Review

Two’s the charm

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You could dig up what you need to know about Baltimore, Md.’s Thank You on the Internet pretty easily: names, dates, discography, samples, and pics. Friends of mine released a real labor-of-love album recently, and a preliminary Lycos search turned up a review that was 90 percent press release. This is the kind of disappointment that makes me think rock criticism à la Richard Meltzer — the kind that trades in imaginative, frequently lazy yet still illuminating misinformation — is due for a comeback.

Judging by the name, I thought Thank You was the sort of band to be "in" on these sorts of pranks at rock’s expense. But search "thank+you+band" and blam, there it is. Thank You has a bona fide album on a serious indie, Terrible Two (Thrill Jockey, 2008), and, depending on your perspective, it can count as a long EP or short LP.

The opening track, "Empty Legs," is an oceanic expanse of faux-metal churn. The whistle toots toward the beginning reach out to fellow Thrill Jocks OOIOO’s ecstatic, kinda impenetrable Taiga (2006), but once the musicians settle in, the flashbacks are of the Don Caballero/Storm and Stress variety. It’s perverse post-rock all the way, but you probably knew that anyway, based on song titles like "Embryo Imbroglio."

Terrible Two‘s best quality is precisely that we don’t know what to make of it. That’s the point of the album and what makes the band a close fit with post-rock’s steez. Many standard-issue indie descriptors apply to Thank You’s music — it’s rhythmic and sports chanty vocals and so-called tribal percussion — but there’s a lingering question over what we’re supposed to do with it. Zone/make/freak out? The music doesn’t hang together in an album-as-statement way: it just drifts in and out of cymbal-showered cosmic grooves.

Thrill Jockey describes Thank You’s sound as a resource for "beat-diggers and electronic artists," raw material for repurposing, but don’t be discouraged by the ambiguity. The toxic assets spilling out of indie’s boom and bust aren’t crispy organs and tuned tom-toms — instead they’re everything embodied by Beirut and Jeremy Jay. Those dudes took it too far, while Thank You, like tourmates Mi Ami, take it further out. For examps, the only reason to tune out of the chugging, hypnotic middle section of the slothy title track would be to peep the mind-melting percussive discourses of N’Diaye Rose Sabar Group’s video clips — though you’d still end up coming back to finish "Terrible Two" off.

Chris Coady, who’s worked with fellow Charm City residents Celebration, mixed Terrible Two and gives it the saturated, subtly warped tone that sounds like a really classy 4-track, a sound Beach House also go in for. The production enhances the already-glassy quality of the songs. I imagine Thank You’s process for composing as something I christen "deep jamming": discarding the first dozen ideas that you stumble upon as a group, then reducing the 13th riff by half and looping indefinitely. In this sense, Thank You could have existed in the mid-’90s without arousing suspicions of time travel: it sounds like the ensemble mainly uses the computer to check out A Minor Forest’s brainwashed.com page and play Minesweeper.

As far as Bmore bands go, this threesome out-Apollonian Animal Collective. Or out-Dionysian. We can leave that to the unspecified future lady/dude with the sampler to figure out.

THANK YOU

With Mi Ami and JAWS

Fri/27, 9:30 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Entropy

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› le.chicken.farmer@gmail.com

CHEAP EATS I’ve been eating a lot of spaghetti and meatballs lately because it’s Boink’s favorite thing to make. Meatballs. Makes sense, right? Making meatballs has everything that kids love: pouring milk somewhere that milk doesn’t belong (on bread), smushing with a fork, cracking eggs, beating, tearing parsley leaves off of stems, sticking your hands into meat and other slimy things, rolling it into balls …

And then the key to cooking with kids, I learned the hard way, is to get the unfinished product, in this case a tray of meatballs, out from under them before they give you a lesson in entropy. To Boink, who is almost four, there is as much fun or more in the act of catastrophic dismantling as there is in the act of ordered creativity. One time a carefully assembled counterful of ravioli turned into a mountain of sludge while I was using the bathroom, for example.

I’m old enough to know about entropy in a firsthand, personal, and bodily way. I don’t need these demonstrations. I mean, conceptually at least, three- and four-year-olds have got nothing on me when it comes to an understanding of thermodynamic principles. I love entropy; it’s just that I prefer ravioli. Especially for dinner.

So I have learned to hover, watch like a hawk, hold my bladder, and time my dive perfectly. From the counter to the stove, virtually no time at all passes — so that from Boink’s point of view, the meatballs were there, then they were gone.

It’s sad in a way to have to scramble such a pure, scientific mind with a sense of magic. But dinner has to happen. It’s in my job description.

Speaking of which, since I’m still trying to review you a restaurant now and again, and since I have a whole new neighborhood of restaurants to explore …

What’s that smell?

Oh yeah, I almost didn’t recognize it, it’s been so long, but here comes a three-part series. What I love about Rockridge is that for all the hoity-toit and hullabaloo, it turns out there are plenty of down-homey, down-to-earth, and downright reasonable restaurants to duck into, if you’re me.

And I don’t mean Pasta Pomodoro or Barney’s, although both those places have their place.

Soi 4, the great date destination, is not that much more expensive than other Thai restaurants, as I recall. And Zachary’s, for all its lines and overknownness, is manageable during off hours, and you can always order half-baked to take home. I’ve been back to the Crepevine a couple times, and still love it.

But what I didn’t know about Rockridge was the Rockridge Café (which rocks), Christopher’s burger joint (which is up there with Barney’s but has a much more jointlike feel), Sabuy Sabuy (cheap cheap Thai food), and a pretty gritty looking burrito place, the name of which escapes me.

I should rein it in before my little three-part series turns into a five-part three-part series. On the other hand, reining it in is not exactly my style.

So, to add a fifth to the mix, I was standing outside of Currylicious with the Maze, debating between going on in or crossing the street for an all-you-can-eat Indian buffet we’d passed on the way.

This rarely happens: the owner of Currylicious walked up from the other direction, handed us take-out menus, discussed the small matters of rice and tea with us, and we were sold. Well, the Maze was sold. I was already planning on Currylicious because my new landlordladypersonpeople had recommended it.

I think it’s the newest place on that part of College Avenue, but what do I know? I’m even newer!

Great food, good free tea, labyrinthine layout…. What a dumb name, though. They sound like they were named by Yahoo, or some dating site, because their first five choices were already taken.

I’m not going to hold it against them. Lamb cholay, which is garbanzo beans and three big lumps of lamb in a nice, spicy curry ($6.99), naan ($1.49), and the Maze got vegetable biriyani ($6.99), and that was good too.

New favorite restaurant! Across the street from my new favorite bar, McNally’s, which has a fireplace and a pool table. Exactly on the way to my new favorite post office … and, by the way, I mean it. I’m not a post office reviewer, but this one looks like it is run by three-year-olds. It’s a mess! I can’t wait to go back.

CURRYLICIOUS

Daily: 11 a.m.–10 p.m.

5299 College, Oakl.

(510) 450-0644

No alcohol

MC/V

“Michael Light: New Work”

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REVIEW After viewing Trevor Paglen’s contribution to the SECA Art Awards exhibition at SFMOMA, you can stroll six or seven blocks to Hosfelt Gallery, for a small — yet vast — sample of new work by Michael Light. The walk is a revealing one in terms of SF’s urban landscape, and once you’ve had the Alice-like experience of stepping out of Clementina’s abandoned-alley atmosphere through the Hosfelt’s enormous door, you can dwell on the influence that San Francisco resident Light has had on Paglen’s photography, and the back-and-forth (not to mention the up-and-down) between their vital visions.

"I work with big subjects and grand issues," Light told Robert Hirsch in a 2005 interview. "I am fascinated about that point where humans begin to become inconsequential and realize their smallness in relation to the vastness that is out there." In the past, this fascination has revised moon landings and nuclear testing in a revelatory manner. Light’s current work has him shooting the American West as part of an ongoing project that has sported tentative titles such as Dry Garden and, more recently, Some Dry Space: An Inhabited West. This project ricochets off of Paglen’s recent written and photographic studies of black spots in Nevada, as well as Olivo Barbieri’s aerial film-and-photo endeavor, Site Specific_Las Vegas 05, which had a stay at SFMOMA not too long ago.

The film segment of Barbieri’s Site Specific_Las Vegas 05 followed a trajectory from the ambiguous Nevada desert to Hoover Dam and then Sin City. The overall flight path of Light’s project is even more ambitious. While Barbieri’s imagery is stunning, it lacks the figurative and symbolic depth of Light’s gorgeous, absurd, disgusting, and lovely shots of landscapes under human siege. Light has argued that the oracular power of books is strengthened when set against the playpen of the Internet. The book he’s put together for this show — a citizen’s update of Timothy O’Sullivan’s congressional railroad surveys of the 1870s, displayed on a cinematic camera tripod — is too good for a screen and awesome on the page.

MICHAEL LIGHT: NEW WORK Through March 21. Tues.–Sat., 11 a.m.–5:30 p.m. Hosfelt Gallery, 430 Clementina, SF. (415) 495-5454, www.hosfeltgallery.com

“Gomorrah”

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REVIEW In the giant, rundown apartment buildings of Naples and Caserta, organized crime doesn’t run afoul of the law — it is the law. Based on the best seller of the same name by Roberto Saviano (who co-scripted), Matteo Garrone’s Gomorrah has already hauled in European laurels galore, including the Grand Prize at the 2008 Cannes Film Festival. Inexplicably not nominated for the Best Foreign Language Film Oscar (not uplifting enough? too violent?) or any Oscar for that matter (see: 2002’s City of God), this multicharacter drama examines the Camorra crime family from the ground up, zeroing in on personal stories to show how gangsters have their paws in everything from street-level drug dealing to toxic waste dumping to Italy’s famed haute couture biz. It’s a long movie, dense with characters and subplots, but standout moments shine above the desperation and grit: after an initiation ritual, baby-faced teenager Totò proudly rubs a gunshot-sized bruise on his chest, sustained through a bulletproof vest; cackling at the joy of finding a weapons cache, a pair of ne’er-do-well Scarface fans scamper in their skivvies; an educated young man realizes his lofty job is actually exploiting children, not to mention poisoning the environment. Filming in the Camorra’s actual stomping grounds, Garrone realistically replicates a world where everyone is in cahoots with the bad guys — whether they choose to be or not.

GOMORRAH opens Fri/27 in Bay Area theaters.

Street fight

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› steve@sfbg.com

On a drizzly Feb. 17 evening in First Baptist Church, near the intersection of Market and Octavia streets that has become notorious for bicycle versus car collisions, more than 200 members of the San Francisco Bicycle Coalition came together to plot a major offensive.

"We honestly weren’t sure how many people would come out tonight, so this is very impressive," SFBC executive director Leah Shahum told the young, engaged crowd. "We are embarking tonight on the biggest, most ambitious project that the Bike Coalition has ever taken on."

For almost three years, the bicycle advocates have been waiting. Since the city’s bicycle plan was struck down by the courts in 2006 for lack of adequate environmental studies, there’s been a legal injunction against any bike-related projects, leaving an incomplete network of bike lanes even as the number of cyclists in the city soared and SFBC’s membership reached 10,000.

Now, with city officials expecting to have a new plan approved and the injunction lifted by this summer, SFBC has set the ambitious goal of getting all 56 near-term projects mentioned in the plan approved by Bike to Work Day, May 14.

"We’re in a fine position to get the whole enchilada, all 56 projects," Shahum said, a goal that would boost the current 45 miles of bikes lanes to 79 miles and the 23 miles of streets with the "sharrow" bike markings up to 98 miles.

While some knowledgeable sources in the bicycle community say a three-month timeline isn’t realistic for this whole package, the energy and coordination displayed at that meeting shows that this will be a formidable campaign with the potential to rapidly change the streets of San Francisco.

"There’s nothing more to stop this city from going forward with these projects," Andy Thornley told the crowd, sounding more like a military strategist than the SFBC program director that he is. He flipped through slides and stopped at one showing members of the Municipal Transportation Agency Board, which will consider the projects.

"Your mission is to convince these seven people," Thornley told the crowd. "They are the people who say yes to traffic changes or no to traffic changes."

The crowd was divided into nine groups representing different neighborhoods in the city. On the tables at the center of each group were maps, timelines, and other documents, along with sign-up sheets that would be used to organize everyone into online discussion groups to plot strategy and discuss progress and obstacles. Large pieces of butcher paper headlined "Key Stakeholders" and "Issues and Opportunities" were laid out for group brainstorming.

But Thornley made clear that each group would work toward a common goal. "We’ve got to have a whole network," he said. "I don’t want people to lose sight of the fact that the network is the thing."

SFBC community planner Neal Patel defined the expectations: "Every week or every other week, we’ll be asking you to do something."

The groups plan to reach out to supporters and potential opponents in the neighborhoods to make decisions on preferred options within each project, rally the support of political leaders and other influential people, generate media coverage, develop persuasive arguments, and generally create a grassroots political blitzkrieg.

"It’s very easy for the city to say no," Amandeep Jawa, an SFBC board member, told the Mission District group. "The best thing we can do is give them a pile of reasons to say yes."

This wasn’t just the old veterans and familiar faces, but also fresh, young activists like Jennifer Toth, 26, who moved to San Francisco a year ago and has already become invested in this fight.

"The injunction has really held back new biking infrastructure, just at the time when cyclists are increasing exponentially, as people turn to bikes as an alternative to cars. I myself sold my car as soon as I moved here, and really enjoy biking across town," she told the Guardian.

Toth, who has been a part of antiwar and anti-globalization movements, said she was impressed by the SFBC’s approach: "It was really well coordinated, and I love how they made great strides to link neighbors up together."

The next day, at the downtown office of the San Francisco Planning and Urban Research Association, Oliver Gajda, SFMTA’s bike program manager and the point person on the bike plan, led a smaller and more subdued forum on the bike plan.

Gajda noted that the city’s transit-first policy prioritizes safer bicycling over automobiles, which he said is appropriate given that San Francisco is the second most dense city in the country. The most recent SFMTA traffic survey found that 6 percent of all vehicle trips in San Francisco were by bicycle last year, and the number of cyclists increased by 25 percent from the previous year.

The 56 near-term projects identified in the bicycle plan, Gajda said, are designed to quickly make the system safer by improving dangerous sections and addressing the question, "How do we fill those gaps and really complete the bike network?"

He placed the price tag for those first 56 projects at about $20 million, about $4 million of which is covered by existing grants, while longer term projects in the five-year plan would come to about $36 million.

Yet in response to questions from the audience, Gajda admitted that the approval process for some of the more significant near-term projects — such as the bike lanes proposed for Second, Fifth, and 17th streets, which would involve the loss of traffic lanes or parking spaces — could be complicated and controversial.

SFMTA spokesperson Judson True said the agency was still figuring out how to handle the bike projects. "We’re looking at what we can do, how fast, but we share the goals of getting the EIR completed and paint on the street as soon as possible," he said.

True said he welcomes the SFBC campaign. "We’re happy they’re pushing because we want to head in the same direction. We’re definitely stretched, but the commitment to the Bike Plan is enormous at the agency."

That commitment really rankles Rob Anderson, who filed the lawsuit that resulted in the injunction and pledges to oppose SFBC’s campaign. He characterizes bicyclists as a vocal fringe group and said the city shouldn’t take space from Muni or cars to promote bicycling.

"It’s a zero sum game on the streets of San Francisco," Anderson told the Guardian. "They’re going to have to decide how much we want to screw up the streets for this small minority."

While Anderson concedes that the studies now supporting the Bike Plan are "pretty thorough," he notes that many projects will have what the EIR called "significant unavoidable impacts." And he thinks it’s crazy to give over more street space to bicyclists, particularly on crowded corridors like Masonic Avenue.

Anderson’s group, Coalition for Adequate Review (CAR), has never been large — it’s mostly just Anderson and attorney Mary Miles — but he’s likely to find allies among businesses and residents who fear lost parking spaces and other roadway changes as the projects move forward.

"I’m looking forward to this process," Anderson said. "This is crunch time."

For details on all the proposed projects, visit www.sfbike.org or www.sfmta.com/cms/bproj/Bicycle_Plan_Projects.

A search for patterns in the light – and dark

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A search for patterns in the light — and in the dark

ENIGMATIC: TREVOR PAGLEN AND THE EVIDENCE OF THINGS NOT SEEN

Trevor Paglen’s section of the 2008 SECA Art Award exhibition is somewhat centrally located — you have to pass through it to get to Jordan Kantor’s room, as well as to a small room containing pieces by all four awardees. This positioning resonates, for Paglen is nothing if not conscious of maps and their meanings, and his contributions have visual connections to the other three artists. The dizzying, multicolored swirls of Nine Reconnaissance Satellites over the Sonora Pass, a c-print from 2008, aren’t far from Tauba Auerbach’s post-op art graphics. The night skies in Paglen’s photography aren’t far from the deep blues and flaring lights of Kantor’s 2008 oil-on-canvas Untitled (lens flare), where the painted camera effects are also suggestive of one of Kantor’s Paglenesque earlier subjects, the 1986 Challenger explosion.

Such ties are helpful, because the flagrantly governmental subject matter and complicatedly political perspectives of Paglen’s work make it too easy to downplay or ignore its artistic facets. The white spots of 2008’s PARCAE Constellation in Draco (Naval Ocean Surveillance System, USA 160) are a photo-corollary to those found in Bruce Conner’s lovely late-era ink drawings. (Like Paglen, the late Conner kept his eye on activities the U.S. hides in plain sight, and that awareness adds undercurrents to works of his that might otherwise be coded as purely spiritual.) When Paglen, from a mile away, uses a long-lens camera to uncover the ambiguous activities of an unmarked 737 in a black spot in Las Vegas, I’m reminded of the telescopic images of cruelty at the end of Pier Paolo Pasolini’s 1957 Salò. But unlike Pasolini, Paglen is far from being in full charge of the staging, so his seductive images can only blurrily hint at barbarism or sinister motive.

"Photography — and this is especially true after September 11 — is a performance," Paglen told Thomas Keenan in an Aperture article from last year. "To photograph is to exercise the right to photograph. Nowadays, people get locked up for photographing the Brooklyn Bridge." Paglen’s pictures are the most successful portion of his SECA contribution — his presentation of emblematic Pentagon patches, while provocative and even aesthetically playful, raises (much like William E. Jones’ so-called 2007 film Tearoom) problems of authorship. By looking up at the sky and revealing that it’s looking back down at us, Paglen creates a grounded answer to the work of aerial photographers such as Michael Light, whose visions reorient one’s perspective. Paglen isn’t out to make you see clearly. He wants you to look deeper. And wonder. (Johnny Ray Huston)

For a review of Trevor Paglen’s new book, Blank Spots on the Map (Dutton), see Lit, page 42.

HER EMPIRE OF SIGNS: NOT-SO-RANDOM NOTES ON TAUBA AUERBACH

Tauba Auerbach is shaking up her spin-off sphere of the so-called Mission School with optical investigations into that interzone between the figurative and abstract, representational systems and what they communicate, order and chaos. This Bay Area native — at 27, the youngest of the current SECA Award winners — was likewise shaken to the core as an eight-year-old during the 1989 Loma Prieta earthquake. "Actually I was at gymnastic class on Judah Street and on the uneven bars," she recalls by phone from New York City, where she now resides. "I was swinging from the low bar to the high bar when it just moved away from me and I fell. It was absolute chaos. Adults screaming conflicting instructions to us. I saw the windows bow in and out, and I remember driving home over the hill and seeing smoke and thinking our house was gone."

The memory bubbles up — as vivid and close to the surface as Auerbach’s perusal of chance and broken glass, Shatter II (2008), in the SECA exhibition — while she talks about her latest project: a piece for the Exploratorium’s "Geometry Playground," which opens in September. The title sounds like a perfect fit: a brain-teasing sense of play underlies many of Auerbach’s projects, including the design of new mathematical symbols for Cambridge University logician Byron Cook’s research into computer science’s famed termination, or halting, problem. "I think there are shortcomings in any coding system," she muses. "Binary is so interesting because the components are so limited…. Every time you want ambiguity in a binary system, you have to simulate it."

Auerbach’s darting intelligence peels off in many directions, much like her eye-boggling patterns. The artist’s old day job, in which she learned the lost art of sign painting at New Bohemia Signs in the Mission District, dovetails with her witty, abstracted deconstructions — or explosions — of writing and semaphore systems, assorted alphabets, Morse code, and eye charts. Two such 2006 works, The Whole Alphabet, From the Center Out, Digital V and …VI, which layer letters drawn from a digital clock, are on display at SFMOMA.

Penetrating glances into chaos and change yielded Auerbach’s largest pieces — the 2008 Crumple paintings — in which she crumpled paper, photographed the results, and then translated the creases onto canvas with halftone printing and paint carefully applied by hand. The folds materialize as one steps further back — and break down into dizzying pixels close up. Multiple entry points exist down this rabbit hole, first carved out by Op artist Bridget Riley. But as with Auerbach’s 2008 Static chromogenic prints, which saw her looking for randomness in analog TV static, the hidden spectrums and other visual tricks are rendered with an elegance a scientist would appreciate. (Kimberly Chun)

NEGATIVE LIGHT: BEYOND THE CANDID CAMERA WITH JORDAN KANTOR

In Jordan Kantor’s paintings, meaning is candid. When the word "candid" entered the English language in the 17th century, it was closer to its Latin roots, meaning "bright," "light," "radiant," "glow," or "white," with whiteness symbolizing purity and sincerity. Later, as the word approached then copulated with the critical language of photography — that crazy new field of "light writing" initially accused of everything from demonic possession to being a potential assassin of traditional visual arts like painting — "candid" gave birth to its common usage today, meaning "frank," "blunt," "severe," a harsh snapshot, brutally honest vision. So severity in art became intertwined with truth.

Kantor’s local gallery, Ratio 3, with its emphasis on projects’ overall coherence, is a welcome home to his current trajectory. His pieces for the SECA Art Award exhibition are alive with many truths at once, their spaces equally negative and positive. The three Untitled (lens flare) paintings and Untitled (HD lens flare), all from 2008, make you step back, only to feel as if your are standing closer than before. Untitled (Surgery) (2006–07) and Untitled (Eclipse) (2008) glow with negative light. This work is in stride with Kantor’s participation in important group shows at Galeria Luisa Strina in São Paolo ("This Is Not a Void," 2008) and New York’s Lombard-Freid Projects ("Image Processor," 2007) that dealt with our unstable relationship with images. It confirms that he is a photographer who just happens to use paint. I see aspects of Linda Connor’s slow, large exposures here, as well as Cindy Sherman’s foxes-in-the-headlights humans.

Kantor isn’t hardened by academia, though he has a PhD from Harvard and teaches at California College of the Arts. The brilliant candidness in his pictures is tied to an aesthetic understanding of human desires and scientific pursuits, but also to a humanistic refusal to be neutral. If you spend enough time with his work, you start to see that it is candid in its celebration, not just in its criticism. It reminds me of the ending to poet James Wright’s "A Christmas Greeting," from Shall We Gather at the River (1963), where the dead and the living ask the same questions: "Charlie, I don’t know what to say to you," the poet pines to someone he might have known or just imagined, "Except Good Evening, Greetings, and Good Night, / God Bless Us Every One. Your grave is white. / What are you doing here?" (Ari Messer)

She’s a magic woman

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SECA ART AWARDS




› a&eletters@sfbg.com

There is a lot of play going on in the work of Desirée Holman. As evinced by the handmade masks, props, and costumes that populate her multimedia pieces — a family therapy workshop comprised of dolls in 2002’s Art as Therapy; a clan of Bigfoot-like sapiens in 2005’s Troglodyte; and most recently, the estranged visages of television’s Huxtable and Conner families in The Magic Window — an anarchic "let’s raid the dress-up box" impulse is often her guiding force. Family sitcoms, pop cultural junk food, and mediated existence in a thoroughly televised culture are her source materials.

From Cindy Sherman’s faux film stills and prosthetic body part augmentations to Paul McCarthy’s return-of-the-repressed performances using all manner of foodstuffs and costume shop detritus, the act of playing dress-up has its art-historical precedents. While Holman’s work superficially brings Sherman and McCarthy to mind (the influence of the former is certainly apparent in 2006’s Bucolic Life, where she plays mother and wife to a mannequin family within a series of supposedly candid snapshots), her art is not as routinely fixated on confronting the viewer with the grotesque and abject.

"I can see why people would find my work creepy, but I don’t see it that way," laughs Holman over the phone. Judging from the opening night crowd’s response to The Magic Window — which takes pride of place at the SECA Art Award show — the most common response to Holman’s work seems to be nervous laughter. But when Roseanne Conner resembles Leatherface, it’s not hard to see why.

However palpable, unease is just a surface response to Holman’s rough-hewn masks and bodysuits. As fellow Guardian critic Glen Helfand noted in an Artforum review of Troglodyte, the empty costumes of the piece’s hirsute, apelike creatures "still channel our evolutionary connection to them" — a connection underscored by videos and photographs of the costumed creatures smoking cigarettes and dancing. No matter how funny or scary we find the ape family, we remain inescapably tied to them. Holman’s art teases out these strange channels and treats them as invitations to play along.

This invitation to connect beyond familiar comfort zones — even if, as viewers, we are frequently stuck, costumeless, on the outside looking in — is what animates The Magic Window, a project originally conceived for and shown at SF’s Silverman Gallery, which is showing work by Holman this April. Comprised of a three-channel video on one wall and colored pencil drawings on the wall opposite, The Magic Window takes its title from a 1939 ad campaign used to sell early, primitive TV sets to American consumers. But the name could just as easily be applied to the sculptural masks worn by Holman and her cast.

The video starts off with parallel narratives loosely modeled after incidents from Roseanne and The Cosby Show, and ends with both families leaving their respective screens to visit each other’s homes/sets. For a finale, the two clans come together for a center-screen psychedelic dance-off set in a purely virtual space where everyone glows with a green-screen aura. (This aura effect is rendered beautifully through tensile wisps in Holman’s delicate drawings). In other hands, the Huxtables and Conners would be mined for parodic laughs or used for nastier ends (see McCarthy’s and Mike Kelley’s assault on family life in their 1992 video Heidi), but Holman has a deep affection for her source material. "I personally like both television shows, which were really progressive for their time," she says. "And I really wanted to look at the similarities between the two families."

Holman’s collaborative fantasy union — in which one of television’s most popular, white, middle-class families gets down with its first-ever affluent, upper-middle class African American kin — could not resonate more with our country’s current political moment. The Huxtables are now, in a sense, the First Family, and the notion of a "post-racial America" has never had greater currency or been as thoroughly debated. To wit, Holman recently revealed in an interview with the blog Future Shipwreck that she created the masks for The Magic Window by attempting to combine the facial characteristics of her cast members with those of the actors who portrayed the characters on television.

In light of the recent election and current events, Holman has, understandably, been thinking a lot about The Magic Window. "On the one hand, [it presents] a critique of reenacting something that is already a fiction," she says, when asked about the piece. Then, as if channeling the zeitgeist on cue, she continues, "But on the other hand — and more powerful for me — are the acts of hope that these families act out in the video."

SECA ART AWARD EXHIBITION: TAUBA AUERBACH, DESIRÉE HOLMAN, JORDAN KANTOR, AND TREVOR PAGLEN

Through May 10; $12.50 adults, $8 seniors, $7 students (free for 12 and under)

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

Family, business, and sexuality

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REVIEW Brilliante Mendoza’s Serbis reminded me of a Robert Altman film. The story centers on the Pineda family, who operate a run-down movie house playing porn features in the provincial Philippines. The film weaves in and out amid the many relatives living together while showing a glimpse of the activity within the theater itself (the sex trade in action). It feels as though we are simply tagging along like a friend visiting for the day, a feeling heightened by extensive handheld camera use. The family is not one without problems: the matriarch must deal with a divorce trial, a younger son impregnates his girlfriend, and a daughter bears the burden of running the theater from day to day. Meanwhile, the in-house sex work is so lively that the prostitutes appear to prosper far more than the struggling Pinedas. The latest from acclaimed director Mendoza (2007’s Slingshot and Foster Child), Serbis offers an overall interesting look at the dynamics of family, business, and sexuality. 

SERBIS opens Fri/20 in Bay Area theaters.

“Every Sound You Can Imagine”

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REVIEW Art is in the air at City Hall, thanks to Bill Fontana’s "Spiraling Echoes" installation. In contrast, an ambitious exhibition at New Langton Arts explores the visual properties of musical pieces. Curated by Artforum contributor Christoph Cox, "Every Sound You Can Imagine" is rife with inkjet or offset prints of compositions — Morton Subotnick’s smudgy pencil jottings are an exception. A hefty percentage of works avoid standard notation to create sight-based sonic suggestions. To glean from just one small segment or wall, devoted to late-1990s works: Ryoji Ikeda’s Variations for Modulated 440hz Sinewaves is wonderfully nauseating in its op art effect, the score for Signal’s Lines conjures clouds in the sky, and William Basinski’s Shortwavemusic suggests the jagged lines of a seismograph or Richter scale.

These works are strictly black-and-white, but Cox’s survey contains many small rainbows of playful pencil and Magic Marker musicality. Karlheinz Stockhausen’s Cosmic Pulses isn’t alone in its crayon radiance — Jim Hodge’s Sea of Love, Leon Kirschner’s Study for "String Quartet No. 3," Allan Bryant’s Pitch Out, Yasuo Tone’s Ten Haikus of Basho, and John Cage’s Aria (which likens jazz to dark blue and Marlene Dietrich to the color purple) all deploy the color chart as musical chart. Barry Guy’s Witch Gong Game includes felt-tip images of mandalas, pointed stars, graphic diagrams, and moon slivers, while Rainer Wehringer’s responds to Györgi Ligeti’s Artikulation by creating black and brown combs or hair clippers. Kinetic geometric designs — the circles of Cornelius Cardew’s Treatise, the bird flock of check marks that is Cage’s Study for Piano and Orchestra — aren’t far from the graphic potency found in Jonny Trunk’s handsome 2005 monograph of LP covers The Music Library.

Splicing songbooks to fuse Mendelsohn to John Lennon and Yoko Ono, the collage aesthetic of Hodges’ A Line Drawn in the Dark is, along with a piece by Steve Roden, one of the more inventive works here. The late Bruce Conner’s Untitled (music) has an effect similar to Will Yackulic’s recent experiments in drawing with a typewriter, while his contemporary, Wallace Berman, mines language and numeric systems. Downstairs, Christian Marclay’s video, Screenplay, sets many of these free-thinking compositional concepts into motion.

EVERY SOUND YOU CAN IMAGINE Through March 28. Tues.–Sat., noon–6 p.m. New Langton Arts, 1246 Folsom, SF. (415) 626-5416, www.newlangtonarts.org

Money talks

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› news@sfbg.com

The economy’s a mess, and the housing crisis, financial meltdown, and skyrocketing unemployment rates have left a lot of San Franciscans short of cash. But the flow of big downtown money into political campaigns hasn’t slowed a bit.

In fact, a tally of all 2008 monetary and in-kind political contributions logged in the SF Ethics Commission Campaign Finance Database shows that even in the face of the worst financial crisis since the Great Depression, money spent on local political campaigns in the city swelled to a whopping $20.6 million. That grand total, which does not include loans or so-called "soft money" like independent expenditures, is higher than that of any previous year recorded in the Ethics database, which tracks campaign spending back to 1998.

A review of the entire database paints of picture of how influence money flows in San Francisco: Six of the top 10 donors over the past 10 years are big businesses and downtown organizations that promote the same conservative political agenda. The campaign cash often wound up in the same few political pots — a handful of supervisorial campaigns and some coordinated political action committees.

And despite spending ungodly sums of money, downtown lost more races than it won.

More than half the total money spent in 2008 came from one source: Pacific Gas and Electric Co., which plunked down $10.2 million last fall for the No on Proposition H campaign against the San Francisco Clean Energy Act. That November ballot measure, which lost under PG&E’s barrage, would have paved the way for public power, initiating a process to make the city the primary provider of electric power in San Francisco with a goal of 50 percent clean-energy generation by 2017.

The powerful utility wasn’t only the biggest spender last year — it claims the No. 1 slot on a list of all campaign contributions spanning from 1998 to 2008, which the Guardian compiled using Ethics data. PG&E dropped a juicy $14.7 million into local political campaigns over that period, beating out runner-up Clint Reilly by more than $10 million.

Below are brief introductions to the 10 biggest spenders, 1998-2008.

They’ve got the power. The colossal sums PG&E has forked over to influence ballot measures over the years puts the utility in a category all its own. SF isn’t the only municipality where the company has poured millions into defeating a public power proposal. In 2006, when Yolo County put measures on the ballot to expand the Sacramento Municipal Utility District (SMUD), which would have edged PG&E out of the service area, the utility spent $11.3 million to try and keep it from happening.

Pay to the order of Clint Reilly. Reilly, the former political consultant, now runs a successful real estate company. While his name routinely comes up on the roster of campaign contributors, he owes his status as No. 2 to his 1999 campaign for SF mayor, into which he poured some $3.5 million of his own money. "Most of the money we give is for Democratic candidates or progressive politicians, or neighborhood-oriented issues," said Reilly, who also served as president of the board of Catholic Charities.

Committee on really high-paying jobs? Third in line is the Committee on Jobs, a political action committee that aims to influence local legislation affecting business interests. The PAC is bankrolled in part by the Charles Schwab Corporation, Gap, Inc., and Gap founder Don Fisher — all of whom surface on their own in our Top 30 list. With a grand total just shy of $3 million, the committee coughed up about $100,000 in campaign-related spending in 2008. Much of that funding went to similar political entities, including the SF Coalition for Responsible Growth, the SF Chamber of Commerce 21st Century Committee, and the SF Taxpayers Union PAC (see "Downtown’s Slate," 10/15/2008). This past November, the COJ also backed the Community Justice Court Coalition, formed to pass Proposition L, which would have guaranteed first-year funding for Mayor Gavin Newsom’s small-crimes court in the Tenderloin. Prop. L failed by 57 percent.

Bluegrass billionaire. San Francisco investment banker and billionaire Warren Hellman has dropped nearly $1.2 million over the years into local political campaigns, our results show. Dubbed "the Warren Buffet of the West Coast" by Business Week for his sharp financial prowess, Hellman co-founded Hellman and Friedman, an investment firm, in 1984. Hellman is known for putting on Hardly Strictly Bluegrass, an annual SF music festival. While he tends to contribute to downtown business entities such as the Committee on Jobs and the Golden Gate Restaurant Association, in 2008 he devoted $100,000 to supporting a June ballot measure, Proposition A, that increased teacher salaries and classroom support by instating a parcel tax to amp up funding for public schools.

Fisher king. Don Fisher, founder and former CEO of Gap, Inc., is another one of SF’s resident billionaires. While Gap, Inc. turns up in 17th place in our results, Fisher himself has poured more than $1.1 million into entities such as the Committee on Jobs, SFSOS, the San Franciscans for Sensible Government Political Action Committee, and other conservative business groups. Fisher’s total includes money from the "DDF Y2K family trust," a Fisher family fund that shows up in Ethics records in 2000. In that year, $100,000 from that trust went to support the Committee on Jobs’ candidate advocacy fund, and another $40,000 went to a pro-development group called San Franciscans for Responsible Planning.

Not a very affordable campaign, either. Sixth up is Lennar Homes, the developer behind the massive home-building project at Hunters Point Shipyard, which the Guardian has covered extensively. The vast majority of its $1 million reported spending was directed to No on Prop. F, a campaign sponsored by Lennar to defeat a June ballot measure that would have created a 50 percent affordable-housing requirement for the Candlestick Point and Hunters Point Shipyard development project. The measure failed, with 63 percent voting it down.

Chuck’s bucks. Charles Schwab Corp., which set up shop in San Francisco in the mid-1970s, is an investment banking firm that reports having $1.1 trillion in total client assets. The corporation ranks seventh in our Top 30 list, with some $973,000 in donations. In 27th place is Charles R. Schwab himself, the company’s founder and chairman of the board (and the guy they’re referring to in those "Talk to Chuck" billboards posted all over SF). If Schwab’s individual and corporate donations were combined, the total would be enough to bump Warren Hellman out of fourth place. Schwab’s dollars are infused into the Committee on Jobs, the San Francisco Association of Realtors, the Golden Gate Restaurant Association, SF SOS, and other downtown-business interest organizations. "We’re a major company here in the Bay Area and a major employer," company spokesperson Greg Gable told the Guardian. "We’re interested in political matters across the board — it’s not limited to any one party." But it’s limited to one pro-downtown point of view.

The brass. The San Francisco Police Officer’s Association is another major player, spending some $913,000 since 1998 on political campaigns. The organization backed candidates Carmen Chu, Myrna Lim, Joseph Alioto, Denise McCarthy, and Sue Lee for supervisors in 2008, contributions show. All but Chu lost.

At your service. SEIU Local 1021 and SEIU 790 crop up frequently in Ethics data, with a grand total of about $860,000 in spending over the years. SEIU representatives recently turned out en masse at a Board of Supervisors meeting to urge the supervisors to support a June 2 special election to raise taxes in order to boost city revenues and save critical services from the hefty budget cuts that are coming down the pipe.

Friends in high places. No real surprises here: the Friends and Foundation of the San Francisco Public Library contributed its money to, well, ballot measures that would have affected the library. In 2000, for example, the F and F plunked $265 thousand into an effort called the "Committee to Save Branch Libraries — Yes on Prop. A."

Top 30 San Francisco campaign donors, 1998-2008

1. Pacific Gas & Electric $14,831,486
2. Clint Reilly $4,138,089
3. Committee on Jobs $2,970,857
4. Warren F. Hellman $1,191,970
5. Don Fisher (incl. Don & Doris Fisher Y2K trust) $1,164,286
6. Lennar Homes $1,002,861
7. Charles Schwab Corporation $973,176
8. S.F. Police Officers Association $913,834
9. SEIU Local 1021 & SEIU Local 790 $860,979
10. Friends & Foundation of the S.F. Public Library $858,082
11. California Academy of Sciences $818,154
12. Residential Builders Association of S.F. $753,857
13. Steven Castleman $665,254
14. S.F. Association of Realtors $647,299
15. S.F. Chamber of Commerce $614,824
16. SEIU United Health Care Workers West & Local 250 $585,937
17. Gap, Inc. $573,959
18. California Issues PAC $556,238
19. Corporation of the Fine Arts Museums $541,474
20. Wells Fargo $464,899
21. Building Owners & Managers Association of S.F. $464,027
22. Bank of America $429,316
23. Golden Gate Restaurant Association $422,685
24. SF SOS $407,491
25. AT&T Inc. and affiliates $404,704
26. Clear Channel $391,783
27. Charles R. Schwab (individual) $362,250
28. Yellow Cab Cooperative $344,907
29. S.F. Apartment Association $280,376
30. San Franciscans for Sensible Government PAC $279,009

SF’s economist agrees that Newsom is wrong

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By Steven T. Jones
When I criticized Mayor Gavin Newsom’s latest budget plan as bad economics that will do more harm than good to San Francisco, Newsom spokesperson Nate Ballard said I (and the sources I relied on, from Moody’s to congressional Democrats to President Obama) didn’t know what I was talking about.
“OK, so you think he’s wrong. The City’s chief economist Ted Egan thinks he’s right. So does the Mayor’s chief economic advisor, Michael Cohen. I think the Mayor is probably going to go with Ted and Mike!” Ballard wrote (later referring me to this article, as if it proved his point).
Maybe Ballard or Newsom should have actually talked to Egan, who didn’t review Newsom’s plan and doesn’t agree with its premise. Egan told me, “We were in no way saying you should cut taxes to stimulate the economy, particularly if it means reducing government spending.”

“Fabliaux: Tom Marioni Fairy Tales”

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REVIEW I like Tom Marioni for the same reasons that I dig New Order. Though the band came after Marioni’s early sound sculptures, both arose with driven clarity, holding up 20th-century culture to the eye of the storm. They’re like woodsy fairy tales gone splendidly, mockingly urban: you’ll remember the imagery, hear the melody, find them in your dreams, and hallucinate them on old concrete walls long after you’ve left the show. So it’s fitting that "Fabliaux: Tom Marioni Fairy Tales" includes both a selection of Marioni’s printmaking work, published with various master printers at Crown Point Press, and a book of sardonic, remixed fables, with the prints as illustrations of the tales’ philosophies. From the ghostly aquatint Process Landscape (1998) to the bold, blood-like lines of A Door Must Be Either Open or Closed (2002), the exhibition summons noisy spirits and stands up to multiple listening sessions.

I suffer from an inability to experience art, especially "silent" or conceptual art, without hearing things, and Marioni, a keystone in the California Conceptual Art movement and a San Francisco resident since 1959, makes it outright impossible for me not to hear a soundtrack alongside his prints, whether New Order’s song "Your Silent Face" or the faint sound of a poet repeating herself in the Northern California fog. At the recent Martin Puryear exhibition, across the street from Crown Point at SFMOMA, Puryear’s painterly forms had a hypnotic effect, and the most striking of Marioni’s prints here — A Rose … (2008) and Flying with Friends (Drypoint) (2000) — ring out like a reversal, a dis-assemblage, of that exhibition’s solid circles of wood, which were described by the curators as "wall-mounted ring forms" and by Puryear as "occupying the same space as paintings yet lacking a center." A Rose … references Gertrude Stein’s unforgettable phrasing, and looking at Marioni’s grassy drypoints I hear Stein’s wry lilt, her words running round and round.

Or maybe I just hear things because of all the free beer. Marioni recently staged a comeback of his seminal project, The Act of Drinking Beer with Friends is the Highest Form of Art (1970-ongoing) at a time when, as friends remind me every time Kanye West starts whining on the radio, nobody’s popping champagne.

FABLIAUX: TOM MARIONI FAIRY TALES Through Feb. 21. Tues.–Sat., 10 a.m.–6 p.m. Crown Point Press, 20 Hawthorne, SF. (415) 974-6273. www.crownpoint.com

Import Export

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REVIEW E.M. Forster’s plea to "only connect" is given a scathing work-over in Ulrich Siedel’s Import Export, which makes its U.S. theatrical premiere at Yerba Buena Center for the Arts. Siedel provides more displays of our species capacity for spite, indifference, and brutality than all the Saw films combined, though nary a drop of blood soils the screen. Siedel has no need for Rube Goldbergian gore machines — the chips dealt by the fall of the USSR to the residents of the Ukraine, now parasitically exploited by its wealthier Western neighbors, are enough. That the film’s title coldly describes the movement of goods and services as well as the cross-border trajectories of its two main characters is no accident: no attempt at empathy or conscientiousness on their part goes un-snuffed under the grind of capitalism. Olga, a pretty Ukrainian nurse who makes money on the side working as a webcam girl, heads to Austria hoping to improve her lot in life. After being fired as an au pair, she winds up working as a cleaning lady in an eldercare facility, where she tentatively attempts to befriend the bedridden patients who are treated no better than used furniture. Olga’s narrative is intercut with that of Pauli, a muscled Austrian hood who aspires to become a security guard but winds up helping his lecherous father-in-law deliver outmoded gaming machines to Ukrainian housing blocks after being humiliated on-duty by a gang of toughs. None of this is easy viewing, and there are several moments — particularly with the elderly cast members who appear to be truly mentally ill — when one wonders if Siedel is in some way contributing to the grotesqueness he’s setting out to document. It is a question perhaps only answered by repeated viewings. That is, if you have the stomach for it.

IMPORT EXPORT plays Thurs/12–Sat/14 at Yerba Buena Center for the Arts. See Rep Clock.

Concrete plans

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› sarah@sfbg.com

In the fractious atmosphere that dominates meetings concerned with Lennar’s plan to redevelop the economically depressed southeast sector of San Francisco, reality is relative to one’s perspective on this ambitious project.

At these meetings, competing factions within the Bayview’s predominantly African American community typically accuse each other — as well as the mostly white engineers, planners, and scientists that Lennar and the city hired to flesh out the details of their vaguely worded but voter-approved conceptual framework — of being sellouts and traitors.

The Jan. 28 meeting, where two local advisory committees endorsed Lennar’s draft urban design plan for a 770-acre Candlestick Point/Hunters Point Shipyard development, was typical. It was held at the Southeast Community Facility, within sniffing distance of a seismically suspect sewage treatment plant.

The committee’s endorsement came at the end of a meeting that was full of what critics labeled "disingenuous claims" by representatives from Lennar, the Mayor’s Office, the San Francisco Redevelopment Agency, and the city’s Planning Department; recriminatory accusations by community members; and disruptive chants of "A-B-Uuuu!" by a female member of Aboriginal Blackmen United, who claimed that ABU members have been starved for work at Lennar’s development. Records show Lennar paid ABU trainees $11,300 in fiscal year 2005–06 for work at the Shipyard’s Parcel A.

Fanning the flames was a report that local environmental nonprofit Arc Ecology released last month. Arc’s report faults Lennar’s urban design plan for not including comparisons with realistic alternatives and for failing to study the cumulative impact of the 15 developments, covering 1,500-2,000 acres, currently underway on the eastern waterfront.

"The practice of ‘island’ development prevents the city from conceiving a cohesive vision for the east waterfront," Arc Ecology’s January 15 report states. "Moreover, the piecemeal approach cannot adequately address the practical consequences of the addition of 50,000 new residences to the area."

Noting that Lennar’s proposal calls for a 60 percent increase in the neighborhood’s population as more than 20,000 new residents join the 33,000 people who already live in the neighborhood, Arc’s report lists alternatives that "would strengthen the economic, social and environmental benefits, while avoiding and reducing some significant impacts."

Financed by a California Wellness Foundation grant, Arc’s report stressed that it does not disagree with the stated objectives of Lennar’s development plan as laid out in Proposition G, which voters approved in June. In fact, the organization did little to voice its concerns before the election.

But the report has ruffled the feathers of city leaders, who seem hell-bent on moving the project forward and applying for funding from the federal economic stimulus package. The report calls for a focus on doing "bottom-up" ecological planning, creating real economic opportunities for the Bayview community, relocating the proposed football stadium, and removing the shipyard’s highly contaminated Parcel E2 from the project.

Noting that Lennar’s environmental impact report has yet to be completed, and that there has been no time to study Arc’s report, Citizens Advisory Committee member Scott Madison argued that delaying the endorsement would have no impact on Lennar’s home building or job creation schedule. "It’s not going to slow down anyone getting a job by even one day if we take a few days," Madison said. "But once we approve this — even a draft, even if folks are amenable to some changes — it has a certain kind of semi-concrete to it that’s difficult to chip away."

CAC member Diana Oertel voiced her objections to Lennar’s plan to divide the 170-acre Candlestick Point State Recreation Area, the Bayview’s only large open space that provides a place for recreation and an escape from urban living. "It’s not acceptable to me to see that area cut in half, gentrified, prettified, with housing going to edge of the park," Oertel said.

Project Area Committee member Leon Muhammad said there was no way the urban design plan should be endorsed "until we have addressed all the issues, until they come up with a complete plan that makes sense, not a half-baked plan."

But then PAC member Cedric Jackson asked to hear from folks in the audience who were hungry for jobs — at which point ABU folks yelled and raised hands. "I saw 80 percent of the community stand up and say, move this process forward," Jackson then asserted. "In 2000, we were 70 percent of the community, now we’re less than 50 percent. There is an out-migration and it’s not because we don’t like San Francisco, but we’re being forced out economically. So the longer you delay, the less of us will be there, especially with the economic conditions we’re facing."

Seconded by PAC member Gary Banks, Jackson moved to endorse Lennar’s draft design plan as-is, with only PAC members Muhammad and Kristine Enea, and CAC members Oertel, Madison, and Carmen Kelley dissenting.

Reached after the meeting, ARC Ecology’s Saul Bloom acknowledged that many of the problems people face in the Bayview are related to "tension over jobs." Yet he was surprised by the strong-arm tactics by proponents of a project that won’t generate jobs for at least another year.

"There’s this blind panic, this belief that if you hold up anything, you are going to stop the whole plan," Bloom told the Guardian. He hopes that now that the vote has passed, the city and Lennar will make good on verbal promises, made before and during the Jan. 28 meeting, to review Arc Ecology’s report.

"As Scott Madison pointed out, if we’d listened to these same we-have-to-vote-yes-now voices the last time around, when we were asked to endorse Phase A, we’d never have gotten the community-benefits program," Bloom said, adding that many of the current committee members are new and inexperienced. "So it’s hard for them to see through the rhetoric and pain."

"None of us want to derail the plan," continued Bloom, whose group also receives funding from the SFRA, which is overseeing the project. "What incentive do we have? Do we want to piss off the developers, contractors, and commissioners when our contract is up?"

"The city is under the impression that there is a broad base of support for this project, by virtue of Prop. G," Bloom said. "But they are unaware of the depth of dissatisfaction citywide with this project. People are saying, ‘this is insane.’<0x2009>"

Bloom believes ARC’s report raised the ire of city leaders because they feared it would fall into the wrong hands and be used in a political campaign. "But I believe the city has let the community down by not facilitating a dialogue," Bloom observed.

In addition to questions about location of the stadium, the design of the park, the bridge over Yosemite Slough, and plans to cap a radiologically impacted landfill on Parcel E2, Bloom says the hidden story in all of this is the "unstudied cumulative impacts of the all the city’s development projects on the eastern waterfront."

Together, these projects will create 30,000 new units and attract 50,000 new residents, with Lennar’s CP/HPS development creating 10,500 units, 75 percent of which are slated to sell at market-rate prices, with condos beginning at the $500,000 mark.

"Lennar can’t possibly think they can build this number of houses and sell them at these prices, at least not for the next four years," Bloom said. "The city should have had a public dialogue about the stadium options instead of pulling a plan directly off the shelf that a reliable stadium development firm did. They say they’ve studied all these other options, but where are the studies?"

Bloom notes that Prop. G was not a mandate to build a bridge over Yosemite Slough, and that the city is currently miscounting the parks and open space acreage.

"You wonder why people have no faith," Bloom said. "To whom did the city make the overwhelming case about the park, or about putting a bridge over the slough? It seems their attitude was, ‘Bayview is a crummy neighborhood, so let’s bulldoze and rebuild it,’ whereas we look at the park and say it’s a promise unfulfilled."

He believes that Arc’s recommendation to remove Parcel E2 is a no-brainer: "You are protecting public health and the environment, creating jobs that help people pay their mortgages, and you are making the property more marketable, so value increases."

With the city having publicly committed to reviewing Arc’s material, Bloom is hopeful that the city will put the results of that study into the EIR. "We are not promoting any particular outcome," Bloom said, observing that if Lennar builds 10,000 units, BVHP will no longer be a predominantly African American neighborhood. "We are trying to be the entity that raises the difficult questions that people in city have felt, but [have] been afraid to voice, because they fear those questions will be used to stop the project in its entirety."

Reached by phone, Michael Cohen of the Mayor’s Office of Economic and Workforce Development noted that Lennar’s draft urban-design plan was completed five months ago, has been vetted extensively, and now includes 32 specific modifications based on those hearings.

"These are issues that will be addressed further," Cohen said of Arc’s report. "Some are infeasible, based on extensive technical studies. But we believe that if there is a stadium, it’s in absolutely the right position and that ARC doesn’t have an alternative plan. They haven’t done the necessary studies and they haven’t presented alternative plans that actually work."

As for Arc’s contention that Parcel E2 could be dug up and hauled out, Cohen notes that the city is in a legally binding agreement with the United States Navy, which is obligated to clean up the shipyard to a standard consistent with the city’s intended use. "We don’t control what the remedy is…. [If state and federal environment regulators] say the Navy has got to dig and haul so we can safely use it as a waterfront park, then that’s what they’ll do."

Cohen insisted that the Alice Griffith public housing project will be rebuilt, whether the 49ers stay or not, and that Lennar’s project will invest $10 million to turn "a grossly underused state park into a site comparable to Crissy Field."

It’s a living?

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› a&eletters@sfbg.com

REVIEW Amid worsening violence between their respective Sunni and Shia communities, even old friends Adnan (Bobak Cyrus Bakhtiari) and Laith (Amir Sharafeh) are prone to argue along sectarian lines. But these squabbles are more than offset by a dire mutual predicament: as Iraqi translators working for the U.S. occupation in Baghdad, Adnan and Laith live as persons "in between," precariously balanced between glib and suspicion-prone American employer and outraged fellow citizen alike. Along with Green Zone coworker Intisar (Denmo Ibrahim), who as an Iraqi woman eschewing hijab and working for the Americans earns special disfavor with many countrymen, they risk being labeled traitors and becoming friendless targets of a ruthless insurgency. At the same time, they find the American bureaucracy less than willing to help, whether by upgrading their security clearances or, when all is lost, providing them asylum in the United States. Fortunately, there is one "good" American — isn’t there always? — who goes to bat for them, in this case a young information officer named Prescott (Alex Moggridge), whose strenuous efforts achieve mixed but significant results.

If you pretend it’s actual news, journalist and author George Packer’s first play, Betrayed, might at least have the merit of bringing us something we didn’t know already about the "situation" in Iraq, as it is still so often called. But who will be surprised to learn that Iraqis working for the extremely unpopular U.S. forces find themselves in a terrible double bind? Or that the American occupation seems lacking in its will to address its moral, let alone legal, obligations to the people it has invaded and made more desperate than ever?

Based on Packer’s 2007 New Yorker article of the same name, Betrayed seeks to put a human face on such in-between persons, and Aurora’s West Coast premiere, helmed by Robin Stanton, does a reliable and respectful job of rendering the action. There are moments of convincing dramatic tension, including Ibrahim’s affecting monologue about her life, relayed to an unseen reporter, and a confrontation between Laith and a harrying Regional Security Officer, played with credible aggression and conviction by James Wagner.

Still, it all feels less like urgent news than a somewhat wooden and familiar form of special pleading. Beneath its critical take on the American "mission" — truly a neat word for it — Betrayed puts Iraqi voices in the service of that other insular project: that of redeeming the myth of American moral superiority, even while chastising the failings of the George W. Bush–era government and foregrounding the play’s composite but real-life Iraqi protagonists. Thus, Betrayed‘s last lines go to Adnan, now a refugee, who rejects the accusation in the play’s title, confessing to a natural lack of faith in people while somewhat contradictorily continuing to "dream about America."

You have to wonder, did the Romans need to be liked this much?

BETRAYED

Through March 1

Wed.–Sat., 8 p.m.; Sun., 2 and 7 p.m.; $28–$50

Aurora Theatre

2081 Addison, Berk.

(510) 843-4822

www.auroratheatre.org

Ode to Joy

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REVIEW Sean Dorsey’s new Lou is a gem. Deeply felt, splendidly shaped, Dorsey’s most ambitious project yet tells a tale of vulnerability, passion, joy, and transcendence. It’s the story of one human being: transgendered writer, lover, and poet Lou Sullivan, who died in 1991. Dorsey, who was born a woman and lives as a man, used Sullivan’s extensive archives to create a portrait of a man who had the bravery and persistence to do what he thought was right, not only for him but others. Isn’t that what the mythic heroes used to do — slay the dragons within and without? Yet an important story does not necessarily translate into good dance or theater. Lou, however, is very good.

Dorsey framed the story within the larger current debate on history. The scholar, politician, or family record keeper who gets to tell the story, or as Dorsey put it, build the "house" that contains the records, is the one who shapes our present and future perceptions of what happened. In this instance the multitalented Bay Area writer, actor, dancer, and thinker has pulled an involving, theatrically viable piece from the thousands of possibilities his research must have suggested. He selected judiciously, opting for about dozen episodes at the center of which is a rollicking paean to love, sexuality, and ecstasy. Words, movement, music, and narration blend into a beautifully modulated dance-theater piece. The family portrait is hilarious; the delicate moment when Dorsey strips off his shirt feels as pure as freshly fallen snow; the lack of recognition of himself in the mirror is poignant; and the "Perfect Day" duet aches with beauty and grief. Working with the excellent Brian Fisher, Juan de la Rosa, and Nol Simonse, Dorsey chose an unadorned, intense contact movement style with the hug as a central motive that works. A small quibble. Lou has about three endings — that needs to be rethought.

All mod cons

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› johnny@sfbg.com

How can any of us forget 1835, and the heady discovery of spherical amphibians, blue goats, and petite three-foot zebras frolicking on the moon? In Fakers: Hoaxers, Con Artists, Counterfeiters, and Other Great Pretenders (New Press, 245 pages, $24.95), Paul Maliszewski relates that time, when the New York Sun brought news of lunar life to an increasingly large readership that craved delightful information during an economic drought. Maliszewski doesn’t have to work to make the story funny — he merely has to relate how the paper’s moon-discovery serial likened a typical blue goat to "a young lamb or kitten," and presented scientists pretending to tickle the creature’s beard as seen through a telescope, only to witness it "bound away into oblivion, as if conscious of earthly impertinence."

Within the context of Maliszewski’s sprawling look at fakery, the Sun saga is a light vacation, because of its relative datedness and good-natured imagination. Before and after, Fakers largely avoids such Orson Welles’ War of the Worlds–style nostalgia for more contemporary tales: the stories of Stephen Glass, James Frey, and JT Leroy, for example. It places Glass’s accounts under a microscope that highlights their pandering corniness. It relates the life and times of Leroy — and his feverish endorsement by the likes of Dave Eggers and Michael Chabon (more on him later), as well as his editorship of an installment in Da Capo’s Best Music Writing series — without losing sight of the fact that Leroy’s much-celebrated writing is mawkish.

Such targets and views might suggest that Maliszewski likes to wag his finger and tut-tut, but his viewpoint is much more variable — he isn’t out to condemn various literary liars, for example, so much as critique them. Early in the book, he relates one of his own adventures in the creation of phony identities, a Walter Mitty–scale satire somewhat akin to the letters that Joe Orton used to write to newspapers as "Edna Welthorpe," a make-believe housewife outraged by Orton’s plays. Here, and in other instances, such as a discussion of George W. Bush’s use of the word "confidence" when discussing economics, Fakers suggests that the Bush years have not just eroded but demolished the value of truth.

In a seeming act of first-person tit-for-tat, Maliszewski shares an example of an instance when he fell for a hoax, though the chosen subject — a tall tale that might qualify as an urban legend if it weren’t set in the wilderness — cops out in terms of allowing a truly personal and thus uncomfortable examination of the various aspects of being duped. The most curious of Maliszewski’s practices is the frequent weaving of e-mail interviews — a format that would seem to allow for flights of fancy — into his investigative text. A correspondence with former New York Times journalist Michael Finkel, for example, stays soft-focus when it could have questioned the presumptuous audacity of a middle-aged white man assuming the voice of a West African boy.

In a recent Bookforum review, Hua Hsu describes Fakers as vaguely paranoia-inducing, and indeed, at the very least, this reader — a journalist who has been duped — wonders if any of the facts or stories that the author relates might contain creative twists. In an extended conclusion about a fraudulent Michael Chabon essay, Maliszewski essentially asserts that to lie for the sake of lying is a cynical, selfish act. True. But Fakers is more interesting when it is ambivalent and discomfiting, or when Maliszewski’s examples and anecdotes prompt ideas about various permutations of truth and falsehood in the media landscape. (Take CNN’s Nancy Drew, I mean Nancy Grace, and the way she is currently using a compulsive liar — Caylee Anthony — to co-author cable news television’s version of a radio serial.) Blue goats are cute, but — as Fakers makes clear — white lies have many facets.

Tailpipe turnaround

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› news@sfbg.com

GREEN CITY Word that automobile emissions standards may soon improve was good news, but Bay Area leaders and communities are demanding even more to offset the harm that comes from tailpipes.

President Barack Obama last month called for the U.S. Environmental Protection Agency to allow California and as many as 13 other states to employ their own emissions restrictions. "Our goal," said Obama at the White House, "is not to further burden an already struggling industry. It is to help America’s automakers prepare for the future."

A review of the request is now underway and manufacturers were reassured they would have enough time to rework their 2011 lines. By then, cars and trucks should have improved efficiency and better mileage, outpacing three-year-old national standards that have been in place since the EPA refused to grant a waiver from the federal Clean Air Act.

Locally, the city’s Transportation Authority is reworking the local Climate Action Plan to emphasize emissions reductions. But the problem is expected to get worse before it gets better. Researchers at the Bay Area Air Quality Management District expect greenhouse gas emissions from transportation to increase dramatically from 42.4 million metric tons of carbon dioxide this year to 65.4 million in 2029 under "business as usual conditions."

That may be why Mayor Gavin Newsom and San Jose Mayor Chuck Reed released a letter Jan. 23 opposing federal plans for an auto industry bailout unless there are more strings attached to the money and more progressive programs to develop low-emission vehicles regionally. The two mayors called for an auto bailout that would "not divert funds from innovative emerging transportation technologies."

Jan Lundberg, a former oil industry analyst turned activist and a former member of the San Francisco Peak Oil Preparedness Task Force, calls for even bolder steps: "The kinds of amelioration being talked about and offered are woefully inadequate. We should just get rid of car dependency. Most of the pollution involved — into the air, from the car — is not from the tailpipe. It’s from the mining and the manufacturing associated with the car."

The real challenge for local governments is not in adapting their vehicles, but adapting policy to reflect progressive approaches like San Francisco’s "Precautionary Principle," adopted in 2003. The policy puts the burden of proof on advocates of new technology to show it is safe. Debbie Raphael, the Green Building Program Manager with San Francisco’s Department of the Environment, has been pushing for a change in how environmental codes are implemented. "Taxpayers have every right to know the risks," she said. "The burden then falls on industry to study possible negative consequences and to investigate safer alternatives."

Writer and activist Bill McKibben addressed the issue last fall when he spoke at Herbst Theatre, recognizing San Francisco as an environmental leader among cities. "This is clearly a community that is doing so many of the things right that need to be done. One community at a time is a very noble way to proceed. But in the end, it’s only half the battle. We’ve got to get the political movement going that allows us to do this everywhere, not just in the places that already understand it."

“Takako Yamaguchi”

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REVIEW For anyone who has attempted to stare down one of Bridget Riley’s hypnogogic vortices or contemplated the point at which two color blocks mesh in a Rothko, Takako Yamaguchi’s recent set of paintings at Jancar Jones Gallery should produce some pleasantly familiar sensations. Upon entering the shoebox-size space, one sees five three-by-four-foot canvases that form a seemingly continuous horizontal vista of graduated lines and patterned strips done in earth tones and blues, with the occasional wink of metallic shimmer. (This panorama effect is offset when one realizes that an outlier has been sneakily hung in the back office area.)

Viewed individually, Yamaguchi’s warm bands of color and geometric repetition start to take on the cast of Southern Californian geography — oceanic expanse, suburban sprawl, and stretches of desert. Interlocking white donuts and intestinal curlicues suggest clouds; hills and waves roll ad infinitum; distant mountains have the repetitive crenulations of a side-scrolling video game; the faintest line of gold leaf could demarcate city lights twinkling midground, or a sliver of sunset. And yet your eyes never fully adjust to the precise play of blurred and crisp elements, which is especially forceful in the two halves of Strangely Familiar. What looks fuzzy in your peripheral vision sometimes stays that way when studied head-on, just as Yamaguchi’s palette toggles between subtle abstraction and figurative hooks. In this sense, her canvases are Magic Eyes in reverse: if you stare long enough, the geographic reference points start to flicker into the background, like unstable mirages. So meticulous and subtle are the gradations of color — so light is Yamaguchi’s brushwork — that at times you forget you are looking at a painting. (This is underscored by the way in which each landscape continues around the sides of the canvas, as if the image were sprayed onto it and then stretched onto a slightly too-small frame.). Jancar Jones may be the smallest gallery in the city, but from the vantage point of Yamaguchi’s landscapes, you can see for miles and miles.

TAKAKO YAMAGUCHI Through Feb. 28. Jancar Jones Gallery, 965 Mission, suite 120, SF. Thurs–Sat, noon–6 p.m. (415) 281-3770, www.jancarjones.com

“Coraline”

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REVIEW Coraline is a great film to take your kids to, provided you’re willing to let them sleep in your bed for a night. Like the Neil Gaiman novel it’s based on, this is a fairy tale with a dark side, an Alice in Wonderland–style fable that doesn’t dumb things down for its target audience. But then, neither did Alice. Dakota Fanning voices Coraline, a lonely, blue-haired little girl in search of adventure. She finds it, and them some, when she travels into bizarro world by way of a tiny door in her house. There she finds her Other Mother (Teri Hatcher), who seems nice enough — except that she wants to sew buttons into Coraline’s eyes. Soon the precocious girl has embarked on a mission to save her kidnapped parents, some old school ghosts, and, of course, herself. The animation style is an updated version of that found in The Nightmare Before Christmas (1993), also from director Henry Selick. There’s a richness and depth to Coraline‘s world, which is only emphasized by the nifty 3-D effects. Inevitably, this Coraline is softer than Gaiman’s source material, but it’s spooky enough to please both fans and newcomers. Despite the lack of big scares, it leaves you with a lingering unease. And possibly a fear of buttons.

CORALINE opens Fri/6 in Bay Area theaters.

mills college music

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Because the Bay Guardian is the go-to source for Bay Area audiences, I thought your readers would be interested to know about the latest happenings at Mills College with the opening of its new concert hall and exciting all-star contemporary music festival.

From February 21-April 5 Mills will celebrate their rich music legacy with a six-concert festival, Giving Free Play to the Imagination. An elite group of musicians who have helped shape contemporary music around the world, Pauline Oliveros, Terry Riley, Roscoe Mitchell, Joan Jeanrenaud, Muhal Richard Abrams, the Arditti Quartet, and Fred Frith, among others, will perform pieces of their own design, including several world-premiere pieces, and of Mills composers past and present. At this time Mills will also celebrate the reopening of the Mills Concert Hall, a venue that has inspired audiences for more than 80 years. Oliveros will play the first sounds in the Hall on February 21.

Mills College is the international leader in contemporary music, which is why musicians from around the world come to Mills, and how Mills has become an incubator for the evolution of contemporary music, with the likes of Dave Brubeck, John Cage, Pauline Oliveros, Burt Bacharach, Darius Milhaud and Phil Lesh among students and faculty. As the Bay Guardian has covered Mills’ music in the past, I think your readers would be interested to know about this exciting festival, the Bay Area’s latest greatest concert venue, and what’s new in the world of Mills as its musicians inspire communities in the Bay Area and around the world.

Please let me know if we can arrange an interview with Mills music leadership or the performers to help you build your story. A summary of the Festival program is below, with further details available at www.mills.edu/musicfestival.

Best regards,

Victoria Terheyden

Victoria Terheyden

MacKenzie Communications, Inc.

600 California Street, Suite 1590

San Francisco, CA 94108

Tel: 415.403.0800 ext. 30
Fax: 415.403.0801

www.mackenziesf.com

Media Contacts:

Quynh Tran, Mills College

Media Relations Manager

510.430.2300

qtran@mills.edu

Victoria Terheyden

MacKenzie Communications, Inc.

415.867.2516

vterheyden@mackenziesf.com

Mills College Celebrates 80 Years of Musical Innovation with

Giving Free Play to the Imagination Music Festival

OAKLAND, CA—Feb. 3, 2009. Mills College celebrates 80 years of musical innovation as it reopens the historic Mills Concert Hall after an extensive 18-month renovation with a music festival featuring some of the world’s leading contemporary musicians. The six-concert series, Giving Free Play to the Imagination, runs from February 21 through April 5, 2009.

Musical innovators such as Pauline Oliveros, Terry Riley, Joan Jeanrenaud, Roscoe Mitchell, Muhal Richard Abrams, the Arditti Quartet, and Fred Frith, among many others, will celebrate Mills College’s leadership in defining contemporary music.

At the heart of the aesthetic and educational mission of music at Mills is a tradition of experimentalism. Breaking free from preconceived notions about music, Mills composers and performers embrace new sounds and musical forms while pursuing creative, exploratory, and individual approaches to music. It is this unique approach that has made Mills College the destination for sonic pioneers. And it is why some of the top names in contemporary music—Darius Milhaud, Dave Brubeck, Joëlle Léandre, Phil Lesh, John Cage, Anthony Braxton, and Pauline Oliveros, to name just a few—have been part of the faculty and student population at Mills.

“Because of our long history of support for an experimentalist tradition across barriers of genre, cultural identity, or perceived hierarchy, Mills is uniquely placed to cultivate, appreciate, and celebrate musical pioneers,” said Fred Frith, head of the Music Department and internationally known composer, multi-instrumentalist, and improviser.

Mills music faculty, students, and visiting artists from varied musical traditions come from as far away as Argentina, China, France, and Turkey to study musical forms from electronic music to classical performance to jazz improvisation.

“Ever since renowned French classical composer and Mills’ professor Darius Milhaud encouraged soon-to-be-renowned jazz pianist composer and Mills’ student Dave Brubeck to ‘be himself,’ our students have been discovering how to ‘be themselves’ with single-handed determination,” said Frith. “As a Music Department that encourages experimentation while respecting tradition, we are second to none.”

“We are continually inspired by the influence and impact of our music graduates in their artistic pursuits,” said Janet L. Holmgren, president of Mills College. “Whether they are composers, performers, professors, or music producers or whether they are working in the film, video game, or music industries, or in leading technology and digital media companies, our graduates reflect the College’s mission to encourage creativity and experimentation, all within a global context.”

Giving Free Play to the Imagination also marks the completion of the $11 million renovation of the Mills College Concert Hall, to be renamed for well-known Bay Area philanthropist and Mills alumna Jeannik Méquet Littlefield, MA ‘42. Designed by noted California architect Walter Ratcliff Jr., the Mills Music Building has received widespread acclaim since its opening in 1928.

Improvements to the Concert Hall include new acoustic panels for enhanced sound quality, an expanded stage area for larger performances, installation of a dedicated mixing station, soundproofing for performance and recording quality, new seating and improved layout for a better audience experience. The multicolored frescoes and murals created by California painter Raymond Boynton were restored by two teams of art conservators to return them to their original vibrant colors.

The festival’s name, in fact, derives from Boynton’s vision for his murals, “to produce a scheme of decoration that would give free play to the imagination.”

Mills Music Festival Honorary Committee:

Charles Amirkhanian* – composer, percussionist, sound poet, radio producer

Laurie Anderson* – performance and visual artist, composer, vocalist, musician

Dave Brubeck*+ – jazz and classical musician, pianist, composer

Robert Cole – director of Cal Performances

Merce Cunningham – choreographer and founder of Merce Cunningham Dance Company

Evelyn Glennie – percussionist, composer, motivational speaker

David Harrington – violinist and founding member of the Kronos Quartet

Phil Lesh* – musician and founding member of the Grateful Dead

George Lewis – improviser-trombonist, composer, computer/installation artist

Jeannik Méquet Littlefield* – philanthropist and patroness of the arts

Annea Lockwood – composer, professor emeritus at Vassar College

Rebeca Mauleón* – Latin and world music pianist, composer, educator

Meredith Monk – composer, singer, director/choreographer

Michael Morgan – music director of the Oakland East Bay Symphony, pianist, educator

Pauline Oliveros+ – composer, performer, first director of the Center for Contemporary Music (formerly the Tape Music Center)

Lauren Speeth* – CEO of the Elfenworks Foundation, member of the Mills Board of Trustees, violinist, recording artist

Roselyne Swig+ – philanthropist, activist, and patroness of the arts

Michael Tilson Thomas – music director of the San Francisco Symphony, composer, recording artist

* Mills alumnae/i

+ Mills honorary degree recipient

Program

Saturday, February 21, 2009 8:00 pm

OPENING NIGHT: Pauline Oliveros with Tony Martin; Terry Riley; Joseph Kubera performs Roscoe Mitchell; Joan Jeanrenaud

Solo performances of works by pioneers in the experimentalist tradition. Oliveros will play the first musical sounds in the renovated Concert Hall. A champagne reception follows.

Sunday, February 22, 2009 3:00 pm

A CELEBRATION OF THE CENTER FOR CONTEMPORARY MUSIC

More than 40 years of electronic innovation featuring Pauline Oliveros, Tony Martin, Maggi Payne, Chris Brown, William Winant, Joan Jeanrenaud, James Fei, and John Bischoff. Pre-concert talk with performers at 2:00 pm.

Friday, February 27, 2009 8:00 pm

LEGENDARY COMPOSER AND IMPROVISER MUHAL RICHARD ABRAMS with special guest Roscoe Mitchell

Saturday, February 28, 2009 8:00 pm

DARIUS MILHAUD’S BRAZILIAN CONNECTION

Dazzling orchestral works conducted by Nicole Paiement. A celebration of the renaming of the Concert Hall in honor of Mills alumna Jeannik Méquet Littlefield follows.

Sunday, March 8, 2009 3:00 pm

ARDITTI QUARTET

The world-renowned string quartet plays works by Mills composers past and present

Sunday, April 5, 2009 3:00 pm

THE MUSIC OF FRED FRITH

A rocking birthday concert of new music with Fred Frith and Cosa Brava (Carla Kihlstedt, Matthias Bossi, Zeena Parkins, The Norman Conquest), Liz Albee, Minna Choi, Beth Custer, Joan Jeanrenaud, Myra Melford, Roscoe Mitchell, Ikue Mori, Larry Ochs, Bob Ostertag, and William Winant.

TICKETS / PUBLIC INFO:

General admission: $20/concert; $100/series

Seniors: $12/concert; $60/series

For more information or to purchase tickets, please visit http://www.mills.edu/musicfestival

Nestled in the foothills of Oakland, California, Mills College is a nationally renowned, independent liberal arts college offering a dynamic progressive education that fosters leadership, social responsibility, and creativity to approximately 950 undergraduate women and 500 graduate women and men. Since 2000, applications to Mills College have more than doubled. The College is named one of the top colleges in the West by U.S. News & World Report, one of the Best 368 Colleges by the Princeton Review, and ranks 75th among America’s best colleges by Forbes.com. Visit us at www.mills.edu.

Seeing starzzz

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› a&eletters@sfbg.com

Pitchfork Media has sort of become synonymous with junk-food news in recent years, sensationalizing almost every aspect of the independent music world for the hungry masses through dirt-dishing bites on the latest breaking headlines and scale-tipping — or dipping — album reviews. While some may see the Chicago online music publication as a rock-snob tabloid, there’s no denying the influence it’s had upon some independent musicians: artists such as Animal Collective and No Age have collared a kind of A-list celebrity status almost overnight thanks, in part, to the site of music sites.

But when I met with San Francisco group Nodzzz at drummer Eric Butterworth’s Upper Haight apartment, the three seemed averse to any hype they may garner from Pitchfork. When I mentioned that the publication had just reviewed the band’s self-titled, 10-song long-player on What’s Your Rupture? that very morning, the three met my remark with silence. Then Butterworth opined: "Pitchfork is lame, and it doesn’t even matter because that shit is stupid. If you base your musical interests on Pitchfork — fuck yourself."

Fair enough. While Nodzzz managed to capture an above-average 7.6 rating for its efforts, the outfit agreed, as vocalist-guitarist Anthony Atlas put it, that "[Pitchfork] reviews are always kind of contradictory" and "a positive review would be just as problematic as a negative review."

"It’s pretty fucking crazy how many people that goes out to," guitarist and backup vocalist Sean Paul Presley added. "It makes you feel pretty nervous because you already hold your own material pretty close to yourself and you wonder what’s gonna happen when you get a review like that, because Pitchfork is single-handedly responsible for making bands, what bands do well, and what bands sell records. It’s been an auspicious day not knowing what it actually means. I’m on the fence about whether it means anything more than just another review."

This review does come at a point not long after Nodzzz’s "I Don’t Wanna (Smoke Marijuana)" single, issued on Butterworth’s Make a Mess imprint. That release ended up on quite a few best-of-2008 short lists. But while the group’s name has amassed a wave of chatter on the blogosphere, Nodzzz have obvious convictions concerning the objectification of its image and the commercialization of its sound — even going so far as to turn down an opportunity to play at this year’s South by Southwest festival.

"I like pop and punk music when they cater to an audience and to fun," said Atlas, who formed the band with Presley and original drummer Pete Hilton in the fall of 2006 after relocating from Olympia, Wash., to the Bay Area for school. "Something about SXSW seems too market driven — kind of like a rock ‘n’ roll tradeshow. There’s a ton of fantastic bands playing, and I’m sure it’s a fun time, but I don’t feel like asserting ourselves in this broader rock ‘n’ roll market is what we’re all about."

Released in November 2008, the album channels the slapdash garage-pop urgencies of ’80s groups like the Feelies and Great Plains. "Is She There" opens the recording with a burst of amp crackle and drum jolt that’s over before you know it. On songs such as "In the City (Contact High)" and "Controlled Karaoke," the bright-eyed harmonies of Atlas and Presley bait you with nagging, sing-along choruses that get lodged in your skull for days on end, while "Highway Memorial Shrine" and "Losing My Accent" smother you in fuzz and chaos with a scrappy, twin-guitar assault of chiming hooks and jangly lo-fi, as well as Hilton’s trash-can rumble.

As Atlas sees it, his band’s fortunes can be chalked up to simply "tunneling through the fog" as each of its "little goals" are accomplished.

"I have no agenda with this band, but I do have goals, and I just see them as they become possible," he explained. "I feel like we have to have a healthy relationship with it because it can just end quickly. It’s so rewarding, but yet it’s a rock ‘n’ roll band — it’s a project with three people. You can’t stake a life on it."

www.myspace.com/nodzzz

>>MORE GARAGE ROCK ’09

Bunny ballin’

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› a&eletters@sfbg.com

Nobunny loves you — that much is clear by the end of the first track on his debut, Love Visions. But where did the masked maven of caffeinated garage-punk come from? I met with the leather-jacketed, now Bay Area-based "half-rabbit, half-jackalope, half-human" at an Oakland bar, angling for two rabbit-earfuls of explanation. It’s hard not to be curious: the aforementioned Visions, released last year by 1-2-3-4 Go! and Bubbledumb, motorbiked outta left field to become 2008’s most delightful lo-fi slab of clambake party jams. Even heavy-hitter Jay Reatard recently designated it as his new favorite record "to jump around in [his] underwear and eat pizza in bed to!"

Eight years ago, Nobunny was conceived as "The No-Money Bunny" near the mountains west of Tucson, where, after having cleaned up a hard drug habit, the soon-to-be bunny-eared dude thought he ought to become "a rabbit Elvis impersonator … no joke!" He followed a peculiar familial precedent for masked musicianship — mom with the Moos Brothers and the Blues Chickens, dad donned punk garb in the Blues Burgers, and Nobunny himself prefers to remain anonymous — and busked on Tucson’s avenues before his first paid gig: an April 2001 show at Chicago’s Fireside Bowl on Easter Sunday. As it turned out, it was also the day Joey Ramone died — a strangely appropriate DOB for a project that would pick up the Ramones’ pink punk shoelaces and tie them to what Nobunny calls a "no boundaries, all id" ‘tude.

After early gigs opening for Blowfly and the Black Lips ("There was no competition for the cool slots in Tucson," Nobunny says), the live performance bug has since had him by his oft-visible balls. "Anything from a tape deck to a nine-piece band" backs him up as he cranks out tunes with a rousing, familiar-feeling bubblegum jubilance. He admittedly enjoys "Frankenstein-ing" together fragments of songs he loves, but make no mistake: such sugary album cuts as "I Am a Girlfriend" and "Church Mouse" are the keyboard-drum grind of Nobunny and nobody else!

Since the LP’s release, he has put out a 7-inch single, "Give It to Me"/"Motorhead With Me" (HoZac, 2008), and when we spoke he alluded to several new releases on the way, including an new album. "Not a single review of the other album could apply to the next one," which he said will be "all acoustic," powered by handclaps, beer bottles, and stomped-on phone books. For a good time, look up Nobunny’s line — it’s probably scrawled on a bathroom wall somewhere.

NOBUNNY

With Thee Makeout Party

Feb. 4, 8 p.m., $5

Knockout

3223 Mission, SF

www.theknockoutsf.com


>>MORE GARAGE ROCK ’09

The Pope’s Toilet

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REVIEW In the Uruguayan hamlet Melo, poor residents like Beto (César Troncoso) squeak by smuggling consumer goods over the border from nearby Brazil — despite being frequently stopped, harassed, and robbed by corrupt, mean-spirited customs guard Meleyo (Nelson Lence). When Pope John Paul II’s 1988 visit encompasses a stop in Melo, the villagers enthusiastically prepare for an anticipated huge tourist influx, hoping their makeshift food stands and other services can reap life-changing profits from the visiting faithful. It’s Beto’s idea to build a flush-toilet bathroom outside his humble home that relief-needy procession-watchers can pay to use. Erecting it, however, involves getting in financial bed with the untrustworthy Meleyo, and some white lies told to Beto’s long-suffering wife (Virginia Méndez) and primly disapproving daughter (Virginia Ruiz). Enrique Fernández and César Charlone’s Uruguay-Spanish co-production deftly melds two quite different things: the sweetly comic village ensemble piece and the pitiless Bicycle Thief-style portrait of desperate measures that those without class, educational, or government resources must take to get ahead — or just survive. Charlone, a cinematographer turned director who previously shot Fernando Meirelles’ features City of God (2002), The Constant Gardener (2005), and this year’s Blindness), lends the countryside a poetic beauty to soften the co-directors’ sometimes harshly realistic script.

THE POPE’S TOILET opens Fri/30 in San Francisco.

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