SF

Cohen koan

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a&eletters@sfbg.com

SONIC REDUCER What becomes a pop legend? Mink, knighthood, screaming nubiles, Rock ‘n’ Roll Hall of Fame induction, or the Companionship of the Order of Canada? Nay, Lancelot Bass, to a biz looking for its next buck, it’s chart success at the beyond-ripe age of 74.

The curious case of Leonard Cohen: more than 40 years after his classic-crammed debut, Songs of Leonard Cohen (Columbia, 1967), this songwriting genius saw the rocket-boost of mainstream pop acceptance last year, as Jeff Buckley’s version of Cohen’s "Hallelujah" shot to the top of the iTunes charts after Jason Castro interpreted it on American Idol. One Tree Hill starlet Kate Voegele took another stab at the tune — already a TV and film staple covered by everyone from John Cale and Rufus Wainwright to Sheryl Crow and Willie Nelson. The final shoe dropped last December, when a rendition by Alexandra Burke, winner of UK TV’s X Factor, occupied the top of the UK singles charts, with Buckley’s take at #2, and Cohen’s original at #36. Cohen’s current North American tour — his first in 15 years — seems like a natural next step, especially since even the supremely gifted need to eat. (His ex-manager Kelley Lynch misappropriated millions while he was secluded as a Zen Buddhist monk in the late 1990s.)

While it’s no surprise that a relatively recent Cohen creation such as 1984’s "Hallelujah" should become a contemporary standard, working its way into Shrek (2001) and the ambivalent superhero sex scene in Watchmen, the song is still an unlikely commercial success, given its spiritual yearning and hard-boiled smarts. As Bryan Appleyard wrote in the U.K.’s Sunday Times in 2005, "it sounds like a pop song, but it isn’t …. It is a tuneful but ironic mask worn to conceal bitter atonal failure." Cohen’s "Hallelujah" is a gently meta-maniacal song rumination on songwriting and faith, clad in biblical allusions, that finds hope in submission to an uncaring muse.

However hard to picture, there are through lines between Cohen’s original, synth-driven "Hallelujah" and what some call his worst LP, Death of a Ladies’ Man (Columbia, 1977), an overwhelmingly orchestrated collaboration with Phil Spector that imploded as the producer barred Cohen from the final mix, allegedly threatening him with a crossbow.

"I’ve put my trust/And all my faith to see … /Her naked body! Oooh-oooh, oh my baby, can you see her naked body?"

Cohen never sounds as unbridled as he does on Death‘s "Memories," as youthful trysts take the fall with this mocking jack-off, the album’s centerpiece. I like to imagine his vocals were loosey-goosey placeholders. Anyone with a well-blackened punk sense of humor can appreciate the larky, screw-you ethos of this overwrought artifact, decorated with an image of the songwriter flanked by his morose then-wife Suzanne Elrod. Was this Cohen’s jokey fare-thee-well to horndog profligacy?

A cranky attack on youth and "Sound of Young America" pop, "Memories" is also the sound of Spector doffing his aviator shades and jabbing at his own mirrored eyeball and "Be My Baby" legacy. This Sha Nyah Nyah take on the same intermingling of faith and sexuality that underlies "Hallelujah" is constructed as a wall of soup, ready to splash down on Cohen’s fragile voice, sometimes subsumed by an ever-present anima: his female backup vocalists, a beloved counterpart to Spector’s highly controlled girl groups.

But "Memories" should perhaps remain in the past. For a strong hit of current Cohen go to the new Live in London DVD, which is infinitely preferable to 2005’s name-checking doc Leonard Cohen: I’m Your Man. Released along with a CD set, this straightforward, two-hour-plus document of a June 2008 arena show in London beats all that grainy Glastonbury footage on YouTube with its graceful shots of Cohen lost in the center of "Everybody Knows," eyes squeezed closed and mic cord clenched in a fist.

The greatest pleasures come from hearing later Cohen recordings reworked by a full band and witnessing the warmth and graciousness of a songwriter humbled by his audience. "It’s wonderful to be gathered here on just the other side of intimacy," he says wryly at one point, soon segueing seamlessly into the chorus of "Anthem": "Ring the bells that still can ring /Forget your perfect offering /There is a crack in everything /That’s how the light gets in." And perhaps that’s how — and why — Cohen has gone from haunting the rooms of heartsick "Memories" to becoming the go-to guy for a shot of lyrical intelligence: he recognizes our battered souls and sings those elegant, oft-unspoken truths still lingering in the sad café of the pop unconscious.

LEONARD COHEN

Mon/13-April 15, 8 p.m., $69.50–$251

Paramount Theatre

2025 Broadway, Oakl.

www.goldenvoice.com

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DANCE ME TO THE END OF THE WEEK:

RICHARD SWIFT

Shades of Harry Nilsson: the tunesmith makes artful inroads with his soulful new The Atlantic Ocean (Secretly Canadian). With Vetiver and Adam Stephens. Wed/8, 9 p.m., $16. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

CHANGO SPASIUK

Astor Piazzolla is grinning somewhere when this Argentinean accordion master blends the blues, fado, and chamame. Thurs/9, 8 p.m., $18. Yoshi’s, 1330 Fillmore, SF. www.yoshis.com

BEAUSOLEIL

Cajun music would be swallowed up by the swamp if not for the sprightly efforts of Michael Doucet and crew. With David Lindley. Fri/10, 8 p.m., $25. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

FRIENDLY FIRES, WHITE LIES, AND SOFT PACK

The moody, broody U.K. dance-pop rockers match beats alongside the spunky post-punk San Diegans. Sat/11, 9 p.m., $15. Slim’s, 333 11th St., SF. www.slims-sf.com

Bounce to this

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superego@sfbg.com

SUPER EGO Hold my hair, Bethany — things are gonna get wicked. The Bay’s set to undergo a massive new-bass invasion on Saturday, April 11, and I’m kind of freaking out about it, kind of having outfit trauma, and kind of fiending for a diet coconut juice. Is that postcolonialist?

Perhaps more pressingly: are the low-frequency freakinetics of abstract dubstep, turbo crunk, and future bass vanishing into the headphone red zones of download fanboys and nightlife intellectuals? I mean, has anyone figured out how to dance to any of this mind-blowing shit yet?

That will be one of the looming, booming nightlife questions as critical darlings Flying Lotus, Kode9, and the Bug rumble through Mighty with a gig tagged "The Future," and Ghislain "King of Bounce" Poirier storms the monthly Tormenta Tropical party at Elbo Room. No question, though: both events will melt your face, so pack yourself an extra and hop between them.

When it comes to dance floor poetics, Montreal-based producer, DJ, and mentor Poirier is the shrewdest of the bunch. The Ninja Tune artist has played it both ways from the beginning, tickling cerebellums with growling reveries and laser-chopped academic beats on some tracks, while on others pumping sharp dancehall grinds and grimy ragga as his guest vocalists strike demanding political poses. It’s this second, much more party-friendly "world riddim idiom" Poirier who’ll pop up at Tormenta Tropical, touring for his new Soca Sound System EP, a pulse-pounding glance toward the Trinidadian genre that includes the infectious "Wha-La-La-Leng" with MC Face-T.

And yet, despite Poirier’s intensely straightforward dance-driven live shows and steady stream of lean-and-mean mixtapes, like last year’s excellent Bring the Fire, he’s still mostly known in the States for his forays into glitch-and-sizzle future bass territory. That may be due to his pioneering work in tearing off the 4/4 beats straightjacket and commandeering homemade, bleeding bass lines to glue his ravenously global-eared sets together. Or it may be because people still have trouble seeing the Great White North as the glorious multicultural clusterfuck it is — they’d just rather slap an abstract label on it. Whatever. "Ideas are the best plug-ins," Poirier told Cyclic Defrost magazine last year — but he knows a free mind should be followed by a bumping ass.

In terms of real abstractitude, though, Flying Lotus, the Bug, and Kode 9 swim in the deepest of waters — and each traffics in his own delightful mental aquarium. L.A.’s FlyLo may still be drowning in positive press ink from his incredible 2008 release Los Angeles (Warp) but he hasn’t sacrificed any of his experimental chutzpah, chopping up hip-hop strains into turbulent, prismatic soundscapes. He’s also the smilingest DJ I’ve ever seen. London’s the Bug brings a throbbing, postapocalyptic edge to his dub creations, and his jazz background adds an ethereal sheen to his production style. Hyperdub Records owner Kode9, from Glasgow, is the most mischievous of the trio. His output aspires to a warped dubstep atmosphere that he likens to "drinking acid rain," but he also brings some much-needed humor to the mix — and reassuring connections to dance music’s past. The B-side of his new "Black Sun" single, "2 Far Gone," is a total rewiring of Adonis’ 1986 house classic "No Way Back" that dissolves me into a nostalgic grin.

When these three bass-purveyors passed through San Francisco last year — Lotus and Kode as part of the Brainfeeder Festival at 103 Harriet St., and the Bug at dread bass throwdown Surya Dub — they put in exquisitely thoughtful and uplifting sessions. Alas, they were mostly greeted with appreciative, hella-stoned nodding from the crowd. Only a few hardcore freaks had the gumption to truly take the floor. This time, I say make like the freaks and lose yourself to the beat in your head. The bass is only the basis. It’s up to us to fill in the bounce.

TORMENTA TROPICAL WITH GHISLAIN POIRIER

Sat/11, 10pm, $10. Elbo Room, 647 Valencia, SF. www.elbo,com

THE FUTURE WITH FLYING LOTUS, KODE9 AND THE BUG

Sat/11, 9pm-afterhours, $20. Mighty, 119 Utah, SF. www.mighty119.com

Reject the Fisher Museum

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OPINION The Presidio Trust Board and the National Park Service in December rejected Gap Inc. founder Don Fisher’s proposed art museum in the Presidio. They complete their review of his second offer next month. They should reject the second offer as well, and the game will be over.

Fisher and his family should stop trying to convince the Park Service to bend its rules. They should set aside their pride and their own preferences in deference to those of the Park Service and the city of San Francisco. They should announce their decision to move forward with the city to find a location in the city proper.

Most of us in the Presidio’s neighborhood communities do not agree with the seven trust board members that developing a cultural theme park in the Presidio is a good idea. It was introduced by the board only in response to the unsolicited proposal by the Fishers in April 2007. These board members, Fisher’s former colleagues — who are mostly real estate developers — were appointed by former President Bush. President Obama will have his own appointees on the board by June, in time to make the final decision on the Fisher museum.

We don’t want an extravagant $50 million new gathering place in front of the Fisher museum — something the Fishers have offered to help pay for in exchange for permission to build where they want.

We cannot bear the thought of the series of traffic signals inside the park, near the Spanish El Presidio and the 160-year-old U.S. Army Post. The trust says those traffic signals, along with garages in the Presidio, would be needed to manage the daily visitors added by the Fishers’ museum. No national park in America has traffic signals.

Nor do we want the lineup of traffic and signal lights required outside the park, at entrances and on nearby residential streets, that the trust says would be required. The city would, I expect, refuse the federal trust’s request to change city traffic controls to support a museum — one that city officials want to see downtown.

The public will pay another million to respond to the Fishers continued effort. It will end in defeat, if the federal government follows its own review processes — or in a glaring corruption of those processes if it succeeds.

I urge the individual appointed members of the Federal Presidio Trust Corporation and National Park Service officials to reject the Fisher offer next month. Two years and $2 million is enough of our treasure to spend in responding to the unsolicited proposal.

I urge the public to attend the trust hearing April 16, 6:30 p.m. at the Presidio Golden Gate Club. Support the Fisher museum outside the park, and oppose it in the park. *
Donald S. Green is former executive director of the Yosemite Restoration Trust and vice chair of the Presidio Neighborhood Work Group of the SF Board of Supervisors.

“Missed Connection: Souvenirs Of Brief Encounters”

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PREVIEW If you, too, are an avid Craigslist missed connections reader, you already know about the creepy posts: "Morning gym workout — m4w — 36: Great to see you back in the gym this morning. I was beginning to think you started working out at a different time or different place." There are the hilarious posts: "Fremont Hooters Bartender — m4w — 26: What happened to that call? Did I get played?" And then, occasionally, there are the posts you think might be addressed to you: "Kinko’s Thursday at Noon — m4w — 27: To the 20-something brunette with her friend, I think she called you Michelle. I was a bit busy copying, but even with my back to you I could feel you move around the room. Any chance you read missed connections?"

I suppose that last post could also fall into the "creepy" category. But it also might warrant a response such as, "Well, I do read missed connections. But since my back was turned to you, I’m not quite sure what you look like or who you are. Were you the one printing on the neon pink paper? Tell me more."

And so it went. After a few back-and-forths, the 20-something brunette and the 27-year-old male decided to meet up. He is a robust young lad, and now we are happily planning our honeymoon.

Actually, we’re not, because the voyeur in me would never dare to respond.

Not so Climate Theatre resident artist Claudia Tennyson. Intrigued by the potential and the poetry of Craigslist missed connections posts, she’s been contacting and interviewing people who placed compelling inquiries. For all of us who are addicted to the forum but too timid to post or reply, Tennyson has translated the initial ads and her resulting interviews into a performance that includes a series of artworks that seek to embody each encounter. For fearless types, Tennyson is presenting the event as an opportunity to hook up.

MISSED CONNECTION: SOUVENIRS OF BRIEF ENCOUNTERS Sun/12, 6 p.m., free. Climate Theater, 285 Ninth St (at Folsom), SF. (415) 704-3260. www.climatetheater.com

Marissa Nadler, where is your unicorn?

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By Kimberly Chun

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Who is the shy girl casting her eyes downward on the cover of Little Hells (Kemado)? Here in Hell, Marissa Nadler could be a damsel who has tumbled from a frayed tapestry in search of her unicorn, a crystal doll who has escaped from her vitrine, or a tubercular maid who has slipped out of her Victorian deathbed photograph to traipse this earthly plane. She’s the dark, downbeat cousin of the enormous-eyed cameo cutie gracing The Saga of Mayflower May (Eclipse, 2005), the sunlit warbler singing in the lawn at the first Arthur Fest, and the whimsical Rhode Island School of Design-educated artist I spoke to around the time of Songs III: Bird on the Water (Kemado, 2007).

With her fourth full-length, Nadler enters a new, more synthetic, and increasingly richer musical realm than that on her previous recordings — one outfitted with its own exquisite troubles and terrors. The almost imperceptibly swooping faux strings that strafe "Heart Paper Lover" sound like tiny planes dive-bombing a cruel sweetheart. The goth muses slumbering within Nadler’s out-folk also come to light, blinking: one imagines Mary Shelley waking to find herself in Frankenstein’s grave-dirt-encrusted shoes on the harpsichord-strewn, almost Sisters of Mercy-like "Mary Comes Alive." Still, Nadler’s voice has never sounded so fine — catching itself on miniscule beads of longing on "Rosary" and fading, delicately detuned, like a dying darling on "Ghosts and Lovers."

MARISSA NADLER With Eric Shea. Wed/8, 9:30 p.m., $10-$12. Cafe du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

Move(men)t: A Men’s Dance Festival

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PREVIEW In the history of dance, the male of the species occupies a curious position. In some cultures only men were allowed to dance in public. In Western aristocratic education, dancing was a requirement for a future courtier. But until fairly recently, ballet choreographers consistently undervalued male dancers, and it was women who pioneered modern dance. In the 1930s, however, Ted Shawn’s all-male ensemble did much to break down the prejudice against men in dance. In the Bay Area, every decade or so brings about a refocusing on masculine performances. There is an energy — both virile and tender — to these presentations that, in the past at least, made them very special experiences for men and women alike. Some of that, unquestionably, had to do with the testosterone that just bounced off the walls. Even so, to see so many guys cooperating with each other is still not something we are accustomed to seeing on stage. The latest incarnation of all-male dancing, "Move(men)t: A Men’s Dance Festival," now in its second year, includes Mark Foehringer, who has long choreographed for men; Folawole Oyinlola, of Nigerian descent, who excels in improvisation; Kegan Marling, perhaps best known in his partnership with Jane Schnorrenberg; and Joe Landini’s new San Francisco Moving Men. Ten choreographers in all will show their chops in the tiny but hopping Garage performance space.

MOVE(MEN)T: A MEN’S DANCE FESTIVAL Fri/10–Sat/11, 8 p.m., $10-$20. The Garage, 975 Howard, SF. (415) 885-4006. www.brownpapertickets.com

Marissa Nadler

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PREVIEW Who is the shy girl casting her eyes downward on the cover of Little Hells (Kemado)? Here in Hell, Marissa Nadler could be a damsel who has tumbled from a frayed tapestry in search of her unicorn, a crystal doll who has escaped from her vitrine, or a tubercular maid who has slipped out of her Victorian deathbed photograph to traipse this earthly plane. She’s the dark, downbeat cousin of the enormous-eyed cameo cutie gracing The Saga of Mayflower May (Eclipse, 2005), the sunlit warbler singing in the lawn at the first Arthur Fest, and the whimsical Rhode Island School of Design-educated artist I spoke to around the time of Songs III: Bird on the Water (Kemado, 2007).

With her fourth full-length, Nadler enters a new, more synthetic, and increasingly richer musical realm than that on her previous recordings — one outfitted with its own exquisite troubles and terrors. The almost imperceptibly swooping faux strings that strafe "Heart Paper Lover" sound like tiny planes dive-bombing a cruel sweetheart. The goth muses slumbering within Nadler’s out-folk also come to light, blinking: one imagines Mary Shelley waking to find herself in Frankenstein’s grave-dirt-encrusted shoes on the harpsichord-strewn, almost Sisters of Mercy-like "Mary Comes Alive." Still, Nadler’s voice has never sounded so fine — catching itself on miniscule beads of longing on "Rosary" and fading, delicately detuned, like a dying darling on "Ghosts and Lovers."

MARISSA NADLER With Eric Shea. Wed/8, 9:30 p.m., $10–$12. Cafe du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

Local Artist of the Week: Dana Harel

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LOCAL ARTIST Dana Harel

TITLE Circus Ranivorus, graphite on paper, 96 by 72 inches

STORY This is from a series of 10 graphite drawings. The positioning of the hands references traditional shadow puppetry, without the use of light and shadow. Each animal is rendered at the scale of the true creature. Harel: "I am exploring the construction of fictional hybrid combinations, treating the body as kin to all wild things."

BIO Born and raised in Israel, Harel received her BFA in architecture from California College of the Arts in 2000. Her work has been selected for juried shows at Southern Exposure and Gen Art.

SHOW "Dana Harel: Kin," through May 3. Tues.-Sat., 11 a.m.-7 p.m.; Sun., 11 a.m.- 5p.m. Frey Norris Gallery, 456 Geary, SF. (415) 346-7812.

WEB www.freynorris.com

Mirah in SF tonight — arcane yet accessible

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By Danica Li

We guess it’s typical that Mirah Yom Tov Zeitlyn would write a batch of songs, group the songs into an album, and then name the album something pretty much incomprehensible. (a)spera (K), her first release in a near half-decade — wasn’t it just yesterday that Mirah arrived on the scene, a bright-eyed, scampering young up-and-comer? — is the Latin stand-in for hope or adversity, depending on how you interpret the handy parenthetical tacked onto the beginning of the word. With her restrained instrumentation, acoustic pop smarts, and whimsical inspirations, Mirah’s records are as oddly accessible as they are born of arcane esoterica: 19th-century French naturalist writings inspired her multimedia endeavor Share This Place: Stories and Observations (K, 2007), a concept album about the lives of insects.

Small town heroine or not, Mirah’s discreetly built something of a national following. Back before she’d even released an album, she used to play gigs with a full band at weddings and bar mitzvahs for extra monies, but that fledgling project fell to the wayside when she decided to do her own thing. That involved a bit of lo-fi futzing around, a couple of forays into riot grrrl bristling, and a lot of sparely beautiful acoustic sessions with just her guitar — Liz Phair knock-off dismissals be damned.

Mirah was MIA for the better part of the mid-2000s, in terms of solo recordings. She spent the time tinkering with an impressive number of side projects, including collaborations with the Microphones’ Phil Elverum and Black Cat Orchestra, plus the provision of an entire soundtrack for the documentary Young, Jewish, and Left. She also used to tour with the Microphones, but now she’s split off to do her own thing again. No insect noises this time, but the release of (a)spera lands her at Bimbo’s 365 tonight.

MIRAH
With Tender Forever and Leyna Noel
Tues/7, 8 p.m. (door: 7 p.m.), $16
Bimbo’s 365 Club
1025 Columbus, S.F.
(415) 474-0365
www.bimbos365club.com

It’s official: SF follows the stimpack money.

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A graph on the Mayor’s Office’s newly launched website seeks to break it all down.

Text by Sarah Phelan

So, finally, the Mayor’s Office has launched a website to track stimpack dollars that are coming to San Francisco based on census data (formula funding), or that can be competed for locally.

So far the newly launched website breaks down the dollars by the following categories: public safety, environment, education, housing, health and human services and transportation. It’s a good start.

What the site does not do is break down the dollars according to whether they are going to create green collar jobs. Such jobs been defined by Van Jones, Obama”s new Green Collar czar, as, ” a family-supporting, career-track job that directly contributes to preserving or enhancing environmental quality.”

I realize it’s early days and the city may truly not have a handle on this crucial date yet, and I’m trying to practice what Jones, who likes metaphors involving ships, (the Amistad, the Titanic, and Noah’s Ark all get invoked in Jones The Green Collar Economy,) calls “the Noah principles.

These five principles can be summed up thus: “fewer issues, more solutions; fewer demands, more goals; fewer targets, more partners; less accusation, more confession; and less cheap patriotism, more deep patriotism.”

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Dylan, 25th Street and Castro

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Tell us about your look: “I’m sorta a rock star and I love really skinny jeans.”

Battlehooch: Fun and freaky

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By Molly Freedenberg

I’ve just figured out what I’m doing on Thursday: going to see Battlehooch (what a great name) at Cafe du Nord. The musicians are friends of a friend, so I might’ve ended up there whether or not I’d done any research. But after listening to their strange, energetic prog rock on myspace – and then watching a vlog piece on what they’re about (the first one on their myspace page)- I’m officially hooked for my own reasons. Thing is, I can’t decide if I like them because these guys are music nerds, because they’re just plain nerds (bandmember non-musical interests include ideas, concepts, and topography), because their music is engaging and strange, or because they seem like so much fun I kinda just want to hang out near them. Either way, I’m betting this band will tickle some of my favorite places – cerebral and otherwise. I’ll have some of that hooch, thanks.

Read the Wiretapmusic review here.

Battlehooch, with The Lovely Public and Schande
Thurs/9
9pm, $10
Cafe du Nord
2170 Market, SF
(415) 861-5016
www.cafedunord.com

Clean Power SF will take center stage at joint meeting

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By Rebecca Bowe

Last Friday, Supervisor Ross Mirkarimi declared 2009 the “make-or-break year” for San Francisco’s ambitious Community Choice Aggregation program. Also known as Clean Power SF, the program would establish the city and county as an electricity purchaser for residents and businesses currently served by PG&E, and put S.F. on track for achieving 50 percent renewable power generation. At an April 3 LAFCo (Local Agency Formation Commission) meeting, it was announced that the San Francisco Public Utilities Commission has agreed to sit down with LAFCo for a meeting about CCA for the first time ever — a sign that things could actually start moving forward.

The process of getting Clean Power SF off the ground has been fraught with delay, in part because the San Francisco Public Utilities Commission — which is tasked with implementing the program — dropped the ball on a series of deadlines. During the last couple monthly meetings, LAFCo, which is charged with overseeing CCA implementation, has vented frustration about the feet dragging at the PUC and questioned the agency’s commitment to the effort. However, the tone shifted some at the April 3 meeting.

CCA director Michael Campbell, who was hired by the SFPUC, noted that the city agency is getting back on schedule — and announced the launch of a new Web site. Two new LAFCo staff positions were approved recently by the Board of Supervisors, providing further momentum.

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Anna, Second Street and King

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Tell us about your look: “I always like to by comfy, no matter what I’m wearing.”

Board tells Newsom to support due process for all youth

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The SF Examiner and the Chronicle continue to beat the anti-immigrant drum, when it comes to mocking, downplaying or distorting the unconstitutional impact on children of San Francisco’s sanctuary policy.

So it may come as a surprise to learn that under the new policy direction that Mayor Gavin Newsom ordered last summer, just as he was announcing his gubernatorial run, San Francisco does nothing to accord due process to undocumented children that are charged with felonies by local law enforcement officials.

Now, if you ask the Mayor’s Office, if the sanctuary policy accords due process to juvenile youth, you’ll get, “Yes, the City Attorney vetted it.”
That is not an answer. It’s the giant sucking sound of mayoral advisers passing the buck.

Now, as Sup. David Campos points out, the City Attorney provides legal advice—what the law is, its parameters, its implications—not policy calls.

Campos reiterated that point this week, when he and seven other members of Board of Supervisors voted to pass a resolution urging the board to adopt the United Nations convention on the rights of the child, which supports due process for youth. (You can watch the video of that meeting here. Look for item 17.)

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Halley, Hyde and Market

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Tell us about your look: “I’m a second-hand fashion person.”

Fiona Ma’s “renegades”

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By Tim Redmond

So Assemblywoman Fiona Ma, with the help of the Republicans, managed to get a bill through committee that would force San Francisco to restore JROTC. It’s astonishing to me that a San Francisco representative, and a former supervisor who understands why local control is often important to San Francisco, would try to get the state to override a local school board policy decision. I’m totally against JROTC in the public schools, but however you feel about it, letting the state dictate that kind of policy for a local school board is a dangerous precedent.

And to make things worse, she read what looked like a prepared speech blaming the situation on “renegade” SF school board members. “Renegade?” Because local elected officials voted their conscience on a tough issue?

I emailed Ma to get an explanation, but according to her email auto-response, this great maker of educational policy is on “vaction.” (Sic). I’ll let you know if I hear any more.

Snap Sounds: Great Lake Swimmers — Lost Channels

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GREAT LAKE SWIMMERS
Lost Channels
(Nettwerk)

Great Lake Swimmers walks a fine line. When the group succeeds, it does do so by satisfyingly convincing me — as long as I’m in the mood — that its slow-paced and shy songs, which often pair thick reverb and a finger-picked guitar line, are cozy instead of cheesy. On GSW’s latest release, mastermind Tony Dekker records songs in the castles, churches, and community centers of the Thousand Islands of Lake Ontario. This site-specific approach could describe earlier recordings as well, if you replace church with silo, and make one other adjustment: Lost Channels is less stark, at least throughout the first half, and aims for a feeling of exhilaration. It succeeds some of the time.

Like Ongiara (Nettwerk, 2007), Lost Channels opens buoyantly: “Palmistry” is an upbeat jangle-pop number that showcases Dekker’s hearty voice even as a full band nudges through the subtler spaces. “The Chorus in the Underground” is a cheery country sing-along with a background choir. The album’s two halves are divided by “Singer Castle Bells,” an interlude recorded at St. Brendan’s Church that is followed by the goose bump-inducing “Stealing Tomorrow.” On “River’s Edge,” pastoral poetics take over. “Now the wind picks up swiftly and suddenly and it is breathing as if from a mouth and the edges are lungs that are heaving,” Dekker sings, searching for spirituality in nature.

One can sense that the perimeters of the buildings where Great Lake Swimmers record have changed. Subsequently, the group’s sound has changed as well. Even though the experimentation on Lost Channels isn’t always successful, the band — and its promise — continues to evolve. (Michelle Broder Van Dyke)

GREAT LAKE SWIMMERS
with Kate Maki
Fri/3, 9 p.m., $12
Bottom of the Hill
1233 17th St, SF
(415) 621-4455
www.bottomofthehill.com
www.greatlakeswimmers.com/

Sonic Reducer Overage: Snoop Dogg, Eugene Mirman, Jeremy Jay, Skin Horse, and so much more

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San Francisco just can’t, just won’t stop. More musical – and comedic – worthies than one can jam into print.

The Get Up Kids
These lesser-known monsters of emo, progenitors of punk-pop, are back. With Approach. Thurs/2, 8 p.m., $26-$29. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750.

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Olena, Civic Center

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Tell us about your look: “I like European style.”

Hot sex events this week: April 1-7

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Compiled by Molly Freedenberg

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Will U and U be my Valentine? Learn how to ask at Negotiating Successful Threesomes.

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>> Clothes-On Sex! Resurrecting the Art of Frottage
Indulge your inner teenager and recapture those days of long, carefree make-out sessions – the days before “The Sex” started to overshadow everything. Sex and relationship educators Nellie Wilson and Reid Mihalko host this fun, informative, sassy, and arousing class on outtercourse.

Thu/2, 7-9:30, $30
Center for Sex and Culture
1519 Mission, SF.
sexandculture.org

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>> 91/2 Years Behind the Green Door
Simone Corday reads and signs her memoir about her first-hand experiences stripping at the Mitchell Brothers’ O’Farrell Theater, the place Hunter S. Thompson referred to as “the Carnegie Hall of public sex.”

Fri/3, 7pm, free
Good Vibrations
603 Valencia, SF.
www.goodvibes.com

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>> Negotiating Successful Threesomes
Is three company or a crowd? Do it right and three’s just a downright good time. Reid Mihalko helps those interested in M-F-M, F-M-F, F^3, M^3, or any combination of three consenting adults figure out techniques, common mistakes, and how to negotiate boundaries with live demonstrations and lots of laughs.

Sat/4, 7-10pm, $30
Center for Sex and Culture
1519 Mission, SF.
sexandculture.org

Working the curves

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› culture@sfbg.com

Pole dancing classes have become increasingly popular in recent years, and strippers aren’t the ones getting schooled. Lawyers, doctors, social workers, stay-at-home moms, even postmenopausal women with gray hair are turning to a turn around the pole to learn more about their bodies and their sexuality. From group classes at gyms to private lessons in home studios, pole dancing can be now learned at any comfort level.

Once a week, eight to 10 women gather in the small, dimly lit, mirrorless classrooms at San Francisco’s S-Factor (2159 Filbert, SF. 415-440-6420, www.sfactor.com/SF) to learn pole tricks, stripping techniques, and lap dances. "We like to say that you’re teaching your body a new language," says Deb Arana, an instructor at S-Factor. "You need to slow down, think into your curves, play in your girly skin." The classes start with warm-ups based on core strengthening, and moves incorporate yoga, ballet and Pilates.

Each class builds on the one before, and by week three women get to wear their six-inch stripper heels. "Some women are confident enough that they will just carry their heels while walking down the sidewalk or riding the bus, while others tuck them away in their bags," says Arana. "Its amazing to see the changes in the women by the end of the class. I’d say 99 percent are not dancers, but they can flow and move in such a graceful way because the routines are so intuitive."

But perhaps the more significant learning experience comes from the personal and spiritual growth that occurs in the sessions. The small S-Factor classes, which usually have less than a dozen students each, become tight-knit communities. Positive reinforcement from classmates helps women to try new moves, and they encourage one another to take their dancing to a higher level.

Women take the lessons in order to identify with their sexuality as much as they do to get physical exercise. "I thought that the main complaint I would hear would be about being overweight," Arana reveals, "But it’s actually women coming in saying ‘I don’t feel sexy, I’ve never felt sexy.’<0x2009>"

That attitude changes over the course of the class. "Women become conscious of their feminine and sexual selves," says Arana. "It’s not just because we’re giving them new moves, but because they’re comfortable in their own skins."

"Pole dancing becomes an addiction and a way of life," she explains, a surprising note of conviction entering her soothing, honey-tinted voice. "It’s such a journey of self discovery."

S-Factor, whose classes are offered nationwide and bills itself as "the original striptease and pole-dancing-inspired workout," was started by actress Sheila Kelley, who found an intense sense of empowerment in the dancers she watched while researching a role in the movie Dancing at the Blue Iguana (2000). She claims to have started the S-Factor workout to share her newfound physical and emotional state with other women.

Carrying six-inch heels on the bus and learning how to wrap your legs around a pole properly in front of several people is not for all potential pole dancers, though. One-on-one lessons in personal studios can be arranged in San Francisco as well. A former exotic dancer who calls herself Cheri (and who now maintains a career as an economist) runs private lessons out of a classy, modern studio in a quiet residential neighborhood. There is no indication that pole dancing takes place in the unassuming light blue building. Two poles that look like structural supports stand in the center of the second-floor room, and when the lesson starts, Cheri draws the shades, blocking her view of the Bay Bridge to turn her attention to demonstrating pole tricks.

"The important part of pole dancing is making it look good; the workout is secondary," says Cheri. "It’s sort of a hidden workout. I don’t realize it until I wake up sore the next day and wonder what I did to myself. Then I say, ‘Oh, yeah, I was dancing yesterday.’<0x2009>" Light lifting and yoga are helpful supplemental activities to pole dancing, since strength is needed to support your body weight on the pole, and flexibility and mindfulness are essential to proper moves and flow.

Hard-pressed for cash during college, Cheri responded to an ad in the school’s paper for exotic dancers at a local club. "At that time, there was no such thing as pole dancing classes, or any sort of instruction," says Cheri. "You just had to watch yourself in the mirror, and watch other dancers and just sort of learn as you go." She used dancing to support travels through Australia and Europe, but dropped it once she settled down in San Francisco and started her career.

One day, Cheri mentioned to her boyfriend that she would dance for him if he bought her a pole. One was obtained quite quickly, of course. The pole began to be used at parties and Cheri’s friends stared asking her to teach them moves. She realized she had caught on to something, so she started her own studio, called Heels on the Ceiling (www.heelsontheceiling.com). Once she found another pole, a few floor mats, and stilettos in every size for her students, Cheri was in business.

Bachelorette groups flocked to her studio for Cheri’s energetic instruction on floor moves and simple spins. And private students, including mother-daughter pairs, started signing up as well. "I’m a much better educator than a dancer, I think," confesses Cheri. "But at the same time it’s harder to dance in front of women than in front of men. Men are simple creatures with simple minds, but women are constantly judging you and sizing you up."

Although she worries about being judged herself, helping women shift their mindsets about their bodies and sexual selves is the primary reason she continues her lessons. "Pole dancing is teaching women how to harness their sexuality through certain tricks and moves," says Cheri. "It helps women shed their sexual and image insecurities."

Advanced dancing seems like quite the workout: Cheri can suspend herself upside-down on the pole, balancing at a graceful diagonal, like a spoon resting inside of a bowl. Then, before you can blink, she’ll turn around the pole faster than a record spins, and climb to the top with agility of a cat on a fence.

The physical fitness aspect has made lessons at Heels on the Ceiling more legitimate for women. "Pole-dancing has become less politically incorrect recently, because of the workout angle," says Cheri. "I’m glad that society has finally accepted and embraced it."

Stormy weather

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› johnny@sfbg.com

It’s a pleasure to see Sean McFarland receive the Baum Award for Emerging American Photographers. Last August, McFarland was one of the eight artists or groups showcased in the Bay Guardian‘s second annual photo issue. The Baum Award is a national honor designated for photographers at a pivotal point in their development, and in McFarland’s case, that development is the opposite of predictable. While many photographers work toward "dazzle ’em" displays of technical virtuosity, McFarland has moved away from earlier saturated digital color images toward simple Polaroid photos that possess ominous allure.

Did I say simple? McFarland’s dreamlike images of weather and landscapes are only simple in appearance — they require subtle combinations of photography and the increasingly popular practice of found-image collage. In terms of subject matter, they personalize and miniaturize the vast and unsettling images of the semi-settled West present in the camera art of Michael Light, David Maisel, and Trevor Paglen. The title of Lindsay White’s current show at Ping Pong Gallery, "A Field Guide to the Atmosphere," might just as well apply to McFarland’s work. The atmosphere is stormy, and as troubling as it is beguiling.

SFBG In the last year or two, your work has shifted away from urban views to elemental images: sky, sea, vast land. What has set you off in that direction?

Sean McFarland I’ve been thinking a lot about the ways in which the earth changes. In an urban environment, we build buildings, roads, and parks, changing the landscape. These are immediate and obvious alterations of our environment. Our actions also change the landscape as we alter the climate — more frequent and powerful storms, rising seas. By focusing on making images of the natural world, of the landscape, I’m interested in making pictures of us. How we change the earth and how the earth effects us.

SFBG Your work from the earlier 2005 era reminds me a bit of a short film, site specific_Las Vegas 05, by an artist named Olivo Barbieri. It has amazing colorful aerial views of Las Vegas in which the city really looks like it is comprised of toy buildings and cars. Were you looking for that kind of "making strange" effect when presenting views some might take for granted?

SM The work I was making from 1999 until around 2002 tried to take things that were fake and make them look real. When I first started re-photographing the collages I was making (in 2003), the miniaturization effect was an unexpected but welcome result. I was working in the other direction, making the real look fake. The collages are made by hand, so the edges are rough and messy. The selective blurring of images was there at first to hide where the images were put together, but it was that transformative quality of the focus that made the process intriguing to me. With the collaged images, I was taking pictures from all over, real images of real things, and by bringing those disparate elements together, the pictures raise questions about what was actually in the photograph.

The image of the park (in the Guardian‘s August 2008 Photo Issue), for example, has the playground from Dolores Park, but with the downtown skyline and bridge removed and replaced with a sky from another city. It may be the absence of the urban center normally in the background that makes the picture seem odd, or it could be that the light from the sky is not the same reflecting off the foreground. The relationship between fact and fiction is one of the strongest reasons I work with photography as opposed to other visual art forms.

SFBG You mention collage as a part of your process. That might not be so apparent to someone who casually glances at your photography. Can you tell me a bit about your approach to collage, and also if there are any collage artists whom you especially like?

SM Lately I’ve been working to make the collage process less apparent. In the past, the images took the final form of a C-Print, made in a darkroom. Now I’m using Polaroid film. Polaroids are mementos and souvenirs of moments, places, and things that actually happened; they imply that whatever is in the picture was witnessed, was real. Since I can’t really take the images I’m making, I’m using collage to do so. A good example is my image of the airplane flying over the black ocean and white land. The picture of the plane is taken from a satellite image of Earth, the land is a photograph I made in the Exploratorium (it’s a picture of an exhibit that shows how land is changed by wind currents).

SFBG Books are a big visual inspiration to me, so I liked seeing you cite the Field Guide to North American Weather and Gerhard Richter’s Atlas as two recent sources of fascination and perhaps material. What drew you to those books and what do you like about them?

SM I enjoy those books because they are both wonderful collections. I work from an archive of several thousand images. This is probably why Atlas is so fascinating to me. It’s the source material (mostly photographs) that Richter uses in his work and it made me even more interested in his work. I like the Field Guide because all the pictures in it are of weather-based natural phenomena. Some of the photographs in it are pretty hard to believe, but actually happened.

SEAN MCFARLAND: THE 2009 BAUM AWARD FOR EMERGING AMERICAN PHOTOGRAPHERS

Thurs/2 through May 23 ( reception Thurs/2, 5–8 p.m.), free or donation

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org

Go into the light

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In an online interview, experimental filmmaker and violin drone pioneer Tony Conrad relates a story: one night, underground drag superstar Mario Montez wandered into the apartment Conrad shared with filmmaker Jack Smith, and at Smith’s behest began an impromptu performance. When Smith flicked on a beaten up 16mm projector to serve as a makeshift spotlight, he and Conrad became transfixed by the play of light that reflected off Montez’s sequined outfit. While it would be glib — and certainly fun — to declare that 1960s structural film was born from the glittering gyrations of a drag queen, Conrad’s anecdote is but one development in his longstanding fascination with the excessive sensory effects of shooting light out into the void. Conrad’s 1965 16mm film The Flicker is perhaps his purest and best-known manifestation of this — 30 minutes of black and white stroboscopic bliss (or hell) that cast its long shadows over Brian Gysin’s dream machines, and more contemporarily, Anthony McCall’s striking digital light and fog projections. You’ll have the chance to see how much flashing light your eyes can take when San Francisco Cinematheque presents screenings of Conrad’s films in conjunction with the New York-based polymath’s weekend-long residency at the concurrent Activating the Medium Festival. While Sunday night’s program features The Flicker, it also puts it into context as a jumping off point for Conrad’s subsequent process-based films and public access video works, in which activities such as electrocution and cooking take on a rhythm as mesmerizing as staring into the pulsating light of a film projector.

TONY CONRAD: FLICKERING JEWEL

Fri/3, 5 p.m. (Program One: "Window, Perspective Shadow")

Sat/4, 8 p.m. (Program Two, with Conrad in performance)

Sun/5, 7:30 p.m. (Program Three: "Flicker and Process Films/Works on Video"), $15

San Francisco Art Institute, 300 Chestnut, SF

www.sfcinematheque.org