Scene

Valet

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PREVIEW I admit I was a little skeptical on first receiving Valet’s Naked Acid (Kranky) in the mail. I was burned out on Terry Riley–inspired meditation music even before seeing the garishly New Age "vibe painting" gracing the sleeve. It took a couple of weeks for me to get around to actually listening to the thing, and I’m glad I waited: the album begins with bell chimes, distant drums, and a what sounds like a thumb-piano loop, but what follows is hardly Tubular Bells, part two. Naked Acid is a drone album, but an incredibly brave one in which emotions are laid bare and a surprising range of musical textures flow from a minimalist sonic palette. Take three tracks in their chronological order: "Drum Movie"’s milky growl sounds fit for a David Lynch movie. "Keehar"’s reverb-licked guitar plays like celestial rock. "Fuck It"’s scraping drawl evokes Patti Smith played at half-speed or a duskier Mazzy Star.

Though Valet springs from the same Portland, Ore., DIY scene as White Rainbow, guiding light Honey Owens’ musical family tree includes Austin, Texas’ Jana Hunter, Finland’s Lau Nau, and fellow Portlander Grouper. All these women are pushing the female singer-songwriter format into new atmospheric, painterly territory, taking advantage of loop pedals and thick layers of reverb to collapse the distance between performance and production. Naked Acid‘s constant dissolve hovers uneasily between Karen Dalton remove and electronic opacity. After 40 minutes of enclosed drifting, Owens finally bobs to the surface on "Streets," turning a few pirouettes over a bustling programmed beat before clipping it off in noisy heat.

When Owens opened for Atlas Sound here last March, she was plagued by sound problems and seemed lost in the gestalt of her multiplanar drones. This time she plays at two smaller venues — Hemlock Tavern and a Mission District underground space — better suited to her diffuse blues, though it may take something else for her to shake something indelible from what, for now, remains ineffable.

VALET With Galactic Core, Kawabata Makoto, and Numinous Eye. June 18, 9 p.m., $7. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923, www.hemlocktavern.com

3 Good reasons to hate Meghan McCain’s blog (besides the obvious)

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By Marianne Moore

Meghan McCain, the senator’s young, hot, keffiyeh-wearing daughter, has taken to blogging from the campaign trail, and the media is lapping it up: depending on who you read she’s alternately “hilarious,” “refreshing,” or even “adorable.” Lest you be seduced by the blog’s seemingly innocent, light-hearted descriptions of bad campaign food or the Governator’s neckwear, find below the tools you need to remain ruthlessly scowling at Meggers and her Daddy.

1. Revolting Fake Hipness

In addition to sharing her observations and insights from the road, Meghan also graces us with her iTunes playlists, a sure way to show us that she’s down. The playlists are a truly bizarre mix of predictable indie bands (Architecture in Helsinki, Neutral Milk Hotel, Broken Social Scene: seriously, it’s like she hired a consultant) older artists (David Bowie, Stevie Wonder), shite (Rod Stewart), and music a Republican just has no business listening to (Joni Mitchell, Iggy Pop). Really, she can listen to whatever she wants; I guess what I object to is Meggers turning some of my favorite artists into hollow McCain shills, just like I generally object to the pollution and degradation of things I hold sacred.

According to a hysterically enthusiastic article in Britain’s The Observer, Meghan has single-handedly “reinvented the campaign blog” and “injected [McCain’s] political persona with some much-needed street cred.” Right. Because nothing says street cred like private jets, ditzy gushing over mass murderer Henry Kissinger’s loafers, and “self-deprecating” admissions of Starbucks addiction.

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Shannon Bae shows us What Asian People Like: Soda! John McCain!

Where Tecktonik hair comes from

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A couple of weeks ago, I wrote about that crazy Tecktonik dance phenomenon sweeping Europe — and especially Paris — into its robotically flailing arms, and usually set to electro banger tunes. The craze has been getting a lot of mainstream attention of late, and fab online network Current TV video reporter/hottie Philipp Mayrhofer has put together this entertaining and very informative look at the scene, along with some interesting background. Yes, Tecktonik even has its own official haircut — and this video actually takes you into the official Tecktonik salon. Them’s good marketing! Plus: mimes.

R.I.P. Anthony “Big Ant” Marin of Black Fiction, Amoeba Music

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Anthony “Big Ant” Marin in action. Photo courtesy of Amoeba Music.

By Billy Jam

This past week the Bay Area lost one of its most dedicated music fans and musicians. Anthony Marin, a.k.a., “Big Ant,” who most knew as a hip-hop DJ on the local scene for many years or from working at Amoeba Music on Haight Street, died sometime last weekend of heart failure (a full medical report has not yet been released to determine exact cause or time of death). He was 37 years old.

Born in SoCal Marin had lived in the Bay Area for most of his adult life toiling at various record stores since the ’90s including at Tower Records in the South Bay, Cue’s Records in Daly City, and Amoeba on Haight, where he had worked for many years and was much loved by his co-workers. In fact one of them, Jason Chavez, a.k.a., 4AM, whom he counted as his best friend and with whom he was a member of the band Black Fiction, was instrumental in discovering his body last Sunday, June 1.

Reportedly the last anyone had seen Marin was when he was at a concert last Thursday, May 29. The next day he was off work, but when he didn’t show up for work on Saturday and then on Sunday without calling in sick, his buddies at Amoeba got anxious. Chavez and others went to his apartment where Marin lived alone and had the cops and landlord gain access to the unit where they found his body. Another co-worker Luis Soria said that Marin told him he had been to the doctor on Tuesday, May 27, after complaining of some weight-related ailments (including swelling feet).

BMX Battles: Sit the fuck down — the Sean Parker story

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By Duncan Scott Davidson. Read Duncan’s article “Rise Above: The BMX Battles” here. Read his interview with Lotek’s Ian Schwartz here. Read his interview with SJBMX.com’s Chris McMahon here.

Sean Parker is a fixture in the SF scene. He’s usually riding flat at the Clock Tower, but I give the guy props for riding everything, and doing it all well–street, flatland, dirt, skateparks, whathaveyou. Not many people can grind a handrail, ride dirt jumps, air a bowl, and roll a hitchhiker all the way down the street all on the same bike. There’s nothing he won’t hit, and he’s famous for building spots–hidden jumps, concreted Jersey barriers, the list goes on. Skaters might hate, but the fact is you’ve probably skated something Sean built. He’s a relaxed, chill guy, but he’s not going to take any shit off of anyone.

Mr. Sean Parker

SFBG: Let me just start with the basic questions. How old are you, first of all?

SEAN: I’m gonna be 33 next week.

SFBG: How long have you been in the city? Where’d you grow up?

SEAN: A little over 10 years here. I grew up in the Washington, DC area.

SFBG: Why did you get into BMX?

SEAN: I don’t know. Something about the magazines always intrigued me. And then I eventually saw Matt Hoffman do a demo in, that was in West Virgina or something. Yeah, he actually gave me my first set of handlebars. I just kind of built a bike and quit skateboarding immediately.

SFBG: Oh, so you used to skate?

SEAN: Yeah.

SFBG: How old were you at the time?

SEAN: That was from like 9 to 12, I guess, 9 to 13.

SFBG: What was it about seeing the Hoffman demo that made you think “this was so much radder than skating”?

SEAN: There was just so much more you could do, it seemed like. You could go bigger, faster. It didn’t look as frustrating.

SFBG: Did you start with flatland?

SEAN: Mostly street riding. That’s all there was where I lived at the time. They didn’t have parks or anything, so I just rode around and did wallrides and handrails and stuff.

SFBG: How’d you get into flat?

SEAN: I eventually moved to Pittsburgh, Pennsylvania. I was just riding around, looking for people, if there was a scene or anything, and bumped into a group of flatlanders who were really good. I was like, “Damn, I guess I’m riding flatland now.” They taught me a bunch of stuff. I learned pretty quick. I kind of just tried to do everything at once from that point.

SFBG: You pretty much ride everything, huh?

SEAN: Yeah. Anything in front of me. Behind me. I don’t know which way I’m going.

SFBG: Do you ride parks as well?

SEAN: Yeah. I just rode Alameda yesterday. I love that place. I kind of just got there by default, like I do with the Embarcadero to ride flatland. I always want to check out the parks around San Jose or Benicia or something, I hear there’s some good ones. It’s funny, I just talked to the guy from sjbmx.com, and he’s at Benicia right now.

SFBG: I should call you up, man. I’ve been wanting to hit that park for like, weeks.

SEAN: Yeah, it’s pretty hot, I guess. I mean, a lot of people are talking about it like us.

SFBG: It’s bike legal, too.

SEAN: Oh, nice.

SFBG: What do you think about the new Potrero park opening up and not allowing bikes?

Hola, Maria! Alternaqueer Latinos get arty

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Queer queer queer season is heating up — the monthlong National Queer Arts Fest is in full swing, Frameline Film Fest is set to explode — and the exuberant, popper-fueled alternaqueer-Latino arts subculture is ready to blow your mind this friday eve:

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Featuring some of my fave art-intellects on the scene — Robert Guzman, Leo Herrera and Allan Herrera of HomoChic, and Jody Jock — this subversive Latin free-for-all is all about “how gay culture survives.” Plus, the reception tomorrow will be bursting with who’s-who hotties on the hoof. Incendiary artist statement after the jump.

Maria
Opening reception Fri/6, 7:30pm
Galleria De La Raza
2857 24th St.
(415) 827-8009
www.homochic.com

BMX Battles: SJBMX’s Chris McMahon pumps, swaps, and copes

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By Duncan Scott Davidson. Read Duncan’s BMX Battles article here. Read his interview with pro biker Ian Schwartz here.

Chris McMahon, occasionally referred to in the bike scene as “Beerman,” due to an unfortunate high school football coach, runs www.sjbmx.com. His take on bikes being a “menace” in skateparks is that it’s not bikes, per se, it’s little kids who don’t know what they’re doing, don’t have park etiquette, and are essentially abandoned at the skatepark by parents who don’t want to pay for babysitters.

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McMahon, wiped out from Dawg Aid. Photo by Daniel Porter

SFBG: What are you doing?

CHRIS McMAHON: Ah, not much. Out riding right now.

SFBG: Right on. Sorry to interrupt the session.

CHRIS: It’s cool. I actually have to help my buddy with a flat tire.

SFBG: Bike or car?

CHRIS: Bike.

SFBG: Bike? And he needs help?

CHRIS: He just needs a pump.

Footy from sjbmx.com. This includes clips from Cityview skatepark in Alameda, which BMXers helped design and pay for, but were later shut out of.

SFBG: I went to the Dawg Aid thing at Stonegate that you guys put on. There was, of course, a ton of bikes there. Was that originally a “no bike” park?

CHRIS: It definitely was and still is a “no bike” park, but we’ve never had it enforced. Never, ever gotten kicked out of there, to the best of my knowledge.

SFBG: What about Plato Arroyo?

CHRIS: We used to get kicked out of there. I know there’s still a rule, but I haven’t seen anyone get kicked out of there in awhile. There’s kids that ride there every day. But, that Evelyn lady that’s in my email, she was out there the other day. I don’t know what she was doing, exactly, but I have a feeling they’re going to be putting a fence up to keep bikes out. I talked to her about that a couple of years ago, and she never got around to getting back to me.

SFBG: In terms of Lake Cunningham, when did meetings start going down about that?

CHRIS: About the design?

SFBG: Sort of. When did they start designing it, and when did bikers get involved?

CHRIS: I think they started designing it about two years ago, maybe it was two and a half. They had an initial meeting, which no riders went to, because we weren’t informed. Two months after that, they had the initial design meeting, which I found out about just because I was looking around for information on skateboard message boards online. I got the date and time and location, and got a few guys to go to that.

SFBG: When was that?

CHRIS: I don’t remember exactly when it was, but I’m positive it was early 2006, maybe. Or maybe middle 2006. It was awhile ago. They were talking about how they didn’t really want to get bikes in there. Whoever the guy is who is in charge of the district for Stonegate was complaining about bikes in the park being a major problem, which is funny, because that’s the only people who ever rode there up, up until recently. Now there’s a lot of skaters there because they want to get used to bigger trannies for the Cunningham park.

SFBG: So who was giving the most anti-bike statements at these meetings, and where did they get their information from?

“Dubstep for supermodels”: LuckyMe + XLR8R

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When I wrote about the glitchy-hoppy-droppy Lazer Bass phenomenon a few weeks back — featuring local amazerz Lazer Sword — I neglected to drop the name of hot Scot collective LuckyMe, who are def a big part of the up-and-coming scene.

But I’m glad I neglected, because I’ve been tripping out on LuckyMe’s latest, mindbending mix for XLR8R. Click here to listen. The mix goes way beyond the lazers and grime, into some grittily beautific territory for which there is yet no name. (I refuse to say “emotronic!” Refuse! And you can hear some more great LuckyMe tracks at their MySpace page.) It was put together by LuckyMe sub-duo The Blessings, aka Dom Sum and FineArt.

A cute little stopmotion for a song by Hudson Mohawke of LuckyMe

I can’t imagine jumping around a dancefloor to any of this really, but my hands were in the air nonetheless — it’s been a long time since I got ravin’ in the cubicle.

No exit

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› a&eletters@sfbg.com

LIT An interviewee in Grant Gee’s excellent 2007 documentary Joy Division posits that the gloomy Manchester band inverted punk’s initial "Fuck you!" to convey a more atmospheric and ultimately unsettling sentiment of "I’m fucked." If so, the contemporaneous No Wave bands from New York City melted down those two approaches to one primal howl. Spiritually indebted to punk but suspicious of the first wave’s rockist stance, the No Wavers pursued aggressive detachment and tongue-in-cheek dissonance with the all-in brio of performance artists.

With its loose aesthetic boundaries, abbreviated timeline, and incestuous collaborations, the No Wave years are ripe for the kind of anthropological studies offered by two recent illustrated histories, Marc Masters’ No Wave (Black Dog, 205 pages, $29.95) and Thurston Moore and Byron Coley’s No Wave: Post-Punk. Underground. New York 1976-1980 (Abrams Image).

No Wave’s bylines make for an unwieldy taxonomy: Rhys Chatam studied with LaMonte Young and Tony Conrad; Lydia Lunch was a teenage runaway; Arto Lindsey of DNA and Mark Cunningham and China Burg of Mars all met at Eckard College in St. Petersburg, Fla. Moore and Coley have the most fun with the movement’s eclecticism. A No Wave coffee-table book may be a paradox, but they cram a fantastic level of detail into a handsome spread. If you want to learn that the artist Jeff Wall suggested the name of Glenn Branca’s group Theoretical Girls, theirs is the tome for you. But Masters gets several broader trends right, like when he makes the crucial point that No Wave filmmakers like Beth and Scott B. were upsetting an established avant-garde just as much as No Wave’s musicians were troubling their punk godparents.

Both No Wave overviews go to pains to limit their sphere of focus, though one does wish to read a little more about the movement’s literary influences (William Burroughs, J.G. Ballard, William Gibson) and outliers (Lizzy Mercier Descloux, please). Likewise, it would help to learn how the same set of city blocks produced Lydia Lunch and Madonna, and what exactly Jean-Michel Basquiat was doing all those nights at the Mudd Club.

But what these books skimp on context, they make up for in their rich detailing of No Wave’s internal split between Lower East Side habitués and SoHo aesthetes. There’s no question that Glenn Branca has influenced as many Mogwais as James Chance has Liars, but at the time of the movement’s heyday, downtown NYC was contested terrain. Brian Eno’s 1978 folklorist survey No New York (Phantom) conspicuously ignored the more outwardly intellectual SoHo contingent, and one still senses the bruised egos in Branca’s stinging account: "We were doing music that was too similar to what [Eno] was thinking about," the composer explains, elsewhere fuming, "If those East Village bastards had ever come down to Barnabus [a Tribeca bar], they would have found … as much sex, drugs, and rock ‘n’ roll going on in our scene as theirs."

Never mind the bollocks, there’s one clear constant refrain in all the No Wave testimonies: gimme cheap rent. Robert Christgau is right when he muses that No Wave’s bundling of nihilism and self-righteousness was "symptomatic of formal exhaustion"; but beneath, one finds an obvious irony. Where the movement’s progenitors were reacting to a perceived state of endless urban decay, their actions have, in retrospective, taken shape as an essential pre-gentrification story. As with Weimar Germany, No Wave is compelling for what was — and for what followed.

Demy more

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› johnny@sfbg.com

Jacques Demy’s raindrops keep falling on the heads of French filmmakers. While Jean-Luc Godard has to be the French new wave’s historical and critical favorite, the legacy of Demy has arguably inspired more imitation or homage. In the past decade, François Ozon (2002’s 8 Women) and Olivier Ducastel and Jacques Martineau (1998’s Jeanne and the Perfect Guy) have mined or mimed Demy’s distinct use of color and musicality, though even Ozon’s bright red is blue-blooded, and the charms of Ducastel and Martineau’s effort don’t include Demy’s graceful staging and assured storytelling. Now, with his third feature Love Songs, new wave lover Christophe Honoré has forged an uneasy marriage. He’s set out to connect and update the romantic wisdom and classical dramatic structures of Demy with the arch political wit of ’60s Godard.

Love Songs proves few movies are entirely terrible or terrific. Its crushworthy final half-hour is touching and sometimes magnificent. But much of its initial hour is maddening. It begins well, because Honoré is attuned to the mood-setting power of well-deployed credits. Handsome, last-name-only opening titles are the first of the film’s textual nods to Godard, which continue when various books play cameo roles much as they do in Godard’s 1961 musical A Woman Is a Woman. Tomes by Henri Michaux and Hervé Guibert become effective shorthand for characters’ desires. But novelist and playwright Honoré’s sole moment of spine-chilling — as opposed to groan-inducing — wordplay takes place when he simply makes his protagonist Ismaël (Louis Garrel, attempting to channel Jean-Pierre Léaud) read the nighttime signs of the 10th Arrondissement.

Garrel’s character is the focal point of Love Songs, but the film’s hidden star is Honoré’s longtime musical collaborator Alex Beaupain, who appears in a pivotal scene, performing the lovely piano ballad "Brooklyn Bridge." Beaupain is stuck with the job of bringing Michel Legrand’s jazz-inflected pop orchestrations for Godard and Demy into the 21st century. Melodically, he’s up to the task, especially when evoking the neo-Gainsbourg rock of Benjamin Biolay. But he isn’t helped by Honoré’s libretto contributions, because Honoré seems to misinterpret the pop opera of 1964’s Umbrellas of Cherbourg as a basic copying of old Hollywood musical traditions, when in fact it was a radical yet classical revision. Honoré assumes the casual multigenre musicality of Love Songs is more contemporary, but that’s arguable.

In their previous film together, 2006’s Dans Paris, Honoré and Beaupain discovered naturalistic, inventive intersections between drama and music sequences. Love Songs is more traditional in form, saving its radical aspect for a view and presentation of sexuality that’s far more fluid than one finds in contemporary cinema, straight or gay. Honoré is out to disavow exactly those kinds of divisions, and if he’s not helped greatly by Garrel, he’s aided immeasurably by Gregoire Leprince-Ringuet, whose arrival in the film’s second half takes the story out of a tritely fatalistic ménage-a-trois realm. He’s also saved by Chiara Mastroianni. Her presence is Honoré’s ultimate invocation of Demy, since she’s the daughter of signature Demy star Catherine Deneuve. (She also brings the off-camera baggage of a recent breakup from chanson specialist Biolay to her part.) Her role might appear secondary, but her solo number signals the return of the melody at the film’s heart. Her melancholic understatement testifies that Honoré hasn’t lost the attraction to eroticism that inspired his brash attempt to bring Georges Bataille to the screen with 2004’s Ma mère. He’s just made it as pop as he possibly can by setting it to music.

LOVE SONGS

Opens Fri/6 at Bay Area theaters

See Movie Clock at sfbg.com

www.ifcfilms.com

Rise above

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Also in this issue:
>>An interview with outlaw biker Ian Schwartz
>>An interview with SJBMX.com’s Chris McMahon
>>Sit the fuck down: The Sean Parker story

› duncan@sfbg.com

I push off and head down a makeshift plywood runway, compressing as I roll over the edge and into the Technicolor graffiti of the drainage ditch. The transition between the banked wall and the flatbottom has an abrupt kink in it, enough to send you to your face if you’re caught sleeping. I take some weight off the front end and try to maintain my speed as I pump into the opposite corner and carve the far end of the ditch where there’s an over-45-degree wall that runs behind what my friends and I call the "death pit" — a gaping cutaway in the bottom of the culvert, five feet deep, filled with broken glass, and frequently used as a urinal. Since I’m at the apex of my backside carve, up a wall 10 feet above last week’s Miller Time, I’m jolted by the crackle of a loudspeaker:

"You are trespassing. Leave the area at once or you will be arrested."

My concentration shot by the sheriff’s announcement, I jump off my deck and over the chasm at the base of the bank, barely clearing the skater’s version of a Vietnam tiger pit, and land on the rough concrete beyond the edge. My board bullets straight in, though, so I’ve got to lower myself — gingerly — into the mostly dry detritus and rescue it before my friends and I jet out of the spot and into the manicured back nine of Pleasanton’s Castlewood golf course. We get to the car, throw the boards in the trunk — mine has a "Skateboarding Is Not a Crime" sticker on the bottom — and head to the next spot, a ditch called the Rat Trap.

The year is 1987. I’m 16, in high school, and living with my parents in Fremont. The scene plays out over and over in much the same way: a drainage ditch, a nicely painted curb or ledge at a shopping center, the occasional backyard pool, and night sessions at the Tar Banks, a set of embankments around a loading dock with curbs at the top. It’s an underground railroad of repurposed architecture, none of it designed with a skateboard in mind but all of it highly skateable.

Taking the $4.7mil Cunningham skatepark. Video by Jarrod Allen, www.jarrodallen.com

Every weekend my crew hits as many spots as we can, and the constants shape up like this: urethane, aluminum, Canadian hard rock maple, concrete, and asphalt. Maybe blood, maybe beer — we’re teenagers after all — but nearly always: cops.

Skateboarding may not be a crime, but it sure as hell feels like one.

Flash forward 20 years. I’m with a different crew as I pull onto a street in suburban Redwood City, and I’m no longer rollin’ in my mom’s Plymouth Sundance, but my own truck. The other thing that’s changed is the number of wheels per head. There are four heads to eight wheels, and we’re here to ride the Phil Shao Memorial Skatepark. On bikes.

The park does not disappoint. There are a million kids trying tech ollie flip tricks around the perimeter of the park, but the bowl is what I’m about. Big and shapely with almost burlesque hips poured into her concrete, I’m in love as soon as I roll in. There are a few local bikers who have the place dialed, nonchalantly airing a few feet out and throwing the bars before heading back down the tranny. The only two skaters riding the bowl are a tall skinny teenager and his little sister, who looks to be about 10, and they have it on lockdown: lipslides on the spine, grinds, rock and rolls — everything smooth and fast. "Yeah!" I yell as they take their runs, stoked on their skills.

I know the times have changed when I see the little girl come up out of the bowl in the $450,000 public piece of silky-smooth concrete perfection, walk over to her mother, who’s posted up on a ledge, get a cell phone and make a call. Not five minutes later there are seven (I counted) Redwood City police officers converging on the bench where my friends and I are sitting. They randomly collar my buddy Scott — though I was the last one to drop in — and write him a ticket for $100. I have to admit, I’m flabbergasted.

Guess what: skateboarding isn’t a crime anymore — it’s gone mainstream. Successful companies hire lobbyists to promote the sport, and communities spend big bucks building new facilities for skaters. And now some skaters, many of them kids who never had to live in the underground world that I did, are using their legitimacy to push out the new outlaws — people who ride BMX bikes.

It’s crazy — two cultures that share so much, fighting over how many wheels they ride.

"Is that your daughter’s bike?"

The question comes from one of my coworkers, and, believe it or not, it’s not intended to be snarky. I can’t ride in public without someone saying "cute little bike," while giggling to themselves — or laughing and pointing. Seeing a six-foot-tall, 200-pound, bald-headed, tattooed white dude on a "kid’s bike" is like being passed on the sidewalk by a bear on a unicycle. At one point reactions like these would’ve rubbed me the wrong way, but nowadays, I nod and smile. Sometimes, I try to explain what constitutes a "full grown" BMX bike. While it’s got small wheels — 20 inches in diameter — the top tube, from the seat to the stem, measures 21 inches, and the handlebars are considered pro-sized at eight inches high by 28 inches wide.

Bicycle motocross, or BMX, is purported to have started in 1963 when the Schwinn corporation of Chicago unveiled the Stingray, which was basically a downsized version of the company’s balloon-tired cruiser-type bikes. Kids pretended to be grown-ups by aping Roger DeCoster and other moto heroes — launching their bikes off jumps, racing in empty fields and abandoned lots, and cranking wheelies down the sidewalks of Anytown, USA.

"It all began the way most individual sports start," motorcycle customizer Jesse James says in a voiceover at the beginning of the 2005 BMX nativity story/documentary Joe Kid on a Stingray, "kids pretending to be grown-ups, but acting like big kids."

I have been riding since I was seven. After three decades, one truism remains, and I can’t candy-coat it. I’ve got to speak it like a true BMXer: BMX is rad. It is and always has been an entity unto itself, progressing from wheelies, skids, and bombing hills to encompass myriad styles and surfaces, from streets to pools to dirt jumps to ramps to the balletic grace of flatland freestyle.

This summer, big kids on little bikes will be jumping 30-foot gaps at as many miles per hour as BMX pays homage to its racing roots at the 2008 Olympic Games in Beijing. On June 12 in New York’s Central Park, Kevin Robinson will try to break the legendary Mat Hoffman’s record for the highest quarter-pipe air on a bike — 26 feet, 6 inches.

It doesn’t take death-defying world records, the X Games, the Olympics, or the stupefaction of squares with cameras to make BMX legit. That feeling of overcoming fear and doubt by jumping a little farther, a little higher, the rush of nailing a trick, or carving a bowl, hasn’t changed in half a century. The legitimacy lies in that feeling, behind your breastbone, and it doesn’t change as you get older. Your wrists hurt, your ankles hurt, and your back hurts, but the feeling is the same. Kid’s bike? Hell yeah, it’s a kid’s bike.

It’s not as though I was blissfully unaware of a beef between bikers and skaters that day in Redwood City. Ask any BMXer to tell you a story of friction between the two and four-wheeled sets, and it’s not going to take them long to come up with something.

"When I was 12 years old, a skateboarder threw my bike out of the bowl at Ripon skatepark," says Jackson Ratima, now 19, a Daly City rider sponsored by Fit Bikes. "He was, like, 20 years old or something."

Tim "Wolfman" Harvey, 21, another up-and-coming pro, tells a similar story about a visit to the Bay Area from his native Massachusetts, when a local skater hassled him at the Novato skatepark. "I didn’t even know anything about California. It was my first time out bike riding, period. The guy was giving me all kinds of crap, yelling at me."

Ironically, Harvey, as friendly and easygoing a guy as you could hope to meet, almost turned pro for skateboarding before an ankle injury made it nearly impossible to ollie, an essential trick in street skating. He now lives in Petaluma and is a member of the painter’s union in San Francisco, where he’s a familiar face at street spots, but now on a bike. Back then, though, he "thought California was a scary place."

The Bay Area — and SF in particular — may be the worst place for bikers seeking a vibe-free session. "I’ve never experienced hostility like it is out here," Ratima says.

Smoldering after the Redwood City incident, I began to fixate on the "Skateboarding Is Not a Crime" slogan from my youth. Originally a bumper sticker made by Transworld Skateboarding magazine in the mid ’80s, Santa Cruz Skateboards currently makes a deck with that written on it, so the skate community has gotten a lot of mileage out of being oppressed.

"Skateboarding isn’t a crime?" I’d ask myself. You’re damned straight skateboarding isn’t a crime: it’s the law. BMX is a crime. There isn’t a biker alive who rides transition who hasn’t rolled into a taxpayer-funded park and had a knee-high grommet point to the sign and say, "Bikes aren’t allowed."

Not allowed, huh? Son, I skated my first pool when you were doing the backstroke in your papa’s ball bag.

Look: I love skateboarding and always will. Both skaters and bikers are doing the same thing, copping that same feeling rolling over the same terrain. The war makes no sense.

"We have religion and race and class dividing us. I refuse to be divided by what type of wheel size I have," says Jon Paul Bail, a local at Alameda’s Cityview skatepark.

Bail, 40, is the artist and pundit behind politicalgridlock.com. Through the Home Project, a program run through the Alameda Unified School District, Bail helped raise $150,000 to build the park, $8,000 of which came directly from his company’s coffers. He helped design the park, and he helped pour the concrete in the park, which opened in 1999. Mixed sessions of bikers and skaters were going down for six months with minor tensions but no major incidents when then–City Attorney Carol Korade advised City Hall that mixed use was too dangerous, and shut the bikers out.

My call to Corinne Centeno, Redwood City’s Director of Parks, Recreation, and Community Services, got off to a rough start: "I understand [the Phil Shao Skatepark] is not bike-legal, right?"

"Right. It was built as a skatepark," she replied, subtly italicizing the first syllable with her tone of voice.

"It wasn’t designed for bikes," she repeated, before adding, "but their having been prohibited from the start hasn’t necessarily kept people out." In an effort to do just that, the city is building a fence around the park, with bids currently ranging from $23,000 to $60,000.

The semantic argument — "it’s called a ‘skatepark,’ not a ‘bike park’<0x2009>" — is usually reserved for laypeople who don’t know enough about skateboarding or bike riding to see its inherent lack of logic.

Drainage ditches are not called a "skating ditches," nor were they designed for skating. Swimming pools are not called "skating pools." Yet, therein lie the roots of the modern skatepark, along with full pipes, which are based on industrial-size drainage systems also not intended for wheels. Every day skateboarders and bikers transcend these limits through creative repurposing.

Collision, and the fear of collision, is the main thing public officials cite when shutting bikers out of parks. "It’s unnerving," Vancouver pro skater Alex Chalmers wrote in a 2004 Thrasher manifesto, "BMX Jihad: Keep It in the Dirt."

"BMXers cover so much ground so quickly, especially when they’re pedaling frantically to blast a transfer, that it’s particularly hard to gauge these collisions," he wrote.

But the fact is that in any given park BMXers and skaters take different lines, and the best way to acclimate each group to the other is through exposure. If bike riders are banned, it increases the risk of collisions when a few bikers decide to chance the ticket or brave the vibe-out and ride anyway. A lot of bikers hit parks early in the morning because they don’t want to deal with hassles. During the overlap in "shifts," this leads to bewildered skaters who aren’t used to the lines a biker takes, and vice versa.

And the head-on menace is greatly overstated, largely disappearing when a park is integrated, if only unofficially. At Cityview, the police have displayed somewhat less zeal in ticketing bikers during the past few years. "They treat us like gays in the military," says Bail. "Don’t ask, don’t tell." And yet everyone manages to coexist.

At the new $850,000 skatepark in Benicia, which opened in October, integration isn’t a big deal. "From its conception, we designed it to be a skateboard park and also for bikes," says Mike Dotson, assistant director of parks and recreation. Technically, the park has designated bike hours, but since it’s largely unsupervised, there’s a mildly laissez-faire approach to enforcement. "In the very beginning there was a lot of concern about the use of both bikes and skateboards," Dotson says, stating that the park was packed the first few months. "Initially we had one or two calls on it. Since then I can say I haven’t had any calls on it — in relation to bikes and skateboards being in it at the same time or other complaints."

And there are mixed-use parks all over the world, as far away as Thailand and as nearby as Oregon: "You go to Oregon, and you can ride wherever you want," says a stunned Maurice Meyer, 41, lifelong San Francisco resident and founding member of legendary bike and skate trick team the Curb Dogs. Long Beach, Las Vegas, Phoenix, even Alex Chalmers’ hometown of Vancouver — all have parks where bikes and skates legally ride at the same time. What’s up with the Bay?

Lawyers, insurance underwriters, and city hall types may never understand how a park works. "It’s out of ignorance," Bail says. "To them it looks like chaos. To anyone who has skate etiquette — which is everyone — we all take turns."

Besides, let’s face facts: a skatepark is a dangerous place — to different degrees at different times, and for different reasons. "I swear to God, every time I go to the skatepark I see a hundred boards flying all over the place," Ratima says, "and I’ve never seen a bike go flying and land on a guy’s head." It’s not an inflatable jumpy house — it’s fun, but it’s not made out of cotton balls and your mother isn’t here. Usually.

Rose Dennis, press liaison for the San Francisco Recreation and Park Department, seemed baffled that someone would want to ride a bicycle inside the skatepark part of the new Potrero del Sol. Perhaps as a way of distracting me from my damn-fool idea, she kept hyping the park’s "other amenities."

I live three blocks from Golden Gate Park — if I want to play Frisbee, I’m not going to drive across town. I want to ride. When I brought up the possibility of scheduling bike-only sessions in the yet-to-be opened park, she suggested I draft a letter to general manager Yomi Agunbiade, before adding that "the facility wasn’t designed for that type of recreation."

When I (graciously, I thought) let her know that it would be not only possible to ride a bike there, but highly gratifying, she got a little heated: "At the end of the day, the buck stops with us. If one of you guys breaks your skull open and you’re bleeding all over the place, believe me, no one’s going to have any sympathy for Rec and Park if they make really nonjudicious decisions."

In other words, like a lot of city officials, she’s worried about getting sued.

But you know what? There’s actually less chance a BMXer will successfully sue the city. I give you California Government Code Section 831.7, which states the following: "Neither a public entity nor a public employee is liable to any person who participates in a hazardous recreational activity … who knew or reasonably should have known that the hazardous recreational activity created a substantial risk of injury to himself or herself and was voluntarily in the place of risk."

The law lists "bicycle racing or jumping" as being a "hazardous recreational activity." It’s on a fairly extensive list, along with diving boards, horseback riding, and the ever-popular rocketeering, skydiving, and spelunking, which, as I’m sure you’ve heard, are all the rage with the kids these days — much more popular than BMX.

But the words "skateboarding," "skateboarder," and "skateboard" are not listed anywhere in the text of the Hazardous Recreational Activities law, commonly called the HRA law. In fact, the International Association of Skateboard Companies has been lobbying to get the bill amended to specifically include "skateboarding" since 1995, when Assemblymember Bill Morrow (R-San Diego) took up the issue. Morrow’s bill was rejected by the state Senate Judiciary Committee in 1996. In 1997, Morrow and skateboard association lobbyist Jim Fitzpatrick gave up on amending the HRA and instead pushed Assembly Bill 1296, which added Provision 115800 to the state’s Health and Safety Code, which states, in part and in much less forceful language — without using the word "liable," for instance — that owners or operators of local skateparks that are not supervised must require skaters to wear helmets, elbow pads, and knee pads, and that they must post a sign stating said requirement.

It doesn’t say anything about "if one of you guys breaks your skull open and you’re bleeding all over the place" while wearing a helmet, then you can’t hold the operator liable.

When I asked San Francisco Deputy City Attorney Virginia Dario-Elizando how the law might apply to the city’s skateparks, she told me, "This question has never come up. I must tell you, I’ve never even seen the rules for the skateparks — no one’s ever asked me to look at them."

BMXers are willing to compromise if that’s what it takes. In May, San Jose opened the 68,000-square-foot Lake Cunningham skatepark, built by the same design firm (Wormhoudt) as the Benicia park at a price of $4.7 million, and the place has bike hours. Like any park, there are rules. Like some parks, there’s supervision, so the rules are enforced: separate bike sessions; helmet, elbow, and knee pads required at all times; brakes required on bikes; no smoking; no songs with swear words over the park soundsystem; no bikes in the three bowls with pool coping even though they only allow plastic pegs, which are undoubtedly softer on coping than metal skateboard trucks … it’s a long list of restrictions. It’s inconvenient for guys who don’t like pads or don’t run brakes, and there’s some griping, but we’ve got our eyes on the prize: the place is amazing, with a huge full pipe, massive vert bowls, and a decent street course.

I would like skaters to realize a couple of things: skating and BMX aren’t so different from each other, at least in the feeling each gives you, right there, behind your sternum, where your heart beats.

Bikers are going to ride no matter what, just like skaters are going to skate. Legal or not, we’re not going to go away. "I got arrested for riding there when I was 14," Ratima says of the Daly City skatepark. "They took my bike and threw it in the back of the car. I just kept going every day, and finally they just gave up."

"I’ve ridden bikes on vert," Thrasher editor Jake Phelps tells me during a phone conversation. "I can ride a bike in a pool, I can do that. I’m stoked when I ride a bike in a pool. Feels hella fun to me. Catching air on a bike is awesome, no doubt about that."

This, from the longtime editor of the bible of the "fuck BMX" set. It’s either baffling or heartening. I can’t decide which. "I don’t mind people that are just regular," he says. "If they’re skateboard people or they’re bike people too, I’ll respect anybody that respects me."

That’s what it comes down to: respect. I respect the fact that skateboarders did not come into this age of skateparks easily. I faded out when there was nothing, and I came back when they were in small towns across America, and I missed all the politicos and dreary meetings. It’s time for bikers to stop feeling like second-class citizens and demand a seat at the table. In the words of Black Flag, it’s time to rise above.

“Written on Spiders”

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REVIEW From this side of the planet, as many in the American art world see it, Berlin is currently the art world’s utopia. Things are happening there: experimentation and funding can be had, as well as cheap studios, alternative-gallery spaces, and thriving collectives galore. But this scene didn’t just fall from the sky like a space virus and infect the German capital in the past few years. It’s been brewing for some time. One collective, known as a hub that links dozens of contemporary German artists, is Starship. In 1998 it began publishing a self-titled alternative-art magazine with conceptually-themed issues, including images and writing generated by its community. San Francisco gallerist Jessica Silverman befriended Starship founding members Ariane Müller, Martin Ebner, and Hans-Christian Dany five years ago, and Silverman Gallery’s inaugural exhibition in its former Dogpatch location showcased their work.

The collective’s current show at Silverman is a mixed-media gathering that includes drawings, text, sculpture, back issues of Starship’s magazine, and a selection from the group’s poster series titled The Like of it now happens, which focuses on the subjects of excess and sustainability. Judith Hopf’s Singing Frogs — a photo collage of frogs with frogs in their throats — and Klaus Weber’s Ultra Moth provide weirdly funny, surreal social commentary in the tradition of propaganda posters. Because the group chose to not plaster its work around San Francisco — a city not known to embrace guerilla art kindly — they created a faux "outside" for them to exist in. Visitors entering Silverman are confronted by a large, silver, barred cube, like an astral reproduction of the gallery space. Sit on the space’s floor and thumb through the relatively recent Starship issue, The year we went nowhere (2005), and it feels like browsing a travel guide: you might get a sense of these Berliners’ flourishing art boom.

WRITTEN ON SPIDERS Through June 14. Tues.–Sat., 11 a.m.–6 p.m. Silverman Gallery, 804 Sutter, SF. (415) 255-9508, www.silverman-gallery.com

Prop 98 could destroy the next Kerouac

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By Jen Sullivan Brych

What if Jack Kerouac couldn’t find a cheap place to crash in San Francisco so he could drink at Vesuvio Café and bang on his typewriter? Would he have been forced to remain in the “sanitarium” of San Luis Obispo, as he referred to it? Would he have been forever missing what a biographer called the “feverish intensities” of San Francisco, never inspired to write again?

Even worse, what if the next generation of Kerouacs and Alice Walkers and Michelle Teas can’t afford to live in San Francisco anymore? The frightening Proposition 98 on the June 3 ballot would eliminate all rent control in California. If San Francisco loses rent control, it loses writers and its literary scene.

“If rent control goes, I know I’d lose my apartment soon enough,” said writer Peter Orner via email. Orner wrote The Second Coming of Mavala Shikongo, a finalist for the Los Angeles Times Book Prize and winner of the Bard Fiction Prize. He was also a Finalist for the Pen Hemingway Award for Esther Stories.

Orner has lived in the Mission for about five years. “They’d replace me with an investment banker in about forty seconds,” he said.

So why should people care if writers like Orner leave the city en masse? Richard Florida, University of Toronto business professor and author of the book The Rise of the Creative Class, argues that this group of people is creative, makes good money, and values diversity. The creative class includes writers of all genres, as well as educators, financiers, scientists and techies.

The group is attracted to urban areas like San Francisco, which ranked number one in Florida’s creativity rankings for large cities, because of its theater venues, its cafes and spoken word performances, its rock musicians and art galleries; in other words, because of its writers and artists and the quality of life they provide. Florida argues that cities which are successful in attracting this creative class are prospering, while cities that don’t are not. So, if rent control vanishes and the writers and artists disappear, our city by the Bay will suffer.

Death metal’s best? Arch Enemy to dominate Slim’s

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archenemy.jpg

By Kat Renz

These may be the enlightened days of reinvigorated heavy metal madness, but San Francisco hasn’t hosted a lineup of melodic death metal bands this hefty in a long time. On Thursday, May 29, at Slim’s, Sweden’s ever-fierce Arch Enemy leads the charge of sweeping arpeggios and throaty declarations on the second-to-last stop on their brief North American “Tyranny and Bloodshed” tour. Joining the brutal quintet are three Century Media label mates – compatriots Dark Tranquility, Divine Heresy, and Greece’s death metal offering Firewind. Insert a proper horned salute to Slim’s here for carrying the torch of loud, heavy music of late (Death Angel, Exodus, Slough Feg, and on Friday, May 30, Candlemass and Soilent Green).

Though hardly a household name, Arch Enemy has caught on with metal listeners. Their seventh full-length studio recording, Rise of the Tyrant (Century Media, 2007), debuted last September at no. 84 on the Billboard charts. It could have been higher had the genre’s fans not spent their audio allowance on another new release: Dethklok’s epic cartoon metal album, The Dethalbum, which clocked in at 34,000 copies during its first week out, making it purportedly the best-selling death-metal album to date.

Assembled in 1996 by former Carcass guitarist Michael Amott and ex-Carnage bandmate John Liiva, Arch Enemy’s infant days were especially notable for the technically devastating dual guitar work of brothers Michael and Christopher Amott. In 2001, the group replaced Liiva with a new vocalist, Angela Gossow. Arch Enemy’s since become lazily tagged as that band with the hot blonde Valkyrie who can growl as gutturally as any angry and seasoned death metal dude. Regardless Gossow holds her own in very male-dominated, aggression-fueled scene. (Fellow journalists with metal ambitions take note, there is hope: writing for a German metal mag at the time, Gossow landed the Arch Enemy gig after giving a demo tape to Christopher Amott during an interview.)

The Long Blondes

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PREVIEW When the Long Blondes arrived in November 2006 in fits of preening twirls and smoldering pouts with the decadent disco/new wave revamps of Someone to Drive You Home (Rough Trade), we’d at last found worthy successors to Pulp’s lip-gloss-and-sweat–smeared velvet crown. Fronted by the risky, romantic Kate Jackson, the Sheffield, England, quintet proved to be just as adept at intertwining the tawdry with the chic as their hometown forerunners, delivering laser-precise details of the dating scene while making the blood rush with every dirty dalliance and morning-after sound. Amid the snappy glam guitars, ice-sparkling synths, and jitter-pop rhythms, Jackson peered into the dance floors and singles bars and narrated back with a furious mix of exhilaration, lasciviousness, and cool detachment. Love’s a dangerous game with the Long Blondes, but pity the poor fool who doesn’t join in the frantic romp. When they sang promises of "Giddy Stratospheres" on the disc’s unstoppable Blondie-esque highlight, who could deny themselves such steamy, limb-tingling rapture?

Having recently re-emerged with the darker, rougher-edged Couples (Rough Trade), the Long Blondes remain just as committed to the hot-‘n’-flustered/couldn’t-be-bothered dynamic as they were before, and the Pulp/Blondie parallels hold true as well. On this go-round, however, there’s more menace to their nightclub trawling. Tracks such as "Round The Hairpin" skulk and creep with post-punk hypnotics recalling the likes of the Au Pairs, while the skeletal throb of "Too Clever By Half" offers spooky minimalist-disco deserving of the Italians Do It Better label. But for all their newfound experimentalism, the group has kept its flair for penning liberating live-wire pop anthems firmly tucked in its front pockets. "Falling in love is hard," Jackson reveals on "The Couples." "Writing a love song is even harder." Perhaps, but the Long Blondes have the lust-song thing down.

THE LONG BLONDES With Social Studies. Mon/2, 8 p.m., $15. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.gamh.com

Tataki

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› paulr@sfbg.com

Earlier this spring, a young colleague wrote to ask if I knew of seafood restaurants in the city that emphasize sustainability. While I could recall plenty of sightings of sustainable seafood items on various menus in recent years, I could only think of two seafood restaurants that answered to his description — places, in other words, where sustainability is central to the restaurant’s consciousness and is a basic element of menu composition. One is the Hayes Street Grill, whose menu card gives detailed information about where and how particular fish have been taken. The other is a small sushi spot named Tataki that opened about three months ago in an old Subway space at the southern foot of Pacific Heights.

Tataki does and doesn’t look like a typical sushi spot. It does have a small bar in a far corner of the snug dining room where you can sit on ergonomically peculiar stools of black plastic and watch the chefs deftly go about their business, and the bamboo tables were handmade by owners Raymond Ho and Kin Lui. But the pumpkin-colored walls are unusual, and the slate floor, while handsome, does contribute to a noise level that can be surprisingly high for such tight quarters. Of course, nowhere is it written that sushi bars and other Japanese restaurants must be quiet and serene; here it is merely written that, so far as this writer is concerned, it’s nice when they are.

Still, as holes-in-the-wall go, Tataki isn’t bad looking. The real interest lies in the menu. To a glance, this document resembles many others around town: there are selections of nigiri, rolls, tataki, soups, salads, and starters from the grill. But, as at HSG, each menu entry includes information on how the fish were obtained. Many are farmed, and while aquaculture raises all kinds of uncomfortable issues about pollution, antibiotics, and food-chain inefficiency, it does offer one inarguable virtue: aquaculture helps protect wild fish populations from collapse.

Since salmon, whether farmed or wild, is problematic now, Tataki uses a close relation, farmed arctic char, instead. The fish, with its delicate rose-peach flesh, makes a handsome nigiri ($4.50); it also turns up in one of the rolls and as carpaccio. Other nigiri might feature hiramasa ($4.50), also known as kingfish (a yellowfin relative, farmed in Australasia), and California striped bass ($4.50), whose flesh is like a disk of translucent ivory someone spilled Grenache on.

No sushi joint in San Francisco would be complete without a clutch of wittily named rolls to call its own, and Tataki is no exception. The best name probably belongs to the Divisaderoli ($6), chunks of avocado bundled with either tuna or kampachi (a Hawaiian member of the jack family) and scattered with glistening orange grains of tobiko. Tastier, if bearing a less-fun-to-pronounce name, is the Mix It Up roll ($11), a blend of spicy tuna and crab meat that achieves an almost sausage-like intensity of flavor and texture.

But the king of Tataki’s rolls is surely the Extinguisher ($13), which offers not only a serious spice kick but a moment of real visual spectacle. If you like saganaki (the flaming cheese of Greece), you’ll love this scene. But first, the roll itself: flaps of kampachi marinated with chiles, packed in rice, topped with chunks of avocado, squirts of what the menu calls "hot sauce" (chipotle mayonnaise?), and heavy sprinklings of habañero tobiko, fire-alarm red rather than the usual orange. The redness of the tobiko should be enough to caution anyone who’s remotely paying attention, but just to make sure, the chef sprinkles the side of the platter with rock salt, sloshes some rum over the crystals, and lights the whole thing on fire with a blowtorch. This might make an interesting DIY project for the patronage, assuming no licensure issues — probably a large assumption.

The flame, which is mostly blue and not at all raging (its more like something you’d see under a chafing dish), burns down quickly, and you might not even notice it expire, since eating the actual roll is a memorable experience of fire and spice. I love spicy food and I responded to the clever combinations here, but at the same time it did seem to me that the subtleties of the fish were all but irrelevant. Nuance can get lost in firestorms.

A nice chaser to the Extinguisher would be the cold spinach ($4), with the greens "boiled … in soy broth," as the menu grimly explains. The dish sounded almost Dickensian in its bleakness, but it turned out to be four compressed-spinach cylinders cut on the bias and arrayed upright on a plate, like a little diorama of some ancient temple. (Minor complaint: the tightly packed leaves were tricky to hack through.) A more easygoing cold dish — the Sancho Panza of such dishes in Japanese restaurants — is the seaweed salad ($4), which Tataki, in a nice twist, presents in a large porcelain ladle.

Despite mounting evidence that fisheries are collapsing from human exploitation throughout the world — the plight of the king salmon is a recent, local, and particularly disturbing example; see also the death of the Grand Banks off Newfoundland — we seem to have a vestigial confidence that the oceans are too vast to suffer real harm at our hands. If we don’t see it happening, then it can’t be quite real. But it is happening and it is real, and if there is going to be any kind of future for sushi and other seafood restaurants, it will be because Tataki, in its eco-prescience, turned out to be the dawn of a new day. *

TATAKI

Dinner: Mon.–Thurs., 5:30–10:30 p.m.; Fri.–Sat., 5:30–11:30 p.m.

Lunch: Mon.–Fri., 11:30 a.m.–2 p.m.

2815 California, SF

(415) 931-1182

www.tatakisushibar.com

Beer, wine, sake

MC/V

Surprisingly noisy

Wheelchair accessible

Hellarity burns

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› news@sfbg.com

"The angels in the summertime are ashes in the fall. As Eden fell so heaven shall. I will burn them all."

The sign, written in gothic letters on weatherworn plywood with faded red flames, is nailed to the side gate of a two-story duplex off Martin Luther King Jr. Way in north Oakland. Today, the old sign’s words carry a chilling new meaning, greeting visitors to a house whose insides were scorched by an unidentified arsonist.

The charred house has been a cauldron of contention for more than 10 years. It has been the product of two anticapitalist housing experiments, one started by an environmentalist landlord who sought to create an ecotopia, and the other by a group of anarchists who intended to make it their home. In the process, it became a hub for traveling activists and aspiring hobos, and a headquarters for antiestablishment endeavors such as Berkeley Liberation Radio.

"People would hear about it through the grapevine, hop off a freight train, and show up on our doorstep with a backpack, a banjo, and a Woody Guthrie song," says Steve DiCaprio, a tenant who moved into the house in 2001 with his wife after living in a van out front. "We had an open-door policy. Anyone could come in, no questions asked. They just had to abide by certain rules: no hard drugs, no racism, no homophobia, and no violence. We wanted to emphasize equality — it was a reaction to the closed, materialistic, competitive, dog-eat-dog society we live in."

The house originally was part of the green property owner’s attempt to create a network of sustainable, affordable housing. When his project floundered, the residence was slowly taken over by his tenants, a group of people who one-upped his radicalism. Both sides claimed to be avowed anticapitalists, but their strategies were at odds; his was to produce an alternative to the local housing market by creating a nonprofit that would help tenants own their homes as a collective. Theirs was to make space for themselves in a rent-based housing market by seizing property from investors and absentee landlords.

The owner eventually went bankrupt — drowned in the early stages of the current defutf8g housing market — and the property fell into the hands of a small-time real estate investor, despite the tenants’ attempts to buy it themselves. The tenants refused to leave, transforming themselves into squatters, and fought it out with the buyer in court for three years. As the court case bogged down, housing values plummeted, making the landlord’s investment lose value by the day.

On Feb. 28, when one of many hearings was set to take place, the squatters showed up in court but the landlord hadn’t filed the paperwork needed to move the conflict closer to a resolution. The following night, in the early hours of March 1, someone lit three fires in the empty upper apartment, setting the house ablaze as people slept inside.

WELCOME TO HELLARITY


For years the house has been known as "Hellarity," although its original owner never called it that. In fact, he refuses to. To recognize that name would be to legitimize the people who adorned it with the title — a group he sees as thieves, squatters who disrupted a legitimate project he thought would have a small but tangible impact on a profit-driven housing market.

Born on the Sunrise Free School in northeastern Washington State, Sennet Williams — known by most as "Sand" — spent his early years bouncing between Spokane and "environmental and pacifist intentional communities" in the area. A year after moving to Berkeley in 1990, he graduated from UC Berkeley’s Hass School of Business. With a degree in urban land economics, he wanted to do his part to turn the tide of environmental degradation by developing "nonprofit car-free housing" in Berkeley.

Williams didn’t see attending business school or investing in property as contradictions of his ideals. For Williams, they were strategic moves. He thought that anticapitalist projects lacked an important element — money — and wanted to be a benefactor for alternative forms of housing.

One week after graduating, his dreamy aspirations came to a crashing halt when an SUV plowed into his compact car while he was on a ski trip at Lake Tahoe, badly injuring him and causing brain damage. His goals would have been quickly destroyed, but Williams sued the driver and convinced the court that the accident interfered with his budding career, winning a settlement in 1993 that he says was "almost a million dollars."

While his money was tucked away in mutual funds and he was living briefly at a student co-op in Ann Arbor, Mich., in 1994, Williams solidified his ideas into an ambitious project called the "Green Plan" with some of his housemates. The plan was an elaborate scheme to "end homelessness" by creating "an urban nonprofit dedicated to self-governing and radical environmentalism" that would fund "rural sustainable ecovillages in Hawaii and elsewhere."

That summer, Williams bought five houses on credit in what he calls Berkeley’s "’80s drug-war zones" and brought his Ann Arbor friends to California to turn his rundown properties into co-op material. Over the summer, the Green Plan became an official organization and Williams let its members live in his houses without paying rent. Instead, they were expected to pay monthly dues to their organization — roughly the equivalent of fair market rent — to put toward buying rural land or repurchasing the houses from Williams at cost. Those who couldn’t afford to contribute were allowed to stay free in exchange for working on the houses, doing extra work for the Green Plan, or volunteering in its Little Planet café.

"Sennet (Williams) tried to be clear that he wasn’t a landlord," says former Green Plan member Dianna Tibbs, but relations between Williams and the members quickly disintegrated. Three years after its formation, the Green Plan remained unincorporated as a nonprofit. A former member also said it was still too centered on Williams’ ideas. Williams’ relationship with the tenants soured. "Ultimately there was a rebellion among the people against Sennet," Tibbs says. In 1997 the project disbanded, transferring all of the money they had raised — about $50,000 — to the Little Planet café.

The Green Plan fell apart, but Williams was caught up in the fervor of the mid-90s real estate market. In 1997, he bought the house that would later be named Hellarity for $114,000, with the goal of "making it into a demonstration of an eco-house that would be an educational resource for the city." He says he chose that property in part so it "could be a tribute to the Black Panthers’ goals of providing food in the inner-city," as it was on the same block as the home of Black Panthers founder Bobby Seale.

But shortly after Williams bought Hellarity, he says he became "overextended in real estate." By the time he made his first mortgage payments, he says there were "over 60 people" living in his houses. He owned eight in Berkeley, two in Oakland, and was planning to buy farmland in Hawaii. With Williams tied up in too many projects to fix up Hellarity, he moved in some people to "house sit" in exchange for free rent.

Shortly after people moved in, Williams stopped coming around the house. The housesitters gradually brought in their friends, the walls were slowly painted to suit the eccentric tastes of the occupants, and more people started calling the house theirs. Williams said he didn’t invite them, but admits that he never asked them to leave. He had little contact with the occupants as years passed. "He was just a theoretical person that owned the house," DiCaprio says.

Hellarity took on a distinctly anarchist flavor in Williams’ absence. "People with alternative lifestyles and alternative family arrangements could live without having to dedicate their lives to making money, giving them more time to invest in their homes and their communities," says long-term resident Robert "Eggplant" Burnett, Bay Area punk rock legend, publisher of the zine Absolutely Zippo, and editor of Slingshot newspaper. Hellarity hosted the pirate radio station Berkeley Liberation Radio, a do-it-yourself bike shop, and cooked meals for Food Not Bombs.

It seemed like an anarchist paradise, but it wouldn’t last.

FOR SALE


By 2004, mortgage payments were driving Williams deep into debt, and Hellarity became a burden. The house was being pulled away from him from two sides: by anarchists who increasingly challenged the legitimacy of his ownership, and by creditors who placed liens against his properties.

When Hellarity was eventually sold by the court in a bankruptcy sale, the tenants say the man who would buy the house, Pradeep Pal, had never set foot in it. Pal, who refused to be interviewed for this article, lived in an upper-middle class neighborhood in Hercules and owned two businesses, Charlie’s Garage in Berkeley and European Motor Works in Albany. He wasn’t exactly a freewheeling real estate flipper — he was a South Asian immigrant who, according to Guardian research of property records, never owned real estate in the area other than his own home.

But to the tenants, Pal was a capitalist trying to buy them out of their home. In a recorded meeting with tenants, Pal admitted he hadn’t been inside the house before he bought it, and Williams tells us the real estate agent who arranged the sale also never toured the house before Pal bought it. "He obviously had no interest in moving into the place or contributing to the community if he didn’t even look at it," future occupant Jake Sternberg says. "This was someone who just wanted to make a profit."

The tenants made it clear to Pal that they didn’t want him to buy the house and would make life difficult for him. As soon as it became apparent that Williams would lose the house, Crystal Haviland and a few other occupants started searching for someone to help them buy the house. In the summer of 2004, the house was slated to go up on foreclosure auction, but the tenants hadn’t found a sympathetic donor.

The auction was set to occur on the steps of the René C. Davidson Alameda County Courthouse, and the occupants showed up banging drums and bellowing chants to warn off prospective buyers. "We wanted anyone interested in buying the house to know that the people who had been living at the house for 10 years wanted to buy it," says Haviland, who is now raising a child, studying psychology at San Francisco State University, and volunteering as a peer counselor at the Berkeley Free Clinic. "We didn’t want people to buy it and turn it into an expensive gentrified thing." While people gathered, Williams showed up and announced bankruptcy, a legal move that cancelled the auction.

With more time to search for financial support, Haviland started talking with Cooperative Roots, an organization that bought a couple of Williams’ other houses — now known as "Fort Awesome" and "Fort Radical" — in foreclosure auctions. Cooperative Roots is a Berkeley-based nonprofit organized in 2003 by members of the University Students Cooperative Association. They received money from progressive donors — mainly the Parker Street Foundation — to buy houses that they turned into "cooperative, affordable housing," says Cooperative Roots member Zach Norwood. Anyone who lives in their houses is an automatic member of the cooperative and makes monthly mortgage payments to the foundation.

For Hellarity, Cooperative Roots was a godsend. "Other people would walk into that house and say, "This place is disgusting," DiCaprio says. "But they said, ‘Wow, this is a work of art.’<0x2009>" The Parker Street Foundation was willing to put down whatever was needed to buy the house, Norwood says, but the occupants were limited by the monthly payments they could afford. On Nov. 4, 2004, the house went up for bankruptcy sale, and Cooperative Roots was prepared to bid up to $420,000. "It was exciting to be there with a bunch of crazy Hellarity people, putting out bids for hundreds of thousands of dollars," Haviland says.

No one expected them to show up at the sale. Williams says they had previously offered to buy the house from him but he "didn’t think they were serious." By the time they had the money, Williams no longer had control of the sale. At the courthouse, the anarchists were playing by the rules, bidding with money up front. The only other party interested in the house was Pal and his brother-in-law Charanjit Rihal, who were placing bids against the occupants. The two sides bid against each other, driving up the price until the occupants reached their limit. Pal and Rihal took the property for $432,000.

OWNERSHIP VS. CONTROL


"This sale was symptomatic of a housing market gone haywire," says DiCaprio. "People like Pal and Rihal thought they could just throw a bunch of money into real estate and it would always be a good investment. I’m glad the market finally crashed, because that kind of behavior hurts a lot of people. It ended up driving the price of housing to the point that normal people can’t buy anymore — and that’s absurd."

Pal soon discovered he owned the property on paper only. The occupants didn’t recognize the sale or his authority to tell them to leave. Three months after the sale, the occupants were still there, refusing to go. Pal took the case to court in an "action to quiet title," demanding that they be ejected from the property and that the title be freed from any future claims against it. He claimed the people in the house were squatters, living on his property without permission. But before the police could drag out the occupants, they countersued, holding themselves up in court without a lawyer for three years and living in the house the whole time.

One of the first cross-complaints came from Robert Burnett who — with his contempt for the computerized, cell phone-saturated consumer culture — wrote his cross-complaint on the back of a flyer on an ancient typewriter. When the document appeared in court, one side advertised a benefit for a pirate radio station at the anarchist info shop at the Long Haul with an image of tiny people being thrown out of an upside-down Statue of Liberty. On the other side, Burnett claims that he is a co-owner of the house, which he acquired through "adverse possession." Two other defendants made the same claim.

"Adverse possession transfers the ownership of a piece of real estate to people occupying the house without payment," says Oakland attorney Ellis Brown, an expert in property law. "In the state of California, you have to be openly living in a place for five years without the titleholder trying to make you leave to win an adverse possession case."

"Adverse possession originated to prevent Native Americans from taking back land from homesteaders, but squatters turned it around, using it to protect people who take possession of unused property," says Iain Boal, a historian of the commons who teaches in the community studies department at the University of California, Santa Cruz and the author of the forthcoming book, The Long Theft: Episodes in the History of Enclosure. Boal emphasizes the large numbers of squatters in the world, a figure Robert Neuwirth, author of Shadow Cities: A Billion Squatters, a New Urban World (Routledge, 2004), pegs at 1 billion. "It is only here that squatters are seen as bizarre leftovers from the ’60s," Boal says. "We are in a crisis of shelter, and people need to fill their housing needs."

DiCaprio concurs. Along with Burnett, DiCaprio was the main backer of the occupants’ legal case. As we talk in a dark, live-in warehouse, he sips coffee out of a Mason jar and looks over the court case on his laptop. He says he wants to be a lawyer, but he has never been interested in making lots of money — he says he wants to "fight for housing rights." DiCaprio learned squatter law while cycling through family law court, criminal court, and federal court over a Berkeley house he was squatting and trying to win through adverse possession. The city threw him in jail, and he was released just after Pal sued the occupants of Hellarity.

He says Hellarity was different from other situations he’s dealt with as a squatter. "We never thought of ourselves as squatters [at Hellarity] per se until Pal sued us and start using that language in court," he says. "Before he bought the house, no one was challenging our presence on the property. Sennet [Williams] was either actively or passively letting us stay there. By filing a claim to quiet title, Pal made it apparent the title was in question. By calling us squatters instead of tenants, they lost some claim to the property. So we took the ball and ran with it."

Their use of adverse possession was strategic, DiCaprio says, but they didn’t intend to win the house that way. "We were never under any illusion that we would win ownership of the house in court," he says. "We wanted to use the court as a forum to enable us to buy the house. We were just treading water until Pal got tired and agreed to sell." The occupants say they offered him $360,000 for the house, the price it was originally listed for, but he refused to take a loss on his investment.

DiCaprio says the courts generally aren’t sympathetic to squatters’ cases. "Pro pers tend to be poor, so there is a class bias against them," he says, referring to people who represent themselves without a lawyer. DiCaprio says judges have rejected documents for having dirt on them and refused to give fee waivers to people with no income. "The courts do not like squatters. If you mix pro per and adverse possession, you could not have a more hostile environment against us."

For more than two years, Pal and the occupants played a cat-and-mouse game, dragging out the case and trying to complicate it in hopes the other side would just give up. Pal’s lawyer, Richard Harms (who did not return Guardian calls seeking comment), objected to the terms "documents," "property," and "identify" when asked to produce evidence related to his claim. "Instead of trying to prove their case, they were just waiting for us to trip up and not file something before a deadline," says DiCaprio.

The occupants didn’t slip, but as the case wore on, he and Burnett grew tired of upholding their side in court. By fall 2007, the two cut side deals with Pal. Burnett settled for $2,000 and DiCaprio for an undisclosed amount. "I realized I couldn’t save it alone," DiCaprio says. "I told them to sink or swim."

ENDGAME


When Burnett and DiCaprio settled with Pal, the subprime housing crisis was splashing the headlines. Pal’s investment was starting to seem more like a loss, but for the first time since he bought the property, it looked like it would finally be his. By November 2007, the remaining squatters dropped the battle for ownership and began bargaining with him for concessions.

By mid-February, Pal was ready to start renovations, and all but two of the squatters had moved out. They made their final plea and Pal gave his last compromise: two more weeks, then they had to go. "He was sure he was going to get the house, so he agreed to let us stay," says a squatter called Frank, who asked not to be named because of his immigration status.

What Pal may not have understood was that he was not the only party still interested in the house. The house was becoming a point of contention among the larger community of squatters and anarchists in the East Bay. Fissures broke around a central question: was it up to those living there to decide the fate of the notorious squat, or did the larger community of radical activists have a say in the property?

As Pal was getting rid of the last people occupying the house, the squatters’ conflict came to Hellarity’s doorstep. A new group of people came to the North Oakland house, among them a few who had previously stayed at Hellarity, ready to renew the struggle against Pal. Frank, who had been living in the house for seven months, was unhappy about the new arrivals.

"I told them that this kind of action would make problems for me," he says. "I already made an agreement with this guy [Pal] to leave by the end of the month." The new group saw things differently. "We own this place," says Jake Sternberg, the new de facto caretaker of Hellarity, who has since been pushing for the squatters to renew their court case. The discord between the squatters split up the duplex: the two old squatters stayed upstairs while the recent arrivals occupied the lower half.

Two weeks after the new crew moved in, a fire was lit in the upper apartment that burned through the ceiling and the floor. But who did it? Was it a disgruntled squatter who would rather destroy the house than hand it back to Pal? Or was Pal connected to the arson, losing his nerve as a newly energized group of squatters took over and the value of his investment crashed?

If not for the squatters, Pal might have been less affected by the subprime crisis than most property owners. He had no mortgage on the house — he bought it outright — so he wasn’t under threat of foreclosure, unlike tens of thousands of other California homeowners. But Pal faced a different threat. It seems likely he bought the house as an investment, and as the market crashed, he was stuck with a house he could neither renovate nor sell, and was left to watch its value tank as he slogged through court proceedings.

For an investor like Pal, the numbers weren’t looking good. In March, median housing prices had fallen 16.1 percent compared with those of March 2007, according to DataQuick Information Systems, and home sales declined 36.7 percent from the previous year. In April — for the seventh consecutive month — Bay Area home sales were at their lowest level in two decades, DataQuick reported. And according to Business Week, national home prices will plummet an additional 25 percent over the next two to three years.

On Feb. 17, the day after the new group of squatters moved in, Pal made an appearance at the house. In early March, Sternberg showed me a video he recorded during Pal’s visit. On the screen, Pal is sitting on a couch in the downstairs living room of Hellarity. At the door, a well-built man who looks to be in his 30s and calls himself Tony leans against the wall with two younger men who call themselves Salvador and Ryan. Sternberg tells me that Pal came to the house demanding they leave his property. Sternberg called the police, accusing Pal of trespassing. As they waited for the OPD to arrive, which took more than 25 minutes, they discuss their conflict over the house.

At the beginning of the video, Sternberg tells Pal why he and his friends refuse to give up the property: "People came over here from Europe and they said, ‘Hey, we’re going to take this place.’ Now they sell land to each other. And how did they get it? They took it…. And just because somebody pays for something doesn’t mean that they get it. And just because somebody sells something doesn’t mean they have a right to sell that."

A few minutes into Sternberg’s video, Pal told the squatters he was ready to take matters into his own hands. "You just have to deal with me now because what I’m saying is, it’s person to person…. And you know what? If it’s gonna get dirty, it’s gonna get dirty. I don’t care. Because you know what? That’s the way it’s gonna be, because this is what I need. I need to have it. I don’t have any lawyer. I can’t afford a damn lawyer. So it’s gonna be me and you. One to one. Man to man."

Pal eventually left the property after the police arrived, but the two younger men, Salvador and Ryan, spent the night upstairs. "[Pal] had them stay there because they thought the people downstairs would squat the upstairs," Frank says. "He wanted to protect the house." Frank, who says he was concerned that Pal would try to evict him with everyone else, initially didn’t protest the presence of the two young men.

The next day, at Frank’s request, Pal told Salvador and Ryan to leave, and for the two weeks that followed, Pal didn’t return to the house. The new group of squatters expected to see him Feb. 28, the date set for a case hearing called by Pal’s lawyer prior to the re-occupation of the house. If the defendants didn’t show up, a default judgment could have been entered, granting Pal his request to have the squatters removed and ordered to pay $2,000 per month in back rent. The squatters showed up for court, but Pal’s side hadn’t filed the necessary paperwork to hold the hearing.

Once again the house hung in legal limbo and the day after the hearing, the remaining people upstairs moved out as agreed. Frank says Pal called him while he was at work that afternoon to make sure they were gone. For the first time in 11 years, the upper apartment was empty, waiting for either Pal or the other squatters to seize it.

But someone was committed to preventing that from happening. The night after the people upstairs moved out, at around 3:15 a.m., the squatters downstairs awoke to fire creeping through the floorboards above them.

"Both of the doors upstairs were locked," Sternberg says. "We broke through one of the doors and threw buckets of water on the flames."

After the fire department extinguished the blaze, the squatters called the police to have an investigator search the scene. "It appears that unknown suspects entered the house through unknown means, and then set three fires in an attempt to burn the house," the police report states. According to the report, all three fires were set in the upstairs apartment; two burned out before the fire department arrived. Officer Vincent Chen found two used matches in the bathroom, where the wood around the sink had been burned, and a gas can hidden in the bushes on the east side of the house.

When I first met Sternberg, he told me the Oakland Police Department’s arson investigator, Barry Donelan, was helpful. Two and a half months after the fire, however, Sternberg says: "I regret having talked to the police."

Initially, Donelan didn’t know they were squatters — Sternberg had told him they owned the house. "Once he found flyers for a fundraiser to defend the squat, he became angry," says Sternberg. "He said he submitted the case to the district attorney, and didn’t expect anyone would be arrested."

Sternberg says Donelan also threatened to have him arrested for a traffic-related warrant and that he would turn Sternberg’s name over to the Federal Communications Commission, which had an open investigation on the house for hosting Berkeley Liberation Radio. In March, Donelan told us he wouldn’t comment on the case and at press time, he hadn’t return Guardian calls about the status of the investigation.

EPILOGUE


Although the arson may never be solved, the squatters have strong suspicions about who was behind the fire. But they have a hard time deciding who, ultimately, is most culpable for the blaze. "No one involved in Hellarity is innocent, and no one is completely guilty," says DiCaprio. The one point of view everyone seems to share is that Hellarity has long been a tinderbox of contention, in which property owners struggling in a beleaguered housing market faced off against a group of people who reject the market outright for its inaccessibility to low-income people. Eventually, it all literally — burst into flames.

When I visit after the fire, people are sitting outside playing guitar, smoking rolled cigarettes, and singing the timeless hobo ballad, "Big Rock Candy Mountain." The sounds drift over the budding vegetable gardens and into the downstairs living room, where a message written on a big green chalkboard suggests that if the fire was intended to drive people out, it was unsuccessful: "WELCOME BACK TO HELL(ARITY). Because bosses, landlords, and capitalists suck, the house has lots of repairs that need to be done before it becomes fully livable."

Upstairs, Sternberg looks up at a charred, gaping hole in the ceiling. "We have to make lemonade out of lemons," he tells me, explaining that they just got a skylight to fill the cavity. "We’re going to continue fighting just like we’ve been fighting. This guy [Pal] has been in court with us for three years. He’s got no case." *

Bullet time

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› cheryl@sfbg.com

An utterly complete retrospective of Johnnie To’s films would be too much to ask, really. To’s résumé to date involves nearly 50 features, with at least one release nearly every year since 1986. His work also spans such a gobsmacking array of genres that even an audience of dedicated fans might experience exploding-head syndrome. And genre is the key word here; the man’s a master at it, a trait that has earned him admiration if not fame stateside — probably a good thing, given the cautionary tale of the Hollywoodized John Woo. Though even his most bizarre Chinese New Year farces occasionally pop up at the 4-Star Theatre (and probably nowhere else in the Bay), To’s most internationally acclaimed entries are his action flicks, filled with blazing guns, taciturn antiheroes, and, inevitably, at least one scene in which several characters pause their killin’ to enjoy a hearty meal.

So, sorry, completists — To’s exercises in romance (including 2001’s gloriously offensive Love on a Diet, which makes Eddie Murphy’s fat-suit adventures look subtle), his 1993 supernatural tough-chick classic The Heroic Trio, and his goofy comedies (like 2003’s young-doctor yukfest Help!!!) are not repped in the Pacific Film Archive’s "Hong Kong Nocturne: The Films of Johnnie To." Even the PFA admits, in their notes on the series, this is a "small sampling" of To’s output. But if I had to pick nine To films — culled, as the PFA’s are, from To’s output under his own Milkyway Image banner, created in 1997 — my sampling would likely resemble what’s on tap through June.

The essential To screens first: 1999’s The Mission, as close to perfection as he’s ever come. Spare, gritty, and obsessed with the business of male bonding (a To leitmotif), The Mission is about five gunslingers (all character types: a hairdresser, a barkeep, a pimp, etc.) who come together to protect a mob boss, then close ranks when they’re ordered to off one of their own. To regular Anthony Wong plays the hairdresser — a guy so grim he’s known as "The Ice" — so you know this shit is serious.

The theme of loyalty among assassins who’ve become friends despite themselves is echoed in 2006’s Exiled, which brings back much of the Mission cast. In this modern-day spaghetti western, the gang is charged with killing a former comrade who’s left the organization and settled down with wife and baby. A straightforward execution is discarded in favor of an endlessly complicated scheme that involves a gold heist, double-crossing mob heavies, seedy operating rooms, and more; naturally, slow-motion bullet ballets punctuate every act with gory grace. Wong, as a sad-faced killer caught between doing the right thing for his boss and the right thing for his conscience, is typically top notch.

The more overtly linked Election (2005) and Triad Election (2006) also address the gangster code, taking a darkly realistic look at how Hong Kong gangsters select their leadership — honor takes a back seat to power, and money, of course, means everything. Breaking News (2004) adds eager TV crews to To’s usual cops-‘n’-robbers stew. There’s a lesson learned about not turning police business into a media circus, and yes, it’s a lesson tattooed into Hong Kong streets with many, many bullets.

"Hong Kong Nocturne" may be the PFA’s program title, but not every selection is a dark tale. Throw Down (2004) is a judo comedy. The amusing if overlong Fulltime Killer (2001, codirected with frequent collaborator Wai Ka-fai) follows dueling hired guns O (Takashi Sorimachi, stone-faced but Snoopy-obsessed) and Tok (a particularly smirky Andy Lau). To’s meta-intentions are signaled at the start, when Tok voiceovers, "I like watching movies, especially action movies." My general feeling on Fulltime Killer, from a later Tok observation: "Not the best movie, but I like the style." For an even more bizarre Lau performance, 2003’s Running on Karma is recommended; the star plays a psychic bodybuilder turned stripper. A muscle suit that eclipses even Love on a Diet‘s stunt-costume gimmickry is prominently featured.

The series’ local premiere, 2007’s Mad Detective, is unfortunately non-noteworthy. The rubber-faced Lau Ching-wan, a To favorite, stars as the titular detective. He hears voices! The voices are embodied by actors who follow him around! The conceit gets old fast. For a better Lau-To pairing, pick up 1999’s Running Out of Time — not part of "Hong Kong Nocturne" but worthy enough to be. *


"HONG KONG NOCTURNE: THE FILMS OF JOHNNIE TO"

May 29–June 27, check Web site for schedule, $9.50– $13.50

Pacific Film Archive

2575 Bancroft, UC Berkeley, Berk

(510) 642-1412, www.bampfa.berkeley.edu

Ultrabananas

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› superego@sfbg.com

SUPER EGO Springtime in Clubland’s looking gorgeous so far: it could totally move covers and dominate the next cycle. A special double pinkies up to all the fab promoters throwing AIDS ride-run-walk-collapse fundraisers and shining limelight on the No on Prop. 98 campaign. I’d air-kiss you to death, but it would crust my Cover Girl Hipster Neutral No. 140 Lipslicks Lipgloss. Ack.

On to biz: yep, the hardcore electro banger sound — think ELO meets Spank Rock, filtered through acid house and bare-bones punk — has set my fuchsia radar to stunned, even though it’s already glitzed up most of the city’s edgier dance floors. It certainly makes me question the meaning of “underground” in the MySpace age. And despite the scene’s sometimes perilous “Girls Gone Wild” flirtations, it’s total ferosh to see so many banger women bringing real DJ and promoter power: Emily Betty, Queen Meleksah, Parker Day, Nastique, Kelly Kate …

Stuttery vocals, ripped-needle basslines, Justice influence, and hands-in-the-air breakdowns are the genre’s sonic commonalities, but the sound’s a mutt, streamlining electroclash and iDJ kitsch into a neon ball-slap to the brainiac minimal techno boyzone. That means it’s stylistically elastic, and two of my favorite San Francisco DJs — and people — from other scenes have vaulted to the banger forefront. Richie Panic (www.myspace.com/richiepanicisagenius) got big spinning mod classics and electroclash before teaming up with DJ Jeffrey Paradise, the banger godfather, to rock the new sound. He fronts an all-out ultrabananas punk energy — Gorilla Biscuits trumps Hot Chip — and his unerring ear blows dragon smoke from my broken lightbulb. Check out Mr. Panic’s top bangers here.

Vin Sol (www.myspace.com/vinsol), on the smoother hand, is a hometown hip-hop hero who tells me he found rap crowds too resistant to experimentation; electro has freed him to splash freestyle classics like Debbie Deb’s "When I Hear Music" over the lowdown banger sheen, and startle laptop lovers with dazzling vinyl pyrotechnics.

Newbies? "Ableton’s my homeboy," 22-year-old PUBLIC (www.myspace.com/publicworld), a.k.a. Nick Marsh, recently said to me with a laugh. He’s been blowing banger minds with his live shows at parties like Blow Up (www.myspace.com/blow_up_415) and software edits of the Cardigans, ELO (yes!), even When in Rome’s melancholic 1988 dance jam "The Promise." And his hypnotic new tune "Colorful" is a hit. "I played in a hardcore band, then went through an acoustic Postal Service phase," said the longtime record collector and musician. "So harder but really melodic stuff is natural to me. I think one way to get everyone on the floor is to take softer songs and make them more aggressive, so there’s a broader energy." He’s sliced and diced Metallica too.

Also fresh is 23-year-old LXNDR (www.myspace.com/djlxndr), who used to spin at raves and dreamt of being Armand Van Helden (!) before gravitating to Felix da Housecat and Richie Hawtin. He describes his sound as POPalicious — heavy beats over classic trax, but tasteful and widely appealing — and presides over the No More Conversations (www.myspace.com/nomoreconversationssf) weekly and wild Youngbloodz monthly (First Fridays at Milk, www.milksf.com). "I like to turn heads with my mixes and really make people notice that I put a lot of thought into how I drop a track. That’s what I always liked about the older dudes when I was coming up," he told me. Aw, sweet. Look for his seven-song EP — on which he plays guitar, bass, and synths — to hit this summer and munch up the younger clubbables.

DEMF: Girl Talk bumrush, Mr. De’s sexy beach, gettin’ Yeke

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Marke “too many pills, you’re not 17 anymore” B is at Movement ’08: Detroit’s Electronic Music Festival. Read part one here, and part two here. Apples! Apples everywhere! Downtown Detroit is a laptop orchard. “Mac should really sponsor these things,” said Hunky Beau, freshly arrived on the scene to improve my picture quality. But the answer is that Mac doesn’t have to — those glowing, half-eaten little beauties speak from the booths themselves. girltalka.jpg Oh, that Girl Talk. All pics by David Schnur DEMF’s day 2 was so pleasant it hurt, and the crowd was full of neon-festooned hipsters (they have them here too!) eagerly passing time before new old-school rap duo Cool Kids and sample-happy girly boy Girl Talk hit the the Red Bull stage, which overlooked the Detroit River. We passed the time in the sunny company of the great Mr. De’ featuring Greg C. Johnson, whose “Sex on the Beach” from back in the day is a protobooty classic. The crowd was going nuts — Mr. De’ schooled the “ghetto tech” kids on some real sensuality. mrde2a.jpg Mr. De’ sexing the keyboard mrdea.jpg Greg C. Johnson, pleased Cool Kids gave a predictably stunner set — even calling out to Detroit and pumping some rhymes over ancient electro — and then Girl Talk came on and the crowd went bananas. I’ve never really warmed to the Girl Talk phenomenon. We have great mashup artists in SF, and dropping some Public Enemy over a Toto sample is sooo 2005. Still, the man’s a genius when it comes to party music and self-promotion: who knew all you had to do was post several YouTube vids of kids stage diving off your laptop platform and you could be famous? Well, maybe everybody knows that now, but Girl Talk knew it first. And who am I to argue, even when he dropped his pants and mooned the crowd in his boxers for half his set while he leaned over his equipment. But this year is indubitably Richie Hawtin’s year — despite other hometown giants Kevin Saunderson, Carl Craig, Stacey Pullen, and Alton Miller on the roster — so after a few Girl Talk singalongs (oh yes, there was stage-diving) we went over to the Beatport tent to catch the Windsor homeboy in a harder mood tan the previous night, at least until he dropped Mory Kante’s “Yeke Yeke” and the dance floor exploded. richieha.jpg Richie Hawtin: Gettin’ Yeke

DEMF: Moby’s Go-go, Hawtin clogs, DBX shocks ’em, and too high to skate

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Detroit native gadabout Marke B. hits Movement ’08: Detroit’s Electronic Music Festival with a handbag full of what-what. Read part one here. The Techno Gods surely had a little laugh on the first (graciously sunny) day of the DEMF. Even though downtown’s sprawling, reinvigorated Hart Plaza on the waterfront – nestled in the shadows of the new casinos pumping serious cash into bigshot pockets and directly opposite the infamous “fist” statue that socks across-the-river Windsor, CA, in the kisser – was brimming with suburban kids and roaming tribes of fun-furred and mohawked candy ravers (love those kids!), and even though Moby (!) headlined, and started his closing DJ set by playing one of his own songs (albeit a remix of his classic “Go”), the old soul of the Detroit underground shone through in quite a few places. (Clarification: Oops my E must have kicked in then. See comment below.) demfdbxa.jpg Waiting for Moby Underground, quite literally. This year, promoter Paxahau Events has reopened the huge concrete-walled basement of the plaza, and has installed the soulful house DJs there, rather than the traditional hardcore noise experimentalists. By two o’clock, heavily muscled dance crews had stripped off their shirts and were throwing down – headspins included – to the sounds of Detroit classicists like Reggie “Hotmix” Harrell and Minx. (That night, freaky Terrence “The Phone Man” Parker and tribal-soulist Stacey Pullen would turn the underground area into a sweaty mass of writhing gay and straight bodies.) upsydaisy.jpg Upside-down to the morning beat demfsteven2a.jpg Terrence Parker hits So much for the house – and notably missing so far this year have been the little independent DJ setups sprouting about the plaza like tiny laptop-vinyl mushrooms – what about the four other stages? What about the techno? The main, video-projected-upon VitaminWater stage, where Moby would later thrash about like a puggle to his electroclash-tinged pop-techno throwbacks, got a slowish start with way-cerebral live sub-dub fractal burbles from local DJ-band hybrid trio nospectacle, which included Jennifer A. Paull, one of the few female knob-twiddlers at the fest. (I went with my fabulous mom, who seemed to be briefly into it.) The stage didn’t really seem to catch fire, though, until Canadian techno purist DBX aka Dan Bell hit the stage in the penultimate slot at 9pm. What Detroit techno used to look like: DBX’s “Electric Shock” from a TV dance show (I think “The Scene” in the late ’80s)

Dancers without borders

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› a&eletters@sfbg.com

What do you need to create a first-rate hot product that is of value to others besides yourself? A great idea, a support structure, and money are good places to start. But what if you had no support structure and no money? If you believe in your idea, you’d plow ahead anyway — just like Andrew Wood, executive director of the San Francisco International Arts Festival.

In 2002, Wood began to think about something he felt this city full of artists and tourists needed: an arts festival that would bring the two together. The event would also focus local attention on a large, vibrant arts community that thrives in the shadow of the three big ones — the San Francisco Ballet, the San Francisco Symphony, and the San Francisco Opera.

"Lots of artists here are bursting with ideas," Wood explained during a recent interview. "We need an entity that supports them because they need more opportunities to show their work."

That a similarly ambitious undertaking called Festival 2000 went belly-up in 1990 didn’t deter the string bean–thin Brit, who talks faster than a cattle auctioneer. But Wood wasn’t about to let the fate of another festival stop him. Soon he was everywhere, talking to anyone who was willing to listen — and even to some who weren’t.

Mostly he encountered closed doors. The city had no extra cash. Foundations were already overcommitted. Wood — onetime director of ODC Theater — had no track record when it came to producing a such a large-scale event. Artists were suspicious that already-scarce funds would be siphoned off for a project that might have no room for their work. And another thing: did Wood know how to balance a budget?

He remained undeterred, largely because he had seen something happening in the Bay Area that others had noted as well, even if they hadn’t yet connected the dots. The community was supportive of young artists who were willing to put up with just about anything to get their work out — but once they got to the level where they needed decent rehearsal spaces, performers they could pay, and offices beyond their bedroom floors, the going got tough. Traditionally, local artists at this stage either called it quits or moved away. No longer.

HAVE ART, WILL TRAVEL


In scouring the local arts scene, Wood noticed what he calls the advent of "journeymen" artists. He named them after the century-old tradition of skilled professionals who traveled long distances and practiced their craft wherever they were hired. Propelled by a desire for adventure and professional improvement, they also managed to support themselves, often handsomely, whether they were roofers, storytellers, or healers.

"Dancers like Janice Garrett, Kim Epifano, Scott Wells, Jess Curtis, Shinichi Iova-Koga, and Stephen Pelton work part-time in Berlin, or London, or Tokyo, or Mexico City. They create work where they are supported and bring it back," Wood explained. In addition, these artists return home with news from abroad about who is doing what, and where.

Despite his admiration for the vitality of the Bay Area arts scene, Wood recognized that "not a lot of artists come through here [on their own]. This place is insular in many ways." As one working artist told him, "You don’t need to see Merce Cunningham for the umpteenth time. You want to see something that resonates within you."

There is a huge pool of artists all over the world whose work has simply not yet hit the radar screens of local presenters. When the San Francisco International Arts Festival launched in September 2003, Wood presented the astounding Quasar Dance Company from Brazil; Indian British dancer Akram Khan (now a megastar); and Compagnie Salia nï Seydou, the first in a succession of contemporary African dance companies that have been seen here since. In 2005 (there was no 2004 festival), the festival showcased extraordinary performances from the AKHE Group (Russia); Fabrik Companie (Germany); Manasku no Kai (Japan); and — one of the wildest of them all — the Moe!kestra, from Manteca.

A focus of SFIAF has become fostering international collaborations that make local artists into journeymen citizens of the world. "We need to support artists here but they also need to realize that there are opportunities somewhere else," Wood said.

This process of cross-fertilization started in 2006 and continued in 2007, when the festival highlighted art from Latin America and the African diaspora. Since the city has yet to commit to any direct funding — Wood called local arts leadership "miserable and petty" — he has become a wizard at patching his budget together, creating cosponsorships, acting as an umbrella organization, and linking artists with individual funding sources. He also has become adept at handling the Department of Homeland Security’s onerous (and expensive) visa process for performers. "They all have visas!" he exclaimed.

A monthlong visual arts exhibit loaned SFIAF 2008 its name: "What Goes Around … The Truth in Knowing/Now." This year’s fest kicks off Wednesday, May 21, and runs until June 8, when it will be capped with a free Yerba Buena Gardens concert by the Omar Sosa Afreecanos Quartet, with local Latin percussionist John Santos.

DANCE PLUS


The festival also includes operatic and theater pieces, as well as choreographers whose work might not be seen locally if not for SFIAF. For example, SFIAF enabled Idris Ackamoor, co-artistic director of Cultural Odyssey, to bring Brazilian dancer-choreographer Cristina Moura to San Francisco. "I was struck by her innovative movements," said Ackamoor, who encountered Moura while scouting for the National Performance Network’s Performing Americas Project, which he co-curated. "She moves like no one else, with a pedestrian and a highly physical vocabulary. She also has a unique way about storytelling." Moura’s solo like an idiot (2007) also resonated with him, as did the title. "Isn’t that the way we all sometimes feel?" he said, speaking of the work, which holds its California premiere at SFIAF.

Wood caught Shlomit Fundaminsky’s emblematic SkidMarks at the 2006 Dublin Fringe Festival and this year SFIAF is copresenting it with SF’s Israel Center. Speaking from Tel Aviv, Fundaminsky describes the work, a duet for herself and Gyula Csakvari, as inspired by "the home life of a man and a woman who live so close to each other — really as one person — that they lost their ability to communicate. They are creating this box for themselves and are unable to break out of it."

The Kate Foley Dance Ensemble may be familiar to Bay Area audiences because of Foley’s 10-year local performance history. In 1998 she moved to Croatia, where she is in residence at a newly constructed arts center. When Wood sent out a call for SFIAF participant proposals, John Daly of the Croatian American Cultural Center suggested her. Yet the Oakland-born Foley’s homecoming has not been without pain. "I have been so ashamed of what I have had to put my dancers through for the visa process," she said on the phone from Rijeka, Croatia. Her US premiere, Angels of Suderac, is a dance theater work using modern dance and what she calls "reconceived" folkloric material. The piece is based on her research into shamanistic practices that connect fairies and herbal medicine women.

By contrast, new to the Bay Area is the young AscenDance Project, which formed in 2006. German-born director Isabel von Rittberg joined Dancers’ Group when she moved to San Francisco, where she heard about SFIAF. The world premiere of Levitate, which combines rock climbing with dance, will be shown as part of "Jewels in the Square," a festival-spanning series of free performances in Union Square. *

SAN FRANCISCO INTERNATIONAL ARTS FESTIVAL

May 21–June 8, various venues, most shows $20

For complete schedule, visit www.sfaif.org

Motor psyched

0

› kimberly@sfbg.com

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

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

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

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

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

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

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

SNAKE FLOWER 2

Fri/23, call for time and price

Annie’s Social Club

917 Folsom, SF

(415) 974-1585

www.anniessocialclub.com