Scene

Shoot from the hip

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› kimberly@sfbg.com

SONIC REDUCER Def Leppard and Nickelback: you know I want my fantasy, and everyone is aware of how those cool, desirable, shocking, or subversive photographs are integral to fanning the flames of so many rock ‘n’ roll clowns’ dreamscapes. But it’s those moments when a picture delivers more than words that have inspired some to pick up a camera and keep shooting. Local noise-punk photog Lars Knudson can verify this, concerning one Arab on Radar show at Bottom of the Hill back at the turn of the millennium. "I saw this band Pink and Brown, and this audience of people who were absolute freaks, ultra-nerd ‘tards, hipsters, scenesters, or whatever you want to call it, and I felt so alive and so at home," Knudson recalls today from his work as a chef in San Carlos. "I tried to describe it to everyone I worked with, and they looked at me like, ‘Huh?’ Then I stumbled on these images that were taken by Virgil Porter [Burn My Eye] and showed them to people, and they said, ‘ooh!’"

As SF photographer Peter Ellenby [Every Day Is Saturday (Chronicle)] testifies, Jim Marshall put the Bay on the map for music photography and shooters like Jay Blakesberg have kept it there. But what about the newbs — armed with the latest digi point-and-shoot and inspired, à la Knudson, to begin capturing a fragment of the sound and the fury? Around the same instant everyone began to believe they could be a DJ, so too did all and sundry start to assume that they could also be an ace lens swinger.


John Vanderslice: Photo by Peter Ellenby

So how does one carve out a name as a music photog when the glut of images on Flickr and assorted photoblogs threatens to overwhelm? I gathered snippets of sage advice from a few area rock photogs: Knudson, Ellenby, and Debra Zeller, who honed her craft focusing on local indie combos via her Playing in Fog online project and concert series, has since expanded into professional wedding photography (originally shooting the nuptials of the Red Thread’s Jason Lakis), and currently books live music at the Make-Out Room.

Be a music lover, foremost. "That’s why I did photography part-time for so long — it’s really hard to make a living in music photography," says Zeller (www.playinginfog.com, www.dazrocks.com), who has shot Cat Power, among others, at the behest of their labels. "What magazines pay is absolutely ridiculous and getting the work is another challenge." Additionally, Knudson says, "Part of the reason I have good photos is I know when they’re going to rock out. If you’re not prepared to get lost in the moment, you should go home and be an artist, because it isn’t about you and what you got that night, it’s really about what the band did onstage that night." In the spirit of shareware and the scene he has documented, Knudson makes thousands of his images freely available to bands — and really anyone — on a not-for-profit basis at www.pbase.com/pistolswing.

Show everyone your work. "I showed my photos to as many people as possible," says Ellenby (www.ellenby.com), who photo-edited zines like Snackcake and Devil in the Woods. "All the bands and my friends knew I was for hire, and you have to not be afraid to be take criticism and set goals. When I was starting out my favorite band was Overwhelming Colorfast, and my goal was to shoot them, and Bob Reed would rip on them all the time."


Elliott Smith: Photo by Debra Zeller

Know the craft, natch. "I think it’s important to shoot in manual and really know how to work your camera," Zeller insists. "That’s how you get the images. If you just rely on program mode, chances are you’ll be lucky to get a couple of good shots."

"Don’t be afraid to work for a six-pack," advises Ellenby, who cofounded tech company GeoVector and is currently working on a Joe Strummer photo project. "Don’t think it’s your road to riches, either — especially if you like indie music. I would make more money if I wanted to, but I don’t like working for a giant music corporation. I like it better when I’m working one-on-one for a band — when you’re hired by a band you can let the creativity flow."

"My only other piece of advice is, shut up and push the button," Knudson says. "When you’re shooting live bands, you’re going to miss the shot if you’re busy telling your friend how cool you are."

I CAN GO FOR THAT

SON AMBULANCE


Dulcet Midwestern pop-smiths take on Someone Else’s Déjà Vu (Saddle Creek). Wed/6, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

FUTURE BLONDES AND C.L.A.W.S.


Malevolent Houston beats call up the ground-control SF bass-meister. With Skozey Fetisch. Thurs/7, 9 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

ME FIRST AND THE GIMME GIMMES


Punk supergroupers grope classic hits anew with Have Another Ball! (Fat Wreck Chords). Sat/9–Sun/10, 8 p.m. $15. Parkside, 1600 17th St., SF. www.theeparkside.com

PROJEKT REVOLUTION


A revolution in rock-hip-hop pairings begins with Linkin Park, Chris Cornell, Bravery, Ashes Divide, Busta Rhymes, Hawthorne Heights, and Street Drum Corps. Sat/9, 2 p.m., $34–$77. Shoreline Amphitheatre, 1 Amphitheatre Parkway, Mountain View. www.ticketmaster.com

DARYL HALL AND JOHN OATES


Private eyes, they’re watching you, watching you, watching you-o-o-o-o-o. Tues/12, 7:30 p.m., $49.50–$78. Mountain Winery, 14831 Pierce, Saratoga. www.ticketmaster.com

Enviro-metalists

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"There was this fateful moment where we were like, ‘Fuck this shit! Hippie commune? Black metal band? Let’s do this!’<0x2009>" Wolves in the Throne Room drummer Aaron Weaver says, describing the synergistic beginnings of his group’s music and their 10-acre working farm, Calliope.

WITTR is living every nature-loving hessian’s dream. Not content with the icy, masturbatory satanism of Scandinavian death-metal forebears like Mayhem, or with the politics of the dogmatic punk scene from which they spawned, or about to hold hands and coo "Kumbaya," the three-piece from Olympia, Wash., has united a scathing brand of metal with inspired ecological spirituality. Say what?

To enviro-heads concerned with planetary destruction and nuclear apocalypse, and metalists banging their heads to songs about violent destruction and nuclear apocalypse, the connection is obvious.

"If we had to boil our band down to one thing: we’re just so fucking miserable and pissed all the time about the stuff that is going on in the world, just this wholesale war against anything beautiful or good or whole or pure," explains Weaver by phone from his little house across the courtyard from WITTR’s practice space.

Running counter to the activist tendencies of its punk cousins, the traditional metal scene has generally recoiled from politically correct statements. WITTR blends the two, embracing eco-feminism and radical ecology on a spiritually intuitive level rather than an overbearingly didactic one. Their second, latest album, 2007’s Two Hunters (Southern Lord), creates a dynamic continuum — not unlike nature itself — by pointedly channeling the sorrow and deep rage of a planet in crisis. Bookended by buggy chirps of the witching hour and twittering birds, the four tracks slowly creep with a plodding, atmospheric tension, climaxing in speed-of-light picking, drums to move mountains, and the throat-raking terror screams of Weaver’s younger brother and guitarist, Nathan.

Is this how Mother Earth would sound if she could respond in minor chords and time signatures? WITTR’s lyrics too are one with nature. As Two Hunters‘ 18-minute closing saga, "I Will Lay Down My Bones Among the Rocks and Roots," goes, "The wood is filled with the sounds of wildness / The songs of birds fill the forest on this new morning / This will be my new home / Deep within the most sacred grove."

Production-wise, WITTR carries through a similar awareness and intricacy, intent on crafting meticulously layered recordings. "The black metal aesthetic is just what we happen to use, but the main goal is to create soundscapes," Weaver says, noting that a typical song has about 20 guitar tracks. Earth producer Randall Dunn gave Two Hunters a palpable warmth, working primarily in analog at Aleph Studios in Seattle, and the band is planning to collaborate with Dunn again on its third full-length, due in February 2009. On it, touring bassist Will Lindsay will take over as the vocalist and second guitarist from new dad Rick Dahlin.

In a sense, WITTR’s devotion to re-awakening an ancient spirit rooted in their home turf is nothing new. Black metal is steeped in bioregional qualities, whether exuding a chilly clime and calling on Nordic deities or reading tarot cards and summoning the melancholy, intense quiet of the Pacific Northwest’s mossy old-growth forests. "That’s always been the explicit goal, to really express the spirit of this place, which has a very specific feel to it," Weaver says. "It’s a really dreamy kind of energy."

So next time you put on WITTR, remember it’ll sound best if you’re snug within a sacred grove — and make sure you have a lunar calendar and a Jepson Manual on hand. As the outfit argues in its band bio — required reading for fans of Derrick Jensen and Burzum alike — "If you listen to black metal, but you don’t know what phase the moon is in, or what wildflowers are blooming, then you have failed."

WOLVES IN THE THRONE ROOM

With Ludicra and the Better to See You With

Tues/12, 8 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

We be clubbin’? Just barely

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› a&eletters@sfbg.com

One night around 11 this spring, I stepped out of a cab at Sixth and Mission streets, only to enter a chaotic scene. Enhancing the block’s usual charms — destitute dudes in wheelchairs, crack enthusiasts, an old man in a denim skirt clutching a baguette — was a row of police cruisers parked in the street. Officers roamed the block, herding people around.

Had I stumbled onto a grim tragedy? Nope. I was just trying to catch a hip-hop show. Like the other 150 people waiting outside Club Six, I was hoping to get into KUSH, a party hosted by the Demolition Men. My chances seemed slim. I was on the guest list, but the list was "closed." So I stood in the long but well-behaved line. Security yelled at us to keep on the sidewalk, though the sidewalk ended well before the line did. Finally a guard bellowed at us to leave.

Half the line drifted away. The rest remained, texting friends inside the club and trying to devise a way in. Soon, with a combination of threats and cajolery, police and security began clearing the sidewalk around the club. A short, powerfully built man pleaded with stragglers, the way tough guys plead with you not to force them to kick your ass. Someone addressed him. He was Angel Cruz, Club Six’s owner, whom I’d interviewed for this story by phone. I introduced myself. He signaled a guard, and suddenly I was inside.

If this was New York City or Los Angeles, I might have felt the smugness engendered by such special treatment. But this was San Francisco, and all I felt was weariness. The club had devoted two rooms to the party, yet only one was full. Still, the vibe was friendly, and Jacka tore it up with his radio smash, "All Over Me." Although I heard some dudes got salty over the guest list, there were no arrests.

Sadly, such scenes are typical. Actually, we were lucky: I’ve seen cops shut down shows entirely over trifling incidents, usually ones occurring outside the club. This state of affairs affects more than the club-goers. Owners make less at the bar, promoters make less at the gate, and performers have fewer places to perform. Hip-hop, in its myriad forms, is one of the most popular genres on earth, and San Francisco is a world-class city. Yet this town seems hostile toward this musical nightlife with such revenue-generating potential. Why?

Naturally there’s no simple answer, and even investigating is difficult. Owners don’t want to alienate the police, promoters don’t want to alienate owners, and the San Francisco Entertainment Commission wants cooperation among all concerned. Few people I interviewed would name names or particular events, and some would only speak off the record, due to the delicate web of professional relationships involved. Even so, common issues emerge.

"Hip-hop is synonymous with fights and shootings, to authority figures," said Desi Danganan, whose Poleng Lounge is one of the few venues committed to the music. "The police are very hesitant about any club that plays hip-hop. That was one of the first things that came up, ‘Are you playing hip-hop?’<0x2009>"

The association between hip-hop and violence is nothing new: violence is the theme of many raps. Yet this is hardly the case with all hip-hop. The Bay Area in particular has produced an abundance of progressive, nonviolent lyricists, from veterans Hieroglyphics to up-and-comer Trackademicks. Yet the distinction is lost on the city and the police, according to Fat City general manager Hiroshi Naruta. "They don’t know the difference between hyphy and backpacker," he said.

Unlike the Panhandle-based Polang, Fat City is in the SoMa District, a longtime site of contention between police and clubs. As a result, the venue is shying away from booking hip-hop. "I want to," Naruta said. "But I don’t want pressure from the city or SFPD."

"Pressure," of course, is a nebulous concept and hard to substantiate, but according to John Wood, political director of the SF Late Night Coalition, there are typical tactics. "If the police feel your venue is creating a nuisance, they show up every night, check your permits, walking into your venue, upsetting your customers," he said. "They do frequent inspections with the fire department and the building department, and get you for every little violation. Short of suspending permits and filing lawsuits, there’s lots of ways city bureaucracy can make it difficult to do business."

But just how much of a "nuisance" do hip-hop shows create? Are they really that violent? No more than other genres, according to Robert Kowal, whose Sunset Promotions has brought everyone from Grandmaster Flash to Jurassic 5 to SF. "The city has safety as its primary concern," he acknowledged. "Occasionally some shows have problems the police have to deal with. Almost without exception that label gets thrown at hip-hop, when most events, including hip-hop, are very cool."

"Right now there’s a gun problem in SF," Kowal continued. "Instead of addressing that, the city wants to blame entertainment and specifically hip-hop. But violence is rare inside the venue itself."

Wood concurred with this assessment. "There have been incidents where there were shootings," he said, "not in the clubs, but a block away, that may have possibly involved people who were at the club. Frequently police will blame the club for incidents in the neighborhood."

An SFPD spokesman, Sgt. Steven Mannina, wouldn’t respond to this contention. It’s worth noting that much of SoMa can get rough, even during the day. To the contrary, Kowal believes venues like Club Six have improved the tone of the neighborhood: "Angel Cruz deserves a lot of credit. That Club Six is open four nights a week has enabled other bars and restaurants to open around it. That area has been somewhat revitalized."

Wood suggests an influx of new neighbors may, in fact, be the main issue. "The city’s changing," he explained. "It’s older demographically, wealthier, more harried, and professional. Aside from hip-hop and violence, people are less tolerant about noise young people create." Yet that lack of tolerance among the condo crowd may also be rooted in fear. "Neighbors sometimes freak out when a club is bringing large groups of minorities into the neighborhood," Wood added, "whether they’re behaving or not."

That assessment was echoed, mostly off the record, by many I interviewed. But veteran hip-hop commentator Davey D didn’t pull punches. "They just don’t want black people there," he said. "For a city that prides itself on being progressive, when it comes to nightlife, it has the most reactionary policies that seem based around race, using words like ‘urban’ as cover."

Regardless of hip-hop’s alleged role in violence, this spring the city attempted to deal with the issue via two pieces of legislation: one required a hefty $400 permit per show, and the other was an anti-loitering law, empowering police to clear the area around a club. Both proposals were bad ideas: the former threatened to stifle local entertainment, and in an era of eroding civil liberties, the latter promised to give police discretion to arrest people just for being in the club’s vicinity. Even more disturbing is Sgt. Mannina’s assertion in April that "this is an enforcement strategy around clubs that field operations have already launched." How can this be, if it was not yet a law? "I thought it was already in place," he said.

Clearly the police act as though it is, given what I witnessed outside Club Six. In the meantime, it’s tough to understand why SF hip-hop fans must, for instance, travel to Petaluma to see local acts like Andre Nickatina. "You want to know the solution?" a club owner asked, off the record and out of frustration. "There is no solution."

The Lumerians

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PREVIEW The Lumerians have landed, and with frequent local gigs and one EP under their belt, the band is poised for maximum impact on the Bay Area psych scene. Take a listen to the group’s self-titled recent disc on the Subterranean Elephants imprint: there, they’ve produced five great tracks of hypnotic rhythms warmed up by droning keyboards and weirded up by synthesized noise squiggles.

"Corkscrew Trepanation" drills your brain with its kick- and bass-drum stomp, and layers organ on top of keyboards to cool hypnotic effect. Other tracks slow a bit but then take off into space via those eerie, vacilutf8g synths. "Orgon Grinder" shines a light on a warm and dreamy female vocal that boosts the song into memorable melody territory. Most numbers stretch out for five to seven minutes, propelling this ensemble into the now-crowded electronic and prog-rock family tree that’s home to a certain cluster of oft-referenced German bands. The upside of that propensity for lengthy jams: Lumerians takes the listener on an extended trip into deep headspace.

THE LUMERIANS With Darker My Love and Eulogies. Tues/5, 9 p.m., $9.99. Independent, 628 Divisadero, SF. (415) 771-1421, www.independentsf.com

I’ll see your Embarcadero and raise you Market Street

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cic 5.jpg
Scene from last month’s ciclovia in Portland, Photo by Steven T. Jones

Sunday Streets, a proposal to bring to San Francisco’s Embarcadero the carfree ciclovias that have caught on in major cities around the world, became mired in the dysfunctional relations between Mayor Gavin Newsom and the Board of Supervisors after Fisherman’s Wharf merchants freaked out.

But even before the full board yesterday considered the resolution by Sups. Aaron Peskin, Michela Alioto-Pier, and Sean Elsbernd demanding the Aug. 31 and Sept. 14 events be postponed until a detailed economic impact analysis can be done, the Mayor’s Office had already announced the events would proceed as scheduled, critics be damned.

“The mayor’s position on Sunday Streets will not change. We will go ahead as scheduled,” Mike Farrah, head of the Office of Neighborhood Services and a longtime Newsom loyalist, told the Guardian on Monday.

In the face of that stand, and with Farrah and other event proponents promising to work with business community critics to massage the plan, Peskin opted to delayed consideration of his resolution until the Aug. 5 meeting. Yet Sup. Chris Daly (who supports Sunday Streets even though he calls it a Newsom publicity stunt) also decided to up the ante yesterday by introducing legislation to permanently ban cars from Market Street.

No Age ways

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› kimberly@sfbg.com

SONIC REDUCER No Age is in dire need of some vulture repellent. The much-acclaimed Los Angeles duo might have been decreed the future of rock by cultural gatekeepers like those yuksters at New Yorker, sailing forth via the freedom-first joys of "Miner" and negativity-bemoaning "Teen Creeps" on their urgent latest, Nouns (Sub Pop), but that doesn’t mean all is peachy keen in No Ageland, says drummer-vocalist Dean Spunt.

"We get e-mails all the time from managers and people who want to make our merch for us — I call them the vultures. Everyone kind of wants a piece of whatever’s going on," explains Spunt, 26, keeping it casual and amiable from LA as he and guitarist Randy Randall, 27, prepare to go on tour. "It’s like, ‘Hey, guys, I can charge you $8 for a shirt.’ I think most bands that aren’t DIY don’t know how much a T-shirt actually costs to make."

No Age happens to print its T’s at a silkscreen shop owned by Spunt’s mother. Making things there — and skate culture — left an impression concerning the hands-on pleasures and tangible economics of doing it yourself. "I really want to keep it fun for us, but it’s also now kind of become our living," Spunt confesses. "I think a lot of the vultures would try to have you not make it so fun. There’s a definite way, a cookie-cutter approach, that people take to music and bands, and I think a lot of people — the vultures I talk about — they just see it as that. It’s, like, ‘Well, hey, this is what bands do.’ But me and Randy don’t really do what bands do."

That goes for everything from taking money from their label to fund tours to renting a bus that costs the same amount a day as a van might per month. "I just like to keep the books clean," Spunt continues. "The whole Minutemen ‘jam econo’ thing — it sort of applies to us, you know."

DIY is far from dead for the band. Spout says he silkscreened No Age’s first seven singles by himself at his mother’s shop, as well as the band’s first "product": a bandanna, which the two ex-Wives members sold along with a DVD-R of art videos during their first tour. As much as any non-self-released album, Nouns reflects those values — born amid punk, fostered by riot grrrl and hardcore, and now nurtured by community at the Smell, in addition to those at like-minded venues like Gilman Project and 21 Grand (the latter is reportedly again under pressure to discontinue regular shows).

"We had an opportunity to record in a nicer studio," Spunt said of Infrasonic in LA and Southern Studios in London. "With Weirdo Rippers [FatCat, 2007] we were limited in terms of what we could do with sound, which is a big part of our band. The reason we’re two people is we kind of like the limitations being put on us so it makes us more creative and stuff, but we wanted to open the sound up a little more with Nouns, and I think we did. The noisier parts got noisier, and the poppier parts got poppier, and it’s a little more direct. The ambient stuff doesn’t run as long, and it just kind of gets you there." Mainly, he adds, they wanted to write songs that were fun to play live.

With Nouns, imagine No Age fingering its predecessors’ punk and post-punk garments longingly when it isn’t generating the larger-than-its-numbers blast of Hüsker Dü or Volcano Suns. The twosome looks directly back to an Alternative Nation for touchstones, while documenting a many-hued spectrum of faces and places in Nouns‘ accompanying booklet, snapping haunts and audiences that look startlingly alike, regardless of whether they were captured in Portland, Ore., or London. You might draw a line from one city, one space, or one gen to the next — from the 60-year-olds Spunt says write them fan e-mails to the 14-year-olds who might materialize at the all-ages shows. "It’s awesome," marvels Spunt. "It sort of goes with the name, I guess."

As for their future as "DIY professionals," as Spunt puts it, the pair simply want to keep making whatever they like. "I’m sure someday that will not be cool," he offers with a chuckle. "I’m waiting for the backlash."

NO AGE

With Mika Miko and Abe Vigoda

Mon/28, 8 p.m., $13

Great American Music Hall

859 O’Farrell, SF

www.gamh.com

Also Club Sandwich two-year anniversary

With Mika Miko, Abe Vigoda, and KIT

Tues/29, 9 p.m., $8

Lobot Gallery

1800 Campbell, Oakl.

www.clubsandwichbayarea.com

SIDEBAR 1

A BLAST, FAST

CAROLINER


More unforgettable noise pageantry from underground OG Grux. With Hans Grusel’s Krankenkabinet, Loachfillet, Amphibious Gestures, and Bones. Wed/23, 9 p.m., $10. Café Du Nord, 2170 Market, SF. www.cafedunord.com

THE DUKE SPIRIT


That’s the spirit of UK retro rock with girlish sighs. With Aarrows and Scene of Action. Wed/23, 9 p.m., $10. Bottom of the Hill,1233 17th St., SF. www.bottomofthehill.com

EDGETONE NEW MUSIC SUMMIT


The seventh annual experimental music hoedown gathers such diverse players as No More Twist!, a "sound and light lie detector" No More Twist!, local Chinese American hardcore unit Say Bok Gwai, Moe! Staiano’s Mute Socialite; High Mayhem–ite Carlos Santistevan’s the Late Severa Wires, and Birgit Ulher Trio with Gino Robair and Tim Perkis. Wed/23–Sat/26 at Community Music Center, 544 Capp, SF. See www.edgetonemusicsummit.org for details.

WYCLEF JEAN

The ex-Fugee brings out a full band. Wed/23, 9 p.m., $35–<\d>$50. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

TOILING MIDGETS


Up from the ashes of Negative Trend and the Sleepers. With Cloud Archive and VIR. Fri/25, 10 p.m., $10–<\d>$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

HARVEY MILK


Harvey Milk lives — in the form of his namesake Athens, Ga., art-metal band, which plays live for the first time in SF. Sun/27, 8 p.m., $14. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

“The Exiles” on Main Street

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TAKE ONE For a sharp perspective on Kent Mackenzie’s neglected 1961 classic The Exiles, push aside most contemporary reviews heralding the film’s rerelease. In the spring of 1962, Benjamin Jackson reviewed Mackenzie’s debut feature for Film Quarterly, and began by noting something no one today seems to think worth mentioning: only 28 years before The Exiles came out, the American Indians who starred in the movie weren’t even considered citizens by the US government.

That basic fact should be at the center of any appraisal of The Exiles, and yet, with the exception of Armond White in the New York Press, most 21st-century critics don’t contextualize the racist history and cultural prejudices the film confronts; forces that have since threatened to erase it. Almost 50 years and countless Sundance Film Festivals after Mackenzie’s look at Native American life in the city and off the rez, it’s still — unfortunately — a one-of-a-kind work. Just as Milestone Films’ successful release of Charles Burnett’s 1977 Killer of Sheep exposed American independent cinema’s lack of artistic imagination and societal insight, the return of The Exiles is partly inspired by the utter failure of American filmmakers to follow Mackenzie’s lead.

In Another Country (Vintage), first published one year before The Exiles‘ release, James Baldwin writes of a New York “so familiar and so public that it became, at last, the most despairingly private of cities,” adding: “One was continually being jostled, yet longed, at the same time, for a human touch; and if one was never — it was the general complaint — left alone in New York, one had, still, to fight very hard in order not to perish of loneliness.” The Exiles tracks a similar fight in Los Angeles, as waged by pregnant Yvonne (Yvonne Williams) while her husband Homer (Homer Nish) goes carousing through bars at Third and Main. Mackenzie follows both with a Weegee-like attention to detail that alights on everything from mechanical monkeys that blow bubbles to boisterous queens at a bar.

This major work of American cinema was created from film stock salvaged from a plane crash and short ends from I Love Lucy. Its potent original score of lip-biting rock ‘n’ roll is by the Revels, whose “Comanche” was exploited by Quentin Tarantino in Pulp Fiction. Its restoration is by Ross Lipman, who has also rescued Killer of Sheep and the work of Kenneth Anger. Further credit for The Exiles‘ revival belongs to Thom Andersen, whose 2003 survey Los Angeles Plays Itself first brought the film to the attention of a new generation. One year before Godard’s Vivre sa vie (1963), Mackenzie made an unsentimental movie about a woman who goes to the movies — in fact, The Exiles reaches its midway point just as Yvonne watches an intermission jingle that urges people to raid the concession stand. Both Yvonne’s night and this film’s are far from over. (Johnny Ray Huston)

TAKE TWO One reason we watch film noir is to look at the forgotten city. As American crime pictures got grittier, they stumbled from the plush nightclubs of Gilda (1946) to the sticky bars of Kiss Me Deadly (1955). First shot in 1958, Kent Mackenzie’s The Exiles is set in the same dilapidated Bunker Hill neighborhood valorized by John Fante and Charles Bukowski. Mackenzie’s ethnographic focus on a small group of urbanized American Indians would seem to place his film in a different league, but then many noir films open with statements not so different from his voice-over: “What follows is the authentic account of 12 hours in the lives of a group of Indians who have come to Los Angeles, California.”

Noir comparisons only go so far in elucidating The Exiles‘ enduring appeal. By focusing on a sloshed night-in-the-life of this group, Mackenzie locates urban malcontent rather than inventing it. After the first of many exquisite evening shots of a long-extinct LA funicular, we’re introduced to Yvonne: her moony face is inexpressive, and her voice-over amplifies her solitude in a bustling marketplace. She explains she’s pregnant and is glad to be having the baby away from the reservation, but worries about her husband Homer’s commitment. Homer’s boys’ club favors a Keroauc-ish jive-talk — with disenfranchisement for heritage, they adapt the “wherever I may roam” frontiersman-speak of the hipster.

Mackenzie wasn’t a native Angeleno, much less an American Indian, but his outsider perspective enlarges The Exiles. If the location details in Charles Burnett’s Killer of Sheep seem incidental, here they are part of a broader lyrical-documentary design. The fact that we can make out so many prices — mackerel for 21 cents a pound, gas for 27 cents a gallon — is symptomatic of the characters’ hand-to-mouth milieu and Mackenzie’s aesthetic calculus. The filmmaker’s anachronistic tendency to play the peripheries reaches fullest bloom when Homer burns with unnamed anomie, surrounded by the Café Ritz’s unsavory characters. The moody scene is a vivid if intense evocation of the kind of democratic mixing place Mike Davis eulogizes in his 1990 LA history, City of Quartz (Vintage).

If The Exiles anticipates both Jim Jarmusch (the outsider-as-hipster and jukebox soundtrack) and Gus Van Sant (the bender crawl and the combination of voice-over and neorealism), it’s more a sign of Mackenzie’s intuition than his priorities. The bitter irony of the title is that Mackenzie’s characters are exiles from both the past and the future. The director was well aware of City Hall’s redevelopment slate for Bunker Hill when he framed his long-take vistas. “Time is just time to me,” hep-cat Tommy (Tommy Reynolds) muses on voice-over. “I’m doing it outside, so I can do it inside.” Not so for Mackenzie, a true preservationist whose work has now been treated in kind. (Max Goldberg)

THE EXILES

Aug. 1–7

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

Manufacturing Frida

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› a&eletters@sfbg.com

REVIEW Though overshadowed during her lifetime by her famous muralist husband Diego Rivera, Frida Kahlo is one of many examples of driven artists who achieved their icon status posthumously. And, like other historical figures with life stories loaded with tragedy, Kahlo underwent her share of suffering, which makes for great book sales and dramatic film plots. But as anyone who knows a bit of her story beyond her groundbreaking art can attest, she handled the physical and emotional pain with flair: she was a modern, intelligent Mexican woman who, from the 1930s through early ’50s, chose to flamboyantly dress herself in celebration of her cultural ancestry. She was exotic — even among her circles of culture vultures and political activists — and strikingly beautiful, so it’s no wonder that nearly half of her paintings are self-portraits. One thinks she might have wowed herself. Nonetheless, the well-known photographers who caught her on film left more telling documents than her paintings — of someone who radiated charisma and soul.

Before we dismiss a round of would-be Fridamania as an attempt to generate even more profits from Kahlo reproductions on bags and T-shirts, we should remember why she was plucked from history. Currently on view at the San Francisco Museum of Modern Art is the first major American exhibition of Kahlo’s works in nearly 15 years. Last year, for the centennial of Kahlo’s birth, the Palacio De Bellas Artes in Mexico City held a comprehensive show of her artistic accomplishments, along with personal photos and documents. Visitors to SFMOMA’s "Frida Kahlo" — which was organized by the Walker Art Center in Minneapolis — will get a similar experience to the Mexican exhibition: beyond almost 50 Kahlo paintings, there is a trove of documents and photographs. Don’t expect to see just the greatest hits, though those are present.

Strange still-lifes — like the pile of bodylike root vegetables in Still Life: Pitahayas (1938) — are displayed alongside bizarre folkloric conglomerations of Aztec mythology, Mexican jungle life, and political figures merged with events from Kahlo’s life. Her portrayals of other people are as mesmerizing as her self-portraits. Portrait of Luther Burbank (1931) presents the odd scene of the elder Burbank sprouting from the soil of a browned landscape. The area where his feet should be is a mass of roots growing into a decaying corpse. He holds a leafy tropical plant — a reference to his horticultural focus. Another compelling work rarely viewed outside of Japan’s Nagoya City Art Museum is Girl with Death Mask, (1938) in which a skull-masked child in a pink dress stands on a barren, sky-dominated expanse with a mask of a tongue-wagging monster at her feet.

When we enter the last rooms of the show, we are greeted with walls and display cases of family photographs, many with Kahlo’s handwritten notes. Two photos of Rivera, from 1929 and 1940, have her lipstick kiss prints on the back, and several other images are marked with pencil or ballpoint doodles. These funny, poignant bits of reality were not meant for public consumption, and the fan is given a deeper view into the real person. Add the early color photos of Kahlo and a home movie of Kahlo and Rivera fawning over and goofing around with each other, and you could begin to think that you actually know her.

So when one views the photos of Kahlo in traction, her strained face attempting to smile, or the pre-tragic pregnancy photos, subjects explored repeatedly in her art suddenly become even more clearly felt. Icons rarely get to be real after their ascension: we don’t want them to be mortal, perish, and take their magnetism away. When Kahlo died in 1954 at 47, a final diary entry read, "I hope the exit is joyful, and I hope to never return." Yet no one wants her to go.

FRIDA KAHLO

Through Sept. 28

Mon.–Tues. and Fri., 10 a.m.–5:45 p.m.; Thurs. 10 a.m.–9:45 p.m.; Sat.–Sun., 10 a.m.–7:45 p.m.

San Francisco Museum of Modern Art

151 Third St., SF

www.sfmoma.org

Letters

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PARTY PROMOTERS


The following two comments appeared with a July 21 posting to SFBG’s Politics blog, "DCCC vote: Does Peskin have it?"

We need a strong leader in our local Democratic Party that will call out our elected leaders on their BS. For example, [Nancy] Pelosi and her continued "do nothing but throw more monies at the war" approach. I have sat by and watched the DCCC leaders do nothing but carry the party line toward the right. It’s time for a change and to bring our party back to the left. Chris Daly would be the best one to make that happen, but unfortunately he is backing Peskin for that. I trust Chris, so I will have to go along with it for now. In 2010 you will have a chance to put your name on the next DCCC race if you don’t like how things are going.

Jerry Jarvis

Sup. Daly, never a fan of your brand of politics. I believe that San Franciscans will for years be harmed if your friend and colleague Sup. Peskin is elected chair of DCCC.

You will see my letter in this week’s Bay Area Reporter quoting both you and Mr. Peskin on your intent to change the way things are done on the DCCC and how you’re being termed off the Board of Supervisors seems to have energized you to find new ways to continue legisutf8g from beyond City Hall.

I fear for everyday San Franciscans, I fear for your children, I fear for businesses (who will pay taxes to support all that you and Sup. Peskin want to do?), and I fear for the survival of a united San Francisco.

Similar to the recent Leno vs. Migden race, I am deeply dismayed at the vitriol and partisan nature this race has taken.

Mark Murphy

WHAT IS JEWISH MUSIC?


The following comment appeared with a July 15 posting to SFBG’s Noise blog, "Shining a light on Diamond Days ’08 music fest."

Heeb magazine repeatedly demonstrates that it is pretty clueless when it comes to Jewish culture outside of a narrow set of tired shticks. When [publisher Josh] Neuman comments that "Jewish music" is "a murky moniker that generally signifies some sort of backwards gaze at a mythical, ‘authentic’ past," he’s demonstrating that he has no idea what’s going on in the Jewish music scene. Jewish music has never been so forward-looking as it is now. There are artists all over the country (and world) exploring what Jewish music can become. They are, with no more lofty goal than making great music, creating a new American Jewish culture that is as vibrant as anything that has come before. But Heeb hasn’t noticed and isn’t interested. In Heeb‘s world, being Jewish is nothing more than wearing a hip "tribe" T-shirt while laughing at your grandparents. Who’s looking backward?

Jack Zaint

The Guardian welcomes letters commenting on our coverage or other topics of local interest. Letters should be brief (we reserve the right to edit them for length) and signed. Please include a daytime telephone number for verification.

Corrections and clarifications: The Guardian tries to report news fairly and accurately. You are invited to complain to us when you think we have fallen short of that objective. Complaints should be directed to Paula Connelly, the assistant to the publisher. We’d prefer them in writing, but Connelly can also be reached by phone at (415) 255-3100. If we have published a misstatement, we will endeavor to correct it quickly and in an appropriate place in the newspaper. If you remain dissatisfied, we invite you to contact the Minnesota News Council, an impartial organization that hears and considers complaints against news media. It can be reached at 12 South Sixth St., Suite 1122, Minneapolis MN 55402; (612) 341-9357; fax (612) 341-9358.

Stoner rock

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PREVIEW One morning futzing around on Craigslist trying to avoid the addictive looky-loo temptation of "casual encounters," I decided to waste time checking out what "musicians" were up to instead. I must’ve been directed there by a higher power, for I, curious, had clicked on a desperate request from a fan of seminal mid-1990s San Jose stoner-metal trio Sleep seeking any footage of their Sabbath-y riffage. Holy cannabis! I totally had some, buried amid S-M porn, scenes of teenage anarchy in Over the Edge (1979), and poignant Crass videos compiled into tripper montages my friend, who got kicked off Santa Cruz’s public access station, likes to craft.

We were back to the historic days of tape trading (though she and I both later remembered a little cheating trick called YouTube). But since crackly VHS renditions only satisfy so much, and since that quintessential band has moved on to debatably bigger and better musical mastery with zero hope of any reunion, it’s vital to find the real, live thing. Could fulfillment lie in this weekend’s Black Summer of Doom and Fuzz? Two days of 18 mostly East Bay bands, presented by Eric Hagan and Purple Astronaut Records, promises to at least acquaint you with the local scene’s offerings, and, at most, jumpstart devotion to yet another awesomely doomy, fuzzy ensemble. It’s high time I filled my summer stoner rock quota. Gorge on sustained power chords, languish in spacey amethyst tracers, float on a sea of Orange amplification. Ride the dragon!

Which reminds me, I have to get that tape back.

BLACK SUMMER OF DOOM AND FUZZ Sat/26 with Soul Broker, White Witch Canyon, House of Broken Promises, HDR, and Scorched Earth Policy. Sun/27 with Butcher, Sludgebucket, BRNR, Greenhouse Effect, and Automatic Animal. See Web site for complete lineup. 3 p.m., $10 per day. Stork Club, 2330 Telegraph, Oakl. (510) 444-6174, www.storkcluboakland.com

Squatumentary: A Q&A with Hannah Dobbz

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By Liam O’Donoghue

Hannah Dobbz’s Shelter: A Squatumentary screens at 8 p.m. tonight at Artists’ Television Access. A 45-minute exploration of squatting in the East Bay between 2004 and 2007, it shares a bill with Sabrina Alonso’s self-explanatory 28-minute Mischief at 16th and Florida. I recently discussed the the pros and cons and politics of squatting with Dobbz, a freelance writer, editor and filmmaker.

SFBG What is your definition of squatting?
Hannah Dobbz Squatting could be using an abandoned building for a project or just for sleeping. It could be using an abandoned lot for gardening. Generally speaking, squatting is utilizing any unused space.

hannah.jpg
Hannah Dobbz

SFBG Is there anything that could be described as a “squatting scene” in the Bay Area?
HD Hard to say, since it’s so secretive and clandestine. If people are squatting, they usually don’t want everybody to know. They might need to sneak in at night and leave early in the morning. Not all squats can be used as community spaces.
The most well-known squat was probably Hellarity in Oakland, which is featured in the film. Another squatter featured in the film is Steve DiCaprio, who is working on Banana House and another house now, but that’s more of a private project — not really part of a scene. There is definitely a community of people who would consider themselves squatters (former or current), but using the word ‘scene’ is not really applicable.

“Elsa and Fred”

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REVIEW Bombshell Anita Ekberg embodies spontaneity as she playfully wades through the Trevi Fountain in that classic moment from Federico Fellini’s La Dolce Vita (1960). Inspired by this scene, spry octogenarian Elsa (China Zorilla) has a photo of Ekberg hanging on her wall and confronts each day with the exuberance of a woman a quarter of her age. She speaks her mind and lives with reckless abandon — but not necessarily wreck-less abandon: a fender-bender just outside her apartment building eventually gives her reason to pay a visit to her new neighbor Alfredo (Manuel Alexandre), a recent widower. Aside from focusing on a pair of late-in-life lovers, this Spanish romantic dramedy rarely veers from the expected: Elsa inevitably encourages cautious Alfredo (or "Fred") to make the decision to truly live. Still, you’d be hard pressed to find anything quite as adorable as Elsa and Fred. Whether they’re kissing sweetly or pulling a dine-and-ditch at a swanky restaurant, these elderly lovebirds are an irresistible pair. Both actors deliver delightful performances, but Zorilla in particular is a much appreciated treat as Elsa, breathing life into some of the film’s flatter moments. Director Marcos Carnevale’s recreation of the Trevi Fountain scene is beautiful and heartwarming.

ELSA AND FRED opens Fri/18 in Bay Area theaters.

Doing it naturally

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Donald Fortescue and Lawrence LaBianca’s "Bay Area Now 5" work — jokingly referred to earlier this month as the "Top Secret Oyster Project" — is not just about the creation of a well-crafted object. The piece also deals with the current state of San Francisco Bay’s wildlife, tides, and geography. So the two artists decided to let the physical environment affect the work — literally.

After putting in plentiful research, studying ocean survey charts, and talking with local environmental authorities on the work’s impact of their piece, the pair hired a diver to install the steel-table form they built — a muscled-up version of traditional cabriole or animal-legged furniture, as Fortescue describes it — on the floor of Tomales Bay, where it was designed to sit for several months. During the installation, however, their diver told them that the conditions weren’t the best for the hoped-for weathering and oyster- and barnacle-encrusting process, so the table was relocated to Pillar Point. In the meantime, they gathered hydrophone recordings in Bodega Bay to augment the work.

Fortescue, an Adelaide, Australia, expatriate who now heads the California College of the Arts’ furniture department, and LaBianca, who teaches interior architecture at CCA, share more than a keen interest in the physicality of the Bay Area: the two master craftsmen have a history of creating fine-art sculpture. "For me, it’s all just one spectrum — sometimes located more in one area than the other," says Fortescue from Sebastopol. Although this will be the pair’s first manifestation of an object together, it’s not the first time they’ve worked together. The met in Chicago six years ago when they each had work in a retrospective show of recipients of Virginia A. Groot Foundation grants. About two years ago, they collaborated on a proposal to the Yerba Buena Center for the Arts for an installation based on Herman Melville’s Moby Dick. Even though that project didn’t get the green light, they learned a great deal about collaboration, an approach that seems suited to the Bay Area art scene. "Unlike New York, with artists jockeying to get into the best galleries, you see a lot less ruthless, cutthroat behavior here," Fortescue says. "This is a much more friendly environment, much more helpful.

"I wouldn’t be surprised if what we are making is the most crafted object" in "BAN 5," Fortescue continues. "We use making as a way to explore new ways of making — crafting as an excuse for crafting." Oh, and it’s a great excuse to spend even more time amid the Bay Area’s natural settings.

Nailing it

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Queens Nails Annex has long had its street-level glam talons on the pulse of the Mission District art scene — one that so often melds visual art, music, film and video, and performance — so it’s fitting that unexpected connections are emerging from its curatorial contribution to "BAN 5": "Estacion Odesia," a four-parter named for a metro stop that will present visual works by artists and musicians at QNA and their audio pieces at YBCA listening stations; produce a limited-edition box set of music and visual artifacts; and throw a music club with downloadable playlists, an opportunity to share tracks, and monthly meetings. One surprise at the QNA show has to be the video piece by Renee Green, the dean of graduate programs at the San Francisco Art Institute, which QNA cofounder Julio César Morales describes as an extremely media-ted portrait of Green’s brother Derrick, the vocalist-guitarist of Sepultura, painted with magazine stories and radio interviews without using any of the metal giants’ actual music. "It’s an interesting mix of documentary and her personal connection to her brother," Morales muses.

ESTACION ODESIA Sat/19–Nov. 16, YBCA, first floor galleries. Also July 25–Aug. 30, Queens Nails Annex, 3191 Mission, SF. (415) 648-4564, www.queensnailsannex.com. Music club happens Aug. 15, Sept. 15, and Oct. 17, 7 p.m.

How “Now”?

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How to sum up the ever-changing arts scene of the Bay? Yerba Buena Center for the Arts bravely attempts the near-impossible once again with its multidisciplinary triennial, "Bay Area Now 5," sweeping the local visual art scene to present 21 emerging and established makers in addition to four guest-curated off- and on-site exhibitions as well as performing arts, film, and community-engagement components. Behold, a snapshot of a few faces, places, and ideas.

BAY AREA NOW 5

Sat/19 through Nov. 16

Opening party with Port O’Brien, TITS, Bronze, and more, Sat/19, 8 p.m., $12–$15

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-ARTS, www.ybca.org

See Web site for complete schedule




>>Biennialmania
For regional survey exhibitions, it’s location, location, location
By Glen Helfand


>>You’re going to myth me, baby
Ala Ebtekar rises above while tapping into persian and personal mythologies
By Kimberly Chun


>>Doing what comes naturally
Donald Fortescue And Lawrence Labianca take to the tides
By Stacy Martin


>>Creature feature
Misako Inaoka mashes together animal-vegetable-machine hybrids
By Kimberly Chun


>>Super Wofler
Hitching a ride with Galleon Trade
By Johnny Ray Huston


>>Book ’em
Outside the white box with Michael Swaine
By Ari Messer


>>Nailing it
The Queens Nails Annex snares “Estacion Odesia” in its glam talons
By Kimberly Chun

Dolores Park mini guitar hero

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By Phil Eil

For those of you who declined invitations to Dolores Park on Saturday: Don’t worry, you didn’t miss much. It was the usual scene: young people drinking Tecate, dogs chasing Frisbees, an eight-year-old guitar prodigy playing Creedence covers.

What’s that? There isn’t usually a third-grader playing to throngs of fans? I see. OK, then. Maybe you did miss something. Here’s what happened:

At around 6 p.m., I was lounging on the grass near the center walkway, talking with a friend, when I heard the unmistakable guitar intro to “Suzie Q.” But then, instead of a grown-up Fogerty-wannabe belting out the lyrics, I heard a tiny, determined voice wailing, “Oh, Suzie Q, baby I love you…” Curious to see who was singing, I shuffled toward the source of the music. By the tennis courts, I found a raucous crowd of hipsters whistling and hooting around a kid with an electric guitar and a microphone. Behind him, sitting on an amp, there was an older guy playing back-up guitar. I sat down and stayed mesmerized for the next 45 minutes.

Kid3.jpg
My PS3 abilities no longer seem so impressive …

L’homme de evasion: Tell No One

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By Erik Morse

Winner of four 2007 César Awards, including Best Director and Best Actor, Tell No One — aka Ne le dis à personne — stars François Cluzet as Alexandre Beck, a successful Parisian doctor whose wife Margot (Marie-Josée Croze) is horribly murdered in the disturbing opening scene. Huit ans plus tard and we learn that Beck has been investigated, harrassed and scapegoated by the gendarmerie for the crime until several key pieces of evidence link Margot’s death to the work of a local serial killer. Taken to drink and solitudinous reveries of the past, Alexandre remains consumed by the events of that night. His obsession over Margot’s death is further inflamed when he receives an email containing a surveillance video of his wife still very much alive. Her instructions to him: “Tell no one.” Is it a hoax? His imagination? Or his wife returned from the dead?

tellnoone.jpg

Feeding the fire of Mountainhood

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Do you know the way to … Almaden? Not many know about that tiny, once-rural cowtown-now-San Jose-incorporated bedroom community. But Michael Hilde, a.k.a. Mountainhood, can map it out for you.

"I’ve never, ever played a show where I’ve told somebody that I’m from Almaden and they’ll be like, ‘Oh, yeah.’ No one has ever heard of it," the affable and intense songwriter swears, sitting on a log in a breezy patch of woods at a sandy edge of the Presidio. "But it’s a wild town. When I moved there, it was straight-up country. There were stallion farms and on the edge of my block there was a Harley-Davidson bar. Every Saturday night, guaranteed, you’d see two fat, wet guys just duking it out through the window."

Love of home led Hilde to name his 2007 CD-R on Finland’s 267 Laattajaa label after his town, as well as the name of his musical project (he switched to Mountainhood after a dream spent communing with Devendra Banhart and Andy Cabic on a star-filled mountain). Home also brought him to City Hall when that biker bar, Feed & Fuel, was about to be torn down. "It’s funny because when I went there, right before I was to speak, they were doing this whole bill on whether cops could have the right to bust into illegal immigrants’ houses and harass them," Hilde recalls. "And I was, like, ‘I can’t believe I’m here to, like, talk about saving a bar. There were all these people with translators weeping. So I got up and gave an impromptu speech, and then afterwards, I sat back down, and people were, like, ‘You were amazing! What do you do?’ I was, like, ‘I’m a folk singer,’ and they were like, ‘Oh, that makes sense. We get it.’<0x2009>"

And folks are starting to get Hilde’s brand of cosmic Americana — a blend of delicate Banhart-esque rusticity, 1960s-era transcendental instrumentals, and modern-day home-recorded drone experimentalism. After a handful of lower-fi releases, his next two albums, Thunderpaint the Stone Horse Electric and Wings from a Storm, will be put out this summer on 180-gram vinyl, with stickers of Hilde’s impressionistic paintings by Time Lag. Yet despite the fact that Hilde has been building a community of sorts with his monthly Story night at the Stork Club — each performer adds a bit to a running narrative during their set — Hilde seems to cherish his outsider status in the local music scene as he describes one packed Lobot Gallery performance. "I’ll never forget their expressions," he says, miming a look of opened-mouth disbelief. "It’s stayed that way ever since I started playing here."

MOUNTAINHOOD

July 19, 9 p.m., $5

Argus Lounge

3187 Mission, SF

(415) 824-1447

Sketches of Spain

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› a&eletters@sfbg.com

John Fahey remains the beacon of American Primitive Guitar, but Peter Walker’s two out-of-print 1960s albums — Rainy Day Raga and Second Poem to Karmela or Gypsies Are Important (both Vanguard; 1966, 1969) are benchmarks of exuberant raga-blues sure to destroy any open-tuned acolyte. Solo guitar has never been a bankable venture — Fahey himself pawned instruments to pay the rent — but the recent stream of reissues and compilations (e.g., Tompkins Square’s Imaginational Anthem series and Numero Group’s Guitar Soli) highlight the breadth and influence of this loose-knit musician’s movement, while younger disciples like Jack Rose, James Blackshaw, and Ben Chasny reanimate the tradition. Walker writes me a series of e-mails from Peru about his eye-opening experience touring with Rose: "I had no idea I could work in this country or that anyone cares about what I was playing…. All of these younger players have picked up the ball from Sandy Bull, me, Robbie Basho, and John Fahey and run with it."

The fresh faces on the 2006 A Raga for Peter Walker tribute album seem eager to lap up Walker’s former torrents of notes, but the 70-year-old guitarist has long since moved on to the more capacious terrain of Spanish flamenco. He points out that the form is based on some of the same scales as raga in the liner notes to his new record, Echo of My Soul (Tompkins Square), a bridge he’s given himself plenty of time to cultivate in his 40-year gap between records.

"I first went to Spain to study in the fall of 1963," he writes. "It wasn’t until that winter that I had a chance to study in Valencia with a Sr. Pappas, who sold meat during the day and taught flamenco at night a few miles outside the city. It transformed my view of the instrument and what was possible." This from the man who participated in at least two zeitgeists in his younger days, playing the Greenwich Village coffeehouse circuit with people like Tim Hardin and Karen Dalton, and serving as the "musical director" for Timothy Leary’s LSD-coated celebrations.

Once a bright light of the counterculture, Walker’s voracious musicality returned him to the semi-anonymity of tutelage. While Echo of My Soul evokes tender evenings and intergenerational anthems, it’s also something of a student portfolio: "I made a recording each year reflecting my development, [and] I took the best of these to make a compilation to submit as my application to play in a major competition in Murcia," Walker writes. "The consensus in the Sacromonte community was whether or not it was pure traditional flamenco. It was certainly very beautiful music, so I decided to release it."

When I saw Walker play at the 21 Grand two years ago, I knew nothing of this long back-story, but the explorative nature of his musicianship was plain from his relaxed performance. He ran through many of the lyrical themes and rippling chord clusters that comprise Echo of My Soul, pausing between each piece to relay a story from Seville, Granada, or Woodstock. The 21 Grand is a chilly performance space, but Walker imbued it with worldly warmth — something decidedly lacking in most club performances. It might seem anachronistic to travel thousands of miles to study a musical form in the age of the iPod, but computer interfaces cannot satisfy curiosity in such full bloom. "I am in Lima, having a blast," Walker mentions in our first e-mail exchange. "Great music scene here…. The flamenco/Inca/jazz fusion is great."

PETER WALKER

With the William Hooker Trio

July 19, 7 p.m., $12

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

All or nothing

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› andrea@altsexcolumn.com

Dear Andrea:

When my husband and I first married, he was into S-M. I was very inexperienced, while he … well … wasn’t. Things were interesting for a while until he repeatedly breached our full-disclosure agreement and saw other people behind my back, but came clean about it later. There was also an issue with anal sex (he’s hurt me too many times). We’ve been completely out of the scene for several years and are enjoying a much closer connection. However, three kids later sex is very boring, planned, and short.

I’d love to have fun with him again, but he’s so sex-crazy I’m afraid of re-opening the door to trouble. He still uses a lot of nasty porn and Web sites where he exchanges e-mails with subs. I don’t like this, but I understand that he’s got to have an outlet. He’s a pretty all-or-nothing kind of guy. Also, I think that he isn’t sure how to approach me anymore after having three children. Who feels sexy with baby puke on their sleeve and no shower? Is there any hope for us? Also, he refuses to go into therapy or ask for help because he doesn’t want to be judged.

Love,

Want Something

Dear Want:

You may be surprised to hear this, but for a couple who not only have such disparate experience levels and requirements but also three small children, you seem to be doing pretty well. Any number of issues casually glanced on in your letter could easily have doomed you — yet you persevere and even feel closer than when you were doing all that kinky stuff? You’re OK.

The S-M obscures things a bit, but the core issues here are no different from ones we discuss in classes (rather imprecisely titled "Is There Sex After Motherhood?") I’ve been teaching at a local nice-moms-and-their-babies education center. The baby puke, for instance. One of the most disheartening things I heard while awaiting my own babies was, "Oh, I didn’t change my clothes for six months. I just wore this ratty old T-shirt full of holes and spit-up." (This from a lovely friend who was only telling me the truth as she’d lived it.) "Forget it, then," I thought. "If it’s going to be like that, I’m not doing it."

And it wasn’t like that, of course, not for me and it shouldn’t be for you. One needs to do whatever it takes not to sink to that barely human state where you figure, what the hell, why bother showering when you’re just going to get dirty again? Get enough T-shirts so there’s always a clean one! Drag everybody into the shower with you, get up at 5 a.m., pay a neighbor to watch the kids for half an hour, whatever works. Get enough time to look and feel decent. We’re not talking about a hot-stone massage, Yummy Mummy makeover here. Grooming enough to bear the sight and smell of oneself shouldn’t be too high a bar.

I would like to launch into some ways you two could get back to breaking out the whips and chains and stuff, but I worry. Does he really need to have it all? Is he really insisting on nothing if he can’t? I’m hoping a guy starved of all but virtual kink for a couple of years may be more amenable than he used to be to a scaled-down version of "hell-bent for leather." Maybe "leaning toward Naugahyde"?

I do believe he doesn’t know how to approach you anymore, so here’s the obvious suggestion: you approach him, but only after ensuring that you won’t end up with him holding the power, reins, flogger, modem, and lube again, which he didn’t use enough of anyway. Take this opportunity to decide which games you liked, which might do, and which are untenable. Given the scarcity conditions that follow the introduction of many small children into the marital equation, I would also suggest that the whole "other partners" thing is right out. In order to get beyond the dreary status quo (although I do have to put a good word in for the parents-of-small-children quickie while I’m here), you’ll need to plan. You’ll also need to throw some childcare money at the problem (what my husband and I refer to, just to annoy people, as "paying young women for sex"). This is all stressful and expensive enough already, so no way will you want to pay for babysitters for his nights out without you. Save your cash for kinky-sex dates.

Obviously, all this depends on him not being so crazy, sex- or otherwise, and that "some but not all" actually is an option. I’m hoping that after a few years of deprivation and with the added motivation of keeping a beloved family intact, he can embrace moderation. Tell him it’s like the French model of eating, you know? A little + a little + a little = plenty.

Love,

Andrea

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

Andrea is also teaching two classes: "You’ve Really Got Your Hands Full" — a realistic look at having twins — at Birthways in Berkeley.

The gruesome twosome

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HORROR SEQUEL If you know Monsturd, you love Monsturd. If you don’t know the 2003 horror comedy by San Francisco filmmakers Rick Popko and Dan West, imagine a tiny town menaced by a mad scientist-created shit monster, with clueless cops, a no-nonsense FBI agent, and a climax that unfolds around a chili cook-off.

Doesn’t appeal? Don’t read on. But fans of homespun exploito-stravaganzas will want to know that Popko and West have finally finished Monsturd‘s sequel (the making of which I chronicled in "Blood Brothers," [05/30/06]). It’s called Retardead, and it returns to that same tiny town soon after the events of Monsturd. This time, the stakes are both higher (zombies!) and lower (zombies spawned from special education students!), and there’s way more of everything: gore, off-color jokes, cursing, and totally random moments, like an LSD freak-out scene, an exploding helicopter, second-unit footage contributed by horror fans across the country, a saucy appearance by dance theatre troupe the Living Dead Girlz, and a cameo by Jello Biafra.

Popko and West, who reprise their Monsturd roles as goofy deputies, realize they’ve created something rather crazy — and with all the technical problems they encountered in Retardead‘s post-production (from editing on outdated software to the disasters they overcame while working on the film’s first batch of DVDs), are now a little crazy themselves.

"The movie’s cursed — I think it’s karma because of the title," Popko theorized. "The karma gods are like, we’re gonna let you have this movie, but it’s gonna cost you in terms of pain and suffering all the way through till the very end. Monsturd took us two years, and we thought that was forever. And here we are five years after starting Retardead, and we’re finally seeing the end of the tunnel."

Though the movie is completed, "we’re still kind of shell-shocked," West said. "We still have the premiere to go through, and we don’t trust this thing. If it can fuck with us, it will fuck with us. It’s like the Frankenstein monster that has its own life, and we’re its bitch."

For better or worse, the monster is at last ready to terrorize audiences. West is excited: "The movie’s good. I love the movie. It’s weird, it’s 10 times better than Monsturd — cinematically, it’s much better. The special effects are just insane. We love the weird factor of this one. We were able to get our sense of humor and get a lot of non sequiturs in there. We love that stuff."

"I love how different it is," Popko agreed. "Dan and I are big fans of the horror genre, and the comedy genre, and there are a million friggin’ zombie movies out there. We didn’t want to fall into that trap of just being another zombie flick. So the thing I’m most proud of with Retardead is that this is gonna be a different experience. Yes, it is a zombie movie, but it’s like no other zombie movie that has ever been made before."

After the premiere — at which they’ll pass out barf bags in homage to their idol, Herchell Gordon Lewis, who did the same for 1963’s Blood Feast — the duo hopes to self-distribute their film over the Internet. They are also already planning a third collaboration, "a movie about making a sequel," West revealed, which will likely include pirates, Satanists, space vampires, "a werewolf thing," and more Biafra.

In the meantime, the pair hopes to greet a raucous crowd this weekend at the Victoria Theatre. "Ideally we’d like to see audiences going wild and crazy at a few of these key scenes that we’ve got in there that will hopefully surprise and shock people," Popko said.

"Specifically, that vomit scene," West chimed in, and the codirectors chuckled with delighted pride.

RETARDEAD

Fri/11–Sat/12, 7 and 9:30 p.m.; Sun/13, 5:30 and 7:30 p.m., $10

Victoria Theatre

2961 16th St., SF

(415) 863-7576

www.victoriatheatre.org, www.4321films.com

Real money, false arrest

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› gwschulz@sfbg.com

The false arrest of an elected official in San Francisco for using a $100 bill that police wrongly thought was counterfeit has evolved into a potentially precedent-setting legal struggle over police accountability.

The San Francisco City Attorney’s Office is seeking to appeal the case all the way to the conservative-dominated US Supreme Court, an expensive fight that could overturn what would seem a welcome ruling in liberal San Francisco. The Ninth Circuit Court of Appeals last August affirmed in the case that citizens have the right to sue police officers after being unreasonably arrested for a crime they didn’t commit.

After a federal district judge refused to grant qualified immunity to the officers and throw out the lawsuit, City Attorney Dennis Herrera’s office insisted on repeated appeals argued by deputy city attorney Scott Wiener, rather than settling for a few thousand dollars and accepting that the cops simply screwed up.

"There are some people who would say ‘Why don’t you just pay a little money to settle it?’<0x2009>" Wiener told the Guardian. "But we have to take a broader institutional perspective, because if you start settling cases that don’t have merit, you’re going to wind up with a lot more cases like that than you would have otherwise."

At the center of the story is attorney Rodel Rodis, a Filipino activist and elected trustee of City College of San Francisco, who was arrested in the spring of 2003 and dragged to a police station for supposedly trying to buy a handful of items from a Walgreens with a counterfeit $100 bill. The bill turned out to be real.

But by the time the officers came to that conclusion, Rodis had suffered what he regarded as the terrible embarrassment of being shoved into a squad car with his hands behind his back in front of neighbors and constituents. It also occurred just around the corner from his longtime law practice and the main campus of City College, where he’s been an elected trustee since 1991.

Rodis promptly filed a $250,000 claim against the city, former Police Chief Alex Fagan Sr., and two officers at the scene alleging false arrest, excessive force, and the negligent infliction of emotional stress, among other things. He later offered to settle the suit for $15,000, but the City Attorney’s Office refused to accept the deal.

Five years and innumerable legal bills later, the case just keeps getting worse for the city — even before it lands in front of a jury to determine if indeed the police should compensate Rodis.

"Part of my mind was saying … ‘I’m not going to argue. I’m not going to resist,’<0x2009>" Rodis said of the arrest. "I put my hands behind my back but I’m thinking ‘This has got to be a mistake. Somebody here has to have some sense.’<0x2009>"

Rodis was suffering from minor allergy symptoms on Feb. 17, 2003, when he headed to a Walgreens on Ocean Avenue he’d been going to for 20 years. It was located near his Ingleside home and a law office he’s had in the neighborhood since 1992.

He picked up some cough syrup, Claritin, toothpaste, and a few other things. The total came to $42 and change, so he tried to pay with a $100 bill.

"I just happened to have it in my wallet," Rodis said.

The drugstore clerk used a counterfeit detection pen to be sure the bill was legit. It was, according to the marking, but the bill was printed in the 1980s before watermarks and magnetic strips were used to help stop counterfeiting.

The young clerk was unfamiliar with the bill’s design and called a manager to be sure. He, too, used a counterfeit pen to confirm that it was real. But the manager told Rodis he was still going to call the police, fearing it was fake. That’s when things turned surreal. Two officers showed up and almost immediately placed Rodis in handcuffs before trying to ascertain if he’d actually attempted to defraud Walgreens.

"They made no effort to determine what the situation was … they just assumed," Rodis said. "When she said ‘Put your hands behind your back,’ I thought I was in some Twilight Zone moment."

A third ranking officer on the scene, Sgt. Jeff Barry, had known Rodis for years as a local lawyer and City College trustee. Their sons were classmates. But Barry allegedly failed to step in and question whether Rodis was likely to be a fraud artist.

Another officer, Michelle Liddicoet, told Rodis she knew who he was and that he "should be ashamed of himself," according to the suit.

Feeling humiliated as other Filipinos he knew looked on, Rodis was put into the back of a patrol car and taken to Taraval Station, where he was handcuffed to a bench. There he waited another 30 minutes or so until the police officers were able to reach the Secret Service, which investigates currency for the US Treasury Department. A federal agent confirmed that the bill was likely genuine. The whole ordeal lasted about a couple of hours and Rodis was driven back to the drug store.

"This wasn’t a situation where Mr. Rodis was held in jail overnight or for a week or had to post some large amount in bail," Wiener said.

Fagan sent out a department memo shortly afterward stating that suspects have to know the currency they’re using is counterfeit before being arrested, and in any event, if they insist it’s real, the officer can book the bill as evidence for later examination and give them a receipt without arresting anyone.

But by then the damage was done and the hasty reaction of police would lie at the heart of the case that Rodis subsequently filed.

Rodis is an unlikely champion of police accountability. Known for his cantankerous personality, he all but accused the secretary of the San Francisco Veterans Equity Center last month in his regular column for the Philippine News of supporting a band of communist guerillas in the Philippines known as the New People’s Army, a charge the man angrily denied.

He bitterly responded with a string of e-mails last year when the Guardian reported he was several months late in sending legally required campaign disclosure forms from his 2004 reelection to the Ethics Commission (see "At the crossroads," 07/17/07).

But the city’s police academy also has invited Rodis to lecture recruits about San Francisco’s Filipino community as part of the department’s sensitivity training. A week after the incident involving Rodis, an elderly Filipino man who sold the San Francisco Chronicle downtown was savagely beaten and robbed of $400. He never found a police officer while walking to his Tenderloin home, where he died. The two incidents, one following on the heels of the other, enraged the city’s Filipino population of 36,000, and Rodis believes it proves the police department continues to have trouble with discrimination.

"The fact that it happened to me meant that I was in a position to do something about it," Rodis said of his dust-up. "For many [Filipino immigrants] … they wouldn’t have had the resources or the knowledge of the procedures to fight back. Even up to now, five years later, I still bump into people who appreciate the fact that I filed the action."

The case was assigned to Wiener, who is coincidentally the elected chair of the San Francisco Democratic County Central Committee and a longtime party activist in a city that’s famously wary of any perceived threat to civil liberties.

In his capacity as a lawyer for the city, though, Wiener tried to have Rodis’ suit tossed using a common courtroom maneuver known as summary judgment. Civil defendants request them from a court by arguing that a claim is so lacking in merit that they shouldn’t have to endure a costly, time-consuming jury trial.

He also made the standard claim that city employees — in this case police officers — are shielded by what’s known as qualified immunity, a legal argument designed to allow them room to make honest mistakes without facing an endless barrage of expensive litigation.

In March 2005, federal district judge Maxine Chesney granted the request in part, throwing out Rodis’ claim of liability against the city and county. But she allowed the part of the suit involving the two officers to move forward, arguing the arrest was illegal because they didn’t have probable cause that Rodis intended to defraud the store.

So Herrera’s office turned to the Ninth Circuit Court of Appeals, and in a move that surprised Wiener, the panel ruled 2-1 that public employees are entitled to qualified immunity, but not when they fail to act on their considerable law enforcement powers in a reasonable way and take into account all factors present at the scene.

To put it bluntly, cops sometimes make an error in judgment but they still have to use their brains for establishing probable cause. The panel also argued that even if the bill was counterfeit, Rodis did nothing wrong if he wasn’t aware of it.

"Even without knowledge of Rodis’ identity and local ties," the majority wrote, "based on the totality of the other relevant facts, no reasonable or prudent officer could have concluded that Rodis intentionally and knowingly used a counterfeit bill."

Now Herrera had on his hands published legal precedent that his staff believed imposed a new requirement on police officers to not only conclude that perpetrators passed counterfeit currency but also that they intended to defraud their victims. The decision, city officials claim in their pleading to the Supreme Court, could hamstring local and federal law enforcement investigating counterfeit currency and some other types of fraud.

"They said it was clearly established that probable cause is a fluid concept," Wiener said of the ruling. "Well, that’s a meaningless statement. Of course probable cause is a fluid concept. But the point of qualified immunity is that officers are entitled to rely on the current state of law about what the requirements are and shouldn’t have to predict what a judge is going to do down the road."

Lawrence Fasano, a lawyer for Rodis, counters that Fagan’s memo to the department reinforced the court’s opinion. Considering that the police and people in the neighborhood had known Rodis for years, the officers on the scene should have concluded that it was out-of-character for him to pass a counterfeit bill.

"All the evidence that was looked at by the police officers at the time indicated that he did not intend to pass counterfeit currency, including the fact that he had other $100 bills in his pocket that were genuine," Fasano said.

Fasano argued, too, that case law in California made clear the issue of intent cannot just be set aside by police.

Other cities and counties in California so fear the case’s impact that two interest groups representing them, the League of California Cities and the California State Association of Counties, filed a joint friend-of-the-court brief after the Ninth Circuit’s ruling, arguing that digital counterfeiting was a "threat to the nation’s fiscal health" that could grow in the future, and if allowed to stand, "the panel majority’s decision would eviscerate the doctrine of qualified immunity to the detriment of the public."

Wiener filed the Supreme Court petition in May after a larger panel of Ninth Circuit judges rejected a request for rehearing earlier this year. While the Supreme Court accepts only a fraction of the thousands of cases it receives annually, Wiener believes there’s a chance it will be accepted because of another such case it’s examining from the Tenth Circuit. The city won’t know for sure until the fall.

He adds that it’s extraordinarily dangerous for police to be forced to consider a citizen’s status as an elected official before concluding that probable cause exists for an arrest. The City Attorney’s Office won’t disclose how much has been spent on the case until it’s resolved, but Rodis estimates he’s spent more than $50,000.
The US dollar may be losing value internationally, but a $100 bill from the 1980s could cost San Francisco big bucks.

Local Heroes

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Del Martin and Phyllis Lyon


Del Martin, left, and Phyllis Lyon
 

Del Martin and Phyllis Lyon have lived active lives — although “activist” would be the better word. One, the other, or both have been founding members of the Daughters of Bilitis, the Alice B. Toklas Democratic Club, the Council on Religion and the Homosexual, and Old Lesbians Organizing for Change. Martin, 87, was the first lesbian elected to a position in the National Organization for Women, where she was also the first to assert that lesbian issues are feminist issues. Lyon, 83, edited the Ladder, the first magazine in the United States devoted to lesbian issues. And together, it seems, there’s little they haven’t done, from coauthoring books to becoming the first gay couple in the nation to legally marry on Feb. 12, 2004, almost 50 years to the day they first became a couple.

Deemed void later that year, their marriage was reconstituted this June when the California Supreme Court ruled that same-sex marriage is, in fact, legal. Once again, Martin and Lyon were the first in line to tie the knot.

But gay marriage wasn’t the right they were fighting for when their relationship began back in 1954. “We had other, bigger issues. We didn’t have anything in the ’50s and ’60s,” Lyon recalls. “We were worried about getting a law passed to disallow people from getting fired or thrown out of their homes for being gay.”

Even something as simple as having a safe space to congregate was elusive. Before the mid-1950s, the only organizations that dealt with gay issues were run by and focused on men. So Martin and Lyon, along with a few other lesbian couples, founded the Daughters of Bilitis in 1955. “We would meet in homes, dance, and have drinks and so on, and not be subject to police raids, which were happening then in the gay and lesbian bars,” Lyon said. Those informal get-togethers eventually became the first lesbian organization with chapters nationwide.

They say their activism isn’t something that was sparked by their gender and sexuality, but came from being raised in politically conscious homes — Lyon in Tulsa, Okla., and Martin in San Francisco. When they met, working at the same company in Seattle, “both of us were already politically involved,” Lyon says.

“Really, ever since we were kids,” Martin adds. “You followed elections. You followed things like that. We wore buttons for Roosevelt. We couldn’t send money because we didn’t have any.”

“And then when we both moved in together, in San Francisco, the first thing we did was get involved with Adlai Stevenson,” Lyon says. They quickly got to know the major Democratic movers and shakers in the city, like the Burton family and later Nancy Pelosi, whom they would eventually turn to when there were gay issues that needed a push.

“We didn’t come out to everybody, but we came out to Nancy and the Burtons,” Lyon says.

These days age has tamped down the physically active part of their political activism, although they still donate money and were ardent Hillary Clinton supporters during this year’s Democratic primary race. They’re now backing Barack Obama over John McCain, though Martin expressed reservations. “I’m waiting to see how he handles the question about women and women’s rights. I’m not satisfied yet.”

Amanda Witherell

 

Local hero

Alicia Schwartz


Alicia Schwartz
 

Whether she’s demanding sit-down time with the mayor to discuss asbestos dust at Hunters Point Shipyard, offering to debate former 49ers president Carmen Policy over the need to develop 50 percent affordable housing in the Bayview, or doing the cha-cha slide on Third Street to publicize the grassroots Proposition F campaign, which fought the Lennar-financed multimillion-dollar Proposition G on the June ballot, Alicia Schwartz always bubbles with fierce enthusiasm.

“I absolutely love my job,” says Schwartz, who has been a community organizer with POWER (People Organized to Win Employment Rights) for four years.

Born and raised in Marin County, Schwartz graduated from the University of California, San Diego, with a degree in sociology and anthropology before returning to the Bay Area, where she is enrolled in San Francisco State University’s ethnic studies graduate program and works for the San Francisco–based POWER.

“It’s an amazing organization full of amazing people, united for a common vision, which is ending oppression and poverty for all,” says Schwartz. “In cities, the priorities are skewed to benefit folks who are wealthier and have more benefits. But the folks who keep the city running are not recognized or are suppressed.”

Prop. F wasn’t Schwartz’s first campaign experience. She had previously organized for reproductive justice, for access to health care and sexual-health education, and against the prison-industrial complex.

But it was the most inspirational campaign she’s seen so far.

“I saw the Bayview transformed,” Schwartz explains. “I saw people who’d lost faith in politicians come to the forefront and fight for the future. And I saw people across the city rallying in support, too.”

Schwartz acknowledges that Prop. F didn’t win numerically.

“But practically and morally, and in terms of a broader vision, Prop. F advanced the conversation about the future of San Francisco, about its working-class and black future,” Schwartz says. “Clearly, that fight isn’t over. It’s just beginning.”

Schwartz says she believes that the other success of Prop. F is that it raised the question of who runs our cities.

“And I think it was a huge victory, even being able to accomplish running a grassroots campaign, with no money whatsoever and where we had to up the ante, in terms of getting to know some of the political establishment.”

Most of all, Schwartz says she appreciated being able to work with people who hadn’t been part of POWER.

“And I appreciated being able to advance a set of demands that a broad range of people could support, while keeping the Bayview and its residents at the forefront,” she says.

While that particular campaign may be over, the battle for Bayview–Hunters Point continues on many fronts, says Schwartz.

“Are we going to allow it to be run by developers who don’t have our best interests at heart and who fool us with payouts and false promises?” she asks. “Are we going to allow San Francisco to become a place where people can’t afford to live, but surely have to come to work?”

Amanda Witherell

Local hero

James Carey, Daniel Harder, and Jeff Rosendale


From left, Daniel Harder, James Carey, and
Jeff Rosendale
 

It would be unfair to give any one person credit for stopping the state’s foolish plan to aerially spray synthetic pheromones to eradicate the light brown apple moth (LBAM). Thousands were involved in that struggle.

But there are at least three individuals we can think of who successfully fought the state with science, a tool that too often is used to dupe, not enlighten, the public.

They are James Carey, a University of California, Davis, entomology professor; Daniel Harder, botanist and executive director of the UC Santa Cruz Arboretum; and Jeff Rosendale, a grower and horticulturalist who runs a nursery in Soquel.

Together and separately, this trio used experience, field observation, and fact-finding tours to make the case that the California Department of Food and Agriculture (CDFA) would court disaster, in terms of lost time, money, and public goodwill, if it went ahead with the spraying.

And they did so at a time when UC, as an institution, remained silent on the matter.

“I felt like I needed to do this. No one was stepping up from a position of entomological knowledge,” says Carey, whose prior work on an advisory panel working with state agencies fighting the Mediterranean fruit fly between 1987 and 1994 led him to speak out when the state sprayed Monterey and Santa Cruz counties last fall.

Carey says the signatures of two UC Davis colleagues, Frank Zalom and Bruce Hammock, on a May 28 letter to the US Department of Agriculture also helped.

“All of us are senior and highly credentialed scientists,” Carey notes, “so our letter was taken really seriously by the agriculture industry.”

Rosendale and Harder had taken a fact-finding tour last December to New Zealand, which has harbored this leaf-rolling Australian bug for more than a century, to find out firsthand just how big of a problem the moth really is.

“We wanted to get the best information about how they were dealing with it, and what it was or wasn’t doing,” Rosendale recalls. What he and Harder discovered was that New Zealand had tried using organophosphates, toxic pesticides, against the moths — but the chemicals killed all insects in the orchards, including beneficial ones that stopped parasites.

“When they stopped using organophosphates, the food chain took care of the LBAM,” Rosendale says.

Like Carey and Rosendale, Harder believes that the state’s recently announced plan to use sterile moths instead of pesticides is a lost cause. He says it’s impossible to eradicate LBAM at this point because the pest is already too widespread.

“It’s not going to work, and it’s not necessary,” Harder says.

And now, Glen Chase, a professor of systems management specializing in environmental economics and statistics, says that the CDFA is falsely claiming that the moth is an emergency so it can steal hundreds of millions from taxpayer emergency funds.

“The widespread population of the moth in California and the specific population densities of the moth, when analyzed with real science and statistics, dictate that the moth has been in California for at least 30 to 50 years,” states Chase in a July 15 press release.

The state has put spraying urban areas on hold, but the battle isn’t over — and the scientists who have gone out on a limb to inform the public are still on the case.

Sarah Phelan

 

Local hero

Queer Youth Organizing Project


From left, Fred Sherburn-Zimmer,
Josue Arguelles, Jane Martin, Vivian Crocket,
Justin Zarrett Blake,
Joseles de la Cruz, and Abel-Diego Romero
 

The queer-labor alliance Pride at Work, a constituent group of the AFL-CIO, added a youth brigade last year, and it’s been doing some of the most inspired organizing and advocacy in San Francisco. The Queer Youth Organizing Project can marshal dozens of teen and twentysomething activists with a strong sense of both style and social justice for its events and causes.

Founded in March 2007, QYOP has already made a big impact on San Francisco’s political scene, reviving the edgy and indignant struggle for liberation that had all but died out in the aging queer movement. Pride at Work has also been rejuvenated and challenged by QYOP’s youthful enthusiasm.

“It really is building the next generation of leaders in the queer community, and man, are they kick-ass,” says Robert Haaland, a key figure in both Service Employees International Union Local 1021 and Pride at Work. “Pride at Work is now a whole different organization.”

QYOP turned out hundreds of tenants for recent midday City Hall hearings looking at the hardball tactics of CitiApartments managers, an impressive feat that helped city officials and the general public gain a better understanding of the controversial landlord.

“They have a strong focus on tenant issues and have done good work on Prop. 98 and some tenant harassment legislation we’ve been working on,” says Ted Gullickson, director of the San Francisco Tenants Union. “They really round out the coalition between tenants and labor. They do awesome work.”

In addition to the energy and numbers QYOP brought to the campaign against the anti–rent control measure Prop. 98, the group joined the No Borders encampment at the Mexican border in support of immigrant rights and turned a protest against the Human Rights Campaign (which angered some local queers for supporting a workplace rights bill that excluded transgenders) into a combination of pointed protest and fun party outside the targeted group’s annual gala dinner.

“It’s probably some of the most interesting community organizing I’ve seen in San Francisco,” Haaland says. “It’s really made a difference in our capacity to do the work.”

As an added bonus in this essentially one-party town, QYOP is reaching young activists using mechanisms outside the traditional Democratic Party structures, an important feature for radicalized young people who are wary of partisan paradigms. And its members perhaps bring an even stronger political perspective than their Party brethren, circulating reading lists of inspiring thinkers to hone their messages.

Haaland says QYOP has reenergized him as an activist and organizer: “They’re teaching me, and it’s grounding me as an activist in a way I haven’t been for a long time.”

Steven T. Jones

The Fourth of July in Rock Rapids, Iowa, 1940-53

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The good old days in Rock Rapids, Iowa,
the Fourth of July, l940-53

By Bruce B. Brugmann

(Note: In July of l972, when the Guardian was short a Fourth of July story, I sat down and cranked out this one for the front page on my trusty Royal Typewriter. I now reprint it each year on the Bruce blog, with some San Francisco updates and postscripts.)

Back where I come from, a small town beneath a tall standpipe in northwestern Iowa, the Fourth of July was the best day of a long, hot summer.

The Fourth came after YMCA camp and Scout camp and church camp, but before the older boys had to worry about getting into shape for football. It was welcome relief from the scalding, 100-degree heat in a town without a swimming pool and whose swimming holes at Scout Island were usually dried up by early July. But best of all, it had the kind of excitement that began building weeks in advance.

The calm of the summer dawn and the cooing of the mourning doves on the telephone wires would be broken early on July Fourth: The Creglow boys would be up by 7 a.m. and out on the lawn shooting off their arsenal of firecrackers. They were older and had somehow sent their agents by car across the state line and into South Dakota where, not far above the highway curves of Larchwood, you could legally buy fireworks at roadside stands.

Ted Fisch, Jim Ramsey, Wiener Winters, the Cook boys, Hermie Casjens, Jerry Prahl, and the rest of the neighborhood would race of their houses to catch the action. Some of them had cajoled firecrackers from their parents or bartered from the older boys in the neighborhood: some torpedoes (the kind you smashed against the sidewalk); lots of 2 and 3-inchers, occasionally the granddaddy of them all, the cherry bomb (the really explosive firecracker, stubby, cherry red, with a wick sticking up menacingly from its middle; the kind of firecracker you’d gladly trade away your best set of Submariner comics for).

Ah, the cherry bomb. It was a microcosm of excitement and mischief and good fun. Bob Creglow, the most resourceful of the Creglow boys, would take a cherry bomb, set it beneath a tin can on a porch, light the fuse, then head for the lilac bushes behind the barn.

“The trick,” he would say, imparting wisdom of the highest order, “is to place the can on a wood porch with a wood roof. Then it will hit the top of the porch, bang, then the bottom of the porch, bang. That’s how you get the biggest clatter.”

So I trudged off to the Linkenheil house, the nearest front porch suitable for cherry bombing, to try my hand at small-town demolition. Bang went the firecracker. Bang went the can on the roof. Bang went the can on the floor. Bang went the screen door as Karl Linkenheil roared out in a sweat, and I lit out for the lilacs behind the barn with my dog, Oscar.

It was glorious stuff – not to be outdone for years, I found out later, until the Halloween eve in high school when Dave Dietz, Ted Fisch, Ken Roach, Bob Babl, and rest of the Hermie Casjens gang and I made the big time and twice pushed a boxcar loaded with lumber across Main Street and blocked it for hours. But that’s another story in my Halloween blog of last year.

Shooting off fireworks was, of course, illegal in Rock Rapids, but Chief of Police Del Woodburn and later Elmer “Shinny” Sheneberger used to lay low on the Fourth. I don’t recall ever seeing them about in our neighborhood and I don’t think they ever arrested anybody, although each year the Rock Rapids Reporter would carry vague warnings about everybody cooperating to have “a safe and sane Fourth of July.”

Perhaps it was just too dangerous for them to start making firecracker arrests on the Fourth – on the same principle, I guess, that it was dangerous to do too much about the swashbuckling on Halloween or start running down dogs without leashes (Mayor Earl Fisher used to run on the platform that, as long as he was in office, no dog in town would have to be leashed. The neighborhood consensus was that Fisher’s dog, a big, boisterous boxer, was one of the few that ought to be leashed).

We handled the cherry bombs and other fireworks in our possession with extreme care and cultivation; I can’t remember a single mishap. Yet, even then, the handwriting was on the wall. There was talk of cutting off the fireworks supply in South Dakota because it was dangerous for young boys. Pretty soon, they did cut off the cherry bomb traffic and about all that was left, when I came back from college and the Roger boys had replaced the Creglow boys next door, was little stuff appropriately called ladyfingers.

Fireworks are dangerous, our parents would say, and each year they would dust off the old chestnut about the drugstore in Spencer that had a big stock of fireworks and they caught fire one night and much of the downtown went up in a spectacular shower of roman candles and sparkling fountains.

The story was hard to pin down, and seemed to get more gruesome every year – but, we were told, this was why Iowa banned fireworks years before, why they were so dangerous and why little boys shouldn’t be setting them off. The story, of course, never made quite the intended impression; we just wished we’d been on the scene.
My grandfather was the town druggist (Brugmann’s Drugstore, “where drugs and gold are fairly sold,” since 1902) and he said he knew the Spencer druggist personally. Fireworks put him out of business and into the poorhouse, he’d say, and walk away shaking his head.

In any event, firecrackers weren’t much of an issue past noon – the Fourth celebration at the fairgrounds was getting underway and there was too much else to do. Appropriately, the celebration was sponsored by the Rex Strait post of the American Legion (Strait, so the story went, was the first boy from Rock Rapids to die on foreign soil during World War I); the legionnaires were a bunch of good guys from the cleaners and the feed store and the bank who sponsored the American Legion baseball team each summer.

There was always a big carnival, with a ferris wheel somewhere in the center for the kids, a bingo stand for the elders, a booth where the ladies from the Methodist Church sold homemade baked goods, sometimes a hootchy dancer or two, and a couple of dank watering holes beneath the grandstand where the VFW and the Legion sold Grainbelt and Hamms at 30¢ a bottle to anybody who looked of age.

Later on, when the farmboys came in from George and Alvord, there was lots of pushing and shoving, and a fist fight or two.

In front of the grandstand, out in the dust and the sun, would come a succession of shows that made the summer rounds of the little towns. One year it would be Joey Chitwood and his daredevil drivers. (The announcer always fascinated me: “Here he comes, folks, rounding the far turn…he is doing a great job out there tonight…let’s give him a big, big hand as he pulls up in front on the grandstand…”)

Another year it would be harness racing and Mr. Hardy, our local trainer from Doon, would be in his moment of glory. Another year it was tag team wrestling and a couple of barrel-chested goons from Omaha, playing the mean heavies and rabbit-punching their opponents from the back, would provoke roars of disgust from the grandstand. ( The biggest barrel-chest would lean back on the ropes, looking menacingly at the crowd and yell, “ Aw, you dumb farmers. What the hell do you know anyway?” And the grandstand would roar back in glee.)

One year, Cedric Adams, the Herb Caen of Minneapolis and the Star-Tribune, would tour the provinces as the emcee of a variety show. “It’s great to be in Rock Rapids,” he would say expansively, “because it’s always been known as the ‘Gateway to Magnolia.” (Magnolia, he didn’t need to say, was a little town just over the state line in Minnesota which was known throughout the territory for its liquor-by-the-drink roadhouses. It was also Cedric Adams’ hometown: his “Sackamenna.”) Adams kissed each girl (soundly) who came on the platform to perform and, at the end, hushed the crowd for his radio broadcast to the big city “direct from the stage of the Lyon County Fairgrounds in Rock Rapids, Iowa.”

For a couple of years, when Rock Rapids had a “town team,” and a couple of imported left-handed pitchers named Peewee Wenger and Karl Kletschke, we would have some rousing baseball games with the best semi-pro team around, Larchwood and its gang of Snyder brothers: Barney the eldest at shortstop, Jimmy the youngest at third base, John in center field, Paul in left field, another Snyder behind the plate and a couple on the bench. They were as tough as they came in Iowa baseball.

I can remember it as if it were yesterday at Candlestick, the 1948 game with the Snyders of Larchwood. Peewee Wenger, a gawky, 17-year-old kid right off a high school team, was pitching for Rock Rapids and holding down the Snyder artillery in splendid fashion. Inning after inning he went on, nursing a small lead, mastering one tough Larchwood batter after another, with a blistering fastball and a curve that sliced wickedly into the bat handles of the right-handed Larchwood line-up.

Then the cagey Barney Snyder laid a slow bunt down the third base line. Wenger stumbled, lurched, almost fell getting to the ball, then toppled off balance again, stood helplessly holding the ball. He couldn’t make the throw to first. Barney was safe, cocky and firing insults like machine gun bullets at Peewee from first base.

Peewee, visibly shaken, went back to the mound. He pitched, the next Larchwood batter bunted, this time down the first base line. Peewee lurched for the ball, but couldn’t come up with it. A couple more bunts, a shot through the pitcher’s mound, more bunts and Peewee was out. He could pitch, but, alas, he was too clumsy to field. In came Bill Jammer, now in his late 30’s, but in his day the man who beat the University of Iowa while pitching at a small college called Simpson.

Now he was pitching on guts and beer, a combination good enough for many teams and on good days even to take on the Snyders. Jammer did well for a couple of innings, then he let two men on base, then came a close call at the plate. Jammer got mad. Both teams were off the bench and onto the field and, as Fred Roach wrote in the Rock Rapids Reporter, “fisticuffs erupted at home plate.” When the dust cleared, Jammer has a broken jaw, and for the next two weeks had to drink his soup through a straw at the Joy Lunch. John Snyder, it was said later, came all the way in from center field to throw the punch, but nobody knew for sure and he stayed in the game. I can’t remember the score or who won the game, but I remember it as the best Fourth ever.

At dusk, the people moved out on their porches or put up folding chairs on the lawn. Those who didn’t have a good view drove out to the New Addition or parked out near Mark Curtis’ place or along the river roads that snaked out to the five-mile bridge and Virgil Hasche’s place.

A hush came over the town. Fireflies started flickering in the river bottom and, along about 8:30, the first puff of smoke rose above the fairgrounds and an aerial bomb whistled into the heavens. BOOM! And the town shook as if hit by a clap of thunder.

Then the three-tiered sky bombs – pink, yellow, white, puff, puff, puff. The Niagara Falls and a gush of white sparks.

Then, in sudden fury, a dazzling display of sizzling comets and aerial bombs and star clusters that arched high, hung for a full breath and descended in a cascade of sparks that floated harmlessly over the meadows and cornfields. At the end, the flag – red, white and blue – would burst forth on the ground as the All-American finale in the darkest of the dark summer nights. On cue, the cheers rolled out from the grandstand and the cars honked from the high ground and the people trundled up their lawn chairs and everybody headed for home.

Well, I live in San Francisco now, and I drive to Daly City with my son, Danny, to buy some anemic stuff in gaudy yellow and blue wrapping and I try unsuccessfully each year to get through the fog or the traffic to see the fireworks at Candlestick. But I feel better knowing that, back where I come from, everybody in town will be on their porches and on the backroads on the evening of the Fourth to watch the fireworks and that, somewhere in town, a little boy will put a big firecracker under a tin can on a wood porch, then light out for the lilacs behind the barn.

P.S. Our family moved in l965 from Daly City to a house in the West Portal area of San Francisco. There are, I assure you, few visible fireworks in that neighborhood. However, down where we work at the Guardian building at the bottom of Potrero Hill, the professional and amateur action is spectacular.

From the roof of our building at 135 Mississippi, and from any Potrero Hill height, you can see the fireworks in several directions: the waterfront fireworks in the city, fireworks on the Marin side of the Golden Gate bridge, fireworks at several points in the East Bay, fireworks along the Peninsula coast line.

And for the amateur action, parents with kids, kids of all ages, spectators in cars and on foot, congregate after dusk along Terry Francois Boulevard in San Francisco along the shoreline between the Giants ballpark and Kellys Mission Rock restaurant.
The action is informal but fiery and furious: cherry bombs, clusters, spinning wheels, high flying arcs, whizzers of all shapes and sizes. The cops are quite civilized and patrol the perimeter but don’t bother anybody. I go every year. I think it’s the best show in town. B3.