Scene

Who killed Brad Will?

0

news@sfbg.com

Oaxaca, Mexico — Those of us who report from the front lines of the social-justice movement in Latin America share an understanding that there’s always a bullet out there with our name on it. Brad Will traveled 2,500 miles, from New York to this violence-torn Mexican town, to find his.

Throughout the summer and fall of 2006, the southern Mexican state of Oaxaca was on fire. Death squads, the pistoleros of a despised governor, rolled through the cobblestoned streets of this colonial capital, peppering with automatic weapon fire the flimsy barricades erected by masked rebels. Hundreds were killed, wounded, or imprisoned.

Will, a New York Indymedia videojournalist, felt he had to be there. Xenophobia was palpable on the ground when Will touched down. Foreign journalists were attacked as terrorists by the governor’s sycophants in the media: "Si ves un gringo con cámara, matanlo!" the radio chattered — if you see a gringo with a camera, kill him!

For much of the afternoon of Oct. 27, Will had been filming armed confrontations on the barricades just outside the city. He was trapped in the middle of a narrow street while gunshots boomed all around him, but he kept filming, looking for the money shot.


And he found it: on his final bits of tape, two clearly identifiable killers are perfectly framed, their guns firing. You hear the fatal shot and experience Brad’s shudder of dismay as the camera finally tumbles from his hands and bounces along the sidewalk.

By all visible evidence, Brad Will filmed his own murder. But this is Mexico, where justice is spelled impunity — and Will’s apparent killers continue to ride the streets of Oaxaca, free and, it seems, untouchable.

Curiously, this egregious murder of a US reporter in Mexico has drawn minimal response from US Ambassador Tony Garza, an old crony of President George W. Bush. Why this lack of interest? Can it be that Washington has another agenda that conflicts with justice for Will — the impending privatization of Mexican oil?

HEADING SOUTH


Will was once a fire-breathing urban legend on Manhattan’s Lower East Side. Whether perched atop the Fifth Street squat where he had lived for years and waving his long arms like Big Bird as the wrecking ball swung in, or being dragged out of City Hall dressed as a sunflower while trying to rescue the neighborhood’s community gardens, this child of privilege from Chicago’s wealthy North Shore was a legitimate street hero in the years before the World Trade Center towers collapsed and the social-change movement in New York City went into deep freeze.

Will hosted an incendiary weekly show on the New York pirate station Steal This Radio and was an early part of Indymedia, the Web publishing experiment born during the "Battle of Seattle," the World Trade Organization protests that rocked that city in 1999.

With his long hair neatly tied back and parted down the middle, with his granny glasses and fringe beard, and with his fierce commitment to building community, Will seemed to have emerged whole from a more utopian time in America.

He was an independent journalist, one of the growing number of people, such as Josh Wolf in San Francisco, who use the Internet and their video cameras to track and report on social moments and injustice. He wore no credential from any major news organization. But using outlets like Indymedia, he — like Wolf, who spent seven months in prison to avoid giving the police a copy of his video outtakes — represented part of the future of journalism.

Will’s journey to the land where he would die began right after Sept. 11, 2001. Dyan Neary, then a neophyte journalist, met Will in a South Street skyscraper elevator coming down from the WBAI studios from which Amy Goodman broadcast soon after the terrorist attacks.

"We walked down the piles. They were still smoking," Neary remembered in a phone call from Humboldt County. "We were both really scared. We thought this was not going to be resolved soon. Maybe never. So we thought we should go to Latin America, where people were still fighting."

Will and Neary spent most of 2002 and 2003 roaming the bubbling social landscape of Latin America. In Fortaleza, Brazil, they confronted the director of the Inter-American Development Bank during riotous street protests. They journeyed to Bolivia too and interviewed Evo Morales, not yet the president. They traveled in the Chapare rainforest province with members of the coca growers’ federation. They hung out in Cochabamba with Oscar Olivera, the hero of the battle to keep Bechtel Corp. from taking over that city’s water system. Everywhere they went, they sought out pirate radio projects and offered their support.

In February 2005, Will was in Brazil, in the thick of social upheaval, filming the resistance of 12,000 squatters at a camp near the city of Goiânia in Pernambuco state, when the military police swept in, killing two and jailing hundreds. On his videos, you can hear the shots zinging all around him as he captured the carnage. Will was savagely beaten and held by the police. Only his US passport saved him.

Undaunted by his close call, Will picked up his camera and soldiered back through Peru and Bolivia, and when the money ran out, he flew back to New York to figure out how to raise enough for the next trip south. He was hooked. In early 2006, drawn like a moth to flame, he was back, tracking Subcomandante Marcos and the Zapatistas’ Other Campaign through the Mayan villages on Mexico’s Yucatán Peninsula.

In the spring of 2006, Will was back in New York as he tracked the Other Campaign and the incipient rebellion in Oaxaca on the Internet from his room in Williamsburg. (The rent gougers had forced him out of the Lower East Side.) He was poised to jump south again, friends say, but was worried that he would just be one more white guy getting in the way.

In the end, the lure of the action in Oaxaca pulled him in. He bought a 30-day ticket, caught the airport shuttle from Brooklyn to John F. Kennedy International Airport, and flew south Sept. 29. His return was set for Oct. 28. He never made that flight.

THE COMMUNE OF OAXACA


A mountainous southern Mexican state traversed by seven serious sierras, Oaxaca is at the top of most of the nation’s poverty indicators — infant mortality, malnutrition, unemployment, and illiteracy. Human rights violations are rife. It’s also Mexico’s most indigenous state, with 17 distinct Indian cultures, each with a rich tradition of resistance to the dominant white and mestizo overclass. Oaxaca vibrates with class and race tensions that cyclically erupt into uprising and repression.

The Party of the Institutional Revolution, or PRI, ruled Mexico from 1928 to 2000, the longest-running political dynasty in the world. The corrupt organization was dethroned by the right-wing National Action Party (PAN) and its picaresque presidential candidate, Vicente Fox, former president of Coca Cola México.

But in Oaxaca, the PRI never lost power. While voters were throwing off the PRI yoke all over the rest of the country, in Oaxaca one PRI governor had followed another for 75 years. The latest, Ulises Ruiz Ortiz, a protégé of party strongman and future presidential candidate Roberto Madrazo, won a fraud-marred election over a right-left coalition in 2004.

In the first 16 months of his regime, Ruiz proved spectacularly unresponsive to the demands of the popular movements for social justice. When, on May 15, 2006, National Teachers Day, a maverick, militant local of the National Education Workers Union known as Section 22 presented its contract demands, Ruiz turned a deaf ear. Then, on May 22, tens of thousands of teachers took the plaza and 52 surrounding blocks and set up a ragtag tent city. Each morning the maestros would march out of their camp and block highways and government buildings, which were soon smeared with anti-Ruiz slogans.

Ruiz retaliated before dawn June 14, sending 1,000 heavily armed police officers into the plaza to evict the teachers. Low-flying helicopters sprayed pepper gas on the throng below. Ruiz’s police took up positions in the colonial hotels that surround the plaza and tossed down concussion grenades from the balconies. Radio Plantón, the maestros’ pirate radio station, was demolished and the tent city set afire. A pall of black smoke hung over the city.

Four hours later a spontaneous outburst by Oaxaca’s very active community, combined with the force of the striking teachers and armed with clubs and Molotov cocktails, overran the plaza and sent Ruiz’s cops packing. No uniformed officers would be seen on the streets of Oaxaca for many months. And on June 16, two days after the monumental battle, 200,000 Oaxacans marched through the city to repudiate the governor’s "hard hand." The megamarch was said to extend 10 kilometers.

John Gibler, who closely covered the Oaxaca uprising as a human-rights fellow for Global Exchange, wrote that the surge of the rebels June 14 soon transformed itself into a popular assembly. The Oaxaca Peoples Popular Assembly, or APPO, was formally constituted June 21. The APPO had no leaders but many spokespeople, and all decisions had to be made in assemblies.

A CITY PARALYZED


For the next weeks, the actions of the APPO and Section 22 paralyzed Oaxaca — but the rest of Mexico took little notice. Instead, the nation was hypnotized by the fraud-marred July 2 presidential election in which a right-wing PAN-ista, Felipe Calderón, had been awarded a narrow victory over leftist Andrés Manuel López Obrador, the candidate of a coalition headed by the Party of the Democratic Revolution. López Obrador was quick to cry fraud, pulling millions into the streets in the most massive political demonstrations in Mexican history. Oaxaca still seemed like small potatoes.

But Oaxaca is an international tourist destination, and the APPO and Section 22 protests had closed down the tourist infrastructure, blocking the airport and forcing five-star hotels to shutter their doors. On July 17, Ruiz was forced to announce the cancellation of the Guelaguetza, an indigenous dance festival that has become Oaxaca’s premiere tourist attraction, after roaming bands of rebels destroyed the scenery and blockaded access to the city.

Ruiz began to fight back. By the first weeks of August, the governor launched what came to be known as the Caravan of Death — a train of 30 or 40 private and government vehicles rolling nightly, firing on the protesters. Ruiz’s gunmen were drawn from the ranks of the city police and the state ministerial police.

To keep the Caravan of Death from moving freely through Oaxaca, the APPO and the union threw up barricades; 1,000 were built in the working-class colonies throughout the city and its suburbs. The rebels piled up dead trees, old tires, and burned-out cars and buses to create the barricades, which soon took on a life of their own; murals were painted using the ashes of the bonfires that burned all night on the barriers. Indeed, the barricades gave the Oaxaca struggle the romantic aura of the Paris Commune uprising of 1871 and attracted droves of dreadlocked anarchists to the city.

An uneasy lull in the action gripped Oaxaca on Oct. 1, when Will arrived at the bus terminal, then found himself a cheap room for the night. The break wouldn’t last long.

ON THE BARRICADES


Like most non-Mexicans who style themselves as independent reporters, Will had no Mexican media credential and therefore was in the country illegally, working on a tourist visa and susceptible to deportation. To have some credential other than his Indymedia press card to hang around his neck, he got himself accredited with Section 22 and wore the rebel ID assiduously.

On Oct. 14, APPO militant Alejandro García Hernández was cut down at a barricade near Símbolos Patrios, a downtown plaza. Will joined an angry procession to the Red Cross hospital where the dead man had been taken.

In the last dispatch he filed from Oaxaca, on Oct. 16, Will caught this very Mexican whiff of death: "Now [García Hernández lies] waiting for November when he can sit with his loved ones on the day of the dead and share food and drink and a song … one more death — one more martyr in a dirty war — one more time to cry and hurt — one more time to know power and its ugly head — one more bullet cracks the night."

The dynamic in Oaxaca had gotten "sketchy," Will wrote to Neary. Section 22 leader Enrique Rueda Pacheco had cut a deal with the outgoing Fox government and forced a back-to-work vote Oct. 21 that narrowly carried amid charges of sellout and payoffs. If the teachers went back to work, the APPO would be alone on the barricades and even more vulnerable to Ruiz’s gunmen. But backing down was not in the assembly’s dictionary, and the APPO voted to ratchet up the lucha (struggle) and make Oaxaca really ungovernable.

Mobile brigades were formed — young toughs armed with lead pipes and nail-studded boards who hijacked buses still running in the city, forced the passengers off, and rode around looking for action. Later the buses would be set afire. Charred hulks blossomed on the streets of the old colonial city. The barricades were reinforced to shut down the capital beginning Oct. 27.

The escalation proved to be a terrible miscalculation. In Mexico City the postelectoral turmoil had finally subsided, and PAN was ready to deal with the PRI; bailing out the governor of Oaxaca was the PRI’s price of admission.

It wasn’t a good time for inexperienced foreigners. Ruiz’s people were checking the guest lists at the hostels for "inconvenient" internationals. Immigration authorities threatened extranjeros with deportation if they joined the protests. The local US consul, Mark Leyes, warned Americans that he would not be able to help them if they got caught up in the maelstrom.

Adding to this malevolent ambiance, a new pirate station popped up Oct. 26. Radio Ciudadana (Citizens’ radio) announced it was broadcasting "to bring peace to Oaxaca" and to celebrate the honor of "our macho, very macho governor." The announcers seemed to have Mexico City accents. Wherever they had been sent from, they let loose with a torrent of vitriolic shit — stuff like "We have to kill the mugrosos [dirty ones] on the barricades." The extranjeros, the radio said, were stirring up all the trouble: "They pretend to be journalists, but they have come to teach terrorism classes."

More frightening was this admonition: "Si ves un gringo con cámara, matanlo!" — "If you see a gringo with a camera, kill him!"

This poison spewed out of local radios all day Oct. 26 and 27, but whether Will heard the warnings — and if he did, whether knew what they meant — is unclear. He didn’t speak much Spanish.

SHOT IN THE CHEST


On Oct. 27, Will went out to do interviews on the barricade at Santa María Coyotepec, about 20 kilometers from the city. The three barricades at Coyotepec, Cal y Canto, and La Experimental were crucial to closing down Oaxaca the next day. The broad Railroad Avenue where the barricade was stacked was empty. Nothing was moving. Will walked on to the next barricade at La Experimental to check out the action.

Soon after the Indymedia reporter left, all hell broke loose at Cal y Canto. A mob of about 150 Ruiz supporters stormed down Railroad Avenue, led by what witnesses thought was a Chevy Blazer. The vehicle was moving very fast. "We thought it would try and crash through the barricade," Miguel Cruz, an activist and witness, recalled. But the SUV stopped short, and several men jumped out with guns blazing. The APPO people hunkered down behind the makeshift barrier and moved the women and kids who were with them into a nearby house. Then they went on the counterattack with Molotov cocktails, homemade bazookas that fired bottle rockets, and slingshots. Most of the mob had melted away, and with the gunmen retreating, the rebels torched their vehicle.

Will heard about the gunfire and hurried back to Cal y Canto with a handful of other reporters. They arrived a little after 3 p.m.

Will climbed under a parked trailer to film the shooters. He focused on a man in a white shirt. When an APPO activist (who is not seen on the videotape) came running by, Will indicated the shooter — "Camisa blanca." While all this was going on, the camera captured a bicyclist peddling dreamily through the intersection. Soon after, a large dump truck appeared on the scene, and the group on the barricade used it as a mobile shield as they chased the gunmen down the avenue.

Suddenly, the pistoleros veered down a narrow side street, Benito Juárez, and took refuge in a windowless, one-story building on the second block. The only access to the building was through a large metal garage door, and the reporters followed the APPO militants, many of whom were masked, as they tried to force their way in. Will stood to one side of the door for a minute, poised for the money shot. Then the compas tried unsuccessfully to bust down the big door by ramming the dump truck into it.

In the midst of this frenzy, five men in civilian dress — two in red shirts (the governor’s color) and the others in white — appeared at the head of Benito Juárez, about 30 meters away, and began shooting at the rebels.

Two of the gunmen were later identified by Mexican news media as Pedro Carmona, a cop and local PRI political fixer, and police commander Orlando Manuel Aguilar Coello. One of those in the white shirts, crouched behind Carmona, was Abel Santiago Zárate, a.k.a. El Chino. Santiago Zárate and Aguilar Coello were reported to be the personal bodyguards of municipal president Manuel Martínez Feria of the PRI. The other two would later be fingered as Juan Carlos Soriano, a.k.a. El Chapulín (the grasshopper), and Juan Sumano, both Santa Lucía del Camino police officers. All five are eminently identifiable in the film Will shot just moments before the bullets hit him.

When the shooting erupted, Will took cover on the opposite side of the narrow street from the rest of the media. He was crouched against a lime green wall when the first bullet came. On the video soundtrack, you can hear both the shot and Will’s cries of dismay as it tore through his Indymedia T-shirt and smashed into his heart. A second shot caught him in the right side and destroyed his innards. There was little blood spilled, the first slug having stopped his heart.

In footage that witness Gustavo Vilchis and others filmed, the entrance wound of the first shot looks like a deep bruise. The second shot was not recorded on the soundtrack and may have been fired simultaneously with the first.

Others were shot in the pandemonium. Oswaldo Ramírez, filming for the daily Milenio, was grazed. Lucio David Cruz, described as a bystander, was hit in the neck and died four months later.

As Will slid down the wall into a sitting position, Vilchis and activist Leonardo Ortiz ran to him. Will’s Section 22 credential had flown off, and no one there knew his name. With bullets whizzing by, the compas picked Will up and dragged him out of the line of fire and around the corner to Árboles Street, about 35 paces away. Along the way, his pants fell off.

"Ambulance! We need an ambulance! They’ve shot a journalist!" Vilchis, a tall young man with a face like an Italian comic actor’s, shouted desperately. Gualberto Francisco, another activist, had parked his vochito (Volkswagen Bug) on Árboles and pulled up alongside Will, who was laid out on the pavement in his black bikini underwear.

Ortiz and Vilchis loaded the dying Will into the back seat. They thought he was still breathing, and Vilchis applied mouth-to-mouth resuscitation. "You’re going to make it … you’re all right," they kept telling him. But Will’s eyes had already turned up — he was perdido (lost), as they say in Mexico.

The vochito ran out of gas, and while the frantic young men ferrying Will were stuck in the middle of the Cinco Señores crossroad, it began to rain hard. They tried to stop a taxi to take them to the Red Cross, but the driver supported the government and wanted to argue. Finally, they flagged down a pickup truck and laid Will out in the bed. He was dead when he arrived at the hospital, according to the report by the coroner, Dr. Luis Mendoza.

THE OUTRAGE BEGINS


Oct. 27 was the bloodiest day of the Oaxaca uprising. Four people were killed besides Will: Emilio Alonso Fabián, Esteban Ruiz, Esteban López Zurita, and Audacia Olivera Díaz.

Unlike their murders, Will’s death triggered international outrage. Because he was so connected — and because much of the episode was recorded on film —the shot of the mortally wounded Indymedia reporter lying in the middle of a Oaxaca street went worldwide on the Web in a matter of minutes.

There were instant vigils on both coasts of the United States. On Oct. 30, 11 of Will’s friends were busted trying to lock down at the Mexican consulate off Manhattan’s Park Avenue, where graffiti still read "Avenge Brad!" in December. Anarchists splattered the San Francisco consulate with red paint. Subcomandante Marcos sent his condolences and called for international protests. Goodman did an hour-long memorial.

On March 16, 2007, at its midyear meeting in Cartagena de Indias, Colombia, the Inter-American Press Association, an organization devoted to freedom of speech and the press in the Americas, passed a resolution calling for action on the Will case.

"The investigation into the killing has been plagued by irregularities and inconsistencies, and no arrests have been made," the group said in a statement. IAPA called for the federal attorney general to take over the investigation, "in view of the lack of confidence in state authorities and the lack of progress in the case, so that it may apprehend the culprits, who, according to one theory of the investigation, may be indirectly linked to state authorities."

The official reaction to Will’s death was more cautious. "It is unfortunate when peaceful demonstrations get out of hand and result in violence," a US spokesperson told the media, seeming to blame the APPO for Will’s killing. After once again warning Americans that they traveled to Oaxaca "at their own risk," Ambassador Garza commented on the "senseless death of Brad Will" and how it "underscores the need for a return to the rule of law and order."

"For months," he said, "violence and disorder in Oaxaca have worsened. Teachers, students, and other groups have been involved in increasingly violent demonstrations."

Garza’s statement sent Fox the signal he had been waiting for. Now that a gringo had been killed, it was time to act. The next morning, Oct. 28, 4,500 officers from the Federal Preventative Police, an elite force drawn from the military, were sent into Oaxaca — not to return the state to a place where human rights, dignity, and a free media are respected but to break the back of the people’s rebellion and keep Ruiz in power.

On Oct. 29 the troops pushed their way into the plaza despite massive but passive resistance by activists, tore down the barricades, and drove the commune of Oaxaca back into the shadows.

In Mexico the dead are buried quickly. After the obligatory autopsy, Brad’s body was crated up for shipment to his parents, who now live south of Milwaukee. After a private viewing, the family had him cremated.

SHAM ACCOUNTABILITY


Killing a gringo reporter in plain view of the cameras (one of which was his own) requires a little sham accountability. On Oct. 29 the state prosecutor, Lizbeth Caña Cadeza, announced that arrest warrants were being sworn out for Santiago Zárate and Aguilar Coello, two of the five cops caught on film gunning Will down, and they were subsequently taken into custody.

The scam lost currency two weeks later when, on Nov. 15, Caña Cadeza dropped a bombshell at an evening news conference: the cops hadn’t killed Will, she said; he was shot by the rebels.

Will’s death, she insisted, had been "a deceitful confabulation to internationalize the conflict" and was, in fact, "the product of a concerted premeditated action." The mortal shot had been fired from less than two and a half meters away, Caña Cadeza said — although there is nothing in the coroner’s report to indicate this. The real killers, she said, were "the same group [Will] was accompanying."

In the state prosecutor’s scenario, the order of the shots was reversed: first Will had been shot in the side on the street, then rematado (finished off) with a slug to the heart on the way to the hospital in Francisco’s vochito.

The prosecutor’s plot was immediately challenged by the APPO. "The killers are those who are shown in the film," Florentino López, the assembly’s main spokesperson, asserted at a meeting that night.

And in fact our detailed investigation shows that there is very little evidence to support Caña Cadeza’s theory. Photos from the scene, some published in the Mexican media, show Will’s body with a bloody hole in his chest on the street near where he fell — indicating that his fatal heart wound occurred well before he was dragged into the car where he was supposedly shot.

There’s another problem with the prosecutor’s suggestion: nobody on the scene saw any APPO members, or anyone except the authorities, carrying guns. This reporter has talked to numerous eyewitnesses, and all told the same tale: the rebels at the barricade that day had no firearms with which they could have shot Will.

Miguel Cruz, who spent much of Oct. 27 with Will, first at the Council of Indigenous People of Oaxaca, of which he is a member, and then on the barricade at Cal y Canto and on Juárez Street, is a soft-spoken young Zapotec Indian, but he pounded vehemently on the kitchen table when he addressed Caña Cadeza’s allegations.

"The compañeros had no guns. What gun is she talking about? They had slingshots and Molotovs but no guns. The PRI-istas and the cops had their .38s, and they were shooting at us," he said. "We were trying to save Brad Will’s life, not to kill him."

And if Caña Cadeza had any proof of her allegations, she likely would have filed charges. But none of the protesters or Will’s companions has been formally charged with the killing. Prosecutors have never publicly presented the alleged murder weapon.

But by the time Caña Cadeza told her story, of course, the only way to determine for sure the order of the bullets and the distance from which they had been fired would have been to exhume Will’s body. And there was no body; he had been cremated the week before.

On Nov. 28, Santiago Zárate and Aguilar Coello were released from custody by Judge Victoriano Barroso because of "insufficient evidence," with the stipulation that they could not be rearrested without the presentation of new evidence.

Caña Cadeza, who is now running as a PRI candidate for the state legislature, collaborated closely on the case with Oaxaca secretary of citizen protection Lino Celaya. Both reported to Ruiz’s secretary of government, Heliodoro Díaz, who in turn reported directly to the governor. There seems little doubt that the prosecutor’s accusations of murder against Will’s comrades — and the determination of innocence for the apparent killers — came straight from the top.

ON THE EVIDENCE TRAIL


Dr. Mendoza was occupied when I stopped by the Oaxaca city morgue to ask for a copy of the autopsy report on which the state has based its allegations.

"Will died eight months ago," Mendoza complained testily. "Do you know how many others have died since? How many autopsies I’ve performed?" He gestured to a morgue room where cadavers were piled up.

The coroner was scrunched over his desk, filling out the paperwork for one of the dead. He didn’t have any time to look for the autopsy report. I was not the first reporter to ask him about the document. "What paper are you from anyway?" he asked suspiciously, and when I showed him my media card, he told me that it didn’t sound like a real newspaper to him. "I know what I’m doing. I worked as a coroner in your country," he snapped defensively and waved me out of the office.

But Mendoza might not be quite as cocksure as he sounded. A senior agent for the US government in Oaxaca, who asked not to be named in this article, told me later that Mendoza confided to him that he was no ballistics expert, nor could he determine from how far away the bullets were fired.

I walked into the police commissary under the first-floor stairs of the Santa Lucía del Camino Municipal Palace. The small room was crowded with cops and cigarette smoke. Three of the officers were in full battle gear, and the rest were plainclothes. I had been warned not to ask for Carmona, the most prominent red shirt on Will’s film. Carmona is described as a prepotente — i.e., a thug with an attitude who is always packing.

Instead, I asked the desk clerk if I could get a few minutes with Santiago Zárate and Aguilar Coello. For all I knew, the two were sitting in the room behind me. The desk clerk studied my card. "Qué lástima!" he exclaimed — what a shame. Santiago Zárate had just left and wouldn’t be back until after six. Aguilar Coello was off that day. When I called back after six, Santiago Zárate was still not available. Nor were he and Aguilar Coello ever available the dozen or so times I called back.

This sort of stonewalling is not terribly unusual for Mexico, where killer cops often sell their services to local caciques (political bosses) and go back to work as if nothing had happened. Those who direct this sort of mayhem from their desks in the statehouses and municipal palaces — the "intellectual assassins," as they are called — are never held accountable for their crimes.

A VISIT FROM HOME


In March, Brad’s parents, Kathy and Howard Will, and his older brother and sister paid a sad, inconclusive visit to Oaxaca. They had hired Miguel Ángel de los Santos Cruz, a crackerjack human rights lawyer who has often defended Zapatista communities in Chiapas. Gibler, the Global Exchange human-rights fellow, was the translator.

The Wills, upper-middle-class Americans, had little experience with the kind of evil that lurks inside the Mexican justice system; the trip was a traumatic, eye-opening experience.

The federal Attorney General’s Office had taken over the case from the state in December, but rather than investigating police complicity and culpability, it was pursuing Caña Cadeza’s dubious allegation blaming Will’s companions for his killing.

Gustavo Vilchis, Gualberto Francisco, Leonardo Ortiz, and Miguel Cruz were summoned to give testimony, with the Wills in attendance. Testifying was a risky venture, as the witnesses could have been charged with the murder at any moment, but out of respect for the family, the compas agreed to tell their story to the federal investigators. During the hearing they were repeatedly questioned about and asked to identify not the cops who appear on Will’s film but their own compañeros, some masked, who appeared on tape shot by Televisa, the Mexican TV giant. They refused.

When Los Santos accompanied the Wills to a meeting with Caña Cadeza, she touted her investigation and promised them a copy of its results. But she refused to allow the family to view Will’s Indymedia T-shirt and the two bullets taken from his body. They were, she explained, under the control of Barroso — the judge who had cut loose the cops.

THE POLITICS OF OIL


There are larger geopolitics at work here.

The US Department of State has a certain conflict of interest in trying to push first-year Mexican president Calderón to collar Will’s killers. The crackdown in Oaxaca was all about a political deal between Calderón’s PAN and Ruiz’s PRI: if PAN saved the governor’s ass, the PRI would support the president’s legislative package.

Indeed, the PRI’s 100 votes in the lower house of the Mexican Congress guarantee Calderón the two-thirds majority he needs to alter the constitution and effect the change that’s at the top of his legislative agenda — opening up Petróleos Mexicanos, or PEMEX, the nationalized petroleum corporation and a symbol of Mexico’s national revolution, to private investment, a gambit that requires a constitutional amendment.

Since then-president Lázaro Cárdenas expropriated Mexico’s petroleum industry from Anglo and American owners and nationalized it in 1938, the United States has been trying to take it back. "Transnational pressure to reprivatize PEMEX has been brutal," observed John Saxe Fernandez, a professor of strategic resource studies at Mexico’s autonomous university, Universidad Nacional Autónoma de México.

During the run-up to the hotly contested 2006 presidential elections, candidates Calderón and López Obrador debated the privatization of Mexico’s national oil corporation before the American Chamber of Commerce in Mexico City; former US ambassador Jeffrey Davidow moderated the debate. When the leftist López Obrador insisted that he would never privatize what belonged to all Mexicans, the business leaders stared in stony silence. The conservative Calderón’s pledge to open PEMEX to private investment drew wild applause. Calderón was, of course, Washington’s horse in the fraud-marred election.

In order to accommodate Washington, Calderón needs a two-thirds majority in the congress — and the PRI’s votes in the lower house are crucial to guaranteeing passage of a constitutional amendment. "Without the PRI’s votes, PEMEX will not be privatized. That is why Calderón has granted Ruiz impunity," Saxe Fernandez concluded.

Washington is eager to see PEMEX privatized, which would create an opportunity for Exxon Mobil Corp. and Halliburton (now PEMEX’s largest subcontractor) to walk off with a big chunk of the world’s eighth-largest oil company. Pushing Calderón too hard to do justice for Will could disaffect the PRI and put a kibosh on the deal.

It is not easy to imagine Brad Will as a pawn in anyone’s power game, but as the months tick by and his killing and killers sink into the morass of memory, that is exactly what he is becoming. 2

John Ross is the Guardian‘s Mexico City correspondent. This story was comissioned by the Association of Alternative Newsweeklies and is running in about 20 alternative papers this week.

Careers and Ed: A life of death

0

› culture@sfbg.com

A kid gets killed in the cross fire of a shooting. Someone digs up a human skull while planting begonias. An elderly woman dies in her sleep in an apartment no one has visited in years.

In all these cases, somebody — or somebodies — has to examine the scene and, well, the bodies to find out what happened. And as any fan of hard-boiled detective stories, CSI, or Quincy, M.E. knows, those somebodies are the forensic team, perhaps most prominently the coroner.

It’s a mysterious job with macabre connotations, imbued with a mix of excitement and dread. A new show on Spike purports to show armchair detectives what it’s really like, with Grand Guignol bravado, but I always wonder, is that really how it is? So I decided to find out.

GOING DOWNTOWN


I start with our own fair city of night, only to discover that the subject of coroners is more complicated than I thought. What TV often portrays as one or two jobs is often many different jobs. And San Francisco County doesn’t have a coroner — a position defined as an elected or appointed government official who deals with deaths that raise questions. Instead, it has a medical examiner, whose office is headed by an MD or doctor of osteopathy. The difference may seem like semantics, but it’s an important distinction for people in the field.

I also learn that it will be next to impossible to meet San Francisco’s medical examiner, Dr. Amy Hart. Unlike her predecessor, Dr. Boyd Stephens — whose media accessibility and subsequent scrutiny led to controversies about the reuse of needles, improper ventilation against dangerous pathogens in autopsy rooms, misappropriation of funds, and sexual harassment — Hart is fairly shy when it comes to the media. Public controversy can be a downside to the job, whether it’s over the contested findings of Los Angeles’ fabled "coroner to the stars" or the unpopular study by Marin County’s coroner of suicides on the Golden Gate Bridge.

So I get the basics about the job from Hart’s deputy administrative director, Stephen Gelman, at the ’50s-era Medical Examiner’s Office on the grounds of the Hall of Justice. Gelman, a middle-aged, white-haired former special agent with the Department of the Treasury, explains the makeup of the office: 32 people, including forensic pathologists and anthropologists, toxicologists, chemists, investigators, and administrative personnel.

And becoming part of Hart’s team isn’t easy, especially since forensic-themed TV shows and the office’s involvement with UC San Francisco managed to attract 160 applicants during a recent call for three positions. Preference is given to those with a background in medicine and, at the very least, the funeral industry.

"IT’S CHINATOWN …"


But those are just the facts. My experience at the Alameda County Coroner’s Bureau, an art deco, cream-colored building on the outskirts of Chinatown, is much more visceral.

Inside I meet the genial Lt. Jason Arone, who explains that the bureau has been under the jurisdiction of the Alameda County Sheriff’s Office since 1989. That gives Sheriff Gregory Ahern the title of chief coroner, but on a day-to-day basis, Arone is the guy in charge. I also meet Mike Yost, a former detective who is now a public administrator, which means he handles the belongings of decedents, from pets to hidden stashes of money.

Downstairs, the morgue is pretty much what movies would have you expect: cold metal and antiseptic green tile. Arone pauses at the sound of a saw — we can’t go inside if there’s an autopsy under way. But it’s just carpenters fixing a door. Inside, I’m struck by the lack of sliding-drawer coolers — bodies are identified by photograph these days and are kept in less-obvious storage rooms.

Then I meet autopsy technician Smiley Anderson — sometimes referred to as "the bullet finder" by resident pathologists. The 25-year veteran started working in his family’s mortuary as young man in the South — much the way many in coroner’s offices got their start. But Anderson says the field is changing now. Crossover careers are rarer, and he says the best way to get in is through an education in medicine.

As I sit at his desk outside the autopsy room, I notice what Arone calls "the meat-locker smell." It’s neither the smell of embalming fluid that I associate with funerals nor that of decay — just a stale, permeating reminder of what’s inside.

OUT IN THE FIELD


It’s midafternoon when I meet Alameda County Coroner’s Bureau detective Eric Larson, who’s agreed to show me the other side of the job: going out on calls. I wait with the jocular thirtysomething until two calls come in.

One is a follow-up from the night before. A young girl and her brother were at the house of a family friend, which also serves as a rehabilitation facility; soon after dinner both fell ill. The brother recovered, but the young girl died. Larson decides to ask some questions, though the toxicology report is still pending.

The other call is a notification about a suicide on the Golden Gate Bridge. (Sometimes Alameda County representatives will handle calls for Marin County if the next of kin is in the East Bay.)

Larson puts on his flak jacket as part of his routine, and we get into one of the department’s cars. Since it’s not a pickup, he says, we won’t need one of the vans.

The first stop is at a sagging west Oakland house. The man who answers the door is barely coherent but sends us to Children’s Hospital. When we get there, I’m amazed to see the little boy we got the call about bouncing up and down, chewing on a french fry. When he sees Larson, he starts singing, "Bad boys, bad boys …" Larson laughs and says, "That’s my favorite song, buddy." The child’s hale liveliness is heartbreaking with the knowledge I have of his sister.

Larson asks the family friend, who’s at the hospital, for any information on the night before. It’s unclear whether he’ll get answers, and he tells me that sometimes he never does. In fact, that’s one of the hardest parts of the job. "It doesn’t matter how much science you throw at it," he says. "Sometimes it comes out undetermined."

It’s getting late as we head to the home of the suicide victim’s sister in Castro Valley. No one answers the door. Larson checks with the Marin County Coroner’s Office for another address, then stops by a dispatch office to get directions. Notification is important to Larson, as people may otherwise never hear about the fates of their loved ones.

We arrive in a quiet, ’70s-era housing tract in San Leandro, at the house of the victim’s mother. Again, no one is home, but a neighbor with emergency keys checks the house, determining that the victim’s mother has gone for a walk with her dogs. We wait at the house.

When she arrives, she knows what Larson’s going to say before he opens his mouth — but the news is no less brutal. When we leave, her neighbors are sitting beside her on the couch, friends from happier, simpler times.

It’s late when we return to the office, and Larson is supposed to work another swing shift tomorrow. But he gets a message from home. The son of a friend died in an accident. The funeral is tomorrow.*

Press misses out on Cal/OSHA probes

0

A near-fatal tragedy in Nob Hill last March briefly grabbed headlines when emergency personnel had to help free two workers from compressed debris after the wall of a garage collapsed around them.

Two other laborers escaped serious injury, but brothers 23-year-old Roberto Galiano and 41-year-old Maximiliano Galiano were buried up to their waist and knees respectively (one had to be extricated by the fire department). All four were taken to San Francisco General Hospital.

The vacant three-story apartment building on California Street where they were working had been awaiting renovation since a 2006 fire, and the four workers were doing foundation work with a jackhammer in a confined corner of the garage.

The accident made for great spot news, of course, and the Chronicle, the Examiner, KTVU and KPIX all posted brief stories on it immediately. They were each sure to note that California’s Division of Occupational Safety and Health (known better as Cal/OSHA) was probing the incident.

None of them followed up, however – which is not uncommon when occupational safety violations are handed out to employers long after cameras have departed from the scene. And the story points to one of the great failures of news media coverage of workplace safety issues.

Two months after the Nob Hill accident, Cal/OSHA fined Pacifica-based Doré Construction $13,000 for among other things allegedly failing to provide an adequate protective system to prevent the cave-in, i.e. not shoring up the garage’s walls properly, according to public records we obtained. The company was also fined for not having an expert on-site to regularly inspect the garage and ensure it wasn’t susceptible to collapse as they worked. Building inspection records show that the excavation work was being performed without a shoring permit.

Doré had been hired by the building’s owner in August of 2006 to do more than half-a-million dollars in rehab work to the structure.

The contractor immediately appealed the fines from Cal/OSHA, and since such cases are backlogged across the state, it could be years before the public actually sees the results. (Anthony Doré, owner of the construction company, told us he needed to contact his lawyer before answering questions, but we never heard back from him.)

Limited reporting on workplace safety incidents produces a fractured view of the regulatory system surrounding occupational hazards. While headlines that do get around to revealing Cal/OSHA fines after an investigation is complete lend a sense of finality to an accident, employers routinely appeal the fines, and with no follow-ups from reporters, the public is often blithely unaware of what employers actually end up paying.

Last year we reported on the fatality of an ironworker named Miguel Rodriquez at the Richmond-San Rafael Bridge, which at that time was undergoing a $760 million retrofit (see “Lessons from the bridge,” 11/14/2006).

Again the initial accident was reported by several local outlets, along with the subsequent announcement of an investigation by Cal/OSHA, but the larger picture of what took place that day and what the contractor ultimately paid for the fines turned out to be far more interesting.

Rodriguez was killed in 2004 after another worker lowered an 1,800-pound steel frame from a height of 80 feet using a pneumatic winch that had gone out of production in the 1940s, according to an account in public records. The winch’s brake slipped, sending the frame crashing into a wood platform on which Rodriquez was standing. He was bounced into the air and sent through the hole created by the load, first hitting his head before dropping to the waves below.

While capturing the full story would have required a little digging, its breadth appeared later in publicly available civil-court depositions that lucidly described the accident.

Cal/OSHA eventually fined the prime contractor on the bridge, Tutor-Saliba/Koch/Tidewater, $18,000, alleging that the worker operating the winch wasn’t properly trained and was only using its brake to control the winch when it should have also been in gear. But public records today show that the joint venture appealed the decision and was later required by an administrative judge to pay just $300 of the fine.

The judge, Bref French, ruled in May of this year that indeed the winch’s operator had not been given proper instruction on the machinery as required by law, according to court records. But, French countered that Cal/OSHA had not proved Tutor-Saliba was aware that the training failure would almost undoubtedly result in serious physical harm or death, a key legal threshold that changed the nature of the penalties dramatically.

“The evidence must, at a minimum, show the types of injuries that would more likely than not result from the violative conditions,” French wrote.

This week, we reported on a carpenter named Kevin Noah who accidentally fell to his death from the Golden Gate Bridge while working on a multimillion-dollar retrofit project there in 2002. Brief news reports in the Chron announced the tragedy including a follow up that explained how Shimmick-Obayashi was fined $26,000 by Cal/OSHA.

Shimmick-Obayashi, however, never actually had to pay a thing, because as we reported, four years after the accident, a judge ruled on appeal that Cal/OSHA had not printed the contractor’s full legal name on the original citations. The judge, Barbara Steinhardt-Carter, dismissed the penalties without ever considering the merits of the case.

The closer you get

0

› a&eletters@sfbg.com

How does one begin to write about Abbas Kiarostami’s Close-Up (1990), a film as layered as an onion? I remember that when I first watched it, I felt touched by what I then perceived to be its affectionate ending. Later viewings not only changed my feelings toward the movie’s conclusion but also left me utterly perplexed.

About 17 years ago, when Hossein Sabzian misled a Tehran family into believing that he was acclaimed Iranian director Mohsen Makhmalbaf, Kiarostami was intrigued by the story and set out to make a film about it — or, to be more precise, he set out not to make a film about it.

Part of Close-Up‘s complexity arises from the way Kiarostami blends his material. Casting all the parties involved in the fraud as themselves, the filmmaker mixes commentary and footage of Sabzian’s trial with reenactments of Sabzian meeting the Ahankhah family and persuading them that he is Makhmalbaf. We see Sabzian explaining himself to the judge and performing in the reenactments. To complicate matters further, Kiarostami, while filming the trial, sets up a camera that is constantly focused on the accused and instructs Sabzian to address it anytime he feels like it. Through these devices, Sabzian gradually unfolds his acting talent, making it harder and harder for us to understand when he is performing and when he isn’t.

But Close-Up‘s motivation — beyond questioning Sabzian’s credibility — is more complicated than a desire to convince us of his guilt. In fact, the only thing we’re sure of is that the boundaries between reality and fiction are blurred, if not rendered indistinguishable — a theme particularly dear to Kiarostami.

Things get even more convoluted in two films the director made after Close-Up; along with Where Is the Friend’s Home? (1987), they form a trilogy. In And Life Goes On (1992), Kiarostami returns to Koker, a village in northern Iran, after a big earthquake practically destroyed it, in order to search for the protagonist of Friend’s Home. Using as his main character a director with the same mission, Kiarostami films his surroundings in a cinéma vérité manner, making us think that what we’re watching is a documentation of the earthquake’s aftermaths.

After And Life Goes On, Kiarostami’s Through the Olive Trees (1994), a film set in the same earthquake-devastated town, feels akin to a slap in the face. In it, he directs a filmmaker whose attempt to make a movie falls apart when two of his actors refuse to get along. Surprisingly, Through the Olive Trees concentrates on a scene that should feel familiar to anyone who has seen And Life Goes On. The suggestion is that perhaps the film the Through the Olive Trees director is making is none other than And Life Goes On. At least parts, if not everything, of what we’ve watched in the latter are revealed to be fiction. In Through the Olive Trees, Kiarostami has made a film about a director who is filming a movie about a filmmaker who returns to the village he once made a film in.

One might justifiably wonder, why all these self-referential layers? The answer comes in Taste of Cherry (1997), for which Kiarostami won the Palme d’Or at the Cannes Film Festival. Throughout the film we follow a Mr. Badii in his desperate search to find someone willing to help him execute his suicide plan. At Taste of Cherry‘s most crucial moment, just as we are about to discover whether Badii actually committed suicide or not, Kiarostami cuts into footage taken from the making of the film. This footage presents him and the rest of the crew in an idyllic atmosphere while a tune that sounds very much like "Saint James Infirmary" plays in the background.

It is as if Kiarostami were constantly trying to remind us that what we are watching is only a film, that unlike Sabzian we should be able to separate fiction from reality, that unlike the Ahankhahs we should not allow ourselves to be deceived by some skillful manipulation of the boundaries between truth and imagination.<\!s>*

ABBAS KIAROSTAMI: IMAGE MAKER

Through Aug. 30, $4–<\d>$8

Pacific Film Archive

2575 Bancroft Way, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

Ode to Michelangelo Antonioni, 1912-2007

0

Matt Sussman pays tribute to the director:

eclisse.jpg

1.
Monica Vitti in L’Eclisse was a revelation to me as a college freshman. I had a serious crush on her, perhaps more than any other film actress up to that point (certainly, as a gay man, more than any other woman up to that point). Her leonine blond mane and Roman cheekbones framed eyes that could dish out giddy flirtation and unexpected hurt in equal measure. In all the “Antonioni’s greatest moments” recaps that have been posted in the past 24 hours I don’t think any commentator has mentioned the incredibly bizarre scene in L’Eclisse where Vitti puts on blackface and dances amidst African artifacts. Echoes of Italy’s then-recent colonial past are immediately summoned in Vitti’s character’s tipsy performance of bored bourgeois privilege, but Antonioni also seems momentarily to take in the visual pleasure provided by the spectacle of the dancing Vitti. For a director famed for his ambiguity, this is perhaps one of his most ambiguous and unsettling scenes.

Editor’s Notes

0

› tredmond@sfbg.com

Yeah, man, I was there: I saw the Grateful Dead play "Dark Star" on New Year’s Eve. Heavy.

Only it wasn’t 1967. It was 1981, becoming ’82, and we were at the Oakland Coliseum, not the Panhandle. The Summer of Love was long gone; Haight Street was at war, not over drugs but over gentrification, and the cops were cruising up and down, looking not for hippies selling pot and acid but for the self-proclaimed Mindless Thugs, who were throwing bricks through the windows of upscale stores and fancy bars.

Everybody falls in love with San Francisco the way it was the day they arrived, and mine was a distinctly anarchopunk scene. The soundtrack wasn’t Scott McKenzie and flowers in your hair; it was Jello Biafra, "California über Alles," and the kids were getting all bloody and bruised from slam dancing in clubs with black walls instead of mellowing out and digging the colors of the trippy light show.

But the spirit of the 1960s was still very much alive. The Summer of Love gets a bit glorified in the retelling, but in the end the part that survived was a spirit of community and rebellion. We were here because we didn’t feel like we belonged anywhere else, and as quickly as we could set down roots, we decided it was our city and we wouldn’t let the greedheads take it away from us.

And it’s been an endless battle for the past quarter century, but the bad guys still haven’t won; though much is taken, much abides … and every year we celebrate the best of the world’s best city with the original, first-in-the-nation Best of the Bay.

This year’s issue is in part a tribute to that summer 40 years ago when a new kind of politics, music, and culture was emerging in a city where Bruce B. Brugmann and Jean Dibble were helping create a new kind of journalism. Our local heroes this year are all people who were part of the Summer of Love — and are still doing cool stuff today.

It’s also a tribute to everything sensational in San Francisco. And now and then and forever, there’s plenty. *

Church of Santino

0

› johnny@sfbg.com

It’s no surprise that Santino Rice knows how to serve up a good quote. Five minutes into a phone conversation, the biggest antihero to emerge from TV’s Project Runway has already likened Nina Garcia, Heidi Klum, and Michael Kors to a "three-headed monster." Before the interview’s over, he’ll have quipped, "My everyday life and how it plays out is all the fictional stimulation I need." Since his everyday life includes an appearance at "Bad Boys of Runway" — a Castro Theatre event also featuring recent Runway winner Jeffrey Sebelia, a fashion show, and a screening of The Women (1939) he isn’t exaggerating.

But what might surprise people who think they know Rice (though really, let’s just call him Santino) is how uninterested he is in playing up to his semivillainous, semiheroic, and oft-bitchy or cantankerous image from Project Runway‘s second and almost inarguably most dynamic season. Two years on from the experience, he’s easygoing — his baritone voice often giving way to a warm laugh — and quicker to praise than criticize. Make no mistake, this is still the same Mississippian who knew he loved Los Angeles when the Rodney King riots began the day of his first visit. "Everything clicked," he remembers. "I realized [L.A.] figured in so many things I loved, from old Hollywood films to gangsta rap, from [fashion designer] Adrian’s films and MGM to Ice-T and Ice Cube and NWA." But Santino’s days of doing free design gigs for "great exposure" are over.

"Now I don’t need any more exposure," he says, chuckling at the understatement.

Yes, the Santino of today is a sunnier Santino — though it helps that our major topic of discussion is movies. Santino knows and loves his cinema. He has a passion for some of the films that follow The Women in Marc Huestis’s Fabulous Fashion in Film Festival, such as 1946’s Gilda, in which (as he says) the undergarments worn and silhouette created by Rita Hayworth add to her "amazingly sexy" image. Even when discussing a selection he doesn’t care for, such as that of last year’s Dreamgirls, he’s diplomatic, observing that it "gets a free pass" yet doesn’t match the fabulous quality of 1975’s Mahogany, a different festival film he prefers.

A glance at Santino’s MiEspacia page reveals the importance of movies within his aesthetic. When I mention that I share his love for 1964’s The Umbrellas of Cherbourg, he enthuses that "in her heyday, Catherine Denueve is the most beautiful woman ever" and proceeds to throw down for the lesser-known 1970 Demy-Denueve collaboration Donkey Skin. One mention of the flimsy yet highly imaginative fashions sported by Bobby Kendall in James Bidgood’s 1971 Pink Narcissus, and he’s ready with comments that could school critics. "[Pink Narcissus is] colorful, it’s erotic, it has surreal visuals," he observes. "The way it treats the subject matter of a male prostitute conjures up a lot of feelings. It kind of reminded me of some [Rainer Werner] Fassbinder films in the way that he can linger on certain details too long for comfort. The most recent film that’s given me that same sort of overwhelmed feeling is [Alejandro Jodorowsky’s 1973] Holy Mountain."

It’s a long road from Holy Mountain to Project Runway, and it ain’t yellow brick, but Santino has trekked it. And Project Runway may have scooped up three Emmy nominations, but Santino has already won a few Tonys — Tony Ward and Tony Duquette. In fact, the latter, who often collaborated with Adrian, is a major mentor, which makes Santino’s appearance at an event featuring a screening of The Women even more apt. After all, the centerpiece of the George Cukor classic isn’t Roz Russell’s motormouth routine, Norma Shearer’s sweet plain Jane act, or even Joan Crawford’s fierce shopgirl sexuality. It’s Adrian’s design work, on display in a fashion show sequence. "And it’s [the only scene] in color," Santino notes.

Some Project Runway devotees might be curious about the past nature and current state of Santino’s bond with Andre Gonzalo, but his tie with Ward, revealed within season two’s penultimate episode, is more compelling. Few people seemed to realize that Santino’s best friend Tony — the handsome quiet guy with the beach house — was Madonna’s lover during her wildest pop peak, the star of (and best thing about) Bruce La Bruce’s 1996’s Hustler White, and the muse of John Galliano, and is the cult figure who got into a spat with Marlon Brando when the latter was giving a zonked-out acting class late in his life.

"We met in odd circumstances," Santino says when asked about Ward. "We were flying back to Los Angeles, and the engine on the right side of the plane exploded. We had to emergency-land and had a long layover, and during that time we just talked about everything. A week after we got back to LA, he called and asked me if I’d want to create some pieces for his first fashion editorial [as a photographer], which was based on [Stanley Kubrick’s 1971] A Clockwork Orange. I made all these leather codpieces and other accessories. From that point on, we’ve hung out. He’s a great guy and a loyal friend."

My last question for Santino is a simple and direct one: what are you wearing? After an "Oh no!" punctuated by another easygoing laugh, he concedes an answer. "I have on a pair of shoes I got in Singapore that are Hiromu Takahara," he begins, slowly warming up to the query. "They look like Converse, but they fit like a cowboy boot — they zip up on the side. I’m wearing black Diesel jeans, skinny jeans, and just a T-shirt. And, of course, a hat — a black Bardolino hat."*

BAD BOYS OF RUNWAY

Featuring Santino Rice and Jeffrey Sebelia, with a screening of The Women

Fri/27, 7:30 p.m., $15–>$27.50 ($55 for preferred seats and reception at Mezzanine)

FABULOUS FASHION IN FILM FESTIVAL

July 27–<\d>Aug. 3

Castro Theatre

429 Castro, SF

(415) 863-0611

www.castrotheatre.com

For a complete Q&A with Santino Rice, go to www.sfbg.com/blogs/pixel_vision.

To the ramparts, robots

0

› a&eletters@sfbg.com

Aside from having one of the most awesome health care systems in the world, the Louvre, and an overall sense of sophistication, France is responsible for Daft Punk’s entrance into the world and the subsequent rebirth of a limitless club culture. Sure, we’ve got R. Kelly and Slayer, both of whom are as culturally relevant as the Paris duo, but unlike the aforementioned American icons, Daft Punk have scaled an aesthetic fence, resuscitating what many considered a moribund French music scene in a dynamic way that exceeds tabloids and all things shredding.

With or without their now-infamous mystique as masked robots, Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo have dominated dance floors with dynamic robohouse releases like 1997’s Homework, 2001’s Discovery, and 2005’s Human after All (all Virgin), which murdered charts in the United Kingdom and France while assaulting those in the States. But it’s not the grinding electropower of "Da Funk" that’s entirely responsible for the group’s forefront standing — it’s all about the Daft Punk vision.

In a genre brimming with predictable dance floor restrictions (i.e., the same four synth sounds and 120 bpm repetitions) and an overwhelming need to crowd-please, Daft Punk have never followed 4/4 guidelines or era-aligned clichés. After an intense bidding war, signing with Virgin, and hitting megastatus with Discovery, the duo immediately began realizing their ambitions, working with Japanese animation kingpin Leiji Matsumoto for the $4 million–<\d>budgeted operatic film Interstella 5555. Released in 2003, Interstella revolves around a "discovered" robot band taken hostage in space, with a separate episode for each Discovery track. Both MTV and Cartoon Network hosted the first few episodes, and many critics heralded the band for its satirical take on the entertainment industry.

Without supporting Human after All with a series of elaborate tour dates, the duo spent time prepping another cinematic addition to their creative canon and directed Electroma, a 70-minute silent-film opus. Based on the story of two robots driving through a desert in a 1987 Ferrari on a quest to become human, the film has already been compared to endeavors like Matthew Barney’s Cremaster Cycle. Electroma is far from a low-budget, art-school project, though: the futuristic costumes, for example, were dreamed up by Hedi Slimane.

In typical Daft Punk fashion, Bangalter and Homem-Christo maintained their sacred anonymity by choosing to direct the film and hire actors to live the robot dream. For the soundtrack, the duo also enlisted France’s psych tastemaker Sebastien Tellier and selected some moody hymns by Brian Eno and Curtis Mayfield, to name a couple. There have been several midnight screenings at clubs across the globe — one at Mezzanine is forthcoming — and the DVD will be released in August by Aztec International/Vice.

Speaking of which, Daft Punk have also earned a place in electrohouse history with their ties to the new French revolution — namely, Ed Banger Records and affiliates like the aforementioned Vice. Founded by production monolith and Daft Punk manager Pedro Winter, a.k.a. Busy P, the label has become synonymous with the gritty analog sound that Daft Punk carved into dance culture. Including many young French producers like Sebastian, Justice, Mr. Oizo, and Feadz — most of whom are barely old enough to legally get hammered at a stateside club — Ed Banger has earned its place at the top of the in-demand live-act pyramid, and its crew isn’t tied to serving out bangers exclusively either. Oizo recently directed the forthcoming film Steak, which was scored by Sebastian, Tellier, and himself.

Then there’s Kitsuné Music, another Paris label, which is nestled between Ed Banger and the Rapture on the list of Daft Punk’s top MySpace friends, a lofty position for those engaged in the cybernetworking circuit. Acts like Digitalism, Crystal Castles, and Riot in Belgium have earned near-cult status through Kitsuné and its heavily rotated compilation series.

With the exception of a few Coachella dates and one-offs, Daft Punk haven’t officially toured since supporting Homework in 1997, and now the duo are tearing through the States prior to Electroma‘s launch. Playing select arena dates, the duo are performing alongside their well-groomed legion of the new French crooners, including Kavinsky, Sebastian, and the Rapture. Most of the dates are already sold out, but in homage to Daft Punk’s legacy, the James Friedman–<\d> and the Rapture–<\d>owned Throne of Blood imprint is throwing a series of after-parties including said supporting acts — no Daft Punk, sorry — in clubs rather than in enormous amphitheaters.

Whether or not Daft Punk will eventually start building sculptures, go to medical school, or return to the realm of everyday club crushing remains unknown, but their place in dance culture is as solid as Bangalter and Homem-Christo’s impenetrable robot helmets.*

DAFT PUNK

Fri/27, 8 p.m., $48.50

Greek Theatre

UC Berkeley, Gayley Road, Berk.

(510) 643-6707

www.ticketmaster.com

San Francisco midnight movie memories (Extended mix)

0

We recently put together a cover package on midnight movies. The midnight movie scene is thriving right now, but it also has a long history — in fact some credit SF as a, if not the, birthplace of the phenom. Below you’ll find a mix of direct quotes from local cinema lovers and excerpts from books that outlines what has happened when the clock strikes twelve in the Bay Area. Go ahead and add your stories and sources to this account!

GARY MEYER The Pagoda Palace, known as the Milano in the 30s and early 40s showed Italian movies at midnight prior to World War II.
CHRISTIAN BRUNO In the mid-’60s the Presidio hosted Underground Cinema 12, a package of late-night movies that might incorporate a little [George] Kuchar, a little Busby Berkeley, and a lot of porn posing as art. It was a traveling package of films that was curated by Mike Getz out of LA, but the Presidio put its own SF (which usually meant gay) stamp on things.

presidio.jpg

GEORGE KUCHAR I remember one midnight show at a theater on upper Fillmore St. It started about 2 hours late because of projection problems. The audience didn’t seem to care and the 16mm feature didn’t care about cohesiveness of plot or theme, so it was a fun, flabby twilight zone of black & white sequences of an occult nature that suited the creatures of the night. The darkness inside and outside the theater was unable to still their noisy appreciation to the avalanche of imagery that descended from the screen like a caffeinated surge of STARBUCK sludge. The movie kept everyone awake so I guess you can consider it a HIT for that un-Godly hour and a half!

Sweet Youth

0

› kimberly@sfbg.com

SONIC REDUCER "It was a period where you thought anything could happen," Thurston Moore once told me, talkin’ ’bout the early ’90s alternative rock scene spawned by Sonic Youth’s widely regarded masterpiece, Daydream Nation (DGC, 1988).

One might say the MTV-coined catchphrase "Alternative Nation" went as far as to take its cues from SY’s double disc, which was self-aware enough to dub a track "The Sprawl" and heady enough to venture into the big-statement two-LP turf also being hoed by once–SST kindred Minutemen and Hüsker Dü. Honestly, back in those hazy days, I recall giving it a handful of spins, sensing the distinct odor of a masterpiece, and immediately stopping playing it. Daydream was much too much, too rich for my blood, too jammed with the brainy, jokey pop culture ephemera that had riddled Sonic Youth’s LPs up to that point — positioned as the polar opposite of a hardcore punk 7-inch, which was short, sharp, and built for maximum speed. Yo, you’d never catch Minor Threat doing a double album. Instead Daydream thumbed its nose at the closeted cops in the mosh pit and unfurled like a dark banner announcing: We can’t be contained by your louder, faster, lamer rules. We’re gonna speak to a imaginary country — off Jorge Luis Borges’s and Italo Calvino’s grids — of naval-gazing, candle-clutching misfit visionaries looking for clues in trash cults, Madonna singles, and the burned-out butt end of the Raygun-era ’80s.

Now nearly 20 years old, Daydream — recently given the deluxe reissue treatment with an additional disc of live tracks — brings back memories of prophesy and triggers reminders of mortality. Around the time it first came out, I recall ranting to kindred record store clerks — and anyone who stumbled into my predated High Fidelity daydream — how everything will change when Sonic Youth meets Public Enemy. And it sort of did on Daydream, coproduced by Nicholas Sansano, who engineered PE’s ’88 masterwork It Takes a Nation of Millions to Hold Us Back (Def Jam).

Apparently we were also talkin’ ’bout nation building back then, finding a face and a place for a generation still living at home and struggling for an identity. Imagining a meeting of the most powerful forces in American rock and hip-hop seemed like the next best thing to moving out — and it foreshadowed Goo and touring collaborations to come. Little did I — or Moore — realize that a dozen years after Daydream Nation, the meeting of rock and rap would degrade into what Moore described as "negativecore" and rap-metal units like Limp Bizkit and debacles like Rapestock 2000. Daydream Nation offered a whole other, embracing view of a youth revolution with its opening track and college radio hit "Teen Age Riot." Sonic Youth had dared to write an anthem for a new age of kids, tagged with Kim Gordon’s "you’re it!" — and everyone was on the same page, stoned on Dinosaur Jr.–style Jurassic distortion and thinking-Neanderthal riffs and racing as fast as they could through dreamlike pop pastiche, as embodied by the accompanying video, a kind of decades-late Amerindie response to "White Riot" or "Anarchy in the UK."

On Daydream pop hooks emerged for the first time alongside the ever-coalescing SY aesthetic, with euphoric, charging chord progressions seemingly unrooted to the blues, and the way the group would open into intentionally pretty passages, flaunting the delicate uses of distortion and a feminized rock sensibility. We were all dreaming of Nirvana, a fringe seeping into the pop marketplace. Honestly though, listening to that Daydream again, I couldn’t help but be disappointed. Its brute approach has become a part of ’90s rock’s wallpaper — as Moore confesses in the reissue notes, black metallists have even owned up to copping licks from " ‘Cross the Breeze" — and therefore perhaps sounds more pedestrian. The triptych of "Hey Joni," "Providence," and "Candle" now sounds more charged than "Teen Age Riot" and "Silver Rocket," and I can’t help but think that Sister may be a stronger, more concise album. Perhaps we’re still too close to the stalled staling of the Alternative Nation, though maybe the faded nature of Daydream Nation is tagged to its very status as a classic — how does one pump life into, say, Sgt. Pepper’s Lonely Hearts Club Band?

It does help, however, to play it loud. *

SONIC YOUTH DOES DAYDREAM NATION

Thurs/19, 8 p.m., $35

Berkeley Community Theatre

1900 Allston Way, Berk.

www.ticketmaster.com

HOT TO TROT: THE LOVEMAKERS

There was a time when the Bay’s Lovemakers looked like they were going to get all the love nationally — an Interscope deal tucked neatly into their back pocket and a heavy-breathing following around town. So what happened?

"Interscope asked us if we wanted to do another record," vocalist-guitarist Scott Blonde says from Oakland, "and we said no, because our A&R guy was obviously really into us and he and his assistant worked really hard for us, but it didn’t seem possible to get Brenda Romano, who runs the radio department, to get into it enough to put it ahead of 50 Cent and Gwen Stefani." He chuckles.

These days, the band members are focusing on making love on their own terms: their Misery Loves Company EP comes out July 24, the first release on San Francisco’s Fuzz label.

"Obviously we got more cash dollars’ support on Interscope," vocalist-bassist-violinist Lisa Light adds from the Mission District. "But the thing is the way it gets spent. Interscope would spend $5,000 doing stupid things — in bad taste a lot of times too. Not only were you embarrassed by the dumb posters they did, they weren’t in the right places. We’ve been able to hire a radio promoter and a cool PR company. It’s all about finding the people who actually care. You cannot pay for that at all."

"We’re looking at the future of music a lot, and selling CDs isn’t really part of the future seemingly," Blonde continues. "So it’s kinda about coming up with really innovative ways of getting our music out there in the biggest way possible." He says the Lovemakers have already gotten more radio ads on stations like Los Angeles’s KROQ for the first single off Misery than anything off their major label release: "We thought Interscope was going to be our ticket."

LOVEMAKERS

Sat/21, 9 p.m., $18

Bimbo’s 365 Club

1025 Columbus, SF

www.bimbos365club.com

MUSIC TO GO

EDGETONE MUSIC FESTIVAL


Are more listeners seeking out music’s edgier tones? Edgetone New Music Summit mastermind Rent Romus believes that’s the case. "I’ve been running the Luggage Store series for five years now — last night we had 70 people," he told me. "It’s not about the hit song but about performance and performers." His fest has that critical mixture of daring performers: SF trumpeter Liz Allbee and bowed-gong player Tatsuya Nakatani, Wobbly, Darwinsbitch (sound artist–violinist Marielle Jakobsons), instrument inventor Tom Nunn, High Vulture (with MX-80 guitarist Bruce Anderson), Hammers of Misfortune vocalist Jesse Quattro, Eddie the Rat, and the Gowns. July 22–28. See www.edgetonemusicsummit.org for schedule

PUSSYGUTT


The noisy Boise, Idaho, bass-drum duo waxes darkly on Sea of Sand (Olde English Spelling Bee). Wed/18, 9:30 p.m., $5. Edinburgh Castle Pub, 950 Geary, SF. (415) 885-4074, www.castlenews.com

SHOUT OUT LOUDS


Sept. 11’s Our Ill Wills (Merge) is unveiled by Sweden’s shouters. Wed/18, 9 p.m., $15. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

LET’S GO SAILING


Rilo Kiley keyboardist Shana Levy charts a sweet indie pop course with her debut, The Chaos in Order (Yardley Pop/GR2). With Oh No! Oh My! and the Deadly Syndrome. Wed/18, 8 p.m., $12–$14. Independent, 628 Divisadero, SF. www.theindependentsf.com

YOU AM I


Three number one albums strong, the tuneful Aussie rockers muscle onto the US scene with Convicts (Yep Roc). Wed/18, 8 p.m., $13. Slim’s, 333 11th St., SF. www.slims-sf.com

JOHN NEMETH


The blues vocalist and harp player bubbles up with Magic Touch (Blind Pig). Fri/20, 8 and 10 p.m., $15. Biscuits and Blues, 401 Mason, SF. (415) 292-2583, www.biscuitsandblues.com

SHOTGUN WEDDING QUINTET


The Mission’s Jazz Mafia collectivists bring out the big guns for their CD release get-down. With Crown City Rockers. Fri/20, 9 p.m., $15–$18. Independent, 628 Divisadero, SF. www.theindependentsf.com

RED MEAT


Love Jill Olson’s "I’m Not the Girl for You" off the SF C&W combo’s new We Never Close (Ranchero). With Big Smith and William Elliott Whitmore. Sat/21, 9 p.m., $15–$17. Great American Music Hall, 859 O’Farrell, SF. $15-$17. www.gamh.com

Importing injustice

0

› news@sfbg.com

More than 100 tractor trailers were lined up at 6:30 a.m., inching toward the Port of Oakland’s Terminal 7, waiting for their next load. Against the backdrop of the San Francisco skyline, a mammoth freight ship emblazoned with the name Hyundai glided toward the port, pregnant with multicolor shipping containers.

A driver told the Guardian that he expected to be in line for at least two hours waiting to drop off the empty container attached to his big rig. His 1989 truck lacks air-conditioning, so the windows were rolled down, allowing diesel exhaust to pollute the air he was breathing.

It’s the same scene at many of the port’s other terminals: long lines of ancient trucks slowly snaking toward their destinations, their primarily immigrant drivers performing the essential and thankless task of transporting cheap clothes from Asia to the nation’s big-box retailers or helping to export California’s agricultural goods to Hawaii.

The fourth-busiest container port in the nation, the Port of Oakland is the economic engine of the region, providing thousands of jobs and more than $1 billion in revenue. But activists say that the port system has also led to sweatshoplike conditions for truckers and created a health crisis for the surrounding community.

On their poverty-level wages, truckers are usually able to buy only the oldest, most polluting trucks. Their diesel pollution is a major factor driving asthma rates through the roof in the neighboring, primarily African American neighborhood of West Oakland, where, the American Lung Association says, one in every five kids has asthma.

A new national coalition of labor, environmental, and community activists has advanced a proposal that would make all drivers employees with benefits, radically changing the way work is done on the waterfront and possibly heralding the return of the Teamsters to the ports for the first time in more than 20 years. In the process, the proposal would make the port’s biggest customers responsible for its environmental problems.

The coalition places the blame for the current situation squarely on giant retail shippers such as Wal-Mart and Target and is calling for them to be held accountable for the full environmental and labor costs of the cheap goods they sell — a call the corporations are strenuously resisting. The American Trucking Association, whose members contract directly with the corporation, has threatened a lawsuit if the change is adopted. But port officials have voiced a willingness to seriously consider implementing the proposal.

Having long claimed that the trucking industry is outside its control, the Port of Oakland could embrace the proposal as a means of satisfying community, environmental, political, and business concerns. With impending directives to clean the air coming from Sacramento, trade planned to almost double by 2020, two new Port Commission appointees representing labor and environmental concerns, and a federal antiterrorism tracking plan slated for this fall, the port is poised to play a leadership role that could reverberate up and down the West Coast and across the country.

THE TRUCKER’S LIFE


The Port of Oakland’s estimated 1,500 to 2,500 drivers are a far cry from the middle-class, long-haul Teamsters and the Smokey and the Bandit–<\d>style freewheeling rebels who have long been engrained in the American imagination. Instead, they are at the bottom of the port’s food chain and are the most exploited trucking sector in the country, consisting primarily of recent immigrants struggling to make ends meet.

Dawit Fre, 39, immigrated to Oakland from the small nation of Eritrea two years ago. "I wanted to see a better life," he told us. Fre was a driver in Africa and went to work for the Port of Oakland after his cousin told him people start their trucking careers there. He said he works up to 60 hours a week for one company, making the equivalent of about $8 an hour after expenses.

Fre arrives at work every day no later than 6:30 a.m., waits for dispatches from his company, and spends a minimum of two hours in line for each container he picks up or drops off. He is paid $42 for each load by the company. He doesn’t know how much the trucking companies make but has heard that some get $200 per load. He returns home around 6:30 at night.

"The whole time I’m at the port, I’m thinking about my family," he said. "I got children. The only thing I’m thinking inside the terminal is, how many moves am I going to do? Am I going to do four or five or three or two?"

On a good day he can get four, on a bad day as few as one, depending on the length of the lines and the generosity of the dispatcher. Then there are his expenses. As an independent operator, Fre is solely responsible for a tankful of diesel that costs him up to $250 a pop. DMV registration is $178 a month, and 12 percent of his weekly earnings goes to his boss for insurance on his truck, not to mention annual federal income tax.

He receives no benefits, no overtime pay, and no health care coverage at a time when his wife, a diabetic, is suffering from severe stomach complications. "I’m taking her to Highland Hospital," he told us. "If it’s easy for them to fix, they can do it. But if she has a big problem, they can’t do it."

Fre has his own health problems. "Most of the drivers, we have old trucks," he said. "You don’t have AC, your windows are down, and you get sick in the truck" from the diesel. Fre’s remedy for his persistent coughing and the burning in his throat is several glasses of milk after each day of work.

A 1998 study published in the Journal of Independent Medicine found that truck drivers face a risk of cancer 10 times greater than Occupational Safety and Health Administration–acceptable levels, and a 1990 study published in the American Journal of Public Health showed that truckers face nearly double the average lifetime lung cancer risk.

Fre has little money to invest in his truck, a ragged 1987 model that he said needs $5,000 in repairs. He doesn’t trust it on the freeway, so he’s asked his dispatcher to send him only from pier to pier, not outside the port, further dipping into his earnings. "I came here to see a better life," he said. "When I got here, I found it is different. Here we don’t get paid for the overtime. We don’t get benefits. When I get into the terminal, there is no respect."

His experience is typical of those of port truckers across the country. A study by the East Bay Alliance for a Sustainable Economy, a labor-affiliated think tank, found that the average Port of Oakland trucker makes as little as $8 an hour after expenses, works 11 hours a day, and spends two and a half hours in line per load. Almost none of the truckers reported receiving benefits on the job, and 66 percent don’t have health insurance.

This is consistent with data from a 2004 survey of port truckers in Los Angeles and Long Beach, conducted by a professor of economics at California State University Long Beach. That report found they had a median income of $25,000 a year after expenses and an average workday of 11.2 hours, with up to 33 percent of their time spent waiting in line.

Port truckers generally drive only the oldest, most polluting trucks because that’s all they can afford. An industry adage is that ports are "the place trucks go to die," a reality that has dire impacts on the surrounding communities.

POLLUTING THE COMMUNITY


West Oakland has long been a dumping ground for the Bay Area’s toxic waste. The community has one of the five highest asthma hospitalization rates in California, with an estimated 20 percent of its K–<\d>12 students suffering from the disorder, according to the ALA. Researchers at the University of Southern California have found that children living within a few hundred meters of freeways leading out of ports not only are more likely to suffer from asthma but also actually develop smaller lungs.

Margaret Gordon, a 60-year-old community health activist who has lived just blocks from the Port of Oakland for 15 years, told us that she and four of her grandchildren living with her all suffer from asthma. When one grandchild was born with severe asthma and her own asthma worsened after she moved to West Oakland, Gordon, then a housekeeper, started reading about the causes of asthma and made the connection to the port. Like many in the low-income neighborhood, she cannot afford to move elsewhere in the Bay Area.

Gordon has been fighting for clean air for more than a decade, and in April she was inducted into the Alameda County Women’s Hall of Fame for her work. In 2001, Gordon formed the West Oakland Environmental Indicators Project, which she now cochairs. The project has released more than half a dozen studies related to air quality. A 2003 report showed that trucks traveling through West Oakland in one day produce the same amount of toxic soot as 127,677 cars, leading to indoor air in some neighborhood homes that is five times more toxic than that in other parts of the city.

Still, Gordon told us that port officials are "only starting paying attention." Last year the California Air Resources Board passed a resolution related to air quality at ports and announced that it was developing a regulatory mechanism. A 2006 CARB report found that truck diesel exhaust accounts for the majority of the estimated 2,400 deaths related to freight transport each year and 70 percent of the state’s air pollution–<\d>related cancer risk. Freight transport will cost California residents $200 billion in health costs over the next 15 years. Most of this is borne by low-income communities of color near freight transport hubs.

The combination of state mandates and local community concerns is starting to spark a change. "They would sit down and talk with us before that, but there was not anything concrete done," Gordon told us. The port is now in the early planning stages of an air-quality-improvement program, working with Gordon and other activists.

That movement is getting vigorous new support from the Coalition for Clean and Safe Ports, a national partnership of labor, environmental, and community activists organizing at the country’s major container ports: Los Angeles, Long Beach, Miami, Oakland, New York–New Jersey, and Seattle.

"Every one of those ports has the same environmental and labor problems we have in Oakland," Doug Bloch, the coordinator for the coalition in Oakland, told us during a tour of the port’s heavy industrial landscape. Virtually all of its 900 maritime acres are covered by concrete and asphalt, monster cranes that inspired Star Wars‘ Imperial Walkers, and 20-foot steel containers stacked up like Legos behind chain-link fences.

The Port of Oakland has no direct relationship with its truckers at the present. Shippers take price bids from among roughly 100 trucking companies at the port, then contract the work to the independent-contractor truckers. The CCSP says bidding wars lead to poverty wages for truckers, older trucks and more pollution, and a chaotic port full of inefficiencies like long pickup waits.

Under the proposed system, ports would call on their ability as landlords to set standards for the trucking and shipping companies. They would require trucking companies to hire drivers as employees, shifting maintenance costs from the drivers to the companies, which would retrofit or replace all port trucks with more environmentally friendly rigs. The ports would allow only new, cleaner trucks to enter. The companies could then, in theory, pass the costs on to shippers and end users.

If drivers were paid as employees by the hour instead of by the trip, the coalition expects the market would reduce inefficient truck wait times and air pollution.

"When you rent an apartment you sign a lease," Bloch told us. "If you trash the place, you get evicted. Corporations are trashing this community, but they’re not being evicted."

A test case could soon be under way at the ports of Los Angeles and Long Beach, the two largest in the United States, and the situation is being closely watched by ports and industries across the country. Port commissioners there had hoped by the end of this month to approve the coalition’s program, which they expect to reduce diesel truck emissions by as much as 80 percent over the next five years. But growing opposition and the threat of lawsuits by groups like the California Trucking Association, which represents the owners of truck companies, and the Waterfront Coalition, a consortium of major retailers, led the ports to delay their decision. The commissioners now expect to vote in September after completing an economic impact survey.

At the center of the storm is the fact that as employees, truckers would be able to organize and form a union. As independent contractors, they are barred from doing so because of antitrust laws originally created to oppose vast enterprises that dominated industries. (A further irony is that giant retail steamship companies have experienced incredible consolidation and enjoy a limited antitrust immunity.)

If passed by LA port officials, the plan would be implemented there starting Jan. 1, 2008, and could result in a domino effect at the other, smaller ports across the country. "The industry is fighting like hell in LA," Bloch told us. "They know that if they’re going to have to pay, the party’s over."

Meanwhile, Bloch told us that more than 1,000 truckers have signed a petition asking the Port of Oakland to pass a version of the coalition’s proposal, and it will be presented to the Port Commission, the seven-member body that would eventually vote on the proposal. Spokesperson Libby Schaff told us that the port "agrees with the coalition that the port can and should have a more direct relationship with its truckers" and is "very seriously considering the coalition’s proposal."

Because the proposal "constitutes a major overhaul of the way trucking is done today," Schaff said the port is currently holding stakeholder meetings with residents, truckers, terminal operators, elected officials, the business community, and labor to consider it in the context of a more comprehensive port plan. Schaff said a comprehensive plan could be crafted in less than a year.

The port has not taken a position on granting truckers employee status. It is also looking into other funding mechanisms for a clean-truck program, including money from a pending state bill that would impose a $30 fee on every 20-foot-equivalent unit passing through the Los Angeles, Long Beach, and Oakland port complexes, to be used for improvements in road and rail infrastructure and for clean-air programs.

The legislation, Senate Bill 974, by Alan Lowenthal (D–Long Beach), would generate more than $525 million annually. But it faces tough opposition from some very powerful interests.

RESISTING CHANGE


Bill Aboudi, president of Oakland’s AB Trucking and a member of the CTA, told us truckers are "treated like second-class citizens," and he believes long lines and trucker asthma are serious problems. But he strongly opposes the coalition’s proposal. Instead, he told us, state regulations like those forthcoming from CARB and other piecemeal reforms are the answer.

"The coalition’s main goal is to unionize the drivers," Aboudi said. He was wearing a baseball cap emblazoned with two American flags and the words "Oakland Trucker." An immigrant from Israel, he has been at the Port of Oakland since 1992. "If these guys choose to be owner-operators, why are you rocking the boat? You can’t be playing with my livelihood just because you want to get union dues," Aboudi said. "Truckers want to own a piece of the American dream. They want to own their own truck."

It’s an appealing image to many. Kevin Leonard, an owner-operator trucker who contracts with Aboudi and others, told us he doesn’t want to give up his independent status. "I have the freedom to work when I want," he said. "I don’t see how the Teamsters can represent me better than I can."

The trucking industry as a whole says the coalition plan will force away trade and drive out small trucking companies, which will have to maintain the trucks and start paying benefits such as health insurance and workers’ compensation.

Yet Assemblymember Sandré Swanson (D–Oakland) brushed aside those arguments. "I’ve been involved in Bay Area politics for more than 30 years," he told us. "I’ve seen these same claims made against farmworkers as they were organizing for better conditions. I’ve seen these arguments made when we were raising the minimum wage. I think the opposite is true. If you have a workforce with a livable wage, it’s a more productive workforce, and I think everyone benefits. Truckers deserve more, and we’re going to do what we can to help them."

Oakland City Council president Ignacio de la Fuente, who drafted and helped pass a minimum-wage law for port employees, told us he supports the right of truckers to unionize but labor and environmental concerns must be balanced with economic growth. "You can’t ignore the fact that you have the port of Oakland competing with other ports," he said. "I support the fact that the Teamsters are going to bargain collectively on a national level. This port competes with other ports, and you cannot be put at a disadvantage."

Bloch says the coalition’s target is the shipping companies, not the trucking companies. "The shippers are hiding behind the trucking companies," he told us. "On the one side there are the giant shipping companies, like Wal-Mart and Target, huge global companies that demand low prices from trucking companies. On the other side are tiny trucking companies, immigrant truckers, and communities of color. Wal-Mart’s slogan is ‘always low prices,’ but ‘always low prices’ means one out of five children in West Oakland with asthma and drivers making $8 an hour who can’t support their families."

Oakland mayor Ron Dellums may be signaling his support for reform with two new appointees to the Port Commission. Even before he took office, Dellums was working to influence the Port Commission; as mayor-elect, he requested that outgoing mayor Jerry Brown hold off on appointing a new nominee so Dellums could appoint someone working on environmental and community impacts. He lost this battle when a majority of the city council voted to appoint Mark McClure, the director of marketing at a business technology company focused on security.

Dellums’s latest appointees, announced earlier this month, are a marked contrast to the business-oriented appointees of the Brown era: Victor Uno, a financial secretary with the International Brotherhood of Electrical Workers, and Gordon, the longtime resident and environmental activist in West Oakland.

"The port’s policy has been all about business and not about the people," Gordon told us. "The mayor really wants someone there to talk about health issues. I have never known a mayor to put someone on the commission and one of their engagements is to talk about health." She would also like to see a public participatory-process policy built into the port. "This is about sharing the power," Gordon said. "I don’t think West Oakland residents know they have power." She has "no problem" with truckers unionizing but also wants to find a way for drivers to remain independent contractors if they prefer.

Uno told the Guardian that he is highly supportive of the proposal. "I think that if the whole commission takes the lead of Mayor Dellums that this proposal will be very seriously considered," he said. "I’m very optimistic." Asked if he thought a proposal could succeed without requiring trucking companies to hire truckers as employees, he said, "I do not see how that is possible, given the lack of regulations in the trucking industry. It’s a dog-eat-dog world among independent truckers."

DEREGULATION HISTORY


The ports were not always structured as they are now. Before the 1980s the Interstate Commerce Commission regulated trucking, and most truckers at California ports were members of the Teamsters. They had health care, pensions, and workers’ compensation insurance and were paid a middle-class wage.

As part of a national push toward deregulation in the late 1970s, Congress, spurred by President Jimmy Carter, deregulated the trucking industry in 1980. In the following few years, a flood of new trucking companies entered the ports, with shippers choosing between a growing number of companies for each job. As small trucking companies undercut one another in bidding wars, the falling rates translated into declining driver pay, the bankruptcy of Teamster-organized companies, and increasing reliance on independent contractors whom companies could hire without spending money on payroll taxes, health care costs, or other benefits that unions might try to extract.

Trucking expert Michael Belzer, an economics professor at Wayne State University, has shown that long-haul truckers now earn less than half of prederegulation wages and work an average of more than 60 hours a week, while retailers like Wal-Mart have thrived. "The low rates paid to truckers in this global-trade game acts as a subsidy for increasing the amount of trade," Belzer told us. "Pollution and safety hazards are the negative externalities." If all ports on the West Coast required employee drivers, he said, "the market result would be that cost and safety would go up, and pollution would go down."

There have been a handful of Teamsters-related or trucker-led rallies and work stoppages at the Port of Oakland since deregulation, including a technically illegal strike in 2004 protesting the soaring price of diesel fuel, which virtually shut down the port for eight days. Many of the same complaints of today’s port truckers were aired at that time — long waits in lines, poor pay, long hours, and no benefits.

"This business is like the Mafia," Lorenzo Fernandez, 36, said, standing in front of two metal taco trucks glinting in the noon sun, along with about a half dozen other truckers on their lunch break. "They’re doing whatever they want with us, between the [truck companies] and the shippers. There is so much competition between the companies, and they know that we need the job. They know that our kids will go hungry."

Muhammad Khan, 33, said he’s sometimes forced to make up for long wait times by driving dangerously fast on the freeways. "We have our families. We have to take care of them. We all risk our lives because we have to. We don’t make enough money if we don’t make a load," Khan told us.

"We’re all immigrants here," Fernandez said. "We make it possible for the economy to grow up, but they’re stepping on our faces…. We have to work together. Otherwise we are going to be slaves for life."

A sign on a chain-link fence near the taco trucks reads, "Got an old truck? The Port of Oakland can help! Replace your old truck today!" Call the number at the bottom of the sign, and a recorded message issues an invitation to an informational barbecue that took place four months ago. The message explains that the port will provide qualifying owners with up to $40,000 to replace trucks dating from 1993 or before with a 1999-model truck. But Schaff told us, "Due to overwhelming demand, new applicants are currently not being accepted."

Money for the program came from a $9 million settlement of a lawsuit West Oakland residents filed against the Port of Oakland in 1998, alleging that their health was being harmed by port operations. The port says it will replace a total of 80 of the estimated 2,500 port trucks with those funds. When asked if the port had a responsibility to truckers, Schaff said it was "consistent with the port’s commitment to social responsibility…. We’ve done a lot, and we’re going to do more."

But the only specific programs the port could point to were the truck replacement program, a trucker access committee and working group started after the 2004 strike, and new GPS cell phone technology that is being touted as a solution for bottlenecks. Chuck Mack, the Teamsters’ Western Region vice president, isn’t impressed. "They’re a joke," he said of the programs. "Very few independent contractors have utilized them."

The recent purchase of the GPS system particularly irritates Mack. "Here is a quasi-governmental agency supplying services to the trucking companies," he told us. "It’s bizarre that we’re using taxpayer money for this. Any other industry would buy the devices themselves."

"We don’t disagree with using this money" for truck replacement, Mack said, "but what you’re doing is blowing $2 million in taxpayer money. Years down the road they’re going to need a new truck and another million in taxpayer money. For Wal-Mart and Target it’s great because they can have the taxpayer pick up the bill. Without changing the model, it’s just a short-term fix at the expense of the taxpayer."

EMPLOYEE BENEFITS


Beyond the environmental and economic benefits of making truckers employees of the companies, the change also might improve port security. The federal Transportation Worker Identification Credential program, expected to be implemented in the fall, will check the identities of the nation’s 750,000 port employees, 110,000 of whom work as truckers. Under the present system, there is no way to track the independent port truckers.

Employees are easier to track, and they are also better for port security in other ways. Among low-paid port truckers, turnover rate is extremely high, according to the ATA. "We all know that having a stable, well-trained, reliable workforce only leads to more security," Bloch said. "If they’re trained, they can be the eyes and ears of the port."

Well-paid truckers also would lead to safer ports. In a 2005 report, Belzer showed that "a substantial fraction" of independent operators actually loses money each year, resulting in "a high risk of unsafe operations among those earning the least money." The low compensation also "presents a national security risk," his report read, "since those who desperately work to break even might be at risk to engage in activities that put the nation at risk, whether intentionally or unintentionally, just trying to find a way from not going under."

Driving past another long line of trucks idling outside a gate after lunch break, Bloch pointed out one truck. A placard on the back of the rig read, "End sweatshops on wheels."

The current port system "just heaps abuse and abuse on these truck drivers and this community," Bloch told us. "The big businesses like Wal-Mart don’t pay the cost of polluting Oakland. It’s the truck drivers and the community that pay the cost. People pay with their lives."

"You can’t fix the environmental problems without fixing the problems of the driver," he said. "And now you have labor and the community coming together, and that’s powerful."*

Welcome (back) to the jungle

0

› cheryl@sfbg.com

Early in Rescue Dawn, Werner Herzog’s narrative retooling of his 1997 doc Little Dieter Needs to Fly, a group of pilots aboard an aircraft carrier watches an instructional reel on jungle survival. They’re young and cocky, and since this is 1966, the Vietnam War still seems entirely impossible. Naturally, they heckle the hell out of the film — lending a certain amount of irony, as one of them, German-born but proudly American Dieter Dengler (Christian Bale), is about to crash-land directly in a situation that would daunt even the toughest solider. But as Herzog is careful to show, it’s not Dengler’s fire-building skills that save his neck; it’s his unbreakable spirit. Rescue Dawn is probably the most uplifting movie ever to feature a scene with its lead character munching down a bowl of maggots and worms.

It’s also the only film in recent memory to feature a comic-book movie hero doing same, though among the recent crop, Bale (Batman Begins) is perhaps the least likely to be identified with his biggest-budget character. His gift for physical transformation serves Rescue Dawn well; the film was shot in reverse to better highlight the extreme dieting efforts of Bale and costars Steve Zahn and Jeremy Davies, who play Dengler’s long-suffering fellow POWs.

When Dengler enters their world, he’s been through some serious shit (like being dragged behind a cow by his ankles), but he has more hope than all of the others combined. His plan to "scram" immediately begins to form, though his comrades find his confidence insane. "The jungle is the prison," explains Gene (Davies), a seriously unbalanced walking skeleton who fetishizes an old food wrapper and believes that release is imminent. Far more broken is Duane (Zahn), whose weary eyes brighten only when the starving men discuss the contents of their fantasy refrigerators: "a 35-pound turkey and raspberry pie with crust thick as a steak."

If Rescue Dawn is Herzog’s most accessible fiction film to date, with its big-name stars, English script, and dialogue like "The man who will frighten me hasn’t been born yet," its transcendental tone assures it’s hardly a typical war movie. (It is, however, deeply patriotic, evidenced by the fact that MGM screened it for American troops in Iraq on the Fourth of July.) The prolific director, whose earlier narrative works include Fitzcarraldo (1982) and Aguirre: The Wrath of God (1972), both starring Klaus Kinski, has lately made his mark in documentaries, with 2005’s Grizzly Man being his most mainstream film prior to Rescue Dawn. Herzog’s films are diverse, but they tend to reflect his fascination with human beings who engage in extreme behavior. In Dengler’s case — explored more matter-of-factly in Little Dieter, more existentially in Rescue Dawn — his proactive outlook was predicated on his life experiences (including a tough childhood in post–<\d>World War II Germany, where food shortages forced him to eat wallpaper) as well as a deeply rooted temerity that left no room for hesitation or doubt. He knew he would survive, and he did survive. (Dengler, who eventually settled in Marin County, died in 2001.)

Like Grizzly Man, Rescue Dawn is also about nature at its most extreme, with a jungle that’s every bit as deadly as an angry bear. Even if you haven’t seen Little Dieter, Rescue Dawn‘s title pretty much lets you know that Dengler makes it out alive, climbing aboard a rescue copter and exchanging his slithery last meal in the wild for the comfort food of civilization (in this case, a Butterfinger). But Herzog never plays it safe. Even with its Hollywood sheen, Rescue Dawn conveys palpable danger. At times it’s physically exhausting to watch, with uncomfortably realistic scenes of torture and the sight of emaciated men — sure, they’re actors, but those prominent ribs are real — arguing over handfuls of rice.<\!s>*

RESCUE DAWN

Opens Fri/13 in Bay Area theaters

See Movie Clock at www.sfbg.com

rescuedawn.mgm.com

We built this city?

0

› kimberly@sfbg.com

SONIC REDUCER Can the Big Apple rightfully claim the cheese without "New York State of Mind" or even "New York City Cops"? How can we motor through Mobile without an anthemic blast of "Sweet Home Alabama"? Even boosters would have a tough time mustering a jones for El Lay if not for "I Love LA." Hometown pride is a construct, built on ballpark anthems, puny hot dogs, and bizarre caps with too many buttons. But even as we cringed at the Live Earth lineup, the idea of Antarctica musical antics intrigued. How to map the mysterious interchange, linked by a network of highways and folkways, between geography and music? I always associated indie rock’s connection to place with the fragmentation of the pop marketplace and the rise of regional powerhouses like ’80s college radio; if you knew where a band was from — be it Athens, Ga.; Chicago; Olympia, Wash.; Minneapolis; Boston; or Seattle — you could, at times, make a blurry mental chart of their sound, as if the brute soil, air, and water added up to a kind of aural terroir.

So when music fans with movie cameras attempt to encapsulate a town and its music scene, I usually unplug the ears and peel the film off the eyeballs. The Burn to Shine series, produced and curated by Fugazi drummer Brendan Canty, does it particularly well, with an unassuming eloquence infused with natural light and a poetic approach; in each, a series of local groups is captured playing one song, in sequence, in an abandoned house before it is burned to the ground. The first of the series was shot in Washington, D.C., on Jan. 14, 2004, and it’s steeped in fiery performances by Ted Leo, Q and Not U, the Evens, and Bob Mould, as well as a bittersweet, archetypally punky melancholia — as if to say these glorious seconds will never quite come again.

Likewise, I was hankering to view Rural Rock and Roll, Jensen Rule’s grainy snapshot of the Humboldt music scene, which will be screened as part of the Frozen Film Festival on July 14. The 60-minute doc revolves around Eureka and Arcata bands playing in the area in the summer of 2005. Rule’s technique is rougher than that of the Burn to Shine project, the narration tends toward the hyperbolic, and the music is rawer (and context free; forebears like Comets on Fire, Dieselhed, and Mr. Bungle are never mentioned), but the video is still worth taking a peek, especially for the grindingly heavy Lift, with an all-contractor lineup. "I believe we’re the only band in the country that can build you an entire home," one member deadpans.

The 34-year-old director moved from Humboldt in 2001 to work as an editor on what he calls "bad reality-TV shows" like The Simple Life, but he remained fascinated by Humboldt’s eclecticism — influenced by the college, the Twin Peaks–ish witchiness of the redwoood curtain, the cultural collision between hippies and loggers, and the many local pot farms round the birthplace of Big Foot. "It’s so far away from the big city, so to speak, there are no expectations of what each of the bands up there is supposed to sound like," he says from Los Angeles. "Isolation is a blessing."

PANACHE TO GO And even so-called big cities like San Francisco can’t hold Humboldt hellions like Michelle Cable, who is all over Rural Rock and Roll, started her Panache zine in Eureka, and later fostered Panache Booking in SF. She’ll be moving to Brooklyn on Aug. 1 after her July 21 farewell show at 12 Galaxies with Black Fiction, Aa, the Husbands, Sword and Sandals, and Health. Recovered from a broken back suffered in a tragic van accident with DMBQ, Cable plans to expand her booking agency on the East Coast, and in January 2008 she’ll relaunch the zine as an SF- and NYC-focused online publication. Why the move? "The Mall moved there this summer, and they’re good friends of mine," she tells me. "I thought it would be fun to all congregate there. It’s a change of scenery and pace. I love San Francisco, and I’m gonna miss it a lot. It’s a big move for me." But not too giant a step — Cable is originally from D.C. Burn and shine. *

RURAL ROCK AND ROLL

Sat/14, 7 p.m., $8.50–$9.50

Roxie Film Center

3117 16th St., SF

www.roxie.com

After-party with the Ian Fays, the Lowlights, and others

9 p.m., $8

Hotel Utah Saloon

500 Fourth St., SF

www.thehotelutahsaloon.com

MICHELLE CABLE’S FAREWELL PARTY

July 21, 9:30 p.m., $5

12 Galaxies

2565 Mission, SF

www.12galaxies.com

GO HEAR

PATRICK WOLFF TRIO


Inspired far and wide, these NYC jazz swells swing through on their way to the Stanford Jazz Workshop. Wed/11, 7 p.m., free. Shanghai 1930, 133 Steuart, SF. www.shanghai1930.com; Thurs/12, 8 p.m., free. Bistro Yoffi, 2231 Chestnut, SF. www.bistroyoffi.com; Mon/16, 7:30 p.m., $10–$20. Braun Music Center, Campbell Recital Hall, 541 Lasuen Mall, Stanford University, Palo Alto. www.stanfordjazz.org/index.html

KARPOV


Now firmly transplanted in SF and wafting between Greenwich Village folk songs, hillbilly picking, and Eastern Euro gypsy brass. With Parasol and This Frontier Needs Heroes. Fri/13, 9 p.m., $12. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com.

BAD TRIPS


Names like Monoshock and Liquorball get thrown around deliriously when Grady Runyan’s growling psych–navel gaze stumbles into the room. With Mammatus and Tryptophan. Sat/14, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

BENNI HEMM HEMM


Whimsy’s just another word for an ambitious 11-piece Morr Music combo from Iceland — in the States for the first time. With the Otherside and Radius. Mon/16, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

ADAM FRANKLIN


"Countrygrass"? The Swervedriver mood-music maker rhapsodizes Cannery Row and other shadowy byways. Mon/16, 9 p.m., $10–$12. Cafe du Nord, 2170 Market, SF. www.cafedunord.com

POLYPHONIC SPREE


We want those stinkin’ uniforms. With Jesca Hoop. Tues/17, 8 p.m., $22. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

If the “Shrew” fits

0

› a&eletters@sfbg.com

By early last week the pace of rehearsals for The Taming of the Shrew had picked up at the Magic Theatre. It was time for the Cutting Ball Theater to try a run-through of the whole play, and performers and crew bustled in preparation. Sound designer Cliff Caruthers, seated at a computer console halfway up the raked house, was busy cuing invigorating blasts of Italian hip-hop and other atmospheric sounds. Actors, with obvious gusto, practiced leaping on one another, tumbling onto the floor, shouting, screaming, and miming outrageous slapstick violence. Three hip-hop dancers, meanwhile, legs and arms jabbing and swinging in ecstatic synchronization, swept on and off the stage.

In a rather striking contrast to this commotion, director Rob Melrose sat quite still, with only the occasional consultation here or brief suggestion there, as if calmly situated in the eye of a storm. But then, it would be better to say that as the Cutting Ball’s artistic director, he is the eye of the storm: ever placid, ever watchful, and very much at the center of all activity.

The Cutting Ball’s mission, as its Web site will tell you, is geared to experimental new plays and "re-visioned classics" through thoughtful, stylish productions that reach for "poetic" truths over "naturalistic or realistic" ones. And its shows — including, notably, last season’s exquisite staging of Suzan-Lori Parks’s The Death of the Last Black Man in the Whole Entire World — invariably have a distinct sense of expertise, passion, and intelligence.

With its latest venture, a high-energy, cleverly updated, localized take on Shakespeare’s Shrew, the small but serious San Francisco company that Melrose founded in 1999 with partner and actor Paige Rogers (this production’s Kate) moves out of the 60-seat venues of the past and into the medium-big time of the Magic’s 160-seat Northside Theatre. It’s a significant step for a company still going places. Moreover, when the Cutting Ball premieres its very particular take on Shrew at the Magic this week, it will represent the culmination and confluence of several passions and pursuits for Melrose, Rogers, and their company, including the techniques and themes of commedia dell’arte, hip-hop, and, not least of all, a theater that reflects the diversity and particularity of its Bay Area environment.

Momentum for the current show began last season during a successful run of Macbeth at the Exit on Taylor.

"We were thinking of what our next Shakespeare was going to be," Melrose remembers. "David Sinaiko joined the cast when we extended, and I thought how Paige and David would make a great Kate and Petruchio. I [had also been] studying commedia dell’arte for a while, and in the summer I got a grant to go study with Antonio Fava in Italy, to kind of get it from the master. I love the influence of commedia dell’arte on Shakespeare’s work, [and] the most commedia dell’arte Shakespeare play is The Taming of the Shrew. The other thing is that my day job for the past eight years has been at the Marin Academy, [where] I’ve done lots of these big comedies — [A] Midsummer [Night’s Dream], Comedy of Errors, As You Like It. Because it’s at a school and I don’t have a lot of the limitations you have in the professional world, I’ve let my imagination run free. I’ve been a lot more bold there than I have in my professional world. Just free and easy."

That’s where he asked students versed in hip-hop dance (some of whom have since graduated) to perform during the transitions between scenes. "That worked so well that we kept doing shows with them, and it’s been really fun," Melrose said. "I also taught my students commedia. All those influences kind of fused and made for really live, fun, and no-holds-barred productions."

Rogers adds, "Those comedies had a feeling of real joy about them. I said, ‘Robby, what is going on here that you can be so free, take all these risks, and feel fine about it?’ He said, ‘Because they’re my students and they will love me no matter what I do and their parents are going to love the show no matter what.’ I said, ‘For God’s sake, let’s get some of that going at Cutting Ball!’"

If the roots of this production were in the inspiration of chemistry and coincidence, the Cutting Ball soon had to grapple with a play that comes especially freighted with political and theatrical conventions. Faced with the decidedly un-p.c. "taming" plot in which the smart and willful Kate finally submits to Petruchio’s abrasive wooing stratagem, modern productions have tended to try to subvert (often by making simply ironic) the play’s patriarchal thrust. This works against the text, as Melrose points out. His solution is to emphasize the prologue or induction scene at the outset (often cut from other productions) in which the drunkard Christopher Sly (played by Sinaiko) is made to believe he is a wealthy aristo by a mischievous lord (played by Rogers). By emphasizing this framework, which serves to make the taming plot a play within the play, and by doubling up Sinaiko and Rogers in parts that place them in alternating positions of dominance and deception, the production cleverly opens up the comedy’s themes of role playing and the social construction of self.

Finally, by rooting it all in a contemporary San Francisco milieu that includes a porn-industry wrap party, a transvestite bar in the Mission, and the Folsom Street Fair, this Shrew celebrates the fluid nature of identity in Bay Area drag, where everybody knows all the world’s a stage.*

THE TAMING OF THE SHREW

Through July 29, $15–$30

Previews Thurs/12–Sat/14, 8 p.m.

Opens Sun/15, 5 p.m.

Runs Thurs.–Sat., 8 p.m.; Sun., 5 p.m.

Magic Theatre, Fort Mason Center, bldg. D, Marina at Laguna, SF

1-800-838-3006

www.brownpapertickets.com

www.cuttingball.com”>www.cuttingball.com

Tune in, turn on, “Psych-Out”

0

CULT FILM Some movies define a generation. Some distort a generation. Very special ones manage both. Welcome to the genius of Psych-Out, a 1968 American International Pictures epic (produced by none other than squeaky-clean American Bandstand icon Dick Clark) that remains perhaps the all-time high-water mark in cinematic hippiesploitation.

Oh, Psych-Out, Psych-Out, Psych-Out! How many times have I loved your psychedelic excesses since that fateful first viewing in the 1980s at Boston’s annual Schlock-around-the-Clock marathon? Not even my housemate’s desperate need to exchange MDA-driven warm fuzzies in the lobby could tear me from such enchantment. (She did succeed in wrangling me away that night from such additional gems as The Thing with Two Heads. A small resentment lingers.)

Psych-Out, which plays as part of the Red Vic’s commemoration of the Summer of Love’s 40th anniversary, is the least heralded of an unofficial AIP trilogy from that year, alongside The Trip (Peter Fonda drops lysergic under the tutelage of ever-levelheaded Bruce Dern) and Wild in the Streets (the US voting age is lowered to 14, resulting in Shelley Winters being sent to a concentration camp for too-old people). Those films were actual hits. Psych-Out ran through the drive-in mill and was quickly forgotten.

Stupid humans!! How could they resist a film advertised thus: "These are the PLEASURE LOVERS! They’ll ask for a dime with hungry eyes. But they’ll give you love — for NOTHING! Have you ever TASTED FEAR or SMELLED MADNESS? LISTEN to the sound of PURPLE!" Nearly 30 Susan Strasberg plays Jenny, an underage runaway searching for her brother (Dern as "the Seeker," a sort of Crazy Acid Jesus). Escaping their abusive mother — glimpsed in one genuinely disturbing flashback — the mute Audrey Hepburn–goes–mod gamine arrives in San Francisco, center of the known counterculture universe, where she’s taken in by the hipsters who constitute rock group Mumblin’ Jim: a ponytailed Jack Nicholson, barely bothering to finger-mime rip-off Hendrix riffs as guitarist Stoney; jive-talking drummer Elwood (Max Julien); keyboardist Ben (biker-flick staple Adam Roarke); bassist Wesley (Tommy Flanders); and Wesley’s shareable wife, Lynn (Linda Gaye Scott), who can’t hit a tambourine on tempo to save her life. Then there’s Dean Stockwell as Dave, the serenely weird ex-bandmate turned fountain of guru wisdom. He lives in a rooftop cardboard box.

All help Jenny look for that elusive messianic bro, at least when not introducing her to the joys of thrift shop fashion montages and Golden Gate Park Be-Ins (at which garage greats the Seeds play). Befitting this turbulent generation, distracting crises occur. Some are peacenik-versus-redneck stuff requiring hippies to kick local junkyard greaser ass. Others are drug related, as when future bad director Henry Jaglom hallucinates that his limbs need cutting off. This occasions the immortal line "C’mon man! Warren’s freaking out at the gallery!"

Psych-Out has everything: kaleidoscope visuals, STP dosing, horror-movie hallucinations, and dialogue like "It’s all one big plastic hassle." The Strawberry Alarm Clock contribute not just their signature "Incense and Peppermints" but also a theme ("The Pretty Song from Psych-Out") whose lyrics and melody encapsulate the entire plotline with a dreamy be-there-or-be-square vibe and the song "Rainy Day Mushroom Pillow," which soundtracks a particularly senseless sequence involving the soft-focus stringing of beads around a communal household. More bent yet is the scene in which Nicholson and Julien sit in a van, their nutty bloodshot eyes suggesting major real-world fry-dom.

Psych-Out was largely filmed in the Haight-Ashbury of fall 1967, lending some aspects an authenticity that concurrent Hollywood hippiesploitation flicks lacked. Yet locals reportedly greeted the crew with such hostility that they had to hire Hells Angels as guards. The end-product melodramatic hash must have induced much derisive stoner laughter among subsequent longhaired viewers.

Director Richard Rush had an odd, thwarted career that peaked with one genuinely admired film (1980’s The Stunt Man), then after a long layoff crashed fatally against the 1994 erotic thriller absurdity Color of Night (Bruce Willis as a psychiatrist stalked by a transsexual patient). On the other hand, the richly colorful Psych-Out‘s Hungarian émigré cinematographer, Laszlo Kovacs, went on to shoot all of Peter Bogdanovich’s, Bob Rafelson’s, and Dennis Hopper’s major films — plus Shampoo, Ghostbusters, and less prestigious but popular recent vehicles for Sandra Bullock and Julia Roberts.

Psych-Out is a camp classic that nonetheless makes you desperately wish you were there then. It’s a "bad" movie, yet wonderful in ways that aren’t silly or dated at all. Its freak flag is on.

PSYCH-OUT

Fri/6–Sat/7, 7:15 and 9:25 p.m. (also Sat/7, 2 and 4:15 p.m.), $5–$8.50

Red Vic

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

Midnight movie memories

0

CHRISTIAN BRUNO In the mid-’60s the Presidio hosted Underground Cinema 12, a package of late-night movies that might incorporate a little [George] Kuchar, a little Busby Berkeley, and a lot of porn posing as art. It was a traveling package of films that was curated by Mike Getz out of LA, but the Presidio put its own SF (which usually meant gay) stamp on things.

KAREN LARSEN Gosh, I remember going to see the Cockettes at the Palace in North Beach in the ’60s. And I remember going to a theater in Chinatown that was 99 cents and showed midnight movies.

MICHAEL WIESE (from "25 Great Reasons to Stay Up Late," by Jennifer M. Wood in MovieMaker): "[In 1968 Steven Arnold and I] were able to book the Palace Theater. At the premiere [of Arnold and Wiese’s Messages, Messages], 2,000 people showed up for a 20-minute, black-and-white film with no dialogue…. That was the real genesis of midnight movies."

MIDNIGHT MOVIES, by J. Hoberman and Jonathan Rosenbaum (Da Capo): "Despite, or perhaps because of, the film’s antihippie gibes, the city in which [Multiple Maniacs] enjoyed its greatest success was SF. Throughout the first half of 1971, it was the weekend midnight feature at the Palace, a movie house whose main attraction was the stage show performed by the Cockettes…. Divine was invited out for an appearance that April, and [John] Waters conducted a special live show. Introduced as ‘the most beautiful woman in the world,’ Divine sashayed out on the Palace stage in Multiple Maniacs costume, pushing a shopping cart filled with dead mackerels. In between ‘glamour fits,’ she heaved the fish into the audience, strobe-lit by the continual detonation of flash bulbs."

PETER MOORE We [the Roxie Cinema] were approached by Ben Barenholtz with Eraserhead in 1977 and showed it for years. Early in the run we brought David Lynch out, and I remember having lunch in a Tenderloin diner that completely charmed David. We also showed Pink Flamingos, The Honeymoon Killers, and Thundercrack! (of course). And we showed Forbidden Zone, but that was a case of trying too hard for cultness.

ROXIE CINEMA CALENDAR, APRIL 1977 "Midnite Friday: Curt McDowell’s Thundercrack! Midnite Saturday: Divine in Mondo Trasho."

ANITA MONGA Curt McDowell, the talented and charming underground (as we called them in those days) filmmaker, was a student of George Kuchar at the [SF] Art Institute, then his lover and collaborator on many films, including the infamous midnight favorite Thundercrack! Curt’s films were moving, confessional, ribald, and often absurd, with brilliant sound and picture, art direction, and original music on the teeniest of threadbare budgets. He was inventive to the bone.

MIDNIGHT MOVIES "At the Strand in SF — where the performance group Double Feature would mime virtually the entire [Rocky Horror Picture Show] — pickaxes were brandished in the audience when Frank took after Eddie with one."

MARCUS HU I remember going with a bunch of high school classmates to the Strand Theatre in 1979 and seeing The Rocky Horror Picture Show and being completely mesmerized by the religious experience of being in a packed theater that was singing and performing in sync with the silver screen. It must have made an indelible mark on me, as I went to work for Mike Thomas, who ran the theater, and that pretty much defined my life!

MARC HUESTIS [Huestis’s Whatever Happened to Susan Jane premiered at midnight on Feb. 13, 1982, at the Castro Theatre to a wild, sold-out house replete with the crème de la crème of San Francisco’s ’80s new wave scene. Mel Novikoff, president of the Surf Theatre chain, gave Huestis a good deal on a fourwall as the fledgling director pushed popcorn at one of his theaters. However, legend says he was heard running out of Susan Jane screaming,] "They’ll go see this garbage, but they won’t come see the Truffaut at the Clay!"

ROXIE CINEMA CALENDAR, AUG.–<\D>SEPT. 1982 "Saturday at midnight! Basket Case!"

SUSAN GERHARD I remember screenings of Todd Haynes’s amazing Superstar: The Karen Carpenter Story at the Castro right when I first moved to SF, around 1988.

MIDNIGHT MOVIES "[Otto Preminger’s] Skidoo … has slowly but surely been gaining a second life as a midnight feature — particularly in the SF Bay area, where the movie is set."

ROXIE CINEMA CALENDAR, JULY–<\D>AUG., 1990 "Saturday midnights … Frank Henenlotter’s latest and possibly greatest grim sex and gore comedy, Frankenhooker!"

WILL "THE THRILL" VIHARO Thrillville began as a midnight series called the Midnight Lounge in April 1997 before switching to prime time — 9:15 p.m. — on Thursdays in January 1999. Around the same time the Werepad shared its vast film library with the public weekly — not at midnight, but they were definitely midnight movies.

PEACHES CHRIST The first Midnight Mass, featuring Faster Pussycat! Kill! Kill!, took place on May 30, 1998.

JESSE HAWTHORNE FICKS Midnites for Maniacs began at the Four Star on Aug. 2, 2003. The slumber party all-night triple feature — with free cereal at 4 a.m. — featured Revenge of the Cheerleaders, Pinball Summer, and Joysticks. The first Midnites for Maniacs event at the Castro took place on Jan. 27, 2006; it was a disco roller-skating triple feature: Roller Boogie, Xanadu, and Skatetown, USA. (Johnny Ray Huston)

Midnight Movie memories

0

CHRISTIAN BRUNO In the mid-’60s the Presidio hosted Underground Cinema 12, a package of late-night movies that might incorporate a little [George] Kuchar, a little Busby Berkeley, and a lot of porn posing as art. It was a traveling package of films that was curated by Mike Getz out of LA, but the Presidio put its own SF (which usually meant gay) stamp on things.

KAREN LARSEN Gosh, I remember going to see the Cockettes at the Palace in North Beach in the ’60s. And I remember going to a theater in Chinatown that was 99 cents and showed midnight movies.

MICHAEL WIESE (from "25 Great Reasons to Stay Up Late," by Jennifer M. Wood in MovieMaker): "[In 1968 Steven Arnold and I] were able to book the Palace Theater. At the premiere [of Arnold and Wiese’s Messages, Messages], 2,000 people showed up for a 20-minute, black-and-white film with no dialogue…. That was the real genesis of midnight movies."

MIDNIGHT MOVIES, by J. Hoberman and Jonathan Rosenbaum (Da Capo): "Despite, or perhaps because of, the film’s antihippie gibes, the city in which [Multiple Maniacs] enjoyed its greatest success was SF. Throughout the first half of 1971, it was the weekend midnight feature at the Palace, a movie house whose main attraction was the stage show performed by the Cockettes…. Divine was invited out for an appearance that April, and [John] Waters conducted a special live show. Introduced as ‘the most beautiful woman in the world,’ Divine sashayed out on the Palace stage in Multiple Maniacs costume, pushing a shopping cart filled with dead mackerels. In between ‘glamour fits,’ she heaved the fish into the audience, strobe-lit by the continual detonation of flash bulbs."

PETER MOORE We [the Roxie Cinema] were approached by Ben Barenholtz with Eraserhead in 1977 and showed it for years. Early in the run we brought David Lynch out, and I remember having lunch in a Tenderloin diner that completely charmed David. We also showed Pink Flamingos, The Honeymoon Killers, and Thundercrack! (of course). And we showed Forbidden Zone, but that was a case of trying too hard for cultness.

ROXIE CINEMA CALENDAR, APRIL 1977 "Midnite Friday: Curt McDowell’s Thundercrack! Midnite Saturday: Divine in Mondo Trasho."

ANITA MONGA Curt McDowell, the talented and charming underground (as we called them in those days) filmmaker, was a student of George Kuchar at the [SF] Art Institute, then his lover and collaborator on many films, including the infamous midnight favorite Thundercrack! Curt’s films were moving, confessional, ribald, and often absurd, with brilliant sound and picture, art direction, and original music on the teeniest of threadbare budgets. He was inventive to the bone.

MIDNIGHT MOVIES "At the Strand in SF — where the performance group Double Feature would mime virtually the entire [Rocky Horror Picture Show] — pickaxes were brandished in the audience when Frank took after Eddie with one."

MARCUS HU I remember going with a bunch of high school classmates to the Strand Theatre in 1979 and seeing The Rocky Horror Picture Show and being completely mesmerized by the religious experience of being in a packed theater that was singing and performing in sync with the silver screen. It must have made an indelible mark on me, as I went to work for Mike Thomas, who ran the theater, and that pretty much defined my life!

MARC HUESTIS [Huestis’s Whatever Happened to Susan Jane premiered at midnight on Feb. 13, 1982, at the Castro Theatre to a wild, sold-out house replete with the crème de la crème of San Francisco’s ’80s new wave scene. Mel Novikoff, president of the Surf Theatre chain, gave Huestis a good deal on a fourwall as the fledgling director pushed popcorn at one of his theaters. However, legend says he was heard running out of Susan Jane screaming,] "They’ll go see this garbage, but they won’t come see the Truffaut at the Clay!"

ROXIE CINEMA CALENDAR, AUG.–<\D>SEPT. 1982 "Saturday at midnight! Basket Case!"

SUSAN GERHARD I remember screenings of Todd Haynes’s amazing Superstar: The Karen Carpenter Story at the Castro right when I first moved to SF, around 1988.

MIDNIGHT MOVIES "[Otto Preminger’s] Skidoo … has slowly but surely been gaining a second life as a midnight feature — particularly in the SF Bay area, where the movie is set."

ROXIE CINEMA CALENDAR, JULY–<\D>AUG., 1990 "Saturday midnights … Frank Henenlotter’s latest and possibly greatest grim sex and gore comedy, Frankenhooker!"

WILL "THE THRILL" VIHARO Thrillville began as a midnight series called the Midnight Lounge in April 1997 before switching to prime time — 9:15 p.m. — on Thursdays in January 1999. Around the same time the Werepad shared its vast film library with the public weekly — not at midnight, but they were definitely midnight movies.

PEACHES CHRIST The first Midnight Mass, featuring Faster Pussycat! Kill! Kill!, took place on May 30, 1998.

JESSE HAWTHORNE FICKS Midnites for Maniacs began at the Four Star on Aug. 2, 2003. The slumber party all-night triple feature — with free cereal at 4 a.m. — featured Revenge of the Cheerleaders, Pinball Summer, and Joysticks. The first Midnites for Maniacs event at the Castro took place on Jan. 27, 2006; it was a disco roller-skating triple feature: Roller Boogie, Xanadu, and Skatetown, USA.

Midnight Specialists: Midnites For Maniacs

0

› cheryl@sfbg.com

Ask Jesse Hawthorne Ficks what his favorite movie is, and he won’t hesitate: it’s Ski School. Ficks, who programs and hosts the Castro Theatre’s monthly Midnites for Maniacs triple feature, interprets "favorite" literally: the 1991 raunch-com might not surface on any highbrow top-10 lists, but it’s likely no scholar loves Citizen Kane (1941) as much as Ficks loves Ski School.

"I’ve always been upset with people who talk about guilty pleasures," Ficks explained when I paid him a visit at the Ninth Street Film Center. As the Frameline31 box office manager, he was overseeing ticket sales from a room decorated with posters from past Maniacs selections The Legend of Billie Jean (1985) and Joysticks (1983). "There is no such thing as a guilty pleasure. If you love something, you should genuinely love it. You can have some of that campiness — ‘Oh my god, Nicolas Cage’s acting in The Wicker Man [2006] is so bad, it’s hilarious’ — but you’re not cooler than the films that you’re watching. You’re actually in love with the movies that you’re watching. And you can maybe laugh at the movie, but ultimately there should be no mean-spiritedness in it."

Anyone who’s checked out a Midnites for Maniacs event knows the depths of Ficks’s cinemania. But even if you’ve never seen the gleeful host in action (typically he’ll toss out trivia questions and reward winners with prizes like out-of-print soundtracks, sometimes in cassette form), you need only peruse a list of Midnites past to get a sense of his passion — the "Aerobicize Triple Feature" (Staying Alive [1983], Flashdance [1983], and Heavenly Bodies [1984]); a 3-D night that included the third Jaws and Friday the 13th films as well as the Molly Ringwald sci-fi nugget Spacehunter: Adventures in the Forbidden Zone (1983); tributes to latchkey kids, punk girls, Dolly Parton, and the underage Jodie Foster; and May’s "Vertically Challenged Monsters" night, which I can safely say will be the only time in recorded history that Gremlins (1984), Howard the Duck (1986), and Troll 2 (presented in rare 35mm prints) share a bill at the Castro. Or anyplace.

Troll 2, a horror comedy that was barely released in 1990, is a prime example of Ficks’s programming technique. He doesn’t pluck flicks from obscurity to amuse snarky audiences; he’s hoping to entertain on a more meaningful level. "I was really concerned that people were going to come out purely to destroy the film as opposed to embracing it for all of its faults," he said. "No one can define that style of acting in Troll 2. It’s not even bad acting. It’s a different style. But I think it had more to do with people being embarrassed of loving something and being so guilty. Their film professors don’t let them love Top Gun [1986]. Midnites for Maniacs is not just [about watching] films that we forgot, but also embracing them and loving them and rooting for them. Not beating up on them."

Ficks’s personal tastes expand beyond underdog obscurities. When he’s not overseeing box offices on the local festival circuit, he teaches film history at the Academy of Art College ("We have a nice exploitation chapter that’s not in the [text]book"). He grew up obsessed with Freddy Krueger in Salt Lake City, where he started coprogramming a midnight series at 16. He also exploited the serendipity of geography to soak up as much Park City as he could. "I grew up at [the] Sundance [Film Festival]. I went to Slacker [1991], and that totally changed my life," he said. "I worked at Sundance from 1994 through 2002. Every year, wherever I was, I’d go back to Sundance and work in different areas of the festival."

A self-taught cinephile, Ficks dropped a film history course at Portland State University after a professor misidentified The Untouchables (1987) as a Martin Scorsese film. After graduation he moved to San Francisco and began working at the 4 Star Movie Theatre, where he learned to be a projectionist and launched Midnites for Maniacs in 2002. At first the series chiefly drew from owner Frank Lee’s impressive stash of martial arts films — until a certain masterwork known as The Garbage Pail Kids Movie (1987) came along.

"I had been looking for 35mm prints at the time, and I ran into this Garbage Pail Kids print," Ficks remembered. "Frank let me play it, but he had no clue what it was. This very first screening of Garbage Pail Kids, we had 250 people — and the theater only holds 198. It blew his mind! Garbage Pail did so well that he just started giving me free rein."

Ficks’s cardinal rule for his screenings — which actually start early in the evening, with the final film unspooling at midnight — is that every film must be shown on 35mm. "You can have a billion ideas of ‘I think we should do summer camp movies.’ But the director of Sleepaway Camp [1983] cannot be found, and he has the only print. So until I can track him down, there’s no way to screen Sleepaway Camp. I know that you could screen it on video or DVD, but I think it makes it part of the challenge and the excitement that everyone’s coming out to see an antique. You’re part of the history."

Midnites for Maniacs made its Castro debut in January 2006, when a packed house cheered Ficks’s triple bill of roller-skating movies: Roller Boogie (1979), Xanadu (1980), and Skatetown, USA (1979). "It was unbelievable, and I was thinking, ‘Maybe only in San Francisco.’ "

Ficks sees the city as big enough — and full of enough diverse film fans — to support all of its various midnight gatherings. He has only praise for Midnight Mass’s Peaches Christ, though on occasion their events have fallen on the same night.

"Peaches is amazing at her performances," he said. "You can get caught up with a reenactment of the swimming pool [scene] in Showgirls [1995]. And it’s unbelievable." He views San Francisco as "a true midnight culture. There are so many films in San Francisco at midnight. I think it’s totally reinventing the culture."

And, for the record, what is it about Ski School that makes it this ultimate film fan’s ultimate favorite? Talking about the movie — which he’ll probably never get to show at Midnites, since it’s only available on video — makes Ficks reflective. "I think I’m always interested in that movie you were obsessed with as a kid. We’re the video generation. We have access to so many more films than anyone else before us. We create these weird personal theaters in our house, with these videos we can rewind and watch over and over again. So Ski School, and movies like it, I go to those movies when times are rough. They’re just like a record, or like a song. And it’s an hour-and-a-half song."

Ficks — who said he’s only walked out of one film in his life, As Good as It Gets (1997), for being "so middle of the road it didn’t matter if I watched it or not" — is determined to carry his Ski School philosophy over to his film series.

"I think when people come out to Midnites for Maniacs, it’s way more important that they have a personal relationship with the movie. It really doesn’t matter what I think about the movie — it’s most important that someone’s coming to a film, [maybe even a film] that they’ve never heard of, and they’re finding something really special." *

MIDNITES FOR MANIACS

"SUMMER CAMPy Triple Feature": Little Darlings (1980), Meatballs (1979), and Revenge of the Cheerleaders (1976)

July 20, 7:30 p.m., 9:45 p.m., midnight, $10 (all three)

Castro Theatre

429 Castro, SF

www.midnitesformaniacs.com

Free William

0

› a&eletters@sfbg.com

William Hooker is feeling good right about now. The voice of the 61-year-old composer, drummer, and seasoned kingpin of the free-jazz world doesn’t betray an inkling of wear and tear. His utterance is eloquent in delivery and animated in expression and possesses a rather youthful quality coated in optimism. During a phone call from his Hell’s Kitchen apartment, Hooker lightheartedly raps about his enduring tenacity in hammering out art as an artistic director, musician, and poet and touches on life in New York City: his love for the theaters in his neighborhood, his hand in codeveloping the nonprofit Rhythm in the Kitchen Festival, and even the friend who gave him a rare copy of a silent film by Oscar Micheaux. As Hooker stresses frequently during the conversation, "It’s a good thing."

But the one thing that surfaced often throughout our discussion was the New Yorker’s impending trek to the Bay Area for a one-off performance. Hooker reveals that he hopes his visit to San Francisco will grow into an opportunity to return and build on this experience with more West Coast shows the next time around.

"This is going to be the start of the first time I perform annually in the Bay. Basically I’m trying to see what’s on the horizon right now because I don’t know what’s happening in the Bay, to tell you the truth," he says with a laugh. "I don’t think there is any difference in the quality of musicianship, but I do think there is a difference in the attitude of musicianship. Here it’s a little bit edgier. It could be because of the way Manhattan is, but I’m looking forward to having that free feeling for a change and just letting this opportunity grow."

Skimming through Hooker’s bulky résumé, one finds that the musician’s lifelong pursuits have been about nothing less than self-growth. Born and raised in New Britain, Conn., Hooker got off to an early start as a drummer for the Flames, a rock ‘n’ roll group that backed up singers and bands such as Dionne Warwick, Freddie Cannon, and the Isley Brothers. At college he studied 20th-century composers and independently researched the Blue Note Records catalog while performing in ensembles that played straight-ahead jazz, or "tunes," as Hooker referred to the music. He says his late-’60s move to the Bay Area was what really shaped his musical perceptions, a discovery that allowed him to hone his skills as a free-jazz musician.

"California opened me up to a different kind of approach to life," Hooker says. "Out of that came a desire to want to extend forms more. There was a lot more exploring of different cultures and playing with different sorts of people. You know, using a lot of drummers instead of me just being the one."

After relocating to the East Coast, Hooker finally established his home base in NYC in the mid-’70s, when he was involved in the loft scene with cats such as David S. Ware, Cecil McBee, David Murray, and Billy "Bang" Walker. He continued to perform in a number of jazz ensembles throughout the ’80s before mingling with lower-Manhattan noise rockers like Thurston Moore, Lee Ranaldo, Christian Marclay, and Elliot Sharp during the ’90s.

"The combination of jazz with noise … I must say, the time was culturally right for me and many of the free-jazz and rock people to come together," Hooker says. "I think that time has passed. There’s another thing going on now. And for people that like to go back to it, I like to remind myself that that happened already. Artistically I’m not in that place anymore."

Hooker may have moved on from the free-rock aesthetic, but his limits have been boundless for some time now, especially when it comes to experimentation. Playing in support of his new album, Dharma (KMBjazz), a duet recording with reedist Sabir Mateen, and his forthcoming Season’s Fire (Important), a trio full-length rounded out by Bill Horist and Eyvind Kang, Hooker acknowledges that he’s just trying to connect with listeners who are on "a certain level as far as free jazz goes." He believes he’s found two of those people in reed player Oluyemi Thomas and bassist Damon Smith, who are in his Bliss Trio.

"I’m looking forward to what’s going to happen when we play at the Hemlock, because both of these musicians are very good," Hooker says. "There’s no doubt about that."*

WILLIAM HOOKER’S BLISS TRIO

With Weasel Walter Group

Thurs/5, 9:30 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Paris Hilton is not news

0

paris.jpg

By Tim Redmond

Holy shit — watch Mika Brzezinski try to argue that on MSNBC and get treated rather shabbily by her male co-anchors.

There’s fire, a shredder, a sniffing scene — and a very good journalistic point. Don’t miss it.

Nuggets of Water

0

COLIN BLUNSTONE

One Year

A genuine lost classic from 1971 — full of feathery, jazz-inflected vocals and sublime melodies — from the dejected Zombies vocalist after he had resigned himself to life behind a desk at an insurance office. "She Loves the Way They Love Her" picks up precisely where Blunstone’s disassembled ensemble left off, with weaving boogie-woogie and an angelic chorus that dips its wings in soul’s waters. Utterly gorgeous string arrangements by Chris Gunning and occasionally Tony Visconti, plenty of production help from ex-bandmates Rod Argent and Chris White, and Blunstone’s limpid songwriting make One Year necessary listening for pop romantics. And the chamber elegy "Misty Roses," the up-on-the-downbeat "Caroline Goodbye," and the impressionistic "Smokey Day" — driven skyward by intertwined vocals from the three ex-Zombies — are bound to besot those who swoon over Odessey and Oracle, Nick Drake, and other assorted instances of beauty and sadness. (Kimberly Chun)

ANNE BRIGGS

The Time Has Come

Mythologized among British folk vocalists like Martin Carthy and Norma Waterson, depicted as something of an enfant sauvage of the ’60s folk scene in Joe Boyd’s memoir White Bicycles: Making Music in the 1960s, and valorized by indies like PG Six and Isobel Campbell, Anne Briggs put down so little recorded music that it’s hardly any wonder she’s nearly disappeared into the dirt and mists of remote Scotland, where she’s said to be currently sequestered. But this, her last, exquisite album (1971), embellished with little more than and acoustic guitar and the occasional bouzouki, shows what the fuss was about, as Briggs wraps her pure, unpretentious pipes round the original title track — also recorded by her partner in music and lifestyle, Bert Jansch, as well as Alan Price and Pentangle — and "Wishing Well," her dark take, cowritten with Jansch, on the seduced and abandoned leitmotif of "Blackwater Side." Traditional English folk songs rarely get as mesmerizing as her ghostly version of "Standing on the Shore." (Chun)

ELAINE BROWN

Seize the Time

Polemical music has the potential to either go down in the songbooks and history tomes as an artifact linked forever with a critical place and time or fail miserably, stumbling over its grandiose ambitions (e.g., the many anti–George W. Bush CDs of recent vintage filed in ye olde circular file). The music on the powerful Seize the Time hasn’t yet taken its place next to "This Land Is Your Land," but it does offer an invaluable snapshot from the front lines of the black power movement. Elaine Brown’s robust delivery of odes penned for fallen Black Panther brethren, the party’s national anthem, and entreaties to continue the struggle finds handsome, tempered accompaniment at the hands of jazz pianist Horace Tapscott. A moving, amazingly graceful document. (Chun)

GIOVANNI FUSCO

Music for Michelangelo Antonioni

Nino Rota’s ornate Federico Fellini tunes have gotten the deluxe reissue treatment, Goblin’s spook sounds have been revived as often as Suspiria‘s Elaina Marcos, and Ennio Morricone sections in record stores are rightfully enormous. Even Pino Donaggio’s scores have had worthy second lives. But until now Giovanni Fusco’s subtler work for a director who avoided music whenever possible, Michelangelo Antonioni, has been easiest to find on DVD. Dominated by the flute flights from 1959’s L’Avventura, this collection closes with Fusco’s casino rockabilly and protoambient contributions to 1964’s Red Desert. A pioneering work in terms of its blurring of diegetic and nondiegetic sound, that film is also the great prototype for Todd Haynes’s Safe, in which malaise-ridden Antonioni muse Monica Vitti utters the great line "My hair hurts." (Johnny Ray Huston)

GILBERTO GIL

Gilberto Gil

A letter of exile from London in the wake of months of unjust imprisonment imposed by the Brazilian government, this English-language recording possesses a warmth and sensitivity one wouldn’t expect from someone who’d been through Gil’s trials. But Gil rarely made a show of his anger, usually expressing it through pointed spoken or written words or musical metaphor. A sublime example here of the last is the cover of Blind Faith’s "Can’t Find My Way Home," on which the Tropicalista leader’s voice is pure, refreshing, and vibrant while singing words of solitude and alienation. Elsewhere, his pop folk makes time for Volkswagen blues, shampoo chats, mushroom trips, and existential thoughts about Kodak moments. (Huston)

FRED NEIL

Fred Neil

A lightly sparkling hoot, "Everybody’s Talkin’ " — made famous by Harry Nilsson when Fred Neil refused to rerecord it for Midnight Cowboy — may be the biggest commercial hit on this album, but the first track, "The Dolphins," is the real, pulsating heart of this wonderful disc. The narcotic serenade to those lucky enough to escape into the wild yonder was memorably nicked for the last season of The Sopranos and encapsulates this Piscean songwriter’s lifelong identification with the sea creatures. The flighty Neil needed to be gentled into the studio by producer Nik Venet and harbored among friendly foils to produce this remarkably organic, mostly live recording, which brought out the best blues-folk writing from the rarely bottled artist. (Chun)

NICO

Desertshore

Aside from her femme fatalism with the Velvet Underground, Nico might be best known musically for the one-of-a-kind Teutonic Californian frisson of her pairing with Jackson Browne on 1967’s Chelsea Girl. But the VU’s John Cale was her right-hand man for most of her career, right on through to the practically postmortem version of "My Funny Valentine" on 1985’s Camera Obscura. This 1970 collaboration includes the layered psychedelia of the title track (on which spoken interludes add extra layers in a manner many indie rockers have imitated), the ballad "Afraid" (addressed narcissistically to herself or forebodingly to her son, Ari?), and of course the one and only "Janitor of Lunacy," which mopped the floors for generations of goths to come. Two tracks here were featured in La Cicatrice Intérieure, a film by Philippe Garrel. (Huston)

JACK PALANCE

Palance

Sauntering the line between camp and cool with winking menace, the Shane star takes his opportunity to coin a few memorable countryisms in the absurdist, Marty Robbins–esque "The Meanest Guy That Ever Lived." "I ruled like a king and they / All did my thing / ‘Cause the foot was in the other / Shoe, shoe, shoe / ‘Cause the foot was in the other shoe," Palance sing-snarls, laying into those "shoe"s like a deranged Shangri-la with rabies. Aided and abetted by lush production from ex–Hank Williams bassist and Nashville publishing czar Buddy Killen, Palance gets to really sink his actorly teeth into the juicy, who’s-sorry-now melodrama of Dottie West’s "Hannah." (Chun)

THE SOFT MACHINE

The Soft Machine

Volume Two

Albums so wide and deep they threaten to engulf you with their sheer twists, teetering turns, and utter invention. Drummer Robert Wyatt’s frisky fills gets equal time alongside organist Michael Ratledge and bassist Kevin Ayres on the high-chair-rattling "Joy of a Toy" and the toy-piano-tricked-out "So Boot If at All" on the raw-edged eponymous debut, which must have sounded like a tripindicular aural telegram from the outer edges of the universe when it rolled forth in late 1968. Thanks to the departure of Ayres and the arrival of onetime roadie Hugh Hopper, Volume Two gets off the pop leash and takes an exhilarating yet elegant romp through the wide-open fields of fusion. (Chun)

I love Lucio

0

› johnny@sfbg.com

"I was sad when he died and sad to have never been able to meet him and tell him how much he had done for me," Amedeo Pace of Blonde Redhead writes in the liner notes for Water’s reissue of Amore e Non Amore, a 1971 album by Lucio Battisti. Pace then closes his brief yet poignant tribute — one that describes growing up in a household unified by a love of Battisti’s music — with a simple but effective declaration: "Amore e Non Amore is one of the greatest albums."

The fact that one of Blonde Redhead’s twins acknowledges Battisti as a font of new and familiar ideas should intrigue English-speaking listeners who’ve never heard Battisti’s music. But there’s also an elliptical quality to Pace’s plaintive wish that he had met the man behind Amore, an album that shifts from propulsive beat rock to soundtrack-ready flamenco flourishes and sweeping string arrangements in its first two songs, setting the tone and rhythm for a richly seesawing display of vocal and instrumental tracks.

With Amore, Battisti established himself as an Italian corollary to Scott Walker, a singer with a brighter if just as seductively handsome tenor voice who, not content with mere stardom, was ready to chart the outer limits of popular music. Just as the late ’60s — the era of Scott through Scott 4 (all Fontana) — saw Walker move from the mainstream pleasures of Burt Bacharach to the ribald, poetic, and pun-laden chansons of Jacques Brel as well as his own imaginative landscapes, so Amore and 1972’s Umanamente Uomo: Il Sogno (also recently reissued by Water) saw Battisti use his position as a favorite voice of his nation to take its people to musical places they may not have expected to discover. In Battisti’s case, those were deeply emotional places; it was no accident that the album he’d completed before Amore was Emozioni (Ricordi), a 1970 collection that boasts a title track as gorgeous and reflective as the enigmatic, sunlit silhouette cover photo of the bushy-haired man behind its music.

As the years went on, Battisti, much like Walker, retired from public life, becoming even more of an enigma. He died in 1998, 14 years after the release of his final album, Hegel (Alex, 1994) — a title so blatantly philosophical, so nonpop, that the avant-leaning Walker of today, draped in references to Pier Paolo Pasolini, again comes to mind. It’s here that Pace’s sadness that he’d "never been able to meet" Battisti becomes something more than personal; many Italians wish they could have known the man whose recordings they found so moving on an elemental level.

"After E Già [BMG, 1982], Lucio disappeared from view," Stefano Isidoro Bianchi of the Italian magazine Blow Up wrote when I e-mailed him to ask about the Battisti enigma. "After the early ’70s, he didn’t appear on TV — the one exception was a German TV show in 1978 — and never gave interviews. And after 1982, he really became invisible: no interviews, no TV, no pictures. We knew he lived in London for some time, and then for the rest of his life in a county called Brianzia, in Lombardia (north of Italy). The further he vanished, the more he was loved because of his songs. He was a presence on the Italian music scene. We knew that when Lucio was back with another album, it was a strike. And it was."

In the wake of his heyday, Battisti truly struck, according to Bianchi, in 1974 with Anima Latina (BMG) — which, though it was unreleased in the US, he rates as highly as Amore — and with E Già and 1986’s Don Giovanni (BMG), which included lyrics by surrealist poet Pasquale Panella. But Water has chosen wisely in selecting Amore and Umanamente to rerelease. "These albums are unique in the way they combine string-heavy European crooner pop with prog rock grooves and psychedelic guitar," notes Michael Saltzman, who penned the liner notes for the label’s Umanamente reissue. When I ask Saltzman to name a favorite period in Battisti’s career, he chooses Amore and Umanamente as peak examples of the stylistic cross-pollination that was occurring on other continents — via Tropicália, perhaps most notably — during the late- and initial post-Beatles years. Indeed, they are "comunque bella," to quote the chorus of one of Umanamente‘s hymnlike highlights, only in the sense that Battisti adds dissonant elements to counterbalance the abundant beauty of his voice and compositions.

Perhaps at my suggestion, Bianchi isn’t averse to likening the deep artistic connection that Battisti had with his Amore and Umanamente lyricist, Mogol, to one that existed between a certain American troubadour and his wordsmith: "Mogol was the inner voice of Lucio like Larry Beckett was the inner voice of Tim Buckley," Bianchi observes. But in the end, he’s insistent — apologetically so — that "no one but the Italians can understand" the "magic" of Battisti in full bloom: "In the early ’70s, Battisti released his best albums, and the way he approached something we can call progressive was peculiarly Italian and peculiarly Battisti-like. If you know the other Italian progressive bands, you know that Battisti wasn’t part of the scene. He was a great musician because he changed the face of Italian pop music."

To which I say, "Pace, Pace," or "Pace, pace." The most musical of all languages might float through Battisti’s songs, but their space — shadowy, sacred, alternately melancholic and frenzied — is open to anyone who listens, Italian, American, Italian American, and otherwise.

After all, the glorious anthemic harmony at the close of Umanamente‘s "… E Penso a Te" speaks the universal language of pop, repeating variations of "la-la" until shivers shoot up the spine and tears form at the corners of one’s eyes.*

For an e-mail Q&A with Amedeo Pace about Lucio Battisti, see the Noise blog at www.sfbg.com/blogs/music.

{Empty title}

0

Emergency fund-raiser!

Hello,

I would first like to thank everyone in the community for the support we
have received over the past 6 years we have existed. We have always
maintained ourselves as a group run by artists and for artists.

The problem that we are facing now is a financial one.

1. S. Slater and Son are trying to collect $4,300 for our percentage of
building maintenance costs for October – December 2006

2. We are unable to make a payment plan with the landlord and must pay
this bill in one lump sum.

3. We are certain that the landlord will give us a similar bill, for the
first half of 2007, at the begining of next month or in September, so we
need to raise an additional $4000.

Art SF has provided a space for local emerging artists for years. We have
never charged artists any commission for any art sold through us. We are
an all volunteer run organization and have dedicated ourselves to our
local art scene. All money raised goes directly to keep our space open to
the public. We have been here for the community, and now we are asking
the community to be here for us. We are in a crisis situation and need
our community support more than ever.

To donate to help save Art SF or for more information, email:

joemama@spaz.org

Please help to spread the word.

Below is an announcement about our emergency gallery opening coming up
this Friday:

our last show???????

hey everyone, the community art space, ARTsf, that we run in the mission,
is in danger of going under!!!!!! we are throwing a party to raise money
to keep the space alive, right now there are 8 artists in residence and a
number of community events constantly taking place here. If we lose the
space, it would be horrible!!! please stop by this gallery opening and
show your
support, its going to be good, i promise….

Friday, July 27th
Doors @730 Music@800
110 Capp St @ 16th

sliding scale $7-$7 million

with over 40 artists including:

Alphonso Entrada
Allyson Dutra
Andrew Beals McPherson
Cami Willis
Casper
Chamille Estrada
Claire Hummel
Cuba
Donna Wood
Erin D’silva
Faith Allen
G.T. Singh
Ian Hill
Ian Mullen
Jai Carrillo
Joan Zamora
Joe Ertl
Joe Mama
Joe Twistie
Joseph Heren
Josh and Scott
Judy Berberian
Kara Marie
K2
Marisa Rocke
Nate Orman
Pete Doolittle
Philip Milic
Pierre Pressure
Ralph Granich
Ryan Coffey
Sadie Mellerio
Scott Williams
Sholeh Asagary
Steve Bird
Tanya
Vi Hoang

Music with:
Tiger Honey Pot
Ferocious Few
Fluff Gurl
Sugar Butt Tiger
People People (featuring members of Two Gallants and Trainwreck Riders)
Baby bear tiger bear (featuring members of All My Pretty Ones)

DJ Mochipet and friends (Daly City Records)
DJ Coma

help keep art in the mission!!!

peace
joe mama

Pro Prokofiev

0

By Molly Freedenberg

When I heard the San Francisco Symphony is hosting a Prokofiev festival – ten whole days devoted to one composer – I figured I should probably know who this guy is. If our city’s esteemed symphony thinks he’s so important, shouldn’t I know why? So I set out doing my research, sure that I knew nothing about the little bugger.

Turns out I’m more familiar with the Soviet musician than I thought – and so, probably, are most of us. He’s the composer responsible for Peter and the Wolf – that famous piece used in elementary schools across the country to teach the kiddies about classical music. He also wrote the most famous version of Romeo and Juliet, the one written for the original Kirov Theatre production. He mastered several genres of music, wrote for film and for children as well as for symphonies, and basically kicked musical ass all over the world. And far from being a hero just to the classical set, he had such far reach that seminal punk band The Damned actually put out a 7” single dedicated to him, appropriately named “Prokofiev.” Which is to say, dude’s pretty badass. Or, you know, he was (he died in 1953).
pic-boypiano.jpg

It seems he was also a bit of an oddball. The little child prodigy started playing piano and composing music before most of us stopped sucking our thumbs – and yet, his first piece in the key of F completely skipped using the B-flat key because he didn’t like touching the black keys. (Wtf?) Later, teenage Sergei was known in the St. Petersburg music scene for being an enfant terrible(i.e. a pain in the ass), and now is considered one of the most important, and quirkiest, composers of the 20th century. thomas.gif

All of which is why conductor Michael Tilson Thomas and four virtuosic soloists are dedicating a quarter of a month to the Russian firebrand. And though the festival started June 14, you haven’t missed your chance to hear Prokofiev’s music for yourself. On June 22 and 23, see “Films, Frenzies, Fairy Tales,” featuring Prokofiev’s scores for the film Lieutenant Kije and the ballet Cinderella. And on June 24, see “Primitive and Refined,” a program featuring Piano Concerto No. 4 for the left hand (written for Paul Wittgenstein, who lost an arm in World War I), and two pieces inspired by Slavic paganism. For more information and ticket prices, visit the Symphony website.