Radio

Toronto International Film Festival: Five for the road

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B. Ruby Rich reflects on some of her favorite TIFF ’06 moments.

* The scene: the world premiere of Dixie Chicks: Shut Up And Sing. Filmmakers Barbara Kopple and Cecilia Peck (daughter of Gregory) were in the audience, as were the Dixie Chicks themselves. The documentary tells the story of the past three years as the Chicks dealt with protests, concert cancellations, radio blackouts, and a death threat resulting from Natalie Maines’ remark: “We’re ashamed the president of the United States is from Texas.” When a scene played showing the decision to re-route the tour to Canada after Toronto was the only city to sell out immediately, the whole theatre erupted in wild hooray-for-us applause.

* Christine Vachon at TheatreBooks, one of Toronto’s great bookstores, signing copies of her new memoir about her experiences in the indie-film trade, A Killer Life Of course I bought one. She’s only in town for one night: she’s in the middle of shooting Todd Haynes’ new opus on Bob Dylan. Cate Blanchett just finished her section, so she got a break to come to Toronto for the premiere of Infamous. Vachon tells me she’ll be in San Francisco, at the Commonwealth Club, at the end of the month.

* Camila Guzman Urzua’s screening of The Sugar Curtain, her documentary on growing up in Cuba during the golden age of socialism. One audience member, an exiled Uruguayan, objected to her clear-eyed view of the terrible failures of the Revolution in the years since her childhood era. “Why don’t you talk about the embargo?” he wanted to know. Yeah, like every other Cuban film that’s ever been made. Old patterns die hard.

* Crowds jammed the sidewalk outside the Four Seasons, driven into a frenzy by a bumper crop of celebrities this year. My standards are different: Costa-Gavras at the Unifrance party was my idea of stardom. Talking to SFIFF’s Linda Blackaby and the NY Film Festival’s Marian Masone, he tried to explain the arrival of so many French films dealing with Algeria. “One million people left Algeria for France after the end of the war,” he said. “There are many stories, and different points of view. They should have been made ten years ago.”

* The moment the rain starts. Every year, mid-festival, the hot waning days of summer stop abruptly for a rainstorm. When the rain ends, the thermometer drops and fall is here. The mid-point of the festival is the change of seasons, and today I saw my first leaves turn red. Shadows of mortality. There’s nothing sadder than the end of a film festival. And at this writing, it’s only four days away.

EDITOR’S NOTES

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› tredmond@sfbg.com
I was six when they assassinated John F. Kennedy. It was warm and sunny in Dallas, but I remember the cold and snow in Rochester, NY. We were visiting my grandparents; I was walking with my mother to the grocery store when a guy driving by shouted the news out of his car window: “Did ya hear about the president? He was just shot.” We turned around and raced back to listen to the radio.
For the next few hours, the grown-ups in the big, roomy apartment were distracted, sort of shell-shocked. My grandpa, a solid Republican, never liked Kennedy the politician, and my dad didn’t particularly like Kennedy’s economic policies, but there was no joking about his death, no talk of covert government plots, no political speculation. Just sadness and respect.
The guy was the president. He fought in WWII. He came home and became part of a generation of optimism, just like my parents. Some lunatic had killed him, and that was just awful. “He was a great man,” my father told me later. “He wasn’t a great president, but he was a great man.”
It wasn’t until much, much later that I began to believe that a lot of what we’d been told about the assassination probably wasn’t true. Long before Watergate happened, Nov. 22, 1963, became a defining moment for baby boomers, the first major, world-changing event from which we developed a passionate distrust for the official government line. Today, I don’t think I know a single person my age who actually thinks Lee Harvey Oswald acted alone.
My son, Michael, won’t remember Sept. 11, 2001. He was barely two years old. But I’ll never forget the nervous feeling I got when I dropped him off at day care that morning. And I’ll never forget the realization that from the moment I started hearing news reports, I knew the government was lying to me.
I can’t sort out all of the Kennedy conspiracies and honestly, I don’t know exactly what happened on the day after my parents’ wedding anniversary five years ago. But I know that I will never tell my son that the president was a “great man.” When Michael asks me where I was Sept. 11, 2001, I’ll tell him it was a Tuesday morning and I was at work, writing a column for the next day’s paper that was as critical of the president of the United States as it was of the people who had just killed 3,000 Americans.
This doesn’t make me terribly comfortable.
See, I’m still a public sector kind of guy, someone who believes that for all its problems, democratically elected government is better than private corporatocracy, that for all the corruption, waste, and fraud, it’s still possible to have national health insurance, a progressive national housing policy, sound public education, and a lot of other things that probably wouldn’t have sounded all that weird to the folks who were my age in 1963.
So let me indulge in a truly strange conspiracy theory.
If I were a Bad Guy and I saw the baby boomers with all their energy and idealism and potential and I wanted to be sure that they never became a threat to the total dominance of private capital in America, I would have killed a president, covered it up, gone to war for no good reason, spied on them or their friends — and given an entire generation every reason to see that government was the enemy.
And it would have worked. SFBG

Project Censored on the Will and Willie show at 8:05 a.m. Wednesday on 960 the Quake radio

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Why didn’t the Conglomerati Media cover this major local news story?

Peter Phillips, director of Project Censored, will make a rare mainstream media appearance at 8:05 a.m. Wednesday morning (Sept. l3) to discuss the l0 big stories the nation’s major news media refused to cover last year, as the Bay Guardian put it in its cover story of the last issue.

Peter will explain lay out the stories and explain why the media
censored the following top l0 stories (in descending order):

l. The Feds and the Media Muddy the Debate over Internet Freedom.

2. Halliburton Charged with Selling Nuclear Technology to Iran.

3. World Oceans in Extreme Danger.

4. Hunger and Homelessness Increasing in the United States.

5. High-tech Genocide in Congo.

6. Federal Whistleblower Protection in Jeopardy.

7. U.S. Operatives Torture Detainees to Death in Afghanistan and Iraq.

8. Pentagon Exempt from Freedom of Information Act.

9. World Bank Funds Israel-Palestine Wall.

10. Expanded Air War in Iraq Kills More Civilians.

And then there are the junk food news stories that got far more attention than they deserved:

(l) Angelina Jolie and Brad Pitt Got Together. (2) Nick Lachey and Jessica Simpson Break Up. (3) “American Idol” Hits an All-Time High. (4) The Runaway Bride who didn’t. (5) Martha Stewart is Back in Town. (6) “Brokeback Mountain” Breaks Through. (7) Britney Spears (it just wouldn’t be a list without her. (8) MySpace Infiltrates our Space. (9) Steroids in Baseball Get Pumped Up. (l0) “The DaVinci Code” ad nauseam.

A tip of the derby to Willie Brown and Will Durst and Producer Paul Wells and the Quake/Clear Channel Radio for being the only mainstream media in the Bay Area to our knowledge to give the proper publicity to this important local story and local project (Sonoma State University).

Memo to Phillips, Will and Willie: ask if anybody has spotted the story in any mainstream media. That proves the censorship point.

I (B3) will appear on the show at 9:05 Thursday morning (Sept. l4) to discuss why the local regional monopoly (Hearst/Singleton/McClatchy/Gannett/Stephens) has not only blacked out this major story but also one of the biggest local censored stories of the year (the regional monopoly). Memo to the editors and city desks of the Conglomerati: why did you black out these major censored stories? B3

The business of censoring labor

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Most people, of course, work for a living. They spend at least half their lives working and, in fact, define themselves by their jobs. They obviously would be interested in ­ and obviously need ­ expert information on a regular basis about that most important aspect of their lives.

But the news media in effect censor that vital information. Their primary attention is not focused on those who do society¹s work. With the rare exception of such issues as the attempts to raise the minimum wage, or on special occasions like Labor Day, the media generally are not concerned with workers’ daily efforts to make a living. The media concentrate instead on the corporate interests and other employers like themselves who finance, direct and profit from the work.

Workers’ attempts to get a greater share of the profits and better working conditions by using the only effective tool available to them – collective action –­ are given only slight and frequently biased media attention. Strikes are an exception, but that coverage is usually concerned mainly with the strikes’ adverse effect on the general public.

Given their complexity and importance, collective bargaining and union activity generally should be among the most thoroughly and fairly covered of all subjects. Once, most newspapers had labor reporters to provide extensive if not always fair coverage. But almost no papers have such specialists today. With a very few exceptions, radio and television stations have never had them.

At most papers, in the Bay Area and elsewhere, labor coverage has been turned over to the business section. Since the material there is meant for readers who have a particular interest in business and a generally negative view of unions, the stories naturally are slanted that way by business reporters, who have little apparent understanding of labor.

The business pages typically downgrade, distort or simply ignore union views. They show little concern for general readers, including those who support unions or might want to if they had the opportunity to read thorough, balanced and expert accounts of their activities.

How about describing the country¹s major labor federation, the AFL-CIO, as a “trade association?” Or referring to democratically elected union leaders as “bosses?” The San Francisco Chronicle business page has made those petty but illustrative gaffes and, like the rest of the Bay Area¹s mainstream media, far more serious gaffes.

The list of important labor issues that have been ignored ­ censored ­ is seemingly endless. To cite just a few examples, the media:

— Frequently note that union membership is declining while failing to report that a principal cause is failure of the federal government to adequately enforce the laws that supposedly guarantee workers the right to unionize without employer interference.

— Fail to report numerous other anti-union actions of the Bush
administration, including its virtual non-enforcement of most other laws designed to protect workers.

— Rarely take notice of the on-the-job hazards that cause 6,000 deaths and more than 2 million serious injuries a year, and the need to strengthen and adequately enforce the job safety laws.

— Ignore labor¹s role as an advocate for the working people, union and non-union alike, who make up the vast bulk of the population, by characterizing labor as a “special interest.”

— Almost never report the views of union members and leaders on the major issues of the day. The views often are voiced at meetings of local labor councils and other union bodies that reporters ignore, while routinely seeking out the views of corporate and business executives.

— Pay little, if any, attention to many major union campaigns. Most recently, that’s notably included a nationwide drive to get McDonald’s to guarantee decent pay and working conditions to the impoverished tomato pickers whose work is essential to the hugely profitable fast-food industry.

So, despite the great importance of labor, despite most people¹s vested interest in it, despite the need to inform them fully about it, the media provide little that’s of real value to them in their working lives, and much that¹s prejudicial to their collective action.

Copyright © 2006 Dick Meister, former labor editor of the Chronicle and of KQED-TV’s Newsroom. Contact him through his website, www.dickmeister.com.

The silent scandal

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Editor’s note: This story has been altered to correct an error. The original version stated that an Examiner editor had admitted in court testimony to providing positive coverage to politicians in exchange for help with a business deal. The person who testified to that was not an editor, but Publisher Tim White, and he was talking about editorial, not news, coverage.

› gwschulz@sfbg.com
After William Randolph Hearst flunked out of Harvard in the 1880s, he pursued a new career path, asking his wealthy father for only one thing: the San Francisco Examiner.
Young William didn’t stop with the Examiner — over his lifetime, he accumulated dozens of newspapers nationwide. Eventually, one in five Americans regularly read a Hearst paper.
That seems like a lot of power and influence, and it was. But it’s nothing compared to what the heirs to Hearst’s media mogul mantle are doing today.
In fact, the Hearst Corp. is working with another acquisitive newspaper magnate, William Dean Singleton, to lock up the entire Bay Area daily newspaper market. If the project succeeds, one of the most sophisticated, politically active regions in the nation may have exactly one daily news voice.
That worries Clint Reilly.
The political consultant turned real estate investor has sued the Hearst Corp., owner of the San Francisco Chronicle, for the second time in a decade to stop a partnership he fears will eliminate the variety of voices among newspapers in the Bay Area.
It’s an amazing story, full of politics, big money, secretive arrangements, and juicy executive bonuses. What’s at stake? Control over one of the most lucrative businesses in Northern California.
But for the most part, you aren’t reading about it in the daily papers — which means you aren’t seeing it on TV or hearing about it on the radio.
In fact, the blackout of the inside details of the Singleton deal and Reilly’s effort to stop it is one of the greatest local censored stories of the year — and the way the press has failed to cover it demonstrates exactly what’s wrong with monopoly ownership of the major news media.
The story began in the spring when one of the nation’s more respected newspaper chains, Knight Ridder, was forced to put itself up for sale after Bruce Sherman, a prominent shareholder, decided that the company’s relatively healthy profit margins (and dozens of Pulitzers) were simply not enough.
It’s the nature of publicly traded companies to be vulnerable to shareholder insurrections, unless they have multiple classes of stock. Knight Ridder didn’t, and although its former chief executive, P. Anthony Ridder, later said he regretted the sale, Knight Ridder went on the block.
The Sacramento-based McClatchy chain bought the much bigger Knight Ridder but needed to sell some of the papers to make the deal work.
In the Bay Area, Knight Ridder’s two prime properties, the San Jose Mercury News and the Contra Costa Times, were bought by MediaNews Group, the Denver-based conglomerate run by Singleton. That was a problem from the start: Singleton already owned the Oakland Tribune, the Marin Independent Journal, the San Mateo County Times, and a series of smaller local papers on both sides of the bay. The two former Knight Ridder papers would give him a near-monopoly on daily newspaper ownership in the region; in fact, there was only one daily in the area that would be in a position to compete with Singleton. That was the San Francisco Chronicle.
But in one of the strangest deals in newspaper history, Hearst — the erstwhile competitor — joined in the action, buying two of the McClatchy papers (the Monterey Herald and the St. Paul Pioneer Dispatch) and then immediately turning them over to Singleton, in exchange for some stock in MediaNews operations outside of California.
When news of the transactions first broke, MediaNews publications and the Hearst’s Chron covered it extensively, more than once putting the billion-dollar partnership on the front pages. (The transactions also involve a company formed by MediaNews and two of its other competitors, the Stephens Group and Gannett Co., called the California Newspapers Partnership.)
Since then, however, coverage has been overshadowed by JonBenet Ramsey and local crime news. The real story of what happened between Hearst and Singleton and how it would devastate local media competition never made the papers.
If this had been a deal involving any other local big business that had a huge impact on the local economy and details as fishy as this, a competitive paper would have been all over it. And yet, even the Chron was largely silent.
In fact, when Attorney General Bill Lockyer decided not to take any action to block the deal, the Chron relegated the news to a five-paragraph Reuters wire story out of New York, buried in the briefs in the business section. The original Reuters story was cut; the news of Reilly’s suit and his allegations didn’t make it into the Chron version.
At times, the new Singleton papers have treated the story with upbeat glee: in early August, the Merc proclaimed in a headline that the area’s “New media king is having fun.”
The story noted: “MediaNews is privately held, a step removed from the Wall Street pressure that forced the Mercury News’ previous owner, Knight Ridder, to put itself up for sale…. Singleton is its leader, and by all accounts, a man who lives, breathes and loves newspapers.”
Longtime media critic and former UC Berkeley journalism school dean Ben Bagdikian, author of The Media Monopoly, told the Guardian that most of the coverage so far has focused on the business side of the transactions.
“The coverage I’ve seen has simply described the devices they used to divide the McClatchy chain and did not describe how cleverly it was designed to avoid an antitrust action,” Bagdikian said.
Here’s some of what the daily papers have ignored:
The Hearst deal was certainly good for MediaNews, because on the same day the agreement was signed, top executives at the company were awarded $1.88 million in bonuses. MediaNews president Joseph Lodovic earned the chief bonus of $1 million, while the president of MediaNews Group Interactive, Eric Grilly, received over $100,000 in bonuses on top of a $1.25 million severance package for retirement. The figures were disclosed in the company’s most recent Securities and Exchange Commission filing.
Hearst has insisted repeatedly that its investment in MediaNews involves only tracking stock, meaning its up-and-down value rests solely on the performance of MediaNews businesses outside of California. Such a structure may help the two companies comply with antitrust rules — for now.
But in a little-noticed footnote included in a July memo filed by Hearst in response to Reilly’s lawsuit, the company revealed that its tracking stock could still be converted to MediaNews common stock in the future — meaning it would then have a stake in the entire company, including its Bay Area holdings. “The tracking stock will be convertible into ordinary MNG common stock, but that will require a separate, future transaction and its own Hart-Scott-Rodino review,” the July 25 document states.
In other words, public records — information freely available to the 17-odd business reporters at the Chronicle — show that Hearst’s fundamental presentation of the deal is inaccurate. Hearst is not just a peripheral player in this deal; the company is a direct partner with Singleton and thus has no economic incentive whatsoever to compete with the Denver billionaire.
And that means there will be no real news competition either.Reilly has been in politics most of his adult life, and he knows what happens when one entity controls the news media: perspectives and candidates that aren’t in favor with the daily papers don’t get fair coverage.
Newspapers, he told us recently, are charged with checking the tyranny of government; without competition they will fail to check the tyranny of themselves.
“The combination intended to be formed by these defendants constitutes nothing less than the formation of a newspaper trust covering the Greater San Francisco Bay Area,” Reilly’s suit states, “implemented through anticompetitive acquisitions of competing newspapers, horizontal divisions of markets and customers, and agreements not to compete, whether expressed or implied.”
A federal judge recently tossed Reilly’s request for a temporary restraining order against the Hearst transaction. But Reilly’s overall lawsuit, designed to stop Hearst’s $300 million investment in MediaNews, will still wind its way through the courts, and Judge Susan Illston signaled in her last order that she would “seriously consider” forcing MediaNews to give up some of its assets if the court finds the company’s transactions to be anticompetitive.
There are clear grounds to do that. In fact, as Reilly’s attorney, Joe Alioto, points out in his legal filings, the monopolists have made the argument themselves. When Reilly sued to block the Examiner-Chronicle deal in 2000, Hearst, which wanted to buy the Chron and shutter the Examiner, argued that closing the Examiner would have no competitive impact — since all the other competing Bay Area papers provided the reader and advertiser with a choice. Now the lawyers are arguing just the opposite — that the Chron and the outlying papers never competed in the first place.
Hearst will more than likely argue in court that since its newspapers face unprecedented competition from online content, there’s technically no such thing as a one-newspaper town. The world is globally connected now, this thinking goes, and the Chron and MediaNews both face competition from popular blogs such as Daily Kos and Valleywag on the West Coast and Gawker and Wonkette on the East Coast.
But that ignores a media reality: for all the power and influence of bloggers and online outlets, daily newspapers still have the ability to set the news agenda for a region. Among other things, local TV news and radio stations regularly take their cues from the daily papers — meaning that a story the dailies ignore or mangle never gets a real chance.
MediaNews argues in its most recent memo to Judge Illston that “any potential anticompetitive effect of the transactions against which the Complaint is directed is greatly offset and outweighed by the efficiencies that will result from those transactions.”
“Efficiencies” isn’t actually defined, but if the past is any indication, jobs could be the first place MediaNews looks to “efficiently” save money for its investors — at the cost of performing the traditional role of a newspaper to monitor government.
Reporting — real reporting — is expensive. It requires experienced journalists, and a good paper should give them the time and resources not only to watch day-to-day events but also to dig deep, below the headlines.
That’s not the monopoly media style.
Speaking in general terms, Jon Marshall, who runs the blog Newsgems and teaches at Northwestern University’s Medill School of Journalism, wrote us in an e-mail that newspapers have to be willing to invest in innovation now, while there’s still time.
“If newspapers really want to win back readers, they’ll need to start offering more outstanding feature stories that really dig deep and have a big impact on their communities,” Marshall wrote. “Readers need a reason to turn to newspapers rather than all the other content that’s now available through the Web. Newspapers will have a hard time creating these outstanding stories on a consistent basis if they keep paying their current skimpy entry-level salaries.”
The pattern Singleton is known to follow isn’t unique. A recent survey conducted by journalism students at Arizona State University revealed that the nation’s largest newspapers are giving reduced resources to investigative and enterprise reporting as media companies trim budgets to maintain or increase profits. More than 60 percent of the papers surveyed, the report stated, don’t have investigative or projects teams.
Brant Houston, executive director of Investigative Reporters and Editors, told us that while teams of reporters dedicated exclusively to investigations may be disappearing, many papers are willing to pull staffers away from their regularly assigned beats to make sure that big stories are thoroughly covered. But, he said, Wall Street’s haste to make money could backfire if readers head elsewhere in search of more exclusive content.
“I think everything is in flux right now,” Houston said. “Everyone’s trying to figure out what the next newsroom looks like.”
Luther Jackson, an executive officer of the San Jose Newspaper Guild, which represents staffers at the Merc, said it’s too early to determine the impact of MediaNews on the paper. The union just recently began new contract negotiations with the company, while the previous agreement, which expired in June, remains in place. Jackson said he didn’t believe the Merc’s Silicon Valley readers would tolerate any dramatic dip in quality coverage.
“We have a problem with the idea that you can cut your way to excellence,” Jackson said.
Just six years ago, after Reilly sued Hearst the first time to stop its purchase of the Chronicle and subsequent attempt to shut down the Examiner, trial testimony revealed that the Examiner had, in fact, abused its editorial power to advance its business interests. Examiner Publisher Tim White admitted in open court that he had traded favorable editorial coverage to then-mayor Willie Brown in exchange for his support of the Chronicle purchase.
Reilly lost that one — but for now this case is moving forward. The suit could be the last legal stand for people who still think it’s wrong for one person to dominate the news that an entire region of the country depends on — and at the very least will force the story of what really happened out into the open. SFBG
PS At press time, Judge Illston ordered the trial be put on the fast track and set a trial date for Feb. 26, 2007. See the Bruce blog at www.sfbg.com for more info.

Cops out of their cars

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EDITORIAL The politics of crime can be tricky for the left: progressives are against far-reaching and punitive crackdowns, against police abuse, against the pervasive financial waste in law enforcement … and sometimes can’t come up with answers when neighborhoods like Hunters Point and the Western Addition ask what local government is going to do to stop waves of violence like the homicide epidemic plaguing San Francisco today.
So it’s encouraging to see Sup. Ross Mirkarimi, a Green Party member representing District 5, taking the lead on demanding more beat cops for the highest-crime areas in town. Mirkarimi’s not pushing a traditional reactionary approach of suggesting that the city hire more police officers and lock more people in jail; he’s advocating a simple — and decidedly progressive — approach to the issue. He wants the cops out of their cars and on the streets. On foot.
The idea of beat cops and community policing isn’t new at all; in fact, it’s the modern approach of highly mobile officers in cars, dispatched by a central computer and radio system in response to emergency calls, that’s a relatively recent trend. Police brass love it — they can cover more ground with fewer troops — and a lot of patrol officers like it too. They have that big metal car to protect them from potentially hostile criminals, and they don’t have to interact every minute of every day with the people on the streets.
But cops walking the beat are a proven deterrent to crime — and that’s not merely because of their visible presence. Properly trained and motivated community police officers can forge ties with merchants, residents, and neighborhood leaders. They can figure out where problems are likely to happen. They can become an asset to the community — not an outside occupying force that residents neither trust nor respect.
It’s a crucial change: right now, one of the biggest problems the San Francisco Police Department faces in solving homicides is the unwillingness of witnesses to come forward, in part because of a general mistrust of police. When there’s a killing, homicide detectives appear as if out of nowhere, demanding answers; it’s little wonder nobody wants to talk to them.
We recognize that beat patrols won’t solve the homicide crisis by themselves. That’s a complex socioeconomic issue with roots in poverty and desperation, and a couple of folks in blue on the street corner can’t alleviate decades of political and economic neglect.
And we also realize that it can be expensive to put officers on foot — they can’t respond as fast, and it takes time to develop community ties. But Mirkarimi isn’t asking for a total overhaul of the SFPD’s operations. He’s asking for a modest pilot program, a one-year experiment that would put two foot patrols a day in the Western Addition, focusing on areas with the most violent crime. The ultimate goal, Mirkarimi says, is to create a citywide beat-patrol program.
It won’t be easy: the department seems to be pulling out all the stops to defeat Mirkarimi’s proposal, which will come before the Board of Supervisors on Sept. 19. The Police Commission needs to come out in support of Mirkarimi’s proposal and direct Chief Heather Fong and her senior staff to work to make it effective.
The supervisors, some of whom worry that beat patrols in high-crime districts will mean less police presence in other areas, should give this very limited program a chance. Nothing else is working. SFBG

Discs, man

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› a&eletters@sfbg.com SEPT. 5 Criss Angel, Criss Angel: Mindfreak (Koch) Tell us this recording by TV’s erect-nippled goth heat-throb and full-tilt-boogie cheesenheimer is only an illusion. Audioslave, Revelations (Epic) Their politics check out, though an unboring album will be a revelation. Beyoncé, B’Day (Music World Music/Sony Urban Music/Columbia) The result of a two-week break for artistic freedom, but a Clive Davis overseer might have helped — she sounds like a stressed-out laser on the leadoff single. Grizzly Bear, Yellow House (Warp) Inspired sounds with bite by Brooklyn DIYer Edward Droste, whose queerific perspective brings a burly new hue to his moniker. Iron Maiden, A Matter of Life and Death (Columbia) Count on the barbed Bruce Dickinson to come with confrontation on this wartime studio outing. The Rapture, Pieces of the People We Love (Strummer/Universal UK) Danger Mouse coproduces the new piece from dance punk ex–San Franciskies. Tony Joe White, Uncovered (Swamp/Sanctuary) The original blue-eyed soulster gives it another poke, accompanied by Eric Clapton and Michael “Yah Mo B There” McDonald. SEPT. 12 Basement Jaxx, Crazy Itch Radio (XL) Still all they’re jacked up to be? Black Keys, Magic Potion (Nonesuch) The rock duo ain’t dead. Merle Haggard, Hag: The Best of Merle Haggard (Capitol/EMI) Go back to the origins of the Bakersfield sound and travel through “Okie from Muskogee” all the way up to the anti–Iraq War present. Junior Boys, So This Is Goodbye (Domino) Whether you compare them to old New Order or current Booka Shade, their follow-up to 2004’s Last Exit is already garnering raves. Jordan Knight, Love Songs (Trans Continental/Element 1/EMI) Love Handles might be a better title, though at least Brigitte Nielsen isn’t a guest vocalist. Deborah Gibson does have a cameo. Mars Volta, Amputechture (Universal) Cedric Bixler-Zavala and Omar Rodriguez-Lopez may bring it live, but can they pull off another concept album? Pigeon John, Pigeon John and the Summertime Pool Party (Quannum Projects) He claims to be dating your sister. Justin Timberlake, FutureSex/LoveSounds (Jive) He and Timbaland use Beastie Boys– or Mark E. Smith–like crackly megaphone vocal effects on the first single; the album title seems both very ’90s and very OutKast wannabe. TV on the Radio, Return to Cookie Mountain (Interscope) David Bowie and Blonde Redhead’s Kazu Makino bake it up for the increasingly dance-pop Brooklynites. Xiu Xiu, The Air Force (5RC) An army of three hones a pop attack, with backup from producer Greg Saunier of Deerhoof. Yo La Tengo, I Am Not Afraid of You and I Will Beat Your Ass (Matador) Fighting words and lengthy psych jams from the indie softniks. SEPT. 19 Clay Aiken, A Thousand Different Ways (RCA) The long wait for the Claymates is over. Bone Thugs-N-Harmony, Bone Thugs-N-Harmony (Koch) They were twisting tongues long before Twista. Who’s your favorite: Layzie or Bizzy or Wish or Flesh or Krayzie? Bonnie “Prince” Billy, Then the Letting Go (Drag City) Does this title refer to shaving — or inhibitions? Chingy, Hoodstar (Slot-A-Lot/Capitol) I once saw a bunch of people at 16th and Mission dancing around a boom box blaring “Holiday Inn.” DJ Shadow, The Outsider (Universal) The North Bay’s Josh Davis comes out of the shadows, hepped to the hyph of guests Keak Da Sneak and Turf Talk. But ditch that Urb stylist. Fergie, The Dutchess (Will.I.Am/A&M/Interscope) And you thought pop music couldn’t be more heinous than the Black Eyed Peas? The microwaved hollabacks of the atrocious “London Bridge” are here to prove you wrong. Hidden Cameras, Awoo (Arts & Crafts) Peekaboo, I see you. Kasabian, Empire (RCA) The band named after Linda Kasabian testify on their own behalf with a new album. Jesse McCartney, Right Where You Want Me (Hollywood) Past his TRL sell-by date? We shall see. Mos Def, Tru3 Magic (Geffen) Somewhere between his first solo album and his second, Mos Def started to act like he knew he was cute. Here’s hoping he thinks of music as his true love rather than a step on the road to Hollywood. Pere Ubu, Why I Hate Women (Smog Veil) But at least a few women still love Ubu. Misogyny evidently rules for the post-punk belligerents. Bobby Valentino, Special Occasion (Disturbing Tha Peace/Def Jam) Ludacris’s R&B man speeds up enough to record a sophomore album. Zutons, Tired of Hanging Around (Deltasonic) The Liverpool antsy-rockin’ roots trendoids try their luck on this side of the puddle. SEPT. 22 Thermals, The Body, the Blood, the Machine (Sub Pop) PPP (post-pop-punk) protesting a purely protestant panorama. SEPT. 26 Emily Haines, Knives Don’t Have Your Back (Last Gang) Unsheathe ’em? A Metric cutie ventures out alone. Janet Jackson, 20 Y.O. (Virgin) And acting it. Sean Lennon, Friendly Fire (Capitol) Son of John returns with help from Cibo Matto’s Yuka Honda. Ludacris, Release Therapy (Disturbing Tha Peace) If the first single, “Money Maker,” is anything to go by, Luda better watch out, because he’s skating dangerously close to Hammer-like lame flossin’. Scissor Sisters, Ta-Dah (Universal) Good news: guest appearance by Bryan Ferry. Bad news: cameo by Elton John. Either way, there’s no justice when they are more popular than the Ark. Sparklehorse, Dreamt for Light Years in the Belly of a Mountain (Astralwerks) Get a stomachful of Tom Waits alongside sound-alike Mark Linkous. Mario Vazquez, Mario Vazquez (Arista) Question: What is better than a beauty-school dropout? Answer: An American Idol dropout — especially one who has been spotted at la Escuelita. He gets bonus points for having the cutest messed-up teeth. Wolf Eyes, Human Animal (Sub Pop) Bagging some inhuman noise. OCT. 3 Beck, The Information (Interscope) Nigel Godrich does the knob twist and fader jive on this new dispatch from “Loser” man. Tim Buckley, The Best of Tim Buckley (Rhino/Elektra) Further proof that “Song to the Siren” is eternal. Decemberists, The Crane Wife (Capitol) Colin Meloy is still finding inspiration in the most unexpected crannies: here, in a Japanese folk tale. The Hold Steady, Boys and Girls in America (Vagrant) Someone can’t help waving a flag. Jet, Shine On (Atlantic) Substitute “Music” for “Money” in the title of the first single, “Put Your Money Where Your Mouth Is.” The Killers, Sam’s Town (Island) Bet they don’t bargain-shop at Sam’s Club. Gladys Knight, Before Me (Verve) Still sounding great while some of her contemporaries rasp and squawk, she covers legends like Ella Fitzgerald, Billie Holiday, and Nina Simone. Lady Sovereign, Public Warning (Def Jam) After “9 to 5” (not a Dolly Parton cover), she drops her debut. Will she hit it big or wind up MIA? Monica, The Makings of Me (J) Add a little bit of Twista, some T.I. for extra heat, a touch of Missy, and Dem Franchize Boys, and you’ve got the makings of a Monica album. Robin Thicke, The Evolution of Robin Thicke (Star Trak/Interscope) Move over, Jon B, and make way for the son of Alan Thicke. OCT. 10 Blood Brothers, Young Machetes (V2) Fugazi player Guy Picciotto and Sleater-Kinney producer John Goodmanson get Bloody. Melvins, A Senile Animal (Ipecac) We didn’t use the s-word first. Robert Pollard, Normal Happiness (Merge) Is there happiness after a decade-plus beer haze? Young Jeezy, The Inspiration: Thug Motivation 102 (Def Jam) The Snowman has recorded 62 tracks for this opus. OCT. 17 Badly Drawn Boy, Born in the UK (XL/Astralwerks) Could BDB have a Broooce fixation? Diddy, Press Play (Bad Boy/Warner) If Danity Kane are anything to go by, it’s officially past time to press eject when it comes to Mr. Combs. Jeremy Enigk, World Waits (Lewis Hollow/Reincarnate/Sony BMG) One wonders how God figures in the latest by the Sunny Day Real Estate and Fire Theft chief. Fantasia, TBA (J) Following in the footsteps of greats such as Patty Duke and Joan Rivers, she recently starred in a TV movie about her own life. Fat Joe, Me Myself and I (Terror Squad) He’s big enough to refer to himself at least three different ways. Frankie J, Priceless (Columbia) Having even survived a cover of Extreme’s “More than Words,” the li’l guy returns to sing more sweet-verging-on-extremely-saccharine nothings. JoJo, The High Road (Blackground/Universal) The li’l pop dynamo and Xtina-to-be with Lindsay Lohan–like looks has sung for our current president, which seems more like visiting an inferno than taking the titular route. Nina Simone, Remixed and Reimagined (RCA/Legacy) More modern folks start fussing with Dr. Nina. Snoop Dogg, Blue Carpet Treatment (Doggystyle/Geffen) Stevie Wonder, the Game, and R. Kelly hop a soul plane. Squarepusher, Hello Everything (Warp) More spastic jazz-dappled emanations from Tom Jenkinson. OCT. 24 Brooke Hogan, Undiscovered (SoBe Entertainment/SMC) The daughter of Hulk Hogan puts all those dark-haired and dark-skinned girls in their place in her first video — after all, no one is more soulful than a putf8um blond. A surefire sign of the apocalypse or just another day in Bush-era pop culture? The Jam, Direction Reaction Creation (Polydor UK) Paul Weller and pals get the big box-set treatment they deserve. John Legend, Once Again (C) Ever heard “My Cherie Amour”? Apparently the billion people who bought the clumsy and far-more-prosaic “Ordinary People” haven’t. The Who, Endless Wire (Polydor) And then there were two. The first studio album since 1982 includes Greg Lake, partially filling in for the deceased John Entwistle, and Ringo spawn Zak Starkey, cospotting the late Keith Moon. OCT. 31 The Clipse, Hell Hath No Fury (J) Famlay and friends return, but what will it be like now that the producer who hit it big with them — a certain Pharrell — is so over-overexposed? Barry Manilow, The Greatest Songs of the Sixties (Arista) Will he cover “Gimme Shelter”? The mind boggles. Meat Loaf, Bat Out of Hell III: The Monster Is Loose (Virgin) Breathe easy — the legal tussle between the Loaf and Jim Steinman over the title phrase is through. Paul Wall, Get Money, Stay True (Atlantic) The Houston metal mouth gabs again. NOV. 7 The Game, The Doctor’s Advocate (Geffen) Not that Dre needs one, even if everyone and their moms wonder what the hell happened to the long-awaited and eventually cancelled Rehab. Lucinda Williams, The Knowing (Lost Highway) Bill Frisell and Dylan sidekick Tony Garnier guest on the latest disc by the proud princess of rasp. NOV. 14 Marques Houston, Veteran (T.U.G./Universal) No longer “Naked,” he returns for 106th and Park duty wearing his stripes. Maroon 5, TBA (Octone/J) You have been warned. Joanne Newsom, Ys (Drag City) The sprite of the harp, produced by pigfucker Steve Albini. DEC. 19 Akon, Konvicted (SRC/Universal) Will we want to shoot up or shoot ourselves when Eminem appears on Senegalese ex-“kon” Aliaune Thiam’s “Smack That”? SFBG

NOISE: In praise of Live Music Archive…

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Guardian intern Joseph DeFranceschi holds forth on his favorite music download site, Live Music Archive, and offers sundry tips:

If you’re reading this blog, you’ll probably be interested in the online musical goldmine known as the Live Music Archive.

wilco.jpg
Wilco — just one of those stellar bands you find on Live Music Archive. Courtesy of www.nonesuch.com.

In the constant search for free music downloads, it is rare to stumble upon some that are high quality, easily accessible, and don’t require neglecting everything experts warn of regarding viruses and spyware. Remember when Kazaa’s coolest finds were those MP3s of outtakes or live records of crappy, scratchy sound quality? This database features complete concerts, entire album outtakes, and full radio performances, all in usually fantastic sound quality. You won’t find the hit singles here, but you can download rare live concert recordings that cannot be found in stores.

Most artists — ranging from indie acts like Wilco and jam bands such as Grateful Dead to jazz players like Pat Metheny and bluegrass pickers such as Tony Rice – permit taping, and as a result there are more than 2,000 bands on LMA.

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Check out live recordings of Pat Metheny on LMA, why don’t you? Courtesy of www.patmethenygroup.com.

While this short article will only introduce you to downloading shows in MP3 form, there is a huge community of live music traders and numerous sources that offer free music downloads. The self-proclaimed “leader in lossless digital audio distribution on the Internet” is etree.org. Check out their website (www.etree.org) for tons of good information, software downloads, and links.

As for LMA: the easiest way to access the archive is by downloading one of their many shows in MP3 form. Although they sound fine to most people (including an audiophile like me) never burn these to CD and, should you get into trading these shows, which is perfectly legal, never trade anything from an MP3 source. Without such a rule, the quality will get worse as people repeatedly transfer the music from CD to MP3 and back again. That’s why those Kazaa tracks sounded so shitty.

Visit www.archive.org/audiowww.archive.org/audio. Some things you might consider are the source (soundboard recordings (SBD) are usually crystal clear with little annoying crowd noise), user ratings and reviews, venue (smaller venues usually make for better sound and radio studio performances are even better), and set list.

Note that not all shows on LMA are available in VBR MP3s. Some are kept as loss-less Flac and Shorten files. See wiki.etree.org for instructions on how to deal with these and the free program you’ll need to change them to CD form.

Here are some other online resources to check out:

Music.ibilio.org. Get shows by the Meters, Ben Folds, Radiohead, and others. They come in Shorten and Flac file forms so read about how to convert these to CD form on wiki.etree.org.

Bluegrassbox.com. Sign up for an FTP login and password for tons of free acoustic music from 1954 to the present.

bt.etree.org. This etree.org site has almost 3,500 shows for download in bit torrent form.

WEDNESDAY

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AUG. 23

Fundraiser

Clean Keefer

Join Terry Baum, former Green Party candidate for Representative in the 8th district, at a fundraiser for her successor in grassroots representation – Krissy Keefer, the local activist, Dance Brigade founder, and now Green Party candidate for US Congress. Unlike Rep. Nancy Pelosi (D-CA), Keefer is not accepting any corporate donations for her campaign. Musician Scrumbly Koldewyn and singer-songwriter Austin Willacy perform. (Deborah Giattina)

7-9 p.m.
Bazaar Cafe
5927 California, SF
Campaign donations accepted
(415) 835-4748, krissyforcongress@yahoo.com

Music

Japanther

If Brooklyn’s Japanther weren’t people, they’d be gas-powered robots straight off the mean streets. Employing the plowing force of gutter punk and the tinny hooks of bedroom-recorded pop, their music is a potent mixture: it’s punk and they play it fast, but there’s a certain whimsy and strong sense of melody hiding behind the muscular grind. This particular show benefits the Prisoners Literature Project and Berkeley Liberation Radio. This Bike is a Pipe Bomb, who play a folky variety of jittery, socially conscious punk, share the bill. (Michael Harkin)

With This Bike is a Pipe Bomb, Two Gallants, KIT, and Stripmall Seizures
8 p.m.
$7-$10
LoBot Gallery
1800 Campbell, W. Oakl
(510) 798-6566
www.lobotgallery.com

Also Thurs/24
With This Bike is a Pipe Bomb and the Punks
9:30 p.m.
$7
Hemlock Tavern
1131 Polk, SF
(415) 923-0923
www.hemlocktavern.com

The soul stirrers

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› a&eletters@sfbg.com
The set is modestly spare, a disheveled if not quite ramshackle affair, being the basement studio of an imaginary low-watt radio station run by a solitary disc jockey (Peter Newton) with a thing for Japanese culture, an anguished relation to the American scene, and an insomniac disposition. But just as the deepest truths can rise immaculately from the muffled vibrations of a scratchy old blues record, so does Bay Area playwright Gary Aylesworth’s new play See That My Grave Is Kept Clean slyly and unassumingly sound nothing less than the soul-stirring chords and discords of an embattled American imagination.
The play’s DJ-everyman, sitting at his desk and console in a kimono, his samurai sword on one side, his classic blues discs on the other, coos into the microphone to whomever might be listening to the evening’s program. Caught between suicidal despair and a desire for revitalization, he’s fending off the highly bankable depression of a Prozac nation with the ameliorative properties of Japanese rice balls. He’s also bent on finding a little truth amid the “tsunami of propaganda” that characterizes the society outside. To this latter end, he’s got the classic recordings from the Anthology of American Folk Music on heavy rotation, markers of another era of American depression — marvelous songs Newton and Aylesworth actually perform live (including the song borrowed for the play’s title) in lilting harmonies to their own musical accompaniment.
But our DJ sets some archival interviews spinning too, in counter-rotation to one another, as it were. The other characters (played by Aylesworth, acting out the interviews the DJ intersperses throughout the program) are two formidable contemporaries and spiritual adversaries of the mid-20th century: Edward Bernays and Harry Smith. The juxtaposing of these two figures, polar extremes yet both highly influential in the economic and cultural spheres, becomes the motive propelling Aylesworth’s deceptively casual, humorous, melodious, and intriguing new play.
Bernays, considered a father of the public relations industry (“public relations” being a phrase he coined to substitute for the tarnished term “propaganda”), was by the 1920s and for decades afterward the much sought-after guru of ballyhoo. He sold everything from cigarettes to presidents to a bloody US-backed coup in Central America on behalf of the United Fruit Company. Bernays was also (not incidentally) the nephew of Sigmund Freud, whose ideas he put to pioneering use in the realm of what he called “the engineering of consent.”
On the other side of the stage (and every other important extreme) is Harry Smith, the play’s prickly patron saint. A character too protean and idiosyncratic for a neat label, Smith was among other things an experimental filmmaker and the musicologist who compiled the legendary multivolume Anthology of American Folk Music, recordings largely made in the late 1920s and early 1930s. Originally issued on the Folkways label in 1952, it was so influential in the folk music revival and beyond that Bob Dylan (our DJ reminds us) once boasted that he would not have existed but for Harry Smith. Along the way, the play broaches Smith’s other passions as a jazz enthusiast, painter, and even a record producer (he recorded the Fugs’ debut album in 1965, which leads to the story recounted in the play of how he came to be consulted on the best way to levitate the Pentagon as part of a famous 1967 antiwar action).
Aylesworth plays the nonagenarian Bernays with a high, rasping voice and a set of repetitive, almost cartoonlike gestures that (along with a tendency for the “taped” interview to slow down and speed up at odd, sometimes telling moments) poke fun at the self-congratulatory figure. Bernays is a man so far from shy about bragging of his connections and achievements that he unconsciously paints an entirely grim view of modern society with the cheeriest of dispositions. By contrast, Smith (played with equal facility and a slightly hyperbolic, wry affect) has a cantankerous air about him. While forthcoming enough, he casts back a knowingly cautious, skeptical, even sarcastic tone to his various interviewers.
Here are two spiritual fathers, you might say, of the 20th-century United States, whose diametrically opposed outlooks constitute and reflect something like a metaphysical rift in the culture at large. Blended with Aylesworth’s simple yet choice staging, the acute and droll performances, and the laid-back but excellent renditions of selections from the Anthology, See That My Grave Is Kept Clean approaches its themes with a charm all the more forceful for being quirky and understated.
And if our DJ channels the despair of the age, it’s clear that despair cuts two ways too. It leads either to the acquiescence and metaphysical poverty of Bernays-style fables of freedom and plenty or to the awakened, agitated thought, action, and social conscience of a Harry Smith, which seeks nothing in the end more than the obliteration of myth and the reanimation of the senses. With its rousing good humor and a shrewd theatrical assurance whose crystalline simplicity resonates with far-reaching themes, See That My Grave Is Kept Clean gives eloquent voice to the restless rebel wide awake beneath the glossy, manufactured surface of the American dream. SFBG
SEE THAT MY GRAVE IS KEPT CLEAN
Through Sun/27
Thurs.–Sat., 8 p.m.; Sun., 7 p.m.
Traveling Jewish Theatre
470 Florida, SF
$15–$20 (Thurs., pay what you can)
(415) 831-1943
www.constructioncrewtheater.com

Pandora boxing

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OK OK yes I should be getting back to work, but hey — I’m the clubs columnist, it’s my job to be braindead on Mondays. So I’m about to slip into the wormhole of Pandora.com, which got a few good mentions on NPR (I heard this from friends — I can’t get NPR where I live). It’s part of the Music Genome Project, which aims to categorize music by subjects other than “scene” or “genre.” Basically, you type in a song or artist you like, and a virtual panel of distinguished musicologists creates a radio station of songs that share basic affinities to your choice — I’m imagining things like “melancholy” and “string section” and “Peruvian by way of Iceland” to be examples of the qualifying characteristics that link all the songs together. Or maybe it’s colors and flavors — like “Since U Been Gone” is brunette cheesecake and “Hollaback Girl” is purple baking powder. Or maybe it’s like computer dating, MP3-style. But who knows? I’m always game to learn more about myself from computers, and lord knows with all the wealth of music out there in Webland I’m totally eager to have someone pick out my jams for me. — Marke B

Benefit for a journalist in jail (Josh Wolf)

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Benefit for a journalist in jail (Josh Wolf)

By Bruce B. Brugmann (B3)

The item below was sent out by Riley Manlapaz, the Guardian’s ace promotions manager, to our email action list for a Saturday night benefit for Josh Wolf, who was jailed on Aug. l for refusing to honor a federal grand jury subpoena for the “out-takes” of his filming of an anarchist rally against the G-8 Summit Bush Administration economic and foreign policies.

I think Wolf’s arrest is a direct strike by Bush and the Attorney General against the City and County of San Francisco, the nation’s leading center of dissent and reportage critical of Bush and the Iraq war. The federal threat to jail the Chronicle reporters Lance Williams and Mark Fainaru-Wada, for their superb reporting in the Balco/Bonds case, only makes this point even stronger and more ominous.

If Bush can get away with putting reporters in jail in San Francisco, he can do it anywhere he wants with impunity and he can impose a chilling effect all across the land. His new weapon: claiming federal jurisdiction in a local case involving local law enforcement on the dangerous basis that a police car that was burned during the demonstration was paid for in federal money. (Actually, as the police report shows, only a rear tail light on the police car was damaged.) But the point is that, with federal money pouring into local communities all over the country, from Homeland Security money up and down, the feds can consider almost anything is under federal jurisdiction and they can move against reporters (and protesters) with federal muscle and jail power. From Hearst/Chronicle reporters to a 24-year-old freelance filmmaker, nobody in the media is safe for the duration, inside or outside San Francisco.

Go to the website of the California First Amendment Coalition (CFAC.org) for its resolution condemning the federal contempt sanctions against the reporters and for the full text of an amicus brief making the First Amendment arguments but also making a new and persuasive legal basis for a reporter’s privilege. See Sarah Phelan’s entry at the politics blog and our ongoing coverage. And much, much more!!! B3

JOSH WOLF BENEFIT
Join musicians and activists to raise money for the legal fees of Josh Wolf, the journalist incarcerated for contempt of court for his refusal to hand over unedited video “out-takes” he shot of a anti-G-8 rally held in the Mission on July 8, 2005. Spoken word artist Diamond Dave Whitaker of Enemy Combatant Radio, Oregon-based musician John Staedler, and DJ Chuck Gonzalez perform. Admission is free but donations will be greatly appreciated. Speakers on Wolf’s behalf include Liz Wolf-Spada, his mother; Krissy Keefer, the Green party congressional candidate in the Eighth District; and Harland Harrison, the Libertarian congressional candidate in San Mateo. 7pm-9:30pm. Can’t attend? Please consider donating online at http://joshwolf.net/grandjury/donate.html
August 19 @ Dance Mission, 3316 24th St
http://www.joshwolf.net/blog

Is Josh Wolf in jail because of federal laziness?

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By Sarah Phelan

An amicus brief filed this week in support of jailed freelance reporter Josh Wolf argues that federal common law already recognizes a reporter’s privilege, that it should be applied to Wolf’s grand jury case, and that before a journalist be compelled to divulge unpublished material in response to a subpoena, the requesting party must demonstrate “a sufficiently compelling need for the journalist’s materials to overcome the privilege.”
‘At a minimum, that requires a showing that the information sought is not obstainbable form another source,” argues the brief, which points out that , “it appears that the US Attorney has not even attempted to make a showing that alternative sources have even been consulted, let alone exhausted, or that Mr. Wolf’s videotape is unique. As the district court repeatedly pointed out, the events Mr. Wolf filmed took place on a public street and the published portions of his video show numerous participants and onlookers, (some with cameras) and dozens of police officers.”
Observing that, ” the record reveals a veritable treasure trove of alternative sources, including possible eye witnesses from law enforcement,” the brief concludes that, “The government seems to want Mr. Wolf’s video not because it is the only source of information about what happened to the police car, but because it speculates that it might be the best and most convenient source of information.”
The full text of the amicus brief which was filed by the Reporters Committee for Freedom of the Press, the national Society for Professional Journalists, the WIW Freedom to Write Fund, and the California First Amendment Coalition can be viewed at http://www.cfac.org
P.S.! A fund-raiser for Josh Wolf happens this Saturday, Aug. 19, 7 to 9:30 p.m., at Dance Mission, 3316 24th st., San Francisco. Free Admission, donations appreciated. Entertainers include Diamond Dave Whitaker of Enemy
Combatant Radio and musician John Staedler. Chuck Gonzalez is the DJ.
Speakers include Josh’s mother, Elizabeth Wolf-Spada; Wolf’s uncle Harland Harrison, Libertarian candidate for Congress from San Mateo County;Krissy Keefer, Green Party candidate for Congress from San Francisco’s east side, and Rick Knee of the National Writers Union. Or consider donating online at http://joshwolf.net/grandjury/donate.html

Confessions of a Gofessional

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› a&eletters@sfbg.com
Things move fast in rap. By the time their second album, World Premiere (Moedoe/Koch), dropped in April, the Team already had a new single, the “Hyphy Juice” remix, which now rivals “It’s Getting Hot” as their biggest radio hit. Since then, Moedoe label head K.O.A.B. has inked a deal for Hyphy Juice, the energy drink he co-owns with the group, to be sold at 7-11 stores nationwide, while Team member Clyde Carson just signed as a solo act to Capitol Records. Carson’s ambitious project, Theater Music — consisting of one multisong, album-length track à la Prince’s Lovesexy (Warner, 1988) — will appear next year, cobranded by Moedoe as well as the Game’s Black Wall Street.
Yet my appearance at the Team’s condo concerns none of these matters. Instead, I’ve been summoned by Kaz Kyzah to discuss The Gofessional, his new mixtape with KMEL managing director DJ Big Von Johnson. Consisting of 19 tracks of mostly original material, The Gofessional is part of a growing trend in the Bay Area mix scene — like Husalah and Jacka’s Animal Planet and Beeda Weeda’s Homework — of blurring the distinction between the carefully crafted album and the “anything goes” approach of mixtapes. What makes The Gofessional unique, however, is its method of distribution: it’s available for free at bigvon.com.
In the first week alone, the mixtape was downloaded 7,000 times on the strength of two singles currently spinning on KMEL: “Cocaine,” a soulful love-as-addiction metaphor over a 9th Wonder beat, and the LT-produced original “Love” (featuring Jimmie Reign), an R&B-infused investigation of more serious subjects often neglected by the Bay’s current “go dumb” ethos.
STALLED PREMIERE?
Before beginning, however, Kaz clears up the lingering mystery around World Premiere’s release, not, as anticipated, through major label Universal but rather through independent powerhouse Koch.
“We were on a label of a Mexican artist, Lil Rob, and it wasn’t the place for us,” Kaz says, referring to the Universal-distributed Upstairs imprint, which caters primarily to Latino rap. “When we got over there, it wasn’t what we wanted. But it worked out where we could use it to get the album done and move on. We didn’t have to pay any bread. We actually came out winning.”
“At the same time, I was going through legal trouble,” he continues, describing continuing fallout from a robbery charge he caught at age 18. “I was worried about going to jail and house arrest. I did end up spending a couple of months in jail, so it was a real hectic time.”
While the delays of label jumping and legal woes may have muted World Premiere’s impact, the period of house arrest last year proved productive for Kaz, who with West Oakland rapper J-Stalin and East Oakland producers Tha Mekanix formed a side group called the Go Boyz and recorded an album at the condo. These late-night sessions featuring an ankle-braceleted Kaz were the genesis of the current Go Movement, which already constitutes a third front in the Bay’s hyphy and thizz campaigns.
“What I want people to understand about the Go Movement,” the Hyphy Juice shareholder stresses, “is it’s not not about getting hyphy, going dumb. But it encompasses a whole lot more and that’s what makes it so powerful. Like when I talk to Dotrix [of Tha Mekanix], we’ll use go 1,500 times and have an in-depth conversation.
“It was Dot who said, ‘You the Gofessional, man.’ And that was one of my favorite movies, The Professional, so I used it for my mixtape. I didn’t want to come out with the Go Boyz, and nobody know what Go is all about. I was talking to some people from Marin, they never even heard of the Go Movement. To us it’s old, but a lot of people are still catching on.”
GOING FOR THE STREETS
The free download format of The Gofessional is proving to be an effective means of spreading the word. (Another 5,000 hard copies have already been distributed for the benefit of those not online, and more are on the way.) For Johnson, who apart from Kaz is the author of this largess, the free mixtape is designed to boost record sales as well as keep the Bay’s current buzz alive.
“I got 7,000 downloads in a week, when I know artists who put out records that took seven months to reach that in sales,” Johnson says later that day at KMEL. “There are a lot of big artists, a lot of songs on the radio, but sales aren’t adding up. So I feel like, give some away. Instead of trying to break a song, I’m trying to break an artist in the streets. I definitely think this will stimulate album sales.”
It’s refreshing to hear such a statement these days, when the “free download” has been blamed for bringing the recording industry to its knees. To me, Johnson’s logic is irrefutable; I’m more likely to check out something for free than for $15, and I’m way more likely to buy a $15 album from someone whose previous work I have and like. As The Gofessional is easily better than dozens of albums I’ve actually purchased, the odds of me buying an eventual Kaz Kyzah solo album are extremely high. Given the current excitement in Bay rap and Carson’s deal with Capitol, the interest in Kaz’s mixtape hasn’t failed to attract the attention of majors as well.
“I got a lot of labels looking at me,” Kaz confesses. “I ain’t put out an album. They’re checking for me off of mixtapes, which is weird, but it’s a beautiful thing. People be, like, this is hotter than people’s albums. But I’m a perfectionist, so doing a solo album is going to take a minute, really sitting down and figuring out what I want to do with it. And not being too quick to jump on the wrong deal.” SFBG

Blow up

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› kimberly@sfbg.com
SONIC REDUCER I’ve lived in the Bay Area for more years than I ever imagined I would back in my nomadic grad student days and devoured my share of quintessentially San Francisco experiences, like parking on the faux median on Valencia and falling drunkenly off an It’s Tops fountain stool round about 3 a.m. after tucking into a few too many down the street at Zeitgeist. But the one must-see post-punk happening I’ve always missed — never at the wrong place at the right time — was Survival Research Laboratories in full-effect performance mode. No wonder — weary of being shut down by the local fuzz and fire officials, founder Mark Pauline told me three years ago that SRL had decided to lavish their monstrous, robotic attentions on tolerant, fire-retardant overseas audiences in Europe and Japan instead — that is, until Aug. 11, when the longtime Potrero Hill area crew unfurled a new three-ring destructo-circus titled Ghostly Scenes of Infernal Desecration at the Zero One festival in San Jose.
I hightailed it down to downtown San Jose to catch the seldom-sighted SRL flash their permits, then proceed to burn it all down. Late for the last media seating, I was told it was all good because SRL were moving very slowly (as slowly and deadly as their ’bots, I presumed) and to please have a survival kit in a brown paper sack: peanut butter crackers, Chips Ahoy!, a moist towelette, a bottle of water, and a pair of earplugs. In the back of the hall, the jumpsuited and helmeted SRL crew strolled merrily around, throwing bottles of water playfully at each other, testing flamethrowers, as we studied the grounds for signs of action. It felt like fishing or bird-watching — only the critters were big hunks of metal and the gods were knowing wiseacres who wear lots of black.
With an ominous turbine wail or two later it began — as a giant inverted foiled cross spun in place like a sacrilegious music box, a giant gold figure with a massive red phallus dropped Styrofoam balls, and a doghouse sheltering Cerebus shuddered. Purple lighting shot out of a towering Tesla coil and a woman beside me started screaming, “Omigod, that’s so cool!” Sorry, we all weren’t that dweebish — although almost everyone in earshot tended to laugh nervously in both fear and amazement as fire poured out of several flamethrowers in our corner and blew toasty gusts against our faces.
If you, er, burn at Black Rock, I guess you could consider this a preview of sorts. At one point, about five machines, including a short, squat teapotlike ’bot, were firing on all cylinders, blaze-wise, and that’s not even counting the V-1, a fire-farting flamethrower-shockwave canon that resembles the butt of a jet fighter. And of course fire without smoke loses a bit of the drama, so roving smoke machines were placed behind large rectangular photo screens depicting a gas station on fire, gap-mouthed kids, etc. And of course the flames started to spread, eating up the gold idols and turning the Lord of Balls into an impressive column of heat. Sparks flew into the sky, robots like the crabby, clutching Inchworm tussled in the center of it all, and the ungodly din of popping, whirring, and grinding sounded for all the world like a construction crew armed with Boeing engines run amok and set to detonate. What other mob would pride itself on creating “the loudest flamethrower in history”?
Me, I had to duck when the loudest machine of all, the shockwave canon, started lobbing rings of air left and right of our heads, taking the leaves off the surrounding trees. In the process of putting together a robot army, SRL created their own scary symphony, their own atonal, noise-drenched Ride of the Valkyries to go along with their future-war enactments. And by the end, even the hausfrauen in the bleachers raved about how they couldn’t tear their eyes away from the smoke- and noise-belching spectacle. In the aftermath, viewers gathered around the barriers like groupies, bickering over which ’bot was their favorite and picking the brains of the SRL-ers. Thank Vulcan, some things were sacred — there were no T-shirts on sale. Those are on the fire-retardant Web site (srl.org).
TACO LIBRE I suspect it takes either careful SRL-style planning — or its carefree antithesis — to achieve a much-coveted sense of freedom in performance — the latter approach is doubtless embraced by Inca Ore, a.k.a. Eva Saelens, once of Portland, Ore.’s Jackie-O Motherfucker and the Alarmist and of the Bay’s Gang Wizard and Axolotl. She was happily howling at the full moon in Oakland last week with her paramour and collaborator, Lemon Bear, in celebration of their noise–improv–sex magik album, The Birds in the Bushes (5RC, 2006), recorded in a cabin outside Tillamook, Ore. I spoke to the sweet, uncensored Saelens at about midnight, after some enchanted evening spent slow dancing in a parking lot to Mexican radio, finding inspiration in a fish taco, and playing music under the stars.
Saelens, 26, may not completely adore her current O-town abode — “It’s criminal how not affordable it is” — but at least she’s not on tour, as she has been for long periods with Jackie-O, Yellow Swans, and Axolotl. “When I was in Europe, we drove through Provence from Italy to Spain, and we couldn’t even get out to smell the lavender — we were so late,” she said sadly. “Touring is so frustrating — you really have to juice yourself. Even sometimes doing improv, it isn’t easy to bring it, but when you break through it’s like being in another world. Sometimes I’ll try to push an explosion or try to lose my mind, and if you do that on a nightly basis, it’s unreliable and it’s also abusive. You’re pushing your emotions in an athletic way, almost, and sometimes your body refuses to compete.”
For Saelens, it’s now a race to reach a meditative spot with a violin or clarinet — a change from the spooked state of her album. “We played the stove a lot, banged on bottles,” she said. This after Lemon Bear hacked his toe while chopping wood barefoot one morning. “We got sloppy — we were so happy.” SFBG
INCA ORE
Tues/22, 8 p.m.
Thee Parkside
1600 17th St., SF
Call for price
(415) 503-0393
Also with Tom Carter (and Ghosting, Bonus, and Axolotl)
Hemlock Tavern
1131 Polk St.
$6
(415) 923-0923

Whew! What a Best of Party last night!

2

What a splendid Best of Party last night at Club Six down in the inner Mission in San Francisco. Almost all of this year’s Best of winners were there, more than 300 of them, to pick up their Best of certificate, and to pose in a group photo that will stand as one of the year’s most eclectic gatherings in San Francisco and certainly the Best San Francisco photograph of 2006. (We will publish the photo in next week’s Guardian).

There was Fire Chief Joanne Hayes-White, Kathi Kamen Goldmark and Sam Barry from the Rock Bottom Remainders, Chris Middlestadt of the Fruit Guys, the best beer-soaked bingo brigade, local heroes Tony Kelly of thick Description Theater, Barry Hermanson and the Greenaction Gang of closing-down-the-Hunters-Point-power-plant fame, (Marie Harrison and Bradley Angel), the best drag queen who plays the accordion, Breda Courtney of the Best Bloomin’ Thespians, Robin and Joe Talmadge and Cinder Ernst from World Gym, the Primitive Screwheads (best goofy gore), Press Secretary Peter Ragone and other reps from the mayor’s office (yes, Mayor Gavin Newsom did win an award, the best mayor we love to hate), best neighborhood newspaper publisher (Ruth Passen of the Potrero View), and scores more of the city’s best and brightest and most diverse.

The Keeping it Real with Will and Willie gang were there from the Quake (Comedian Will Durst, Ex-Mayor Willie Brown, producer Paul Wells) to accept their award as the “Best Herb Caen column on the radio.”
They exemplified the spirit of Caen by being “visible” at the party (a key Caen quality in his man about town role at the old Chronicle) and by talking genially to everyone who came in range in the massed crowd, including some who have tilted politically with Willie through the years. Caen had to do that, whether he liked it or not, because he was a target and a celebrity wherever he went. One key difference is that Will and Willie, out on the town regularly, can comment and do their reviews the next morning. Caen’s nocturnal adventures were always in his column a day later in the morning Chronicle. Caen also had l,000 word columns. Will and Willie have three hours every week day morning, from 7 to l0 a.m. in prime time, and can handle lots of live interviews in the studio or on the phone. Most important, Caen could only hint at his political proclivities, but Will and Willie announce they are Democrats and go after Bush and the war and local sacred cows with great glee.

This morning, Will and Willie led off their show on 960 the Quake with a report on the event, which they obviously enjoyed. My journalistic point: There will most likely never be another Herb Caen in San Francisco, or probably on any other daily paper, because he was a creature of another era, the hell-for-leather competitive newspaper wars in San Francisco, which were some of the most colorful in the country. Once the old Hearst Examiner and the old Chronicle formed a JOA in l965, they had no more real use for Caen but the Chronicle kept him on because of his ability and reputation. The Chronicle family owners were always nervous and often agitated about Caen and his enormous influence but they really couldn’t do much about him. Now, with the new Hearst Chronicle as the dominant daily here, with the coming of Singletonland in the Bay Area, no publisher has any use for a powerful independent talent such as Caen, particularly a strong union voice. Al’as.

The Caen formula lives

Will and Willie demonstrated the point again in this morning’s show with a snapshot of Caen’s San Francisco with a nostalgic interview of Mort Sahl, who Caen helped make a celebrated fixture at Enrique Banducci’s Hungry I. They were making the most of the fact that Sahl was reemerging in San Francisco and opening tonight at the Empire Plush Room (Willie said he would in the front row). And Sahl responded with some good political jokes: The Democrats are proving they can defeat Democats, he said of the Lieberman race. But can they defeat Republicans? Jerry Brown is putting Oakland “up for adoption.” On the Mel Gibson incident, Sahl said there was talk in Hollywood that he would now be boycotted. But Sahl quoted Jack Warner of Warner Brothers about an earlier star: “He’ll never work in this town again– until we need him.” And Sahl mused at one point, “Just how many wars are we fighting today.”

Sahl also had some news. Banducci was alive and well in Hayward, sharp as ever. Sahl lived in San Francisco and Sausalito for many years and is now living in LA and working regularly. The I in Hungri I stood for Intellectual. ON and on, making the point on the show that Sahl is back. Hurray!

Back on the monopoly journalism front

Just in: story from the Mercury News by Pete Carey with the arresting head: “Area’s new media king is having fun, industry leader started with one small paper at age 20.”

He quoted Singleton as telling a meeting of the American Society of Newspaper Editors in Seattle in April, on a podium he shared with McClatchy’s Gary Pruitt,
“We do a lot of things because they’re fun.” Impertinent questions: who else is having fun as Singletonland comes to town? Is there no way that any of the reporters covering Singleton on any of his papers can utter a discouraging or realistic word about his form of discount journalism, or find someone who can do? (Carey, incidentally, a veteran reporter, has done the best job of covering the sale of Knight-Ridder and subsequent developments).

The newspaper unions have been quiet and have not even commented on what happened to their offer to buy the Merc and the other McClatchy castoffs. And the few statements they have issued took the line of the Hearst unions in San Francisco in dealing with its monopolizing issues: lay low and wait till negotiations on the next contract (when, from my point of view, it may be too late.) The Merc employees are working without union contracts. The crunch will come when Singleton starts “consolidating” and making the deep cuts in production and newsrooms and quality that he must do, sooner or later, probably sooner, with his mountains of debt, his unmanageable forest of papers and presses, and his “lean Dean” cost-cutting modus operandi. Stay tuned. B3

Accordion to our party sources ….

1

The pics from last night’s debaucherous Best of the Bay party are just beginning to flow in and be edited by our censors, but here’s a couple to whet your whistle, courtesy of Kielbasia, winner of Best Drag Queen with an Accordion. (Accordion not pictured, but very present.) Go, Kielbasia!

kielbasiaandwillie.jpg

Kielbasia and Willie Brown (his show won Best Herb Caen Column on the Radio)

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Kielbasia and Guardian editor and publisher Bruce B. Brugmann — the man!

we’ll keep you updated as much as our hungover bandwith will allow. — Marke B.

mark pickerel aug 8

0

>
>CHICAGO, IL: From Seattle Grunge to spooky Country: EX-SCREAMING TREES
>MARK PICKEREL (Nirvana, Neko Case) embarks on SOLO CD RELEASE TOUR of West
>Coast in support of debut Bloodshot Records release, “Snake in the Radio”,
>beginning Saturday, August 8, 2006 in Portland, OR.
>
>INTERVIEW REQUESTS RE: Mark Pickerel at Town Lounge (Portland OR.) 8-5-06:
>angie@bloodshotrecords.com
>
>Seattle staple MARK PICKEREL, former SCREAMING TREES drummer/NIRVANA
>session man who has most recently collaborated with MARK LANEGHAN, BRANDI
>CARLILE, and NEKO CASE, sets out on his first ever solo CD Release Tour
>immediately following his debut performance at the “ALL TOMORROW’S PARTIES”
>festival in the UK.
>
>Mark’s full band (billed as Mark Pickerel and His Praying Hands) will
>accompany him on the last date of his summer CD Release Tour at Seattle’s
>BUMBERSHOOT festival on September 2, 2006. Mark is also scheduled to
>headline BLOODSHOT RECORDS CMJ PARTY in New York City on Saturday, November
>4, 2006.
>
>”Snake in the Radio” reunites Mark with longtime ally and legendary
>producer STEVE FRISK (Nirvana, Low, Posies, Soundgarden, Screaming Trees).
>The result: quirky phrasing, charming lyrics, and an uncanny record not
>unlike the works of the Magnetic Fields. According to NO DEPRESSION, Mark
>Pickerel’s new release “is music as perfectly suited for those late-night
>hours as a classic cult film.”
>
>Mark Pickerel has moved from behind the kit and, with his band The Praying
>Hands, he’s ready to start the next chapter in his musical life.
>
>****MARK PICKEREL LIVE IN SAN FRANCISCO:****
>
>ANNIE’S SOCIAL CLUB
>Tuesday August 8, 2006:
>Mark Pickerel Bloodshot CD Release show, solo-acoustic!
>9:00pm
>http://www.anniessocialclub.com/august06.html
>
>MARK PICKEREL BLOODSHOT CD RELEASE (solo acoustic):
>
>Sat 8-5-06 Portland, OR Towne Lounge w/ Johnny Dowd
>Tue 8-8-06 San Francisco, CA Annie’s Social Club
>Wed 8-9-06 Sacramento, CA Marilyn’s
>Thu 8-10-06 Los Angeles, CA Hotel Cafe
>Fri 8-11-06 Tuscon, AZ Hotel Congress
>Sat 8-12-06 Albuquerque, NM Burt’s Tiki Lounge
>Mon 8-14-06 Houston, TX Rudyard’s British Pub
>Tue 8-15-06 New Orleans, LA One Eyed Jacks
>Wed 8-16-06 New Orleans, LA House of Blues
>Sun 8-20-06 Austin, TX Longbranch Inn
>Thu 8-24-06 Albuquerque, NM Atomic Cantina
>Sat 8-26-06 San Francisco, CA Hotel Utah
>Mon 8-28-06 San Francisco, CA Makeout Room
>Sat 9-2-06 Seattle, WA Bumbershoot Festival w/ Shooter Jennings,
>Alejandro Escovedo, Laura Veirs
>
>
> >For more information, email angie@bloodshotrecords.com
> >Mark Pickerel promo pics, bio, MP3’s, and tour dates here:
> >http://www.bloodshotrecords.com/artists/markpickerel/
>
>

Lebanon calling

0

› news@sfbg.com
About 300 people gathered in front of Sen. Diane Feinstein’s office in downtown San Francisco on July 27 to protest her support for what they — and the citizens of most countries around the world — criticize as unjustified aggression by the Israeli military against Lebanese civilians.
Organizers with the recently formed Break the Siege Coalition had Lebanese and Palestinian experts and eyewitnesses on the telephone lines, hoping to broadcast them to protesters over a sound system, but they were prevented by technical difficulties.
Instead, after listening to a series of speakers — including Todd Chretien, a Green Party candidate challenging Feinstein, and Krissy Keefer, another Green who’s vying for Nancy Pelosi’s congressional seat — demonstrators marched to Union Square and then the Chronicle — whose coverage the protesters criticize as biased toward Israel. Eight were arrested there for blocking traffic.
Paralleling the organizers’ efforts, the Guardian reached out to civilians still in Lebanon to get unfiltered perspectives directly from the ground. What we encountered was profound outrage and unprecedented support for Hezbollah. They say the international community has turned its back on them again.
“The level of destruction is incomprehensible,” said Ghassan Mankarem, a pro-democracy and LGBT rights activist experienced in humanitarian relief efforts who is now volunteering with the grassroots Sanayeh Relief Centre in Beirut. “What’s happening here is a systematic act of ethnic cleansing.”
As of July 30, 620 Lebanese — mostly civilians — had been killed since Israel began its onslaught July 12, according to official Lebanese government figures. That’s 12 Lebanese dead for each Israeli killed by Hezbollah rockets and gunfire.
The number of internal refugees was expected to reach one million before this issue of the Guardian went to print, according to Mankarem. Another 220,000 have fled to neighboring countries. Thousands more are trapped in their homes or nearby shelters, too afraid to flee.
The Israelis “are hitting anything they see,” reported Mankarem, including caravans of fleeing civilians and even “Red Cross ambulances and UN observers.” They’ve bombed the airport, reduced whole neighborhoods to rubble, targeted seaports, destroyed most major highways, and obliterated power plants — in one case causing an oil spill in the Mediterranean Sea that local environmental groups say is the worst ecological disaster in Lebanon’s history.
“On the radio, doctors are warning there is no more medicine, no more water, no more space in the hospitals,” wrote Raida Hatoum, an organizer with Najdeh, a women’s nongovernmental organization that works in Lebanon’s Palestinian refugee camps, in a July 24 e-mail to the Guardian. (Hatoum has no access to a phone). “Burnt and shredded bodies are still on the roads” in southern Lebanon.
The same day Hatoum typed those words, Human Rights Watch condemned Israel for using American “cluster munitions in populated areas.” Aid workers on the ground report seeing evidence that Israel has also been using bombs (again, provided or funded by the United States) containing white phosphorus — a chemical agent that burns through the skin, sometimes to the bone, as well as “vacuum” bombs and “bunker busting” bombs containing depleted uranium.
For the first time since World War I, “there’s a real fear of people dying of hunger,” Mankarem said. Israel has been blocking food and other basic necessities from entering the country and has bombed grain silos as well as Lebanon’s main milk production plant, he said.
While Sanayeh struggles to provide food, water, blankets, and medical care to an ever-growing number of refugees, it’s also scrambling to address the profound trauma suffered by Lebanese children.
“Ten percent of the refugees are under five years old,” Mankarem said, speaking to us by phone from the relief center. “Some of them have seen family members decapitated in front of them. Unfortunately, the position of the United States has been to send more missiles,” while vetoing United Nations Security Council calls for an immediate cease-fire. “People here are looking to the rest of the world and asking, why aren’t they doing anything about this?”
It’s the kind of scenario that gave rise to Hezbollah in the first place. And today it’s resulting in a widespread surge of support for the group. A whopping 87 percent of Lebanese — including, significantly, 80 percent of the Christians and Druze — support the resistance to Israel (synonymous with Hezbollah), according to a nationwide poll conducted by the Beirut Center for Research and Information. And that was before an Israeli bomb killed more than 60 civilians — including 37 children — as they slept in a bomb shelter in Qana.
“Had Israel not invaded Lebanon in 1982, there would be no Hezbollah,” said academic Rania Masri, a blogger and regular contributor to www.electroniclebanon.net. “Had the international community enforced UN resolution 425 [demanding Israeli withdrawal from Lebanon], there’d be no Hezbollah. Had the international community [acted more decisively during] Israel’s massive assaults on Lebanon in 1993 and 1996, there would be no Hezbollah…. This is the history that people need to understand. It didn’t begin on July 12 with Hezbollah’s capture of the two Israeli soldiers.”
Another fact not widely understood in the United States is that Hezbollah isn’t simply a militia or terrorist group: in many impoverished, largely Shiite areas — particularly in southern Lebanon and in the eastern Lebanese Bekaa valley — Hezbollah has provided schools, health care, and basic necessities where the central government failed to do so.
Secretary of State Condoleezza Rice tried to draw clear distinctions between Hezbollah and Lebanon’s “legitimate” government early in the conflict. But Hezbollah members are part of that government, and the two entities have each sought a cease-fire that the United States and Israel have rejected, claiming that Hezbollah must disarm.
“We get lectured all the time about democracy,” Mankarem said. “But whenever we make a democratic choice, we get punished.”
Many Lebanese insist they too have the right to defend themselves. And they view American collaboration as the result of a deep-seated racism that presumes that Arabs simply aren’t as valuable as Israelis.
Regardless of the reasons for the assault, one thing is certain: it is resulting in a sharp spike in anti-Israeli and anti-American sentiment, which isn’t making either country safer.
“Even if Israel and the US were to kill every member of Hezbollah, there’d be people to replace them,” Masri warned. “You cannot stop a movement for liberation.” SFBG

NOISE: Manu Chao at the Greek

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Guardian art director Mirissa Neff checked out Manu Chao and Kinky at the Greek Theater on Friday, July 28… here’s what she saw and heard:

IMG_1128_sm.jpg
All images by Mirissa Neff

After only playing LA and NYC when he’s made it to the states, Manu Chao finally played a Bay Area show last night. He didn’t disappoint…

A few of us did a Q+A with Manu before Kinky went on. One of the highlights was when the Chronicle’s Delfin Vigil asked Manu about the World Cup and whether he sided with France or Spain. Manu replied, “I am not a nationalist. I have a passport for both countries but I don’t understand this mentality of seeing that someone is from a different place than you and wanting them to die.”

I asked Manu if he had plans to release Siberie M’etait Contee [a French only release] here and he said, “No… maybe someday. But I have a new album that just needs to be mixed. Then it will be ready for release.” Hmmmm…

Kinky opened the night with their unique Norteno-flavored electronic funk. Ulises Lozano and Gil Cerezo got the crowd going:

IMG_1069_sm.jpg

People just lost their shit when Manu Chao’s Radio Bemba Sound System hit the stage. Here’s sexy guitarist Madjid Fahem:

IMG_1331_sm.jpg

Meanwhile bassist Gambeat held down stage right with lots and lots of reverb:

IMG_1241_sm.jpg

After about five encores the crowd was still screaming for more…

SUNDAY

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JUlY 30

MUSIC

“Saxophonists Who Play Other Things”

Any jazz cat worth their salt knows that music’s most cerebrally unbuckled moments tend to emerge from sheer heady improvisation. Acknowledging this, 21 Grand will play host to a “new sound” multi-instrumentalist session prominently featuring saxophonist Jason Robinson, as part of the Bay Area’s annual Edgetone Music Summit. The premise is that all 10 of the musicians, including Ralph Carney and David Slusser, are saxophonists and can skronk their saxes in a variety of ensembles. (Michael Harkin)

8 p.m.
21 Grand
416 25th St., Oakl.
$12
(510) 444-7263
www.21grand.org

VISUAL ART

“Jonathon Keats: The First Intergalactic Art Exposition”

A conceptualist worth his weight in ideas, another art world P.T. Barnum, or both? Jonathon Keats has copyrighted his mind and auctioned off futures contracts on the neurons in his brain. Now Keats claims that a radio signal detected by the Arecibo Observatory in Puerto Rico is delivering deep-space artwork. Putting together what he bills as the world’s first collection of extraterrestrial abstract art, Keats will discuss art, collaboration, and Jewish culture with fellow artist Vitaly Komar at the opening. (Johnny Ray Huston)

Discussion, 2 p.m.
Through Jan. 14, 2007
Judah L. Magnes Museum
2911 Russell, Berk
$4-$6 museum admission; $12 discussion
(510) 549-6950
www.magnes.org

{Empty title}

0

› tredmond@sfbg.com
I started down Valencia Street around 8:30 last Thursday morning, trying to get to Mission and Embarcadero for a 9 a.m. radio show, and I caught up with two other bicyclists at a red light around 23rd Street. None of us said anything, but we rode more or less together for a couple more blocks, then picked up a few more riders here and a few more there, and by the time we hit Market Street, there were probably 15 of us, riding along in some sort of impromptu Critical Mass–style convoy. We (carefully) ran lights together, rode around cars together, and somehow, I think, psychically watched each other’s backs. I was on Market Street during rush hour, and I actually felt almost safe.
It was a San Francisco moment, one of those instances of accidental community that make you remember why this is the world’s best city. And while the greedheads keep trying to ruin it, we can still dream of making it better.
That’s what this Best of the Bay issue is dedicated to: a celebration of all that is wonderful in San Francisco and the Bay Area — and a vision of what it could be, maybe even might be, if we can wrest control of the future from the people who brought us the high-rise boom, the war against fun, dot-com development, Gavin Newsom, and the $2,000 studio apartment.
It could be, it can be, and sometimes it is — the city of the future. SFBG

AMLO Presidente!

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MEXICO CITY (July 19th) – The day before Andres Manuel Lopez Obrador (AMLO), the peppery Mexican left leader who insists he is the winner of the fraud-marred July 2nd election, summoned more than a million Mexicans to the great central Zocalo plaza to lay out plans for mass civil resistance to prevent right-winger Felipe Calderon from stealing the presidency, this reporter marched down from the neighboring Morelos state with a group of weather-beaten campesinos the color of the earth.

Saul Franco and his companeros farmed plots in the village of Anenecuilco, the hometown of revolutionary martyr Emiliano Zapata who gave his life to defend the community’s land from the big hacienda owners. “It is our obligation to fix this fraud and kick the rich out of power,” Saul explained. “If Zapata was still alive he would be with us today,” the 52 year-old farmer insisted, echoing the sentiment on the hand-lettered cardboard sign he carried.

But although Saul and his companions admired and supported Lopez Obrador, they were not so happy with AMLO’s party, the Party of the Democratic Revolution or PRD. “We had a PRD mayor and things went badly and we lost the next time around,” remembered Pedro, Saul’s cousin. Indeed, many PRD candidates are simply made-over members of the once-ruling (71 years) Institutional Revolutionary Party or PRI who have climbed on Lopez Obrador’s coattails to win public office. In 57% of all elections the PRD has won, the party has failed to win reelection.

Yet the farmers drew a clear distinction between AMLO’s “Party of the Aztec Sun” and Lopez Obrador himself. “Andres Manuel will never surrender. He is decided. He will never double-cross us or sell us out.” Saul was adamant.

It is that aura of dedication and combativeness and the belief that, in contrast with other leaders that have risen from the Mexican left, that AMLO cannot be bought or co-opted, that helped draw 1.1 million (police estimates) or 1.5 million (PRD estimates) Mexicans to the Zocalo, the political heart of the nation, July 16th.

The numbers of those in attendance – the line of march extended for 13 kilometers and moved continuously for five hours – are integral to AMLO’s notion that these are historic moments for Mexico. Only if this understanding is impressed upon the seven-judge electoral tribunal (TRIFE) that must decide who won the fiercely-contested July 2nd election will the panel order the opening of all 130,000 ballot boxes and allow a vote-by-vote recount.

Lopez Obrador is convinced that he has won the presidency of Mexico from his right-wing rival, Felipe Calderon of the National Action Party (PAN), who was awarded a severely critiqued 243,000-vote margin by the Federal Electoral Institute (IFE) on the basis of what now appear to be manipulated computer tallies.

The July 16th outpouring may or may not have been the largest political demonstration in Mexican history. AMLO himself set the previous record back in April 2005, when he put 1.2 million citizens into the streets of Mexico City to protest efforts by President Vicente Fox, a PANista like Calderon, to exclude him from the ballot. But what is most important in this numbers game is not how many were turned out at each event but the exponential growth of the gatherings. Back in 2005, AMLO called a rally in the Zocalo that drew 325,000 supporters. Two weeks later, he tripled the size of the turnout, forcing Fox to drop his scheme to prevent Lopez Obrador from running for president.

Six days after the July 2nd election, AMLO summoned a half million to an “informative assembly” in the vast Tienanmen-Square-sized plaza, and once again, if the PRD figures are to be accepted, tripled participation last Sunday. He is now calling for a third “informative assembly” July 30th which, given the statistical trend, should settle the question of which is the largest mass demonstration in Mexican political history.

The PAN and its now-ex-candidate Calderon consider these enormous numbers to be “irrelevant.” That’s how PAN secretary Cesar Nava labeled them.

What AMLO’s enemies – Fox, Calderon, the PAN, the now dilapidated PRI, the Catholic Church, the Media, Mexico’s avaricious business class, and the Bushites in Washington – do not get yet is that every time they level a blow at the scrappy “Peje” (for Pejelagarto, a gar-like fish from the swamps of AMLO’s native Tabasco) his popularity grows by leaps and bounds. The perception that, despite the vicious attacks of his opponents, he will never sell out is Lopez Obrador’s strongest suit – and he is always at the peak of his game when leading massive street protests.

Two weeks after the election that Felipe Calderon continues to claim he won, Andres Manuel Lopez Obrador is the pivotal figure in Mexican politics, dominating public discourse and even the media, which has so brutally excoriated and excluded him for years. Meanwhile, the PANista spends his days accepting congratulations from the world’s most prominent right-wingers including George Bush, an electoral pickpocket who is popularly thought to have stolen the U.S. presidency in 2000 and 2004, and Bush’s Senate majority leader Bill Frist, in addition to Bush poodle Tony Blair and Spain’s former Francisco-Franco-clone prime minister Jose Maria Aznar.

Calderon also enjoys the approbation of such U.S. right-wingers as Fox News commentator Dick Morris (a campaign consultant), the Miami Herald’s decrepit Latin America “expert” Andres Oppenheimer, and Ginger Thompson, the Condoleezza Rice of The New York Times whose estimates of crowd sizes missed the mark by a million marchers July 16th. Virtually every radio and television outlet in Mexico has endorsed Calderon’s purported victory – Televisa, the largest communication conglomerate in Latin America, which dominates the Mexican dial, refused to provide live coverage of the July 16th rally, perhaps the largest political demonstration in the nation’s history.

Although Felipe Calderon has announced his intentions of touring Mexico to thank voters for his disputed “triumph,” insiders report that the PAN brain trust has strongly advised against it, fearing that such a tour could trigger violent confrontations with AMLO supporters.

At this point, 16 days after the election, it is difficult to imagine how Calderon could govern Mexico if the TRIFE denies a recount and accepts the IFE numbers. A Calderon presidency would inherit a country divided in half geographically between north and south. Both the PAN and the PRD won 16 states a piece although AMLO’s turf contains 54% of the population and most of Mexico’s 70 million poor – an angry majority that will refuse to accept the legitimacy of a Calderon presidency for the next six years. Faced with a similar situation after he stole the 1988 election from leftist Cuauhtemoc Cardenas, Carlos Salinas had to call out the army.

Lopez Obrador has encouraged his supporters to reinforce encampments outside the nation’s 300 electoral districts to prevent the IFE from tampering with ballot boxes while the judges sort through the 53,000 allegations of polling place violations filed by AMLO’s legal team. The PRD charges that the IFE has already violated 40% of the boxes in a ploy to match ballot totals to its highly dubious computer count. The leftist’s call for peaceful mass civil resistance is bound to keep this nation’s teeth on edge until a judicial determination is reached in respect to a recount. A new president must be designated by September 6th.

Although tensions are running high, the country has been remarkably violence free since July 2nd — but a decision by the tribunal to uphold the IFE results could well be the point of combustion. Even should a recount be ordered, the question of who will do the counting — given the vehement distrust of the Federal Electoral Institute by AMLO’s supporters — is a potential flashpoint for trouble. Historically, when the electoral option has been canceled as a means of social change by vote fraud, the armed option gains adherents in Mexico.

Despite AMLO’s talents at exciting mass resistance and the number of times he can fill the Zocalo to bursting, the only numbers that really count are those inside the nation’s 130,000 ballot boxes. Will the justices satisfy Lopez Obrador’s demand for a vote-by-vote recount? All seven judges are in their final year on the TRIFE bench and at least three members are candidates to move up to the Supreme Court in the next administration. In the past, the judges, who decide by majority opinion, have been quite independent of political pressures, ordering annulments and recounts in two gubernatorial elections and in whole electoral districts – but have never done so in a presidential election. Forcing that historical precedent is what Lopez Obrador’s call for mass mobilizations is all about.

If AMLO’s foes are counting on a long, drawn-out legal tussle that will discourage the faithful and eventually reduce his support to a handful of diehard losers, they have grievously miscalculated the energy and breadth of the leftist’s crusade to clean up the 2006 election. This past weekend, as this senior citizen trudged the highway down from Zapata country to the big city, two police officers lounging outside the highway tollbooths gently patted me on the back and urged me on. “Animo!” they encouraged, “keep up the spirit!”

When even the cops are in solidarity with Lopez Obrador’s fight for electoral justice, the writing is on the wall for Calderon and his right-wing confederates. Indeed, the wall of the old stone convent around the corner from my rooms here in the old quarter says it quite clearly: “AMLO PRESIDENTE!”

John Ross’s “Zapatistas! Making Another World Possible – Chronicles of Resistance 2000-2006” will be published by Nation Books this October.

Flame on

0

› kimberly@sfbg.com
SONIC REDUCER To the naked eye — and deep-fried, extra-crispy spirit — working fast food is a lot like what the Flaming Lips call the “sound of failure” on their latest album, At War with the Mystics (Warner Bros). It’s the worst of times … and the worst of times. And I can feel the pain — I once broke my back and suffered hypothermia of the right hand for Häagen-Dazs.
That’s probably why I found it so poignant when, in the recent Lips doc by SF filmmaker Bradley Beesley, The Fearless Freaks, Wayne Coyne went back to the Long John Silver, the spot where he’d donned a ludicrous pirate getup and tossed salted bits of seafood as a fry cook for more than a decade. And it was inspiring — because Coyne, now 45, is so shameless and proud about his contributions to our fast food nation. “I think that kind of mindless manual labor really does save the world in a way because you’re just busy doing stuff,” he told me over the phone from his Oklahoma City home in April. “Being busy keeps you out of trouble — keeps you away from too much existential doubt.”
Who’d’ve thunk that grease monkey in the plumed hat would become the blood-spattered, bubble-riding, balloon-shoving ringleader to a Flaming Lips nation? Certainly not me when I caught their brave but somewhat ineffective Walkman experiment at the Fillmore in ’99, during their Music Against Brain Degeneration/Soft Bulletin tour. Tuning into the selected radio channel, I could barely hear anything of the show through the flimsy headsets. But I guess word spread because the scene at this year’s Noise Pop opening show with the Lips was beyond standing room.
The opening moments of the show were worth it — the band tore into the stirring, trebly melody of “Race for the Prize,” Coyne whipped a lit-up sling around his head, smoke poured off the stage, and Santa-suited techs threw far too many balloons into the sold-out crowd. The punks had taken acid, to paraphrase the title of the 2002 Lips compilation, and it was a genuine spectacle, replete with darkness (in the form of Coyne’s monologues critiquing the Bush administration) and light (the cute animal costumes) and sing-alongs to Queen’s seemingly uncoverable “Bohemian Rhapsody.” The key to regime change lay with each individual, declared pop philosopher Coyne, suggesting that his audience make it “popular to be gay, smoke pot, and have abortions” throughout the country, not just in San Francisco.
“Maybe I’m a fool, maybe I’m embarrassing, maybe it’s humiliating, but at least it opens it up to say, ‘Well, you speak your mind,’” Coyne said later. “In San Francisco, you guys don’t grapple with the same problems that you would in Oklahoma City. Oklahoma City doesn’t have a tolerance of smoking pot, and gay people are on the verge of having all their rights taken away. You almost wonder, will people at some point try to reverse the civil rights movement.”
Speaking about the Lips’ 1983 inception, Coyne told Staring at Sound biographer Jim DeRogatis that “he’d like to be in a band like the Grateful Dead, throw big parties with people coming to them and having a great time.” DeRogatis said, “[Coyne] also said, ‘We’d like to be different; we’d like to still make records that don’t suck.’ They have elements of a jam band following, they have people from the indie rock ’80s. They have people who’ve discovered them in the alternative era. They have new Gen Y fans that downloaded The Soft Bulletin and think it’s incredible. Their audience is all over the map — they don’t fit into any demographic in terms of the way that corporations are slicing up the audience.”
The trick, said Coyne, is to never get too comfortable. “We always force ourselves to do something new, even if we’re not comfortable with it. I don’t think we really have any agenda other than to freak ourselves out.”
Ushered in with The Fearless Freaks; 20 Years of Weird: the Flaming Lips 1986–2006 (a collection of live recordings and oddities), their current tour, the DeRogatis book, the Fearless Freaks documentary, and next year with luck Christmas on Mars (Coyne’s feature film debut as a director), At War turns out to be, indeed, a war album, questioning uses and abuses of power with the opening track, “The Yeah Yeah Yeah Song.”
But that’s not to say Coyne shies away from the band’s evangelical tendencies. “We’re using drama and music and sort of heightening the whole experience to be somewhat of a religious experience,” he explains. “I think all good rock ’n’ roll has that. But hopefully the agenda is that you, as an individual, at the end of the day, decide what’s great about your life instead of looking to some rulebook or some invisible force up in space somewhere. Music is just one part of it, and at the end of the day, to me, it’s dumb entertainment.” Aye, aye, matey? SFBG
FLAMING LIPS
With Ween and the Go! Team
Sat/22, 6:30 p.m.
Greek Theatre, UC Berkeley, Berk.
$41.50
www.ticketmaster.com
SAY WHAT?
ROOTS OF OCHIS
Get down with these pulsating Northern Cali indie darlings. Just do it. No questions. Wed/19, 9:30 p.m., Hemlock Tavern, 1131 Polk, SF. $7. (415) 923-0923.
PAPERCUTS
The lovely Bay Area indie rockers’ album is coming out on Devendra Banhart and Andy Cabic’s label, Gnomensong. Thurs/20, 9 p.m., Café du Nord, 2170 Market, SF. $7. (415) 861-5016.
RACONTEURS AND KELLEY STOLTZ
Midwestern rock supergroupies meet the Detroit native–SF vinyl diehard (who was pals with Brendan Benson back in the day). Sat/22–Sun/23, 8 p.m., Warfield, 982 Market, SF. $29.50–$37.50. (415) 775-7722.
MINDERS
Enter It’s a Bright Guilty World (Future Farmer); then enter the dragon. The Kingdom and Junior Panthers also perform. Sun/23, 9 p.m., Bottom of the Hill, 1233 17th St., SF. $8–$10. (415) 621-4455.
MAVIS STAPLES
Legendary gospel-soul sister communes with the eucalyptus. Sun/23, 2 p.m., Stern Grove, SF. Free. sterngrove.org.