson Starship, Damian Marley, Cheb I Sabbah, and Vau de Vire Society.

JUNE 7–8

Crystal Fair Fort Mason Center; 383-7837, www.crystalfair.com. Sat, 10am-6pm; Sun, 10am-5pm, $6. The Pacific Crystal Guild presents two days in celebration of crystals, minerals, jewelry, and metaphysical healing tools from an international selection of vendors.

BAY AREA

Sunset Celebration Weekend Sunset headquarters, 80 Willow Road, Menlo Park; 1-800-786-7375, www.sunset.com. 10am-5pm, $12, kids free. Sunset magazine presents a two-day outdoor festival featuring beer, wine, and food tasting; test-kitchen tours, celebrity chef demonstrations, live music, seminars, and more.

JUNE 8

Haight Ashbury Street Fair Haight and Ashbury; www.haightashburystreetfair.org. 11am-5:30pm, free. Celebrate the cultural contributions this historical district has made to SF with a one-day street fair featuring artisans, musicians, artists, and performers.

JUNE 14

Rock Art by the Bay Fort Mason, SF; www.trps.org. 10am-5pm, free. The Rock Poster Society hosts this event celebrating poster art from its origins to its most recent incarnations.

BAY AREA

City of Oakland Housing Fair Frank Ogawa Plaza; Oakl; (510) 238-3909, www.oaklandnet.com/housingfair. 10am-2pm, free. The City of Oakland presents this seventh annual event featuring workshops and resources for first-time homebuyers, renters, landlords, and homeowners.

JUNE 14–15

North Beach Festival Washington Square Park, 1200-1500 blocks of Grant and adjacent streets; 989-2220, www.sfnorthbeach.org. 10am-6pm, free. Touted as the country’s original outdoor arts and crafts festival, the North Beach Festival celebrates its 54th anniversary with juried arts and crafts exhibitions and sales, a celebrity pizza toss, live entertainment stages, a cooking stage with celebrity chefs, Assisi animal blessings, Arte di Gesso (Italian street chalk art competition, 1500 block Stockton), indoor Classical Concerts (4 pm, National Shrine of St. Francis), a poetry stage, and more.

BAY AREA

Sonoma Lavender Festival 8537 Sonoma Hwy, Kenwood; (707) 523-4411, www.sonomalavender.com. 10am-4pm, free. Sonoma Lavender opens its private farm to the public for craftmaking, lavender-infused culinary delights by Chef Richard Harper, tea time, and a chance to shop for one of Sonoma’s 300 fragrant products.

JUNE 7–AUG 17

Stern Grove Music Festival Stern Grove, 19th Ave and Sloat, SF; www.sterngrove.org. Sundays 2pm, free. This beloved San Francisco festival celebrates community, nature, and the arts is in its with its 71st year of admission-free concerts.

JUNE 17–20

Mission Creek Music Festival Venues and times vary; www.mcmf.org.The Mission Creek Music Festival celebrates twelve years of featuring the best and brightest local independent musicians and artists with this year’s events in venues big and small.

JUNE 20–22

Jewish Vintners Celebration Various locations, Napa Valley; (707) 968-9944, www.jewishvintners.org. Various times, $650. The third annual L’Chaim Napa Valley Jewish Vintners Celebration celebrates the theme "Connecting with Our Roots" with a weekend of wine, cuisine, camaraderie, and history featuring Jewish winemakers from Napa, Sonoma, and Israel.

Sierra Nevada World Music Festival Mendocino County Fairgrounds, 14480 Hwy 128, Boonville; (917) 777-5550, www.snwmf.com.Three-day pass, $135; camping, $50-100. Camp for three days and listen to the international sounds of Michael Franti & Spearhead, the English Beat, Yami Bolo, and many more.

JUNE 28–29

San Francisco Pride 2008 Civic Center, Larkin between Grove and McAllister; 864-FREE, www.sfpride.org. Celebration Sat-Sun, noon-6pm; parade Sun, 10:30am, free. A month of queer-empowering events culminates in this weekend celebration: a massive party with two days of music, food, and dancing that continues to boost San Francisco’s rep as a gay mecca. This year’s theme is "Bound for Equality."

JULY 3–6

High Sierra Music Festival Plumas-Sierra Fairgrounds, Quincy; (510) 547-1992, www.highsierramusic.com. Ticket prices vary. Enjoy four days of camping, stellar live music, yoga, shopping, and more at the 18th iteration of this beloved festival. This year’s highlights include ALO, Michael Franti and Spearhead, Built to Spill, Bob Weir & RatDog, Gov’t Mule, and Railroad Earth.

JULY 4

City of San Francisco Fourth of July Waterfront Celebration Pier 39, Embarcadero at Beach; 705-5500, www.pier39.com. 1-9:30pm, free. SF’s waterfront Independence Day celebration features live music by Big Bang Beat and Tainted Love, kids’ activities, and an exciting fireworks show.

JULY 5–6

Fillmore Jazz Festival Fillmore between Jackson and Eddy; www.fillmorejazzfestival.com.10am-6pm, free. More than 90,000 people will gather to celebrate Fillmore Street’s prosperous tradition of jazz, culture, and cuisine.

JULY 17–AUG 3

Midsummer Mozart Festival Various Bay Area venues; (415) 392-4400, www.midsummermozart.org. $20-60. This Mozart-only music concert series in its 34th season features talented musicians from SF and beyond.

JULY 18–AUG 8

Music@Menlo Chamber Music Festival Menlo School, 50 Valparaiso, Atherton; www.musicatmenlo.org. In its sixth season, this festival explores a musical journey through time, from Bach to Jennifer Higdon.

JULY 21–27

North Beach Jazz Fest Various locations; www.nbjazzfest.com. Various times and ticket prices. Sunset Productions presents the 15th annual gathering celebrating indoor and outdoor jazz by over 100 local and international artists. Special programs include free jazz in Washington Square Park.

JULY 26, AUG 16

FLAX Creative Arts Festival 1699 Market; 552-2355, www.flaxart.com. 11am-2pm, free. Flax Art and Design hosts an afternoon of hands-on demonstrations, free samples, and prizes for kids.

JULY 27

Up Your Alley Dore Alley between Folsom and Howard, Folsom between Ninth and 10th Sts; www.folsomstreetfair.com. 11am-6pm, free. Hundreds of naughty and nice leather-lovers sport their stuff in SoMa at this precursor to the Folsom Street Fair.

AUG 2–3

Aloha Festival San Francisco Presidio Parade Grounds, near Lincoln at Graham; www.pica-org.org/AlohaFest/index.html. 10am-5pm, free. The Pacific Islanders’ Cultural Association presents its annual Polynesian cultural festival featuring music, dance, arts, crafts, island cuisine, exhibits, and more.

AUG 9–10

Nihonmachi Street Fair Japantown Center, Post and Webster; www.nihonmachistreetfair.org. 11am-6pm, free. Japantown’s 35th annual celebration of the Bay Area’s Asian and Pacific Islander communities continues this year with educational booths and programs, local musicians and entertainers, exhibits, and artisans.

AUG 22–24

Outside Lands Music & Arts Festival Golden Gate Park; www.outsidelands.com. View Web site for times and price. Don’t miss the inaugural multifaceted festival of top-notch music, including Tom Petty, Jack Johnson, Manu Chao, Widespread Panic, Wilco, and Primus.

AUG 25–SEPT 1

Burning Man Black Rock City, NV; www.burningman.com. $295. Celebrate the theme "American Dream" at this weeklong participatory campout that started in the Bay Area. No tickets will be sold at the gate this year.

AUG 29–SEPT 1

Sausalito Art Festival 2400 Bridgeway, Sausalito; (415) 331-3757, www.sausalitoartfestival.org. Various times, $10. Spend Labor Day weekend enjoying the best local, national, and international artists as they display paintings, sculpture, ceramics, and more in this seaside village.

AUG 30–31

Millbrae Art and Wine Festival Broadway between Victoria and Meadow Glen, Millbrae; (650) 697-7324, www.miramarevents.com. 10am-5pm, free. The "Big Easy" comes to Millbrae for this huge Mardi Gras–style celebration featuring R&B, rock ‘n’ roll, jazz, and soul music, as well as arts and crafts, food and beverages, live performance, and activities for kids.

AUG 30–SEPT 1

Art and Soul Festival Various venues, Oakl; (510) 444-CITY, www.artandsouloakland.com. 11am-6pm, $5-$10. Enjoy three days of culturally diverse music, food, and art at the eighth annual Comcast Art and Soul Festival, which features a Family Fun Zone and an expo highlighting local food and wine producers.

SEPT 1–5

San Francisco Shakespeare Festival Various Bay Area locations; www.sfshakes.org. This nonprofit organization presents free Shakespeare in the Park, brings performances to schools, hosts theater camps, and more.

SEPT 6–7

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn, Mountain View; (650) 968-8378, www.miramarevents.com. 10am-6pm, free. Known as one of America’s finest art festivals, more than 200,000 arts lovers gather in Silicon Valley’s epicenter for this vibrant celebration featuring art, music, and a Kids’ Park.

SEPT 20–21

Treasure Island Music Festival Treasure Island; treasureislandfestival.com. The second year of this two-day celebration, organized by the creators of Noise Pop, promises an impressive selection of indie, rock, and hip-hop artists.

SEPT 28

Folsom Street Fair Folsom Street; www.folsomstreetfair.com. Eight days of Leather Pride Week finishes up with the 25th anniversary of this famous and fun fair.

Listings compiled by Molly Freedenberg.

Pics: Protest at the ICE

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Photos and text by Ariel Soto

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At the San Francisco Immigration and Customs Enforcement (ICE) office an emergency protest and a call for justice was held on May 5th in a response to condemn last week’s raids where 60 immigrant workers were detained by the ICE. People gathered at the protest to call an end to these raids that tear apart families and criminalize the important work immigrants are doing in the community. Of the 60 workers who were arrested, some have been released, but must wear an electric ankle bracelet while they wait for deportation hearings. “Estamos aquí y no nos vamos” (“We are here and we’re not leaving”) was one of the many slogans chanted by the passionate and diverse group of protesters at the event.

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Participating organizations included: East Bay Alliance for a Sustainable Economy, Bay Area Immigrant Right Coalition, Clergy and Laity United for Economic Justice, Pride at Work, and San Francisco Immigrant Legal and Education Network.

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The Cinco skinny: Drop that Corona

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By Justin Juul

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Hey! Learn some history, dude.

I don’t know exactly how you’re going to celebrate Cinco de Mayo this year (or have celebrated it already) , but odds are it’s going to involve excessive drinking, a BBQ grill, and a few of your close friends. I mean that’s what it’s all about right? Drinking Mexican beer in the sun? Well, the simple answer is yes. Cinco de Mayo is one of those holidays, like St Patrick’s Day and Easter, that most Americans use as another excuse to drink beer when they should be working. But have you ever wondered what it’s really all about? I mean, the fifth of May wasn’t just picked randomly by The Corona Corporation was it? The date must signify something.
After a long weekend of cerveza and sun, The Guardian got to feeling a little guilty about its ignorant participation in the traditional (and early) Cinco de Mayo celebration at Dolores Park and decided to ask Paul Ortiz, professor of Latino/African American History at UC Santa Cruz and author of Emancipation Betrayed, to share his insights on the holiday.

SFBG: What exactly is Cinco de Mayo a celebration of?

Paul Ortiz: Cinco de Mayo commemorates the victory of a Mexican militia force over Napoleon III’s army at The Battle of Puebla in 1862. France sought to take advantage of a nation still reeling from the impact of The Mexican-American War (1846-1848) and the resulting internal strife. The French planned to install a puppet dictatorship in Mexico and they landed their imperial army in the state of Veracruz to implement this plan. The French expected little or no opposition. Instead, the Mexican people organized a volunteer militia and met the French expeditionary force near Puebla.

The Mexican soldiers were outnumbered and faced troops with superior military training and leadership. In spite of this, these citizen soldiers prevailed over the French and defeated them on the field of battle.

The remarkable victory at Puebla provided a much-needed sense of pride to an embattled nation. The French defeat also prevented Napoleon III from intervening in the U.S. Civil War on the side of the Confederate States of America. After the end of the Civil War, the U.S. assisted Mexico in expelling the remaining French occupying forces. Thus, Cinco de Mayo is a truly American day of celebration!

SFBG: I heard they don’t really celebrate the holiday in Mexico. If that’s true, then why do we celebrate it here?

Newsom’s missing trees

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OPINION During his 2003 mayoral campaign, Gavin Newsom circulated a beautifully presented eight-page "policy brief" for "A Green and Clean San Francisco." The first four pages were devoted to a pledge to "grow our urban canopy" — a subject near and dear to my heart.

Newsom announced: "As mayor of San Francisco, I will lead the city government and community organizations to make San Francisco a city we can take pride in — a city with green [emphasis mine], clean, and livable neighborhoods." As his first action, he said, "I will grow our urban canopy by placing a priority on tree planting and care."

For good measure, he tantalized us with some goodies: "Visualize 19th Avenue as a welcoming beautiful gateway to the city, lined with trees and planters." He promised to improve the lack of coordination among city agencies and departments involved in street tree planting, care, and planning by using new technologies such as CitiStat. And, most important, he committed himself to addressing the massive underfunding of the expansion and maintenance of the urban canopy.

These promises were made in the context of the long-standing critical state of the city’s urban forest. The candidate put it this way: San Francisco lags behind other communities in providing a vital, vibrant, and ecologically sustainable urban canopy, as well as open space, in the city. San Francisco has an estimated 90,000 street trees. By comparison, San Jose boasts 231,000 street trees. Our urban canopy is full of holes: Friends of the Urban Forest estimates we have only 75 street trees per mile, compared to the national average of 120 trees per mile. That means San Francisco has a little more than half the street trees of similarly sized cities.

Today, after more four years in office, the mayor’s promises are still just that. Nothing close to what he committed to do has been accomplished or implemented. Instead the mayor has relied on press releases, disinformation, and a newly staffed position with a yet-to-be-defined role to publicize his claimed achievements.

As I speak, the mayor has seven full–time press officers polishing his image, which, coincidentally, is the same number — seven — of filled managerial/administrative positions in the Department of Public Works Bureau of Urban Forestry, the division responsible for managing all the street trees in the city. The Department of the Environment has only two-thirds of one position (out of some 65 full-time positions) devoted to urban trees.

The Office of Greening, established in 2005, has had three directors, with no announced action from the latest one since she took over in February. The Greening Vision Council, chaired by the greening director, has been dormant for more than two years. The April 2006 Urban Forest Plan died in the Planning Department. And no one in the Controller’s Office has any direct knowledge of that new technology, CitiStat.

The mayor’s spinning was at its most inventive when he used creative accounting to claim on Arbor Day last year that more than 15,000 trees were added to the city in the years 2004 to 2006, when actual total was closer to 4,800 trees.

So much for "green and clean."

Allen Grossman

Allen Grossman is executive director of the SF Urban Forest Coalition.

Metamorphenomenal

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› superego@sfbg.com

SUPER EGO Positivity — can we get some, please? Sure. Zing! Spring’s come bounding from its musty, dusty closet like a newly out Floridian, little rainbow fanny pack ablaze, itchy pink nipple rings jingling. Poor green thing! Isn’t it up to us to lead her, tripping and grinning, into the limelight fantastica? Aren’t we already there? Change, unlike Aqua Net and Paco Rabanne, is in the air. The clubs, they’ve gone azalea-crazy, bursting with neon irises and tuneful fuchsia streaks. Cocktails mysteriously grow stronger in our hands. And parties, parties everywhere — there’s far too much to do right now. Hell, my nightlife Blackberry just exploded all over my fresh electric Onitsuka Tiger shoes.

Anybody here got a Wet Ones?

"We’re spinning in the pyramid of life / As day turns to night," goes a latest wriggly dance-floor burner. "I wish the stars could shine now / For they are closer / They are near," goes another. "Let’s make out!" goes a third. Sex, stars, spinning, and you — sounds like a few times I’d love to have. How ’bout we do the bunny hop and rock our burgundy hair at the following affairs? Oh, and bring that spring girl, too. There’s always room for one more in the back.

WELCOME TO PARADISE


What do you do when you get too famous? Besides wipe up dog shit with your borrowed Chanel? How ’bout change your name and make a record? I sincerely hope you’ve made it at least once to two of the most regularly orgiastic parties in the city: Frisco Disco and Blow Up. If you have, then you’re intimately familiar with the semi-nude gymnastics, lubed-up disco-house-electro jams, and jailbait fanbase of one DJ Jefrodesiac, our fair burg’s current reigning turntable sex god.

I may just win that tiara back, though, because Jefrodesiac is dead. Metaphorically. Witness the birth of Jeffrey Paradise, his latest incarnation, who’s about to release a new EP on PrinceHouse Records and make us all update our contacts. He’ll be debuting this next evolution at Blow Up on Friday, April 11, which is also, somewhat confusingly, his birthday bash. Because one personality is never enough!

WILL THEY SERVE COSMOS?


I’m not sure how I feel about the space program, but hey, if the nearby NASA Ames Research Center and something rather ominously called the Space Generation Advisory Council want to cohost a big rave at Moffett Field, presenting forward-minded DJs like Amon Tobin, John Tejada, Dr. Toast, and Tycho, well, beam me up (snort). I’m talking about Yuri’s Night, an astro-fantastical, techno-futuristical anniversary celebration of Russian cosmonaut Yuri Gagarin’s historic first flight into space in 1961. Yuri’s Night, Saturday, April 12, is being feted this year with 153 parties in 46 countries on goddess-knows-how-many giant-screen satellite feeds, so make sure your outfit is tight. Also on the blast-off tap: a huge technology fair with zippy visual installations and electronic doodad demonstrations galore. Pack your sonic screwdriver.

BIGGER BOOTY


Srsly, I wept when longtime San Francisco mainstay Fag Fridays ended in February — and not just because my Moisture Wear wasn’t quite so hypoallergenic after all. The gay and their ilk really lost something when the party shut down after 12 years, not least of all a soulful house crashpad in the weekend’s early afterhours.

No more tears, though. "Girl, we couldn’t wait to have a Friday off!" David Peterson, one half of Fag promoters Big Booty, exuberantly told me. Big Booty’s certainly taking advantage of its free time. Peterson’s Booty partner, Jose Mineros, just launched a bouncy house Saturday weekly, Collide, at the fab Club 222 (www.myspace.com/222hyde). Fag Fridays will make a special return at Mighty for Pride. And biggest of all, Big Booty just launched a new dance-music label, Thread Recordings. They’ll be toasting Thread’s first release, "The Rhythm" by DJ David Harness, with a deep and thrilling party at luminous megaclub Temple, featuring Harness and legendary NYC DJ Tedd Patterson. Boys keep swinging.

BLOW UP

With Jeffrey Paradise

Fri/11, 10 p.m.–2 a.m., $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

www.myspace.com/blow_up_415

YURI’S NIGHT

Sat/12, 2 p.m.–2 a.m., $40–$50

NASA Ames Research Center

Moffett Field, Mountain View

www.ynba.org

THREAD RECORD RELEASE PARTY

With Tedd Patterson and David Harness

April 19, 10 p.m.–4 a.m., $20

Temple

540 Howard, SF

(415) 572-1466

www.templesf.com

Careers & Ed: The Roots of it all

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› culture@sfbg.com

Standing at the gate of my great-grandfather’s house in southern China, I was dumbfounded by how similar the gate looked to that of a house near my own. But that seemed to be the only parallel to my home. As I stood on the street in my trendy designer jeans and swanky flats, all I could think about was how out-of-place I was there, and how dissimilar I felt from the young woman my age holding a baby a few feet from me.

It brought up all the quintessential second generation questions I’ve always hated to ask myself: Where do I belong? Am I more American or more Chinese? It reminded me of my classmate Johnny Ho, instructing me that speaking too often in class made me more white and less Chinese, which only elicited disdain for myself and the little knowledge I had of my culture.

Perhaps that’s why I was so adamant about learning more on my own, and integrating the two parts of myself that felt like opposites. If only I’d had the help of a program like Roots.

THE ROOT OF ROOTS


For the last 17 years, native San Franciscan Albert Cheng has devoted himself to helping young Chinese Americans discover their heritage and culture through the In Search of Roots program. The program, run by the Chinese Culture Center, helps those whose families hail from south China’s Pearl River Delta trace their genealogy and return to their ancestral villages. A fourth generation Chinese American himself, Cheng is an avid genealogy researcher who took his heritage journey to Zhongshan, China in 1988, and has since traced his own genealogy over 123 generations — a total of 2,700 years.

Upon his return from China, he found such a strong interest in his work that he created the Roots program. The yearlong internship, affectionately known as the "Rooting" process, beings with interviewing families for oral histories, researching at the National Archives, and attending lectures on Chinese-American and Chinese history. Each of the twelve interns, or "Rooters," typically explores either their maternal or paternal lineage. After this extensive preparation, the group hops on sponsored Cathay Pacific flights to Hong Kong and wends its way, by train, into China to spend two weeks visiting each of the Rooters’ ancestral villages. When they return, the participants present their experiences and reflections at an exhibition at the Chinese Culture Center.

I joined Cheng on a guided tour of the recent interns’ impressive exhibition — each of their stories mapped in photos, with Chinese artifacts like pipes, chairs, and genealogy book pages strung together to create vivid descriptions of their journey. He told me how each intern painstakingly raked through endless documents and personal stories to follow any clues that might lead them to the villages their families originated from. The process isn’t always easy. For example, one intern, Theresa Chan, managed to find the name of her village, but concluded that her family couldn’t have come from there based on official Chinese records showing no one with her last name lived there. For interns like Chan, it’s often up to the student’s ingenuity and persistence, plus a healthy dollop of serendipity, to find out where they were from — and therefore where they’d be going on their trip.

For Chan, that serendipity came after many days of uncertainty as she attempted to find her village by way of a man on a bike. By chance, this man not only lived near the village, but confirmed that the surrounding area had many families with a surname similar to hers.

This kind of dilemma and happy resolution has been familiar to Cheng during his years of Rooting. For him, each Rooter’s predicament has been a challenge worked through as a group to help all of the interns learn more about their culture. "You have to know where you’re from. Strong roots leads to a strong character, and a strong character leads to a strong community. Strong communities make for a strong country," Cheng says.

Kristina Lim remembers how distinct, yet relatable, each of this session’s 12 Rooters’ journeys were. "Everyone’s story was different and everyone’s village was different, but there were similar themes of identity, sadness, and gratefulness," she says. "Something about going through that all together, and all 12 of us, that’s not really something you can do all on your own. They’re there for you in a sense that makes it a unique experience."

Another intern, Frank Lee, agreed. "It gives you the opportunity to compare and contrast," he says. "Sometimes you miss the full effect, the big picture, ’cause you’re so caught up in your own rooting experience. When someone else is rooting, you’re still a part of it, but you’re not the focal point — you can wander off and talk to other people, and see everything."

Rooters say they find understanding and acceptance about who they are while they’re abroad, and they bring it home with them — often resulting in unexpected, but strikingly similar, discourses with friends and family when they return. For Lim, the interaction was most significant with her family. "At family gatherings, we’d actually go through photo albums and bring up family stories. It became a dialogue my family was very excited about. And now they’re all talking about going back and visiting the village," she says. "Before I started the program that never would’ve even been talked about."

In many ways, the program opens doors that many young Chinese Americans are afraid to open themselves.

As I listened to each of the interns’ stories about their journeys through China — meeting the woman who carried your mother to the ship that eventually took her to the United States, or sitting on a ledge your mother once sat on — I sensed their pride and gratitude. They’d picked through endless documents and artifacts. They’d studied genealogical trees. They’d surmounted emotional conflicts. And they did it all in the pursuit of the essence of their heritage, the history that had always been with them but — until now — was invisible to them.

As Cheng says, "In the rooting process, you never know what’s going to happen, but you just learn to trust your instincts and go…. This is part of American history; we are a part of American history that needs to be learned." In Search of Roots helps to hone those instincts by imparting these individuals with a stronger sense of self, an ability to continue exploring who they are, and an opportunity to learn and teach others about a Chinese American history that is ever-changing and growing.

It’s worked for me. After hearing about these interns’ experience, the confusion I felt as a girl standing outside her great-grandfather’s gates feels further away. Knowing about others who are finding their way through the cross-cultural divide gives me faith to keep pushing to find out more, because for once I can say they’re just like me.

You got torched

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Reporting by SFBG intern Emma Rae Lierley and SFBG reporter Sarah Phelan

Amid a backdrop of increased bloodshed in Tibet, and an early morning March 20 arson attack on the Chinese Consulate in San Francisco, Tibetan supporters gathered last Thursday outside City Hall for a candlelight vigil to protest San Francisco’s April 9 Olympic torch relay.

Inside City Hall, Mayor Gavin Newsom spoke to a semi-circle of news cameras, claiming that hosting the torch brings “pride” to many in the city, including San Francisco’s Chinese community, and stressing that the torch should be seen as a symbol of unity, both for the city and the world.

But during the Olympic Torch’s April 9 relay through San Francisco—its only North American touchdown as it travels from Greece to Beijing—the torch will be run along San Francisco’s waterfront, not through the narrow streets of the city’s Chinatown. And that Tibetan critics of China’s continuing human rights abuses would like to stamp out the torch’s relay through San Francisco entirely, claiming China has stained the flame’s original symbolism

“We, the Tibetans in San Francisco, see the torch as a tainted torch, a Chinese torch tainted in Tibetan blood,” said Tsering Gyurmey, an organizer of the March 20 vigil and an activist with SF TeamTibet, a collection of local organizations.

“The people of San Francisco don’t want the torch,” Gyurmey added. “It’s against the values of the city, against human rights and democracy. This torch comes from the communist Chinese government, where Tibetan people are being killed on their own land.”

A few hours earlier, Gyurmey was one of over a hundred speakers at a Board of Supervisors committee meeting, as Sups. Carmen Chu and Sean Elsbernd, Newsom’s closet allies on the Board, helped strike down a resolution, authored by Sup. Chris Daly, that took a critical stance of China and the Olympic torch.

Public comment lasted over two hours on the item, and was largely in favor of the resolution introduced by Supervisor Chris Daly. Calling for a solemn acceptance of the torch, the resolution asked for the city to receive it with “alarm and protest.”

Supervisor Daly also decried the city’s consideration of “free speech zones,” or special areas where anti-Chinese demonstrations would be limited to during the torch run.

“When our administration was asked to set up these zones, they should have said no,” Daly said during the meeting. “We can not be told to compromise our democracy as we ask others to expand theirs.”

Daly has pledged to try and reinsert his criticisms, when the resolution comes before the full Board on April 2, the week before the Olympic Torch relay is scheduled.

Meanwhile, China has lashed out at US House Speaker Nancy Pelosi, calling her a “defender of arsonists, looters and killers” according to international news reports, after she visited the Dalai Lama and criticized Chinese oppression in Tibet.

“If freedom-loving people throughout the world do not speak out against China’s oppression in Tibet, we have lost our moral authority to speak on behalf of human rights anywhere in the world,” said Pelosi. who came out punching when evidence of China’s pre-Olympic crackdown on religious leaders, journalists and lawyers first emerged.

“The Olympic Games in Beijing this summer should provide an opportunity for more free expression, not less,” Pelosi said. MArch 12.

But now US Senator Dianne Feinstein is weighing in on the side of caution, telling the Board of Supervisors not to use the Olympic torch relay to condemn China, claiming that doing so, will make it harder to resolve the Tibet issue.

As for San Francisco’s plan to try to contain protesters in “free speech zones” – located at the start and end of the torch run – Feinstein reportedly doesn’t have a problem with it. That’s the way she handled demonstrations at Democratic National Convention in San Francisco back in 1984 when she was mayor.

Phosphorescent shimmers with strange beauty

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By Todd Lavoie

Old Weird America, indeed – the spectral-twangin’, gorgeously raggle-taggle ghost-folkster Matthew Houck, a.k.a., Phosphorescent, will be throwing mad shadows upon the walls of the Independent Sunday, March 23, when he takes the stage in support of his October-released spine-tingler Pride (Dead Oceans).

Now on album number three, the Athens, Geo./Brooklyn-based Houck has expanded beyond the largely go-it-alone parameters of Pride to include a backing band for this tour; should be interesting to see how the deep-in-the-earhole intimacy of the almost entirely self-recorded disc translates to the stage in the form of a full-fledged quartet. Not that there’s much cause to worry: if the guy can bring backwoods-gothic to Bed-Stuy, by crikey, I’m sure he’ll find a way to channel onstage the same gossamer-gospel hocus-pocus that makes Pride such a fascinating listen.

It’s an intriguing proposition, fashioning such distinctly rural sounds while surrounded by so much concrete, but Houck has done exactly that, and quite convincingly as well. This is no pard’ner-grabbing, knee-slapping hoedown, however: instead, Pride arrives in misty drifts, sighing and swaying over pine-cloaked hills, across Civil War battlefields and weed-overrun graveyards. If there’s a trace of Brooklyn on this record, I have to hear it – and while we’re at it, most of the time I’m not picking up too much 21st century here, either. (Other than the production, of course, which is goose-pimplingly exquisite.)

Diamonds are harder than gym bodies

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Black Lizard made me gay. Or, at the very least, Kenji Fukasaku’s 1968 jewel-toned mod noir opened my quasicloseted 16-year-old eyes to a certain queer aesthetic — one which foregrounds its own artifice by using Aubrey Beardsley’s illustrations for Oscar Wilde’s Salome as wallpaper; one which dresses deviance in a gown with a 25-foot-long feathered train; and one which knows that the flipside of fabulousness is utter ridiculousness. It certainly wasn’t something I was seeing in the twink-filled issues of XY foisted upon me by my Pride ring–wearing, secret community college beau, but something closer to what I later found in John Waters’s films with Divine, James Bidgood’s diaphanous beefcake photography, and Ronald Firbank’s deeply purple prose.

However, unlike the above artists, Fukasaku was heterosexual, and Black Lizard represents an anomaly within a career that included much macho studio boilerplate. Even at his finest, Fukasaku had a flair for rough stuff: he directed some of the best yakuza films ever made (Battles Without Honor and Humanity [1973–74]) and ended his career with 2000’s controversial adolescent bloodbath and political fable Battle Royale. Yet, as with Joseph L. Mankiewicz’s practically flaming 1959 adaptation of Tennessee Williams’s Suddenly, Last Summer, there was just the right combination of elements (and most importantly, the right combination of peacocks involved) to make Black Lizard one of queer cinema’s unsung gems. Which is precisely why freelance curator T. Crandall chose the film to kick off his rep series, "The Revival House: Classic Queer Cinema," at Artists’ Television Access.

As clichéd as such a phrase may be, Black Lizard is awash in precious stones and glittering surfaces — but none shine with as much brilliance as the transvestite Akihiro Miwa (credited as Maruyama), who plays the titular jewel connoisseur and criminal mastermind that kidnaps specimens of human beauty to freeze them in eternal tableaux vivant on her island lair. The film is completely Akihiro’s: her entrances stop time, her song is a siren call which causes men to become her slaves, her lavish outfits become more so with each new scene. "The face of Garbo is an Idea, that of Hepburn, an Event," quipped Roland Barthes (referring to Audrey, not Kate). Miwa’s face, whose mouth morphs rubber band–like from a sour moue into the devouring O of a deep cackle unleashed, is a gloss on Barthesian idealness.

Prior to Fukasaku’s film, Miwa had appeared in the same role in Yukio Mishima’s long-running stage adaptation of pre-World War II mystery and suspense novelist Edogawa Rampo’s 1934 short story "Black Lizard." Rampo’s tale was one of many starring his Sherlock Holmes, the brilliant detective Gogoro Akechi, who in Mishima and Fukaaku’s retelling falls heart-first into a dangerous pas de deux with his androgynous quarry. Miwa was a successful nightclub entertainer active in avant-garde theater (and she still is: last year, she starred in a Tokyo production of Jean Genet’s The Eagle Has Two Heads) when she met Mishima — our second of the aforementioned peacocks — who was haunting Tokyo gay bars to "research" his 1953 novel Forbidden Colors.

It’s not hard to see why Rampo’s story of a moribund ice queen obsessed with changeless beauty appealed to Mishima. By 1968, Mishima was that queen, fully immersed in his own homoerotic brand of aestheticized Emperor worship, which would reach its grisly apogee in his ritual suicide four years later. Prior to Black Lizard, his muscular body had already been given the coffee table book treatment in Ba-ra-kei: Ordeal by Roses (Aperture, 1971), where Hosoe Eiko’s photographs present the author posed as a martyred St. Sebastian or as a snowbound samurai. Appropriately, he makes his cameo in Fukasaku’s film as one of Black Lizard’s frozen exemplars of aesthetic perfection— a brawny sailor, no less.

In the end, though, diamonds are harder than gym-wrought muscle, and it was Miwa’s flash, not Mishima’s flesh, that held my attention — at least consciously — upon my first adolescent exposure to Black Lizard. Many viewings later, Mishima seems pathetically unaware of the self-parody he’s partaking in. But Miwa’s exquisite luminescence remains untarnished.

THE REVIVAL HOUSE: BLACK LIZARD

March 19, 8 p.m.; $6

Artists’ Television Access

992 Valencia, SF

(415) 824-3890

www.myspace.com/therevivalhouse

SPORTS: Willie A(Mays)ing

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By A.J. Hayes

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He hasn’t made a basket catch since the early 1970s. He’s not the best at remembering names. And his pride-and-joy godson has decamped the scene for good. But at age 76, is still the San Francisco Giants MVP – Most Valuable Personality.

Last week in Scottsdale, AZ, the baseball living legend held court in the spring training clubhouse and the room was riveted.

Whether they were fresh faced minor leaguers, millionaire All-Stars or men who have known him for decades, everyone’s focus was directed at Mays, the greatest all-around ballplayer — ever.

Despite his amazing accomplishments – 660 home runs, 3,283 hits, karats of gold gloves – for some reason, Mays has never received the type of adulation you would think he deserved from the national media. While the likes of Ted Willliams, Mickey Mantle and Joe DiMaggio have canonized by writers with syrupy prose over the past 25 years, Mays has been taken somewhat for granted.

It could have something to do with the east coast sports media, that generally discounts anything accomplished west of Manhattan as trivial.

More likely it results from the fact that those other players are white and Mays is not.

Alpine Noise Pop: Mountain Goats get ‘Hectic’ on their latest

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By Alex Felsinger

“When the house goes up in flames, nobody emerges triumphantly from it,” sings Mountain Goats mainstay and lyricist John Darnielle, with thundering drums, piano, and cello at his side on the final song of Heretic Pride (4AD). But after their last album, Get Lonely (4AD, 2006), a recording filled with nothing but morose musings on the state of his own life, the Mountain Goats’ floorboards were beginning to warp from the fire building in the basement.

While The Sunset Tree (4AD, 2005) brought mainstream appeal, it too was autobiographical, along with the majority of the preceding album, We Shall All be Healed (4AD, 2004). Darnielle, who constructed a fan base on his vibrantly constructed lyrics telling stories of true-to-life fictional characters, began to lose his magic when the focus of his songwriting for the first time became his own life.

But with Heretic Pride, Darnielle maneuvered his way out of his burning building, and is back – triumphantly, even – to creating the types of characters fans have come to know and love. Lyrically, the full-length takes bits and pieces from the group’s past by revisiting themes. In liner notes, he says the track “So Desperate” is “a love song about people who are together when they probably shouldn’t be” – a description that could match any number of Mountain Goats songs from the past (most notably “No Children,” but also any of the “Alpha” song series that spanned 11 years and various albums).

The Weekly’s expert, laid low

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The chain that owns the SF Weekly brought its star witness to court today, a Harvard economist with a stack of academic credentials who typically works for oil companies and who charges $1,075 an hour. He delivered quite a lecture on his own economic theory of predatory pricing – and then was laid low by a little newspaper called the Bodega Bay Navigator.

Some background before we get into the juicy details.

I was an economics major way back when. I have sat through many lectures by learned economists, have read their learned papers, and have tried to keep up somewhat on the dismal science. And I can say without hesitation that most academic economists live in a world devoid of reality.

Economists try to study human behavior as it’s manifested in markets, but they don’t want to be confused with people who actually study human behavior. They will tell you they aren’t (gasp) sociologists; they want to make everything fit in nice little mathematical theories.

To do that with such non-mathematical concepts as the actions of a small business and its owners in a community, you have to make a lot of assumptions. That’s what economists do; they make assumptions. They assume, for example, that all the participants in a market have the necessary knowledge and information to make the proper decisions. They assume that random factors like politics, love, passion, pride, anger, envy or simple nastiness are never part of the economic equation. They assume that everyone in a marketplace acts “rationally.”

That, of course, is an irrational assumption, particularly when it comes to small businesses (and even more so when it comes to the alternative press). If all of us in this business had acted rationally, there would be no Bay Guardian. There would be no SF Weekly, New Times or Village Voice Media. The entire alternative press exists because some utterly irrational people with little background in business and no rational hope for success decided to start little newspapers. They were – and many still are – motivated by politics, community service, excitement and a lot of other things, but rational business motives were never really high on the list.

Which brings us to the eminent Dr. Joseph Kalt.

Digging the new-old roots

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› a&eletters@sfbg.com

Yodeling is African? Well, one could certainly trace the practice from the Ituri of the Congolese rainforest, described as the first people by ancient Egyptian chroniclers, to country icons such as Jimmie Rodgers — who, incidentally, recorded with Louis Armstrong — but also to less-explored sonic shores like James Brown’s iconic scream or Marvin Gaye’s version limning his legendary 1970s LP cycle. However, if this is too far a leap for you to make, the Carolina Chocolate Drops’ appearance as part of the San Francisco Bluegrass and Old-Time Festival might be a bit of a head-scratcher. The Chocolate Drops — Dom Flemons, Rhiannon Giddens, and Justin Robinson — don’t straight-up yodel, but their harmonies and banjo-and-fiddle-anchored instrumentation reach back not only to the halcyon days when Africans in America entertained themselves at fiddle-scored frolics but all the way to the griot tradition of Western Sudan.

To be sure, the Durham, NC, band — yes, their moniker invokes the Tennessee Chocolate Drops and Mississippi Mud Steppers of yore — is neither superurban nor contemporary. Its members play strictly prewar African American string-band repertoire, as evidenced by their current release, Dona Got a Ramblin’ Mind (Music Maker): see "Tom Dula," "Ol’ Corn Likker," and yep, the ever-contested "Dixie." Still, being young, hip children of the postdesegregation era, the trio have a musical expression and an aesthetic that are informed as much by the hybridity and daring of the 1960s and ’70s golden age of black rock and psychedelic soul as by classic country and western and ethnographic studies of the genre’s African antecedents. If only by pursuing their dusky twang muse in reaction to the deplorable, moribund state of today’s urban music, these Drops live in a world that differs from that of their 1920s and ’30s predecessors chiefly in that (a) the wages of desegregation include black audiences’ will to eschew arts reminiscent of their past of bondage and hard times and (b) the dominant society’s prevailing and most popular stereotype of blackness has an inner-city face — "Makes me wanna holler!" — that rejects any other ways of being or seeing.

Some of my colleagues — and doubtless myself — have been obliquely accused of holding up emerging progressive black artists on the rock scene and satellites such as the Drops as examples of uplift and enshrining their hard work beneath a welter of sociological wankery stretching back into the prewar mists of time to Talented Tenth big daddy W.E.B. DuBois. Yet if some of that giddiness at Afro-futurist striving is sloughed off, there remains the central, inescapable fact that in much of the West, rock is still seen as "black music played by white people" and country is this nation’s most racially separatist genre.

Much was made this past fall of Rissi Palmer’s Billboard debut with "Country Girl," since it was the first such charting by an African American in the two decades after the long-forgotten Dona Mason’s fleeting dent with "Green Eyes (Cryin’ Those Blue Tears)." Critics worked overtime to display color-blind bona fides, bending themselves over backward in the attempt to downplay the role of race in Palmer’s ascent and note the singularity of the event while also sugarcoating their general consensus on the disc’s mediocrity. Personally, I wish Sister Palmer much success and far better material plus production, but what struck me most was the cover of her eponymous release. Only a sliver of Palmer’s brown face is to be seen, the overabundance of russet curls perhaps meant as commerce-inducing allusion to the Great Reba. It’s certainly baffling that 42 years since Charley Pride’s debut was released sans artist photo, one still has to mince around difference.

The Carolina Chocolate Drops have more to overcome, seeing as they play an earlier, unplugged form of twang that’s light-years away from not only the patriotic-pandering, reheated Southern boogie and suburban soccer mom–and–sippy cup sentiments of mainstream Nashville but also the ambitious incursions of Palmer and Cowboy Troy and the recent bluegrass syncretism of Merle Haggard and Alison Krauss and Robert Plant. Now sharing management with fellow Carolinians the Avett Brothers, the Drops are garnering just acclaim from roots-friendly media and making fruitful incursions into important arenas, like the annual MerleFest. Yes, the trio are benefiting from both the breakdown of a music industry in turmoil that’s reliant on streams from independents and a more reflective moment among media and listeners who have come of age in an era of omnivorous multiculturalism. And let us not discount the Drops’ sheer talent and charm.

Nevertheless, as a mere Negress observer, this critic finds her attention inevitably straying to the lack of intraracial institutions to advocate for artists in the Drops’ vein — in addition to an infrastructure for developing and sustaining nonwhite audiences’ taste for the music. Since, y’know, they’re isolated from the rural. (Must Dona be retroactively screwed and chopped?) It would be nice to see the band embraced as part of a continuum by progressive audiences, just as there’s some energy around soul-folk as a viable trend. Will the Drops’ version of young fogydom garner as much breathless critical attention and community building as the so-called freak-folk scene does? Of course, cross-cultural exchange is possible: current Nashvegas superstar and Troy’s boy "Big" Kenny Alphin traveled to Sudan last October to do his bit for the struggle and got the country press to cover his contribution. Now if only the media would turn its attention to the best acolytes of medieval traditions created by Africans not abject but divinely inspired.

THE CAROLINA CHOCOLATE DROPS

Feb. 7, 8 p.m., $18.50–<\d>$19.50

Freight and Salvage Coffee House

1111 Addison, Berk.

(510) 548-1761

www.thefreight.org

CRITICAL ‘GRASS

The San Francisco Bluegrass and Old-Time Festival runs Feb. 1–9. For information on other shows and events, go to www.sfbluegrass.org.

Messy Marv at large

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› a&eletters@sfbg.com

Even the short list of elite Bay Area rappers — say, Too Short, E-40, Keak Da Sneak, and Mistah FAB — must include the Fillmore’s own Marvin Watson Jr., a.k.a. Messy Marv. Since selling 15,000 units of his debut, Messy Situations (Ammo, 1996), at age 16, Mess has consistently earned impressive independent numbers: his solo discs Disobayish (Scalen/Sumday, 2004) and Bandannas, Tattoos, and Tongue Rings (Scalen/SMC, 2005) both sold 20,000, while his collaboration with San Quinn, Explosive Mode (Presidential, 1998), has moved more than 50,000.

Mess began 2007 with Da Bidness (Gateway/SMC), the creation of a supergroup formed with Keak and PSD, which, according to SMC’s Will Bronson, was last year’s best-selling local independent disc, at 19,000 and counting. Mess’s current project, Draped Up and Chipped Out 2 (Scalen/SMC), dropped at the year’s end. By mid-December, Draped was the number one independent and number 13 overall album on the Music Monitor Network, which tracks sales from major United States indie chains.

The soundtrack to an uncompleted film, Draped consists mostly of songs by Mess — spitting alongside national talent like Mike Jones, Juvenile, and Sean Paul — plus tracks from local heavyweights like G-Stack and B-Legit. Despite its various hands, the disc still has an album feel, containing some of Mess’s best work since Bandannas. Highlights include his singles "My Life Is a Movie," which showcases a hook by the late Mac Dre, and "Sei Luv," a rare foray into romantic R&B. With multiple business ventures in the works — including a clothing line and a reality TV show — and perpetual major-label interest, Mess is as likely as any Bay rapper to go nationwide.

Coming from the Fillmore’s projects, however, presents challenges most artists don’t face. When I spoke with Mess, he was fresh out of Santa Rita Jail, where he spent the past year on a weapons charge.

"I was charged with felony possession of a firearm, my second firearm case," he said. "The deal was three years’ state pen, but my legal defense got me a year. Now I’m back out, trying to turn my negative situation into a positive.

"Jail didn’t stagnate anything as far as my label Scalen," continued Mess, who even recorded a Draped intro behind bars. "They had a phone so I could do my business and my time. I have a strong team behind me."

Nonetheless, given California’s three-strikes law, another felony gun charge could land Mess serious prison time. When asked if he’s worried, however, he got a little heated.

"Now you sound like the SF police," he said — the last thing a rap reporter wants to hear. "Are we trying to make people think I don’t care about going to jail?" he asked, citing his displeasure with a May 15, 2007, San Francisco Chronicle article implying his gun toting had ruined his career opportunities.

"I felt real exploited by that article," Mess said. "I said I’d rather be caught with than without, any day. The way the murder rate is, it’s like that. I don’t regret any of it. I’d rather people read about me in jail than read about me dying or being shot."

He has a point. I absolutely hate guns, as do SF voters, who passed Proposition H — banning possession and sale of firearms within city limits — in 2005. But Prop. H was struck down Jan. 9 by the First District Court of Appeal, based on a challenge by the National Rifle Association, for conflicting with state law, and I think it’s hypocritical to condemn rappers for carrying guns in a society that refuses to ban them. Street rappers like Mess have to maintain a presence in the hood to preserve their credibility and fan base. But money and fame make them targets for violent crime.

"We need some kind of protection," insisted Bay legend Spice 1, who was shot in the chest during a Dec. 3, 2007, attempt to break into his Escalade while he slept inside. The bullet pierced his lung, leaving him in critical condition, though he’s now out of danger and recovering.

"Entertainers should get a break, but we can’t even wear [bulletproof] vests," added Spice, who has had six gun charges, including four in California that predate the three-strikes law. "Marv ain’t trying to jack nobody. He’s trying to protect himself."

In any case, despite the risks, Mess has no intention of abandoning his hood. Beyond the usual rapper’s neighborhood pride, he has taken on an active role in attempting to turn negatives into positives. Aside from using his label to employ youths whose criminal records and/or poor education make getting jobs nearly impossible, he’s put out two volumes of Fillmore Nation (Scalen/SMC, 2006) to help young rappers launch their careers. He intends to donate a portion of the profits to two Fillmore community centers.

"When I got my position in the music industry, I didn’t turn my back on the kids," Mess said. "I’m out here with these kids, these criminals, and they look at me as hope because I was the same way. When they look at me, they can say, ‘If Messy Marv can do it, I can do it.’<0x2009>"

All told, I think San Francisco — or at least the Fillmore — is better off with Mess on the street than in a cell.

Rebel women

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LA GARRUCHA CHIAPAS (Jan. 8th) – Dozens of Zapatista companeras, many of them Tzeltal Maya from the Chiapas lowlands decked out in rainbow-hued ribbons and ruffles, their dark eyes framed by pasamontanas and paliacates that masked their personas, emerged from the rustic auditorium to the applause of hundreds of international feminists gathered outside at the conclusion of the opening session of an all-women’s Encuentro hosted by the Zapatista Army of National Liberation (EZLN) here at year’s end.

The Tzeltaleras’ line of march, which resembled a colorful if bizarre fashion parade, seemed an auspicious start to the rebels’ third “encounter” this year between “the peoples of the world” and the Zapatista communities and comandantes – an anti-globalization conclave last December and an Encuentro in defense of indigenous land this summer preceded the womens’ gathering.

Although the call for the event was issued under the pen of the EZLN’s quixotic spokesperson Subcomandante Marcos, the author of a recently published erotic coffee table book in which his penis plays the role of a masked guerrillero, the impetus for the women’s Encuentro sprung from the loins of the Zapatista companeras.

Last July, at the conclusion of a meeting with farmers from a dozen counties in the hamlet with the haunting name of La Realidad (“The Reality”), a young rebel from that community, “Evarilda,” apparently without clearing the invitation with the EZLN’s General Command, called for the all-womens’ encounter, explaining that men were invited to help with the logistics but would be asked to stay home and mind the children and the farm animals while the women plotted against capitalism.

True to Evarilda’s word, at the December 29th-31st gathering, which drew 300-500 non-Mexican mostly women activists to this village, officially the autonomous municipality of Francisco Gomez, and which honored the memory of the late Comandanta Ramona (d. January 2006), men took a decidedly secondary role. Signs posted around the Caracol called “Resistance Until the New Dawn,” a sort of Zapatista cultural/political center, advised the companeros that they could not act as “spokespersons, translators, or representatives in the plenary sessions.” Instead, their activities should be confined “to preparing and serving food, washing dishes, sweeping, cleaning out the latrines, fetching firewood, and minding the children.”

Indeed, some young Zapatista men donned aprons imprinted with legends like “tomato” and “EZLN” to work in the kitchens. Meanwhile, older men sat quietly on wooden benches outside of the auditorium, sometimes signaling amongst themselves when a companera made a strong point or smiling in pride after a daughter or wife or sister or mother spoke their histories to the assembly.

The role of women within the Zapatista structure has been crucial since the rebellion’s gestation. When the founders of the EZLN, radicals from northern Mexican cities, first arrived in the Tzeltal-Tojolabal lowlands or Canadas of southeastern Chiapas, women were still being sold by their families as chattel in marriage. Often, they were kept monolingual by the husbands as a means of control, turned into baby factories, and had little standing in the community. Those from the outside offered independence and invited the young women to the training camps in the mountain where they would learn to wield a weapon and use a smattering of Spanish and become a part of the EZLN’s fighting force. Fourteen years ago, on January 1st 1994, when the Zapatistas seized the cities of San Cristobal and Ocosingo and five other county seats, women comprised a third of the rebel army. Women fighters were martyred in the bloody battle for Ocosingo.

Key to bringing the companeras to the rebel cause was “The Revolutionary Law of Women,” officially promulgated that first January 1st from the balcony of the San Cristobal city hall, which decreed that women should have control over their own lives and their bodies. The law, which had been carried into the Indian communities by Comandantas Susana and Ramona, often meeting with hostility from the companeros, was “our toughest battle” Marcos would later note.

Integrating women into the military structure, which was not tied to local community, proved easier than cultivating participation in the civil structure, which was rooted in the life of the villages. Although women occupied five seats on the 19-member Clandestine Revolutionary Indigenous Committee (CCRI), the EZLN’s General Command, their numbers fell far shorter in 29 autonomous municipal councils and the five Juntas de Buen Gobierno (“Good Government Committees”) which administrate Zapatista regional autonomy.

But as the Zapatista social infrastructure grew, women became health and education promoters and leaders in the commissions that planned these campaigns and their profile has improved in the JBGs and autonomias.

Women’s Lib a la Zapatista has been boosted by the rebels’ prohibitions against the consumption of alcohol in their communities. Whereas many inland Maya towns like San Juan Chamula are saturated in alcohol, with soaring rates of spousal and child abuse, the Zapatista zone has the lowest abuse indicators in the state, according to numbers offered by the womens’ commission of the Chiapas state congress. As a state, Chiapas has one of the highest numbers of feminicides in the Mexican union – 1456 women were murdered here between 1993 and 2004, more than doubling Chihuahua (604) in which the notorious muertas of Ciudad Juarez are recorded. The low incidence of violence against women in the zone of Zapatista influence is more remarkable because much of the lowland rebel territory straddles the Guatemalan border, a country where 500 women are murdered each year.

With the men tending the kids and cleaning latrines, the women told their stories in the plenaries. Many of the younger companeras like Evarilda had grown up in the rebellion – which is now in its 24th year (14 on public display) – and spoke of learning to read and write in rebel schools and of their work as social promoters or as teachers or as farmers and mothers. Zapatista grandmothers told of the first years of the rebellion and veteran comandantas like Susana, who spoke movingly of her longtime companera Ramona, “the smallest of the small,” recalled how in the war, the men and the women learned to share housekeeping tasks like cooking and washing clothes.

“Many of the companeros still do not want to understand our demands,” Comandanta Sandra admonished, “but we cannot struggle against the mal gobierno without them.”

The Zapatista companeras’ struggle for inclusion and parity with their male counterparts grates against separatist politics that some militant first-world feminists who journeyed to the jungle espouse. Lesbian couples and collectives seemed a substantial faction in the first-world feminist delegations. Although no Zapatista women has publicly come out, the EZLN has been zealous in its inclusion of lesbians and gays and incorporate their struggles in the rainbow of marginalized constitutuencies with whose cause they align themselves.

Sadly, the Encuentro of the Women of the World with the Zapatista Women did not provoke much formal interchange between the rebel companeras and first-world feminists – who were limited to five-minute presentations on the final day of the event. Nonetheless, a surprise Zapatista womens’ theater piece did imply a critique: in the skit, a planeload of first-world feminists with funny hair (played by the companeras) lands in the jungle to deliver the poor Indian women from oppression.

Among international delegations in attendance were women representatives from agrarian movements as far removed from Chiapas as Brazil and Senegal, organized by Via Campesina, an alliance that represents millions of poor farmers in the third world, and a group of militant women from Venice, Italy who have been battling expansion of a U.S. military base in that historic city. Political prisoners were represented by Trinidad Ramirez, partner of imprisoned Ignacio del Valle (who is serving a 67-year sentence), leader of the farmers of Atenco. A message from “Colonel Aurora” (Gloria Arenas), a jailed leader of the Popular Army of the Insurgent People (ERPI), who now supports the EZLN, was read. Although he reputedly lives only a few villages away, Subcomandante Marcos (or his penis) did not put in an appearance at the women’s gathering.

Ladling out chicken soup at her makeshift food stand, Dona Laura told La Jornada chronicler Hermann Bellinghausen that once the womens Encuentro had concluded, everything would return to normal – “only normal would be different now.”

Although the Encounter amply demonstrated the increasing empowerment of the Zapatista companeras, how much of what was said actually rubbed off on those who came from the outside is open to question. “I didn’t really get a lot of it,” confided one young non-Spanish-speaking activist on her way home to northern California to report back on the women’s gathering to her Zapatista solidarity group.

Be that as it may, the EZLN is going to need all the women – and men – it can muster in the months to come. 2008 looms as a difficult year for the rebels with the mal gobierno threatening to distribute lands the Zapatistas recovered in 1994 to rival Indian farmer organizations and paramilitary activity on the uptick.

As has always been the case since this unique rebellion germinated, the Zapatistas turn the corner into another year in struggle.

Supreme Court: Go, dykes, go!

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Today the US Supreme Court refused to consider the extremely odd request by a Dublin lawyer to strike down the trademark “Dykes On Bikes,” awarded to the San Francisco Women’s Motorcycle Contigent (you know, the many miles of hot revvin’ lezzies that kick off the Pride parade each year), because the trademark was “hostile to men” and that the phrase was “immoral and disparaging.”

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Ride on, sister girlfriend

When reached by the Chron, the lawyer, Michael McDermott, described Dykes on Bikes as “an anti-male hate riot.” Ha! A higher appeals court had rightly ruled earlier that the phrase “had no effect on men.” I would give my left Christian LaBoutin to read those court transcripts.

This is actually an odder story than one would think: I seem to recall that the Dykes on Bikes actually made a concerted effort to be referred to as “The San Francisco Women’s Motorcycle Contingent” a few years back, right around the time that the US Patent Office declined its request for a Dykes on Bikes trademark, because the patent office found the term “dykes” to be disparaging to lesbians. The patent office later rethought “based on reviewing more evidence” (like maybe thousands of dykes telling it not to tell THEM what’s disparaging), and awarded the trademark.

I love the Dykes — I tear up every time they pass. And they can call themselves whatever they want (they’ll always be known as “Dykes on Bikes” no matter what happens, anyway.) But, while proud, I do have one beef. Do we really want the Pride Parade being led by a cloud of carbon exhaust fumes? When will Pride go green? (I am SO gonna get my gay card revoked for suggesting such a thing, but hey — it’s 2008. And I’m a member of the Mikes on Bikes contingent.) It’ll be interesting to see if the “green” in Pride remains the beer sponsorship money.

Meanwhile, gun it for freedom, hot dykes of the world!

UPDATE: I have just been informed by a dyke in the know that her bike gets 41 mph, and that participants are very respectful and don’t rev up until the parade is officially starting. Vroom!

Year in Film: Cinema 2007

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COVER STAR RICHARD WONG’S VIEW OF 2007


I feel like I’ve only seen about 10 films this year, so my list would basically be No Country For Old Men, I’m Not There, and Beowulf (two of those movies were painful, they were so aesthetically pleasing — guess which ones). But I’m going to say Paranoid Park was a huge influence on me this year. The risks it took and its loose narrative and utter disregard for convention were extremely inspiring. I saw it in Toronto at a press screening, among all the jabbering sales agents and distribution reps, and it still managed to drop my jaw — despite the guy next to me answering his phone midway through, telling the guy on the other line how "half baked" the movie was. Afterward I talked to a fellow aspiring filmmaker about the film, and he told me how much he disliked it because he thought it was a "mess." Exactly. It feels like a rough cut, only not — a work in progress, but that’s the point. Perhaps that’s why I identified with it so much. Besides, maybe a little messiness is not such a bad thing to embrace right now.

Richard Wong is the director and producer of Colma: The Musical.

JEM COHEN’S FAVORITE MOVIE MOMENT


James Benning’s Ten Skies at New York’s invaluable Anthology Film Archives: with a description like a parody of avant-garde impenetrability ("Ten shots of the sky — feature length"), it sounds daunting. Instead, it was an experience of mysterious joy that brought me back to why movies are entertaining and why seeing them can be so communal. After a few restless, fidgety minutes, both audience and film hit a groove so sublime that I kept laughing with pleasure. Each sky has its revelations and dramas, each viewer "makes" their own film, but in a shared hallucination that filmmakers and venues rarely allow, much less encourage. Sure, we’ve all seen the sky before, but when’s the last time you fell in so deeply and for so long, undistracted yet free to drift, stunned by both the thing itself and the amazing mirror of moving pictures? And I love that Benning says it’s a political film, "the opposite of war."

Jem Cohen (www.jemcohenfilms.com) is the director of Instrument, Benjamin Smoke, Chain, Building a Broken Mousetrap, and other films.

VAGINAL DAVIS’S FLESH FOR LULU: A LETTER FROM TEUTONIA


So glad I live in Berlin as an expat, far away from icky, tired Los Ang, that sad, pathetic film industry towne. When I worked for the Sundance Film Festival in programming I watched what seemed like a zillion of the same kinds of films. This year I created (with the art kollective Cheap) the Cheap Gossip Studio installation as part of the Berlin Film Festival. It was housed in the atrium of the Kino Arsenal. Film historian Marc Siegel brought Callie Angel out to show some rare, seldom-screened Andy Warhol films, as well as Jerry Tartaglia, who restored Jack Smith’s noted oeuvre. I even got to meet my sexy feminist heroine, Jackie Reynal of the Zanzibar movement, and Phillip Garrel, who brought his delicious young thrombone of a son, the actor Louis Garrel.

During the year, I started a new monthly performative series at Kino Arsenal called "Rising Stars, Falling Stars." It featured experimental silent classics from filmmakers like Louis Delluc, Man Ray, and the grandmama of the avant-garde, Germaine Deluc.

A lot of filmmakers send me rough cuts of their new films hoping I will write something on my blog, which gets a million readers a day. I just saw Bruce La Bruce’s allegorical zombie flick Otto; or Up with Dead People, and it’s beyond brilliant, and I am not saying that just because I have starred in Bruce’s other films Super 8 1/2 and Hustler White or because he directed my latest performance piece, Cheap Blacky. I am harsh on my filmmaker friends. I told Bruce that he shouldn’t act in his own movies anymore, just like Woody Allen and Spike Lee shouldn’t act in theirs. I even scolded Todd Haynes that Far From Heaven was overrated, but I adored Velvet Goldmine and his latest, I’m Not There. (Though I can’t stand Cate Blanchett; after seeing her as Queen Elizabeth yet again all I could say was, "Glenda Jackson, Glenda Jackson.")

I watched Superbad twice with the 14-year-old twins of my Cheap Blacky costar Susanne Sachsee, and I even got off on the ‘roid rage of Gerard Butler in the epic 300. No one does brittle white lady like my Tales of the City costar Laura Linney in The Savages. Tony Leung is so elegant and sensuous in Lust, Caution that everyone will want a Chinese boyfriend as the hot new fashion accessory this year. And if Sweeney Todd doesn’t bring back the musical genre, nothing will.

Vaginal Davis (www.vaginaldavis.com), who now lives in exile in Berlin, will be in the Bay Area on March 29, 2008, for the opening of her installation Present Penicative at the Yerba Buena Center for the Arts; it will also feature her performances "Bilitis — A Lesbian Separatist Feminist State" and "Colonize Me."

DENNIS HARVEY’S ALPHABETICAL DOCUMENTARY TOP 10

1. Absolute Wilson (Katharina Otto-Bernstein, US/Germany)

2. All in This Tea (Les Blank, US)

3. King Corn (Aaron Wolf, US)

4. The King of Kong: A Fistful of Quarters (Seth Gordon, US)

5. Manufactured Landscapes (Jennifer Baichwal, Canada)

6. My Kid Could Paint That (Ami Bar-Lev, US)

7. No End in Sight (Charles Ferguson, US)

8. Protagonist (Jessica Yu, US)

9. Romántico (Mark Becker, US)

10. Zoo (Robinson Devor, US)

DENNIS HARVEY’S ALARMING PORN TITLES, 2007 EDITION


All thanks to the Internet Movie Database, without which we would remain in blessed ignorance.

Brad McGuire’s 20 Hole Weekend

5 Guy Cream Pie 29

Abominable Black Man 8

Ahh Shit! White Mama 4

Anal Chic

Apple Bottom Snow Bunnies

Be Here Now

Blondes have More Squirt!

Bore My Asshole 3

Bring’um Young 23

Campus Pizza

Catch Her in the Eye

Even More Bang for Your Buck

Go Fuck Yourself

I Scored a Soccer Mom 3

Old Geezers, Young Teasers

Seduced by a Cougar 4

Swallow My Children

Thanks for the Mammaries

Trantasm

You’ve Got a Mother Thing Coming

Dennis Harvey is a Guardian contributor.

JESSE HAWTHORNE FICKS’S PICKS


1. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, Romania). This debut feature possesses a nonjudgmental flow reminiscent of a Dardenne brothers film as it follows two young women who negotiate for an illegal abortion during the final days of Nicolae Ceausescu’s Communist regime.

2. Eastern Promises (David Cronenberg, UK/Canada/US). Uncovering the layers of human identity has been a career-long, disturbing theme of Cronenberg’s. But with his most recent films he’s figured out how to deconstruct our psychotic and schizophrenic patriarchal society in a minimal, confrontational manner.

3. Cassandra’s Dream (Woody Allen, US/UK). This minimasterpiece follows the downward spiral of two nice, middle-class brothers (Ewan McGregor and Colin Farrell), both of whom loosen their moral codes just to better their lifestyles. Striking camera work (by Vilmos Zsigmond) encloses the characters in an unrelenting nightmare.

4. "Made in America," The Sopranos (David Chase, US). Forever you’ll be able to bust out the statement "What did you think of the end of The Sopranos?" and people will get all lit up.

5. Margot at the Wedding (Noah Baumbach, US). Thanks to audacious writing and powerful acting (especially by Jennifer Jason Leigh), the bittersweet sincerity is pitch-perfect.

6. Californication, season 1 (various directors, US). David Duchovny is alive and hilarious. Creator Tom Kapinos cuts right through our progressive relationship era, devilishly developing each character over 12 episodes. This is heavy-duty stuff mixed with dirty, dirty sex.

7. Year of the Dog (Mike White, US). White brings heartfelt storytelling to his directorial debut.

8. Manufactured Landscapes (Jennifer Baichwal, Canada)

9. The Hills Have Eyes 2 (Martin Weisz, US). This Wes Craven–produced Iraq war allegory deserves more attention than Brian De Palma’s patronizing Redacted.

10. Hostel 2 (Eli Roth, US). Baddie Roth again makes social commentary on America’s xenophobic world colonization by torturing the pathetic children of the apathetic parents who make our lovely world go round.

11. Silent Light (Carlos Reygadas, Mexico/France/Netherlands/Germany). Reygadas updates the transcendental religious overtones of Carl Theodor Dreyer by way of a Mennonite community.

12. At Long Last Love (Peter Bogdanovich, US). Never released on VHS or DVD, this throwback to the musicals of Ernst Lubitsch — featuring Burt Reynolds, Cybill Shepherd, Madeline Kahn, and Eileen Brennan — was dismissed and despised on its only theatrical release in 1975. All of the Cole Porter musical numbers were filmed live, with the actors using their own voices. Not only are these numbers brilliantly executed (inspiring realistic musicals like Lars von Trier’s Dancer in the Dark), but the film also attains the rapid-fire interaction and casual kookiness of late ’30s screwball comedies. Did critics really overlook the fact that this is clever cheekiness? It’s a true treasure that serves as a ’70s time capsule and should inspire future filmmakers to take their chances all the way. It may have taken 32 years, but your time has come, Mr. Bogdanovich. Thank you.

Jesse Hawthorne Ficks teaches film history at the Academy of Art University and curates Midnites for Maniacs (www.midnitesformaniacs.com) at the Castro Theatre.

JAMES T. HONG’S TOP 11, STARTING FROM 0


0. The 70th anniversary memorial of the Nanjing Massacre in Nanjing, China, and especially survivor Xia Shuqin’s reaction to her re-created wartime house, where most of her family was raped and killed by Japanese soldiers.

1. The passing of House Resolution 121 (the "Comfort Women" resolution) on C-Span, July 30.

2. Yasukuni (Li Ying, China/Japan). The power of the shrine isn’t fully captured, but this is the closest an outsider has come to doing so that I’ve seen. All captured on a Japanese mini-DV video camera, in American NTSC.

3. Nanking (Bill Guttentag and Dan Sturman, US). AOL + Iris Chang = Woody Harrelson and the Nanjing Massacre.

4. A Shot at Love with Tila Tequila (various, US). The alpha and omega of Asian America. For those with the required assets and skills, Playboy and the Internet can make you, regardless of race, a bisexual American celebrity — the end and a new beginning for all the so-called angry Asian Americans.

5. Summer Special Olympics in Shanghai, China. Globalization was transformed into music by Kenny G during the opening ceremony.

6. Pride: The Moment of Destiny, or Puraido: Unmei no Toki (Shunya Ito, Japan). Finally found a good DVD copy of this, in Canada of all places. This could also be called Tojo: The Hero.

7. Inside the Brookhaven Obesity Clinic (various, US). Pride and Prejudice for the heavyset, on the Learning Channel.

8. Major League Eating’s Thanksgiving Chowdown (various, US). The purest American professional sport and the fall of Japan’s greatest hero, Takeru Kobayashi, on Spike TV.

9. Mock Up on Mu, in progress (Craig Baldwin, US)

10. Blockade (Sergey Loznitsa, Russia)

The works of San Francisco filmmaker James T. Hong (www.zukunftsmusik.com) include Behold the Asian: How One Becomes What One Is, The Form of the Good, Taipei 101: A Travelogue of Symptoms, 731: Two Versions of Hell, and This Shall Be a Sign.

JONATHAN L. KNAPP’S TOP 10


1. Black Book (Paul Verhoeven, Netherlands/Germany/Belgium)

2. Brand upon the Brain! (Guy Maddin, Canada/US)

3. Eastern Promises (David Cronenberg, UK/Canada/US)

4. I Don’t Want to Sleep Alone (Tsai Ming-liang, Malaysia/China/Taiwan/France/Austria)

5. I’m Not There (Todd Haynes, US)

6. In Between Days (So Yong Kim, South Korea/US/Canada)

7. Makeshift 2007 grindhouse double feature: The Hills Have Eyes 2 (Martin Weisz, US) and Black Snake Moan (Craig Brewer, US)

8. The Wire, season four (various, US)

9. Woman on the Beach (Hong Sang-soo, South Korea)

10. Zodiac (David Fincher, US)

Jonathan L. Knapp is a Guardian contributor.

MARIA KOMODORE’S 10 WORST


In addition to bringing some very good movies to the screen, 2007 was also a really good year for bad films. But among them all, these are the ones I feel had lack of intelligence, conservatism, and conventionality on a whole different level:

1. Hitman (Xavier Gens, France/US)

2. Good Luck Chuck (Mark Helfrich, US/Canada)

3. License to Wed (Ken Kwapis, US)

4. The Brothers Solomon (Bob Odenkirk, US)

5. Hot Rod (Akiva Schaffer, US)

6. P.S. I Love You (Richard LaGravenese, US)

7. The Final Season (David M. Evans, US)

8. The Water Horse: Legend of the Deep (Jay Russell, UK/US)

9. The Perfect Holiday (Lance Rivera, US)

10. P2 (Franck Khalfoun, US)

Maria Komodore is a Guardian contributor.

CHRIS METZLER AND JEFF SPRINGER’S TOP 10 DOCS


With a very special mention and heavy props for the fantastic TV doc series Nimrod Nation.

1. Manda Bala (Send a Bullet) (Jason Kohn, Brazil/US)

2. Lake of Fire (Tony Kaye, US)

3. Summercamp (Bradley Beesley and Sarah Price, US)

4. This Filthy World (Jeff Garlin, US)

5. A Man Named Pearl (Scott Galloway and Brent Pierson, US)

6. King Corn (Aaron Wolf, US)

7. An Audience of One (Mike Jacobs, US)

8. Crazy Love (Dan Klores and Fisher Stevens, US)

9. Big Rig (Doug Pray, US)

10. Off the Grid: Life on the Mesa (Jeremy Stulberg and Randy Stulberg, US)

San Francisco filmmakers Chris Metzler and Jeff Springer codirected the award-winning documentary Plagues and Pleasures on the Salton Sea (www.saltonseadocumentary.com).

SYLVIA MILES’S TALES OF GO GO TALES


Go Go Tales was filmed at Cinecittà, so I had a location like I did in the ’60s. Cinecittà was thrilling. When the film premiered in Cannes, you would have thought I was the lead from the reviews. What’s her name in the New York Times gave it a wonderful review that got picked up by the International Herald Tribune.

Abel [Ferrara] got mad at Burt Young, who played my husband, and cut him out of the film. Be that as it may, we still managed to keep that story together The irony is that the rap that I do [at the end of the movie] was ad-libbed at 10 o’clock on the last night of filming. I give my all and know that something good will happen.

From what I hear, [Bernardo] Bertolucci is the one who chooses the film from Italy that gets into the New York Film Festival. Because they were renovating Alice Tully Hall, Go Go Tales had one of its screenings at the Jazz Center. It was exciting to look out my apartment window and see the lines of people outside [Frederick P.] Rose Hall waiting to see the movie. People even came to the 4 p.m. Sunday screening. At 4 p.m. on a Sunday they should have been out to tea instead of at that film!

Two-time Academy Award nominee Sylvia Miles has starred in Midnight Cowboy, Andy Warhol’s Heat, Evil Under the Sun, She-Devil, and Abel Ferrara’s soon to be released Go Go Tales.

JACQUES NOLOT’S TOP 10


1. The Edge of Heaven (Fatih Akim, Germany/Turkey)

2. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, Romania)

3. The Lives of Others (Florian Henckel von Donnersmarck, Germany)

4. Eastern Promises (David Cronenberg, UK/Canada/US)

5. Le Dernier des Fous (Laurent Achard, France)

6. The Duchess of Langeais (Jacques Rivette, France/Italy)

7. Persepolis (Vincent Paronnaud and Marjane Satrapi, France/US)

8. Water Lilies (Céline Sciamma, France)

9. La Graine et le Mulet (Abdel Kechiche, France)

10. Love Songs (Christophe Honoré, France)

Actor-director Jacques Nolot’s latest film, Before I Forget — John Waters’s second-favorite film of 2007 — will be released theatrically in 2008.

DAMON PACKARD’S TOP 10


I have no shortage of rants about the sad state of cinema. Of the 25,000-plus films released each year, it’s impossible to keep track or be aware of anything above the overrated Oscar contenders or mindless mainstream crap that floods the market. Anything slightly worthwhile not on this list would be a smaller independent (foreign or documentary) film, such as Larry Fessenden’s The Last Winter or The Life of Reilly.

1. Paris, Je T’Aime (various, France/Liechtenstein)

2. No Country for Old Men (Ethan Coen and Joel Coen, US)

3. Notes on a Scandal (Richard Eyre, UK)

4. Sicko (Michael Moore, US)

5. Rescue Dawn (Werner Herzog, US)

6. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, US)

7. Goya’s Ghosts (Milos Forman, US/Spain)

8. Ratatouille (Brad Bird, US)

9. The King of Kong: A Fistful of Quarters (Seth Gordon, US)

10. Death Proof, driving sequences only! (Quentin Tarantino, US)

Damon Packard (www.myspace.com/choogo) is the director of SpaceDisco One, Reflections of Evil, and other films.

JOEL SHEPARD’S TOP 11


1. Bug (William Friedkin, US)

2. The Kingdom trailer (Peter Berg, US; editors Colby Parker Jr. and Kevin Stitt)

3. Fengming: A Chinese Memoir (Wang Bing, China)

4. Silent Light (Carlos Reygadas, Mexico/France/Netherlands/Germany)

5. Into the Wild (Sean Penn, US)

6. An Engineer’s Assistant (Tsuchimoto Noriaki, Japan)

7. Saw IV (Darren Lynn Bousman, US)

8. "Made in America," The Sopranos (David Chase, US)

9. The Pastor and the Hobo (Phil Chambliss, US)

10. You and I, Horizontal (Anthony McCall, UK)

11. Kara Tai in the Front and the Back (Bangbros.com, US)

Joel Shepard is the film and video curator at the Yerba Buena Center for the Arts.

MATT WOLF’S TOP 5


1. Following Sean (Ralph Arlyck, US). Thirty years after making a legendary short film about Sean, the lawless four-year-old son of Haight-Ashbury hippies, filmmaker Arlyck reconnects with his subjects. The result is the most complicated study of baby boomers and their kin ever made.

2. Artist Statement (Daniel Barrow, Canada). Winnipeg artist Barrow uses an old-school overhead projector and layers of transparent drawings to create manual animations with music and live narration. His second US performance brought to life his imaginative, queer, literary, and delicate personal manifesto.

3. Syndromes and a Century (Apichatpong Weerasethakul, Thailand/France/Austria). Apichatpong’s latest radical narrative film focuses on a rural Thai hospital and its inhabitants. Among its meditative episodes is an unresolved love story between a female physician and an orchid farmer.

4. Real Housewives of Orange Country (various directors, US). Bravo’s reality television program about a contrived community of rich middle-aged women living in Coto de Caza is unexpectedly compelling. Because their lives are so boring, there’s nothing left to explore in this show except their complex emotions.

5. Zodiac (David Fincher, US). Crushworthy Jake Gyllenhaal, genius cinematography from legend-to-be Harris Savides, and incredible reconstructions of a beautiful and scary San Francisco in the 1970s.

Matt Wolf (www.mattwolf.info ) is the director of Wild Combination: A Portrait of Arthur Russell (premiering at the 2008 Berlin Film Festival) and Smalltown Boys.

Year in Music: Time out?

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0

› a&eletters@sfbg.com

This ain’t the hyphy movement, bra-bra.

Beeda Weeda, "(I Rep Oakland) I Don’t Rep the Bay"

It was a strange year for my long-running obsession, Bay Area rap. After two years of steady building, the scene reached a plateau in 2007, for various reasons. On the one hand, many of the hottest acts — from OGs San Quinn and E-40 to youngsters J-Stalin and Beeda Weeda — dropped discs in ’06 and have spent this year prepping follow-ups. E-40, for example, is finishing his second Reprise disc, The Ball Street Journal, while Stalin’s drafting his Prenuptial Agreement for local powerhouse SMC. Another factor has been the major labels, which have held up albums by their signees. After interminable delays, Reprise finally released the Federation’s It’s Whateva, but Atlantic is still sitting on Mistah FAB’s Yellow Bus Rydah; Capitol has yet to schedule Clyde Carson’s Theatre Music but is still spending money for features — by Snoop Dogg, the Game, etc. — which is a good sign.

"Basically, it’s on us," says Mayne Mannish, Carson’s former Team mate, now manager. "We have to turn in the best album we can." He suspects the album will be released in April 2008.

The most important development by far, however, has been the backlash against the hyphy movement. Among Bay rappers, who pride themselves on originality and are impatient with major-label foot-dragging, this was inevitable. Musically, though, it doesn’t really matter: the innovations of hyphy have transformed the Bay for good, even if the sound has diffused into the overall mix.

But the fundamental cause of the backlash has been the withdrawal of radio support by the Bay’s main hip-hop station, Clear Channel–owned KMEL, 106 FM. This lack of airplay began with a feud between KMEL managing director Big Von Johnson and Mistah FAB over FAB’s now-defunct Wild 94.9 radio show.

But FAB, for one, has kept the ball rolling. Even without radio support, his independent disc Da Baydestrian (Faeva Afta/SMC) has moved almost 17,000 copies — approaching the 20,000 sales of Son of a Pimp (Thizz Ent., 2005), which got him signed to Atlantic — and, according to SMC’s Will Bronson, is still selling strong. The Atlantic disc, FAB says, remains possible, but meanwhile he’s keeping it lit, recording an upcoming independent album with producer Alchemist. His freestyle victory in New York City over Royce Da 5’9" and their subsequent feud — now over — also garnered national attention. To top it all off, FAB’s released a new single via www.myspace.com/mistahfab, "Party On," with Snoop Dogg, one of the few mainstream rappers to support the Bay. He has given FAB the title "nephew," the ultimate endorsement from a senior rapper. "He’s a mentor," FAB says. "He teaches you in the studio and how to persevere."

Another promising sign regarding Bay Area’s rap future has been the number of new acts and strong recordings that have been bubbling to the surface. Ike Dola and Shady Nate have raised a buzz via mixtapes, and both plan albums for next year. Pittsburg’s Dubb 20 — a Mob Figaz affiliate — dropped his debut to little fanfare, but it’s among the best of the year. Turf Talk, meanwhile, catapulted himself to the top of our esteem with his accomplished West Coast Vaccine (Sic Wid It/30-30). There’s no lack of great music here.

If hyphy is no longer a so-called movement, however, the unity it represented remains key to the scene’s future success. "If we come together, we’ll be unstoppable," FAB says. "We’re an all-star team, but we have to stop worrying about the individual MVP and play together." *

A BAY AREA TOP 10


•V-White, Perfect Timin’ (V-White Ent./SMC)

•PSD, Keak Da Sneak, and Messy Marv, Da Bidness (Gateway/SMC)

•G-Stack, Welcome to Purple City (4 the Streets)

•Mistah FAB, Da Baydestrian (Faeva Afta/SMC)

•Dubb 20, Racks Macks Dope Tracks (FriscoStreetShow/Sumo)

•Turf Talk, West Coast Vaccine (Sick Wid It/30-30)

•J. Nash, Hyphy Love (Soul Boy Ent.)

•The Federation, It’s Whateva (Southwest Federation/Reprise)

•Jacka, The Jacka Is the Dopest (Demolition Men)

•J-Stalin and Shady Nate, Early Morning Shift 2 (Demolition Men)

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