SF

Got capsicum?

0

› paulr@sfbg.com
With time, one finds oneself bidding fond farewells to one’s spicehound friends. Oh, nothing changes too dramatically, except that bit by bit (or bite by bite), onetime fire-eaters lose their taste for the thrill of capsicum. Certain alluring foods of yore — chili, pepperoni pizza, Mongolian beef — start to cause problems, especially if eaten too near bedtime. You still go out with them, your spicehound pack, but when they point at this or that on the menu, wondering which dishes are spicy, they are plotting routes of retreat now, not angles of approach. Everybody is silently hoping to sleep through the night, like babies with dry diapers, not awaken at 2 a.m. with a remorseful jolt and a growing blaze amidships. People sip their green tea, and they do so carefully.
For years I held out against this trend. X and Y might no longer fling themselves into the spiciest dishes they could find, like boys from a Mark Twain novel plunging with a whoop into a water hole of unknown depth, but I still had a taste for flame. Then, recently, I ate at So, a modish Chinese noodle house on that insanely busy stretch of Irving just west of 19th Avenue, and I heard the bell toll. There was no need to ask for whom it was tolling: it tolled for me. It tolled and tolled, in fact, and I ignored it. Later I was sorry, but at the time I was in a bliss of tingling lips and couldn’t be bothered to heed the alarm.
So is an atypical Chinese restaurant in a number of respects. For one thing, its menu consists largely of soup and noodle — and soupy noodle — dishes, as at a Vietnamese pho house. It also has a spare, modernist youthfulness devoid of tired linoleum floors and harsh overhead lighting; the walls are bright yellow and the ceiling a rich gray blue, while a noisy crowd young enough to match the youth of the staff sits at rosewood tables on rosewood chairs. Mainly, though, So is a temple of the incendiary. I cannot recall the last time I found so much chile firepower in one place. It is the gastronomic equivalent of a munitions cache.
So … you have been warned, or summoned. I must also add that portion sizes are simply immense. The noodle soups are served in bowls the size of cantaloupe halves and can easily satisfy two if not three, especially if you open with one of the splendid starters. If you notice that these take a little longer to reach the table than is usual in Chinese restaurants (many of which rush them out in just a few minutes), it’s because they’re made to order and with care. The pot stickers ($5.50) in particular are exceptional; they reach the table nested in a pinwheel pattern, are fragrant with fresh ginger when opened, and — what is most noticeable — are wrapped in homemade dough that has a definite fresh-bread springiness and smell to it. When you eat these pot stickers, you will likely realize that most of the other restaurant pot stickers you’ve ever eaten in your life were prepackaged and reheated items. Mass-market, mass-produced stuff. So’s are revelatory.
Nearly as good are fried shrimp dumplings ($6), also powerfully gingery, and dried sautéed string beans ($5) in a thick garlic sauce. The So chicken wings ($5.25) — really a hodgepodge of wings and drumsticks — are a clever and potent Chinese retort to the American cliché of buffalo wings; So dips its poultry parts into a batter that crisps up nicely, then drizzles them with a molasses-thick sauce of garlic, ginger, and slivered red chiles for some smolder. The sauce accompanying the curry coroque ($4) — three Japanese-style potato croquettes, about the size and shape of Brillo pads — looks similar but has a stronger acid presence: hoisin with some rice wine vinegar?
The starters are tasty but not, as a rule, hot, which makes the arrival of a dish like pork with hot peppers ($6.35) — a platter heaped with a stir-fry of shredded meat, chopped jalapeños, onions, and scallions, with a spicy garlic sauce — rather bracing. Only slightly less forceful is shredded pork with garlic ($6.35), which substitutes serene water chestnuts and willow tree fungus for the raucous hot peppers and adds a splash of vinegar for clearheadedness.
“My nose is running,” said the spicehound emeritus to my left. He found himself confronting the seafood soup noodle ($6.35), a sea of spicy broth clogged with shrimp, calamari, scallops, and napa cabbage — something like an East Asian answer to cioppino. His longing gaze drifted across the table to the seaweed noodle soup ($6.35), a kind of giant egg-drop soup fortified with seaweed and spinach, peas, mushrooms, and shrimp. The flavor of the broth was deep but beatifically mild, like the blue of a lovely sunset at the end of a windless and warm — but not hot — day.
The social experience of So is nearly as intense as the peppery food. We found the place packed early on a Sunday evening; tablefuls of young folk mounted a steady roar of conversation while others waited on the sidewalk, barking into cell phones of many colors until tables opened up. The service at dinnertime is friendly and efficient but forever teetering on the brink of being overwhelmed. During a noontime visit, on the other hand, I found a rather startling calm and was able to notice that a “help wanted” sign was posted on the front door — a clue that business is quite a bit better than so-so. SFBG
SO RESTAURANT
Tues.–Thurs., 5–9:30 p.m., Fri.–Sat., noon–10 p.m., Sun., noon–9:30 p.m.
2240 Irving, SF
(415) 731-3143
Beer and wine
MC/V
Very noisy if crowded
Wheelchair accessible

The first 40

0

› bruce@sfbg.com
On Oct. 27, l966, my wife, Jean Dibble, and I and some journalist and literary friends published the first issue of the first alternative paper in the country that was designed expressly to compete with the local monopoly daily combine and offer an alternative voice for an urban community.
We called it the San Francisco Bay Guardian, named after the liberal Manchester Guardian of England, and declared in our statement of intent that the Guardian would be a new model for a big-city paper: we would be independent and locally owned and edited, and we would be alternative to and competitive with the San Francisco Examiner and San Francisco Chronicle, which were published under a joint operating agreement that allowed them to fix prices, pool profits, share markets, and avoid competition.
We stated that “the Guardian is proposed, not as a substitute for the daily press, but as a supplement that can do much that the San Francisco and suburban dailies, with their single ownership, visceral appeal and parochial stance, cannot and will not do.” And we played off the name Guardian by stating that we would be “liberal in assessing the present and past (supporting regional government, nuclear weapons control, welfare legislation, rapid transit, tax reform, consumer protection, planning, judicial review, de-escalation and a promptly negotiated settlement in Vietnam.)” But the Guardian would also be “conservative in preserving tradition (civil liberties and minority rights, natural resources, watersheds, our bay, our hills, our air and water).”
It was rather naive to challenge the Ex-Chron JOA with little more than a good idea and not much money and a wing and a prayer. We had almost no idea of what we were getting into in San Francisco, a venue that Warren Hinckle of Ramparts and many other defunct publications would later describe as the Bermuda Triangle of publishing. But we had, I suppose, the key ingredient of the entrepreneur — the power of ignorance and not knowing any better — and somehow thought that if we could just get a good paper going, the time being l966 and the place being San Francisco and the world being full of possibilities, we would make it, come hell or high water.
Well, after going through hell and high water and endless soap operas for four decades, Jean and I and the hundreds of people who have worked for the Guardian through the years have helped realize the paper’s original vision and created something quite extraordinary: an influential new form of independent alternative journalism that works in the marketplace and provides what little real competition there is to the monopoly dailies. And let me emphasize, the alternatives do not require government-sanctioned JOA monopolies and endless chains and clusters of dailies and the other monopolizing devices that dailies claim they need to survive.
Today I am delighted to report that there are alternative papers competing effectively with their local chains throughout the Bay Area (seven, more than any other region), throughout the state from Chico to San Diego (22, more than any other state), and throughout the nation (126 in 42 states, with a total circulation of 7.5 million, and more coming all the time). There are even cities with two and three competing alternatives, and there are cities where the monopoly daily is forced by the real alternatives to create faux alternatives to try to compete (it doesn’t work). And alas, there is now a Village Voice–New Times chain of 17 papers in major markets, including San Francisco and the East Bay, that is abandoning its alternative roots and moving to ape its daily brethren.
Jean and I met at the University of Nebraska at Lincoln in 1957. Two friends and I were driving around Lincoln one fine spring day, drinking gin and tonics, which were drawn from a tub of gin and tonic that we had mixed up and stashed in the trunk of our car. We happened upon Jean and her younger sister, Catherine, who had come from a Theta sorority function and were standing on a street corner waiting for their mother to pick them up and take them to the Dibble family home in nearby Bennet (population: 412). We stopped, convinced them to ride with us, and got them safely home. They declined our offer of gin and tonics, as did their astonished parents and grandmother when we arrived at the Dibble house.
Jean and I made a good team. We both had small-town Midwestern values and roots in family-owned small-business. Her father owned lumberyards in small towns in southeast Nebraska. Her maternal grandfather founded banks in Kansas and Nebraska and was the state-appointed receiver for failed banks in Kansas during the Depression. Her paternal grandfather owned a grocery store in Topeka, Kan. Jean had the business background and the ability to create a solid start-up plan — she was a graduate of the Harvard-Radcliffe Program in Business Administration and had worked in San Francisco for Matson Navigation as well as Hansell Associates, a personnel firm.
I was the son and grandson of pioneering pharmacists in Rock Rapids, Iowa. (Population: 2,800. Slogan: “Brugmann’s Drugs. Where drugs and gold are fairly sold. Since l902.”) I had the newspaper background, starting at age l2 writing for my hometown Lyon County Reporter (under the third-generation Paul Smith family); going on to the campus paper (which we called the Rag) and then the Lincoln Star (under liberal city editor “Sterl” Earl Dyer and liberal editor Jimmy Lawrence); getting a master’s degree in journalism at Columbia University in New York City; and then working at Stars and Stripes in Korea (dateline: Yongdongpo), the Milwaukee Journal (where I got splendid professional training at one of the top 10 daily papers in the country), and the Redwood City Tribune (where I plowed into some of the juicy Peninsula scandals of the mid-l960s in bay fill, dirt hauling, and the classic Pacific Gas and Electric Co.–Stanford University Linear Accelerator battle). To those who ask how Jean and I have worked together for 40 years, I just say we have complementary abilities: she handles the bank, and I handle PG&E.
Not only did I find my partner at the University of Nebraska, but I also got the inspiration for the Guardian. In fact, I can remember the precise moment of truth that illuminated for me the value of an alternative paper in a city with a monopoly daily press (then, in Lincoln, a JOA between the afternoon Lincoln Journal and the morning Lincoln Star) that was tied into the local power structure, then known as the O Street gang (the local business owners along the downtown thoroughfare O Street). The O Street gang was so quietly powerful that it once decided to fire the Nebraska football coach before anyone bothered to notify the chancellor.
As a liberal Rag editor in the spring of 1955, I had just put out an important front-page story on how one of the most controversial professors on campus, C. Clyde Mitchell, who had been under fire for years from the conservative Farm Bureau and others because of his liberal views on farm policy, was being quietly axed as chair of the agricultural economics department.
We had gotten the tip from one of Mitchell’s students and had confirmed it by talking to professors in his department who had attended the meeting where the quiet firing was announced by Mitchell’s dean. Our lead story was headlined “Ag Ex Chairman Mitchell said relieved of post, outside pressures termed cause.” And I wrote a “demand all the facts” editorial arguing in high tones that “any attempt to make professors fair game for irresponsible charges, any attempt by pressure groups unduly to influence the academic position of university personnel … is an abridgment of the spirit of academic freedom and those principles of free communication protected by the Constitution and the Bill of Rights.” It was a bombshell.
The Lincoln Journal fired back immediately with a classic daily front-page story seeking to “scotch” the nasty rumors started by that pesky Rag on the campus. The story had all the usual recognizable elements: it did not independently investigate, did not quote our story properly, did not call us for comment, took the handout denial from the university public relations office, and put it out without blushing. Bang, that was to be the end of it, on to the next press release from the university.
It made me mad. I knew our story was right, the daily story was wrong, and the story was important and needed to be pursued. And so I stoked up a campaign for the rest of the semester that ultimately emboldened Mitchell to make formal charges that the university had violated his academic freedom. He gave us the scoop for two rousing final editions of the Rag. The proper academic committee investigated and upheld Mitchell but dragged the case out and waited until I graduated to release the report.
Against the power structure and against all odds, Mitchell, the Rag, and I had won the day and an important victory on behalf of academic freedom in a conservative university in a conservative state during the McCarthy era. During this battle I learned how the power structure fights back against aggressive editors. At the height of my campaign defending Mitchell, I was kept out of the Innocents Society, the senior men’s honorary society, although my four subeditors and managers all made it in. The blackball, the campus rumor went, came directly from the regents president, J. Leroy Welch, then president of the Omaha Grain Exchange (known to our readers as the “Old Grain Head”), via the chancellor via the dean of men.
I am forever indebted to them. They taught me at an impressionable age about the power of the alternative press and why it is best exercised by an independent paper on major power structure issues. They also taught me a lot about press freedom, which they were trying to grab from the Rag and me, and how we had to fight back publicly and with gusto.
When Jean and I founded the Guardian, we did so in the spirit of my old Rag campaigns. In fact, we borrowed the line from the old Chicago Times and put it on our masthead: “It is a newspaper’s duty to print the news and raise hell.” We wanted a paper that would be willing and able to do serious watchdog reporting and take on and pursue the big stories and issues that the monopoly dailies ignored — and then were ignored by the radio, television, and mainstream media that take their news and policy cues from the Ex and Chron. In JOA San Francisco that was a lot of stories, from the PG&E Raker Act scandal to the Manhattanization of the city to the theft of the Presidio to the steady conservative downtown drumbeat on such key issues as taxes, social justice, the homeless, privatization, war and peace, and endorsements.
Significantly, because of our independent position and credibility, we were able to lead tough campaigns on public power, kicking PG&E out of a corrupted City Hall and putting a blast of sunlight on local government with the nation’s first and best Sunshine Ordinance and Sunshine Task Force.
Our first big target in our prototype issue was the Ex-Chron JOA agreement, which we portrayed in an editorial cartoon as two gigantic ostrich heads coming out of a single ostrich body, marked in the belly with a huge dollar sign. Our editorial laid out the argument that we have used ever since in covering the local monopoly and in positioning the Guardian as the independent alternative. “What the public now has in San Francisco, as it does in all 55 or so of 1,461 cities with dailies, is a privately owned utility that is constitutionally exempt from public regulation, which would violate freedom of the press. This is bad for the newspaper business and bad for San Francisco.”
The Guardian prospectus, used to raise money for the paper, bravely put forth our position: “A good metropolitan weekly, starting small but speaking with integrity, can soon have influence in inverse proportion to its size. There is nothing stronger in journalism than the force of a good example.”
It concluded, “The Guardian can succeed, despite the galloping contraction of the press in San Francisco, because there are many of us who feel that the newspaper business is a trade worth fighting for. That is what this newspaper is all about.” And we quoted the famous phrase used by Ralph Ingersoll in the prospectus for his famous PM newspaper in New York: “We are against people who push other people around.”
Our journalistic points were embarrassingly timely. A year before the Guardian was launched, Hearst and the Chronicle had formed the JOA with the Examiner and killed daily newspaper competition in San Francisco. The two papers combined all their business operations — one sales force sold ads for both, one print crew handled both editions, one distribution crew handled subscriptions and got both papers out on the streets. The newsrooms were supposedly separate — but as we pointed out over and over at the time and ever after, the papers lacked any economic incentive to compete.
The San Francisco JOA became the largest and most powerful agreement of its kind in the country, and San Francisco was the only top-10 market in the country without daily competition.
This was all grist for the Guardian editorial mills because the JOAs, most notably the recent SF JOA, were in serious legal trouble. The US attorney general was successfully prosecuting a JOA in Tucson, Ariz., claiming the arrangement was a violation of antitrust laws. Naturally, the local papers were blacking out the story. But if the Tucson deal was found to be illegal, the Chron and Ex merger would be illegal too — and the hundreds of millions of dollars the papers were making off the arrangement would be gone.
The JOA publishers, led by Hearst and the Chronicle, quietly started a major lobbying campaign in Washington for emergency passage of a federal law that would retroactively legalize their illegal JOAs. They called it the Newspaper Preservation Act. Meanwhile, the late Al Kihn, a former camera operator for KRON-TV (which was at the time owned by the Chronicle), had prompted the Federal Communications Commission to hold hearings on whether the station’s license should be renewed. His complaint: his former employer was slanting the news on behalf of its corporate interests. We pounced on these stories with relish.
For example, in our May 22, 1969, story “The Dicks from Superchron,” we disclosed how private detectives under hire by the Chronicle were probing Kihn’s private life and seeking to gather adverse information about him to discredit his complaint and to “harass and intimidate him,” as we put it. Later, I found that the Chronicle-KRON had also hired private detectives to get adverse information on me.
I was a suspicious character, I guess, because I had gone to the KRON building to check the station’s public FCC file on the Kihn complaints, the first journalist ever to do so. The way the story came out at a later hearing was that the station’s deputy director left the room as I was going through the records and called Cooper White and Cooper, then the Chronicle’s law firm. An attorney called their investigators, and four cars of detectives were pulled off other jobs and ordered to circle the building until I came out and then follow me when I left the station to return to my South of Market office. They also surveilled me for several months and even sent a detective into the office posing as a freelance writer. (The head of the detective agency and I later became friends, and he volunteered that I was “clean.” He gave me a pillow with a large eye on it that said “You are being watched.” I displayed it proudly in my office.)
Kihn and I were asked to testify before a Senate committee about the Chronicle-KRON’s use of private detectives at hearings on the Newspaper Preservation Act in Washington in June 1969. I took the occasion to call the legislation “the bill for millionaire crybaby publishers.”
I detailed the subsidies in their special interest legislation: “amnesty, immunity from prosecution, monopoly in perpetuity, the legal right to gun down what few competitors remain, and as the maraschino cherry atop this double-decker sundae, anointment as the preservers and saviors of the newspaper business.” And I summed up, “If you plant a flower on University of California property or loose an expletive on Vietnam, the cops are out of the chutes like broncos. But if you are a big publisher and you violate antitrust laws for years and you emasculate your competition with predatory practices and you drive hundreds of newspapers out of business, then you are treated as one of nature’s noble men. And senators will rise like doves on the floor of the US Senate to proffer billion-dollar subsidies.”
After I finished, Sen. Everett Dirksen (R-Illinois) rose as the first dove and characterized my testimony as “quite a dramatic recital” but said that I had not provided a “workable, feasible solution.” Sen. Philip Hart (D-Michigan) recommended that the publishers ought to “read their own editorials and relate them to their business practices.” Morton Mintz, who covered the hearing for the Washington Post, came up and congratulated me. His story, with my picture and much of my testimony, was on the front page of the Post the next day.
Back in San Francisco the Chronicle published a misleading short story in which publisher Charles de Young Thieriot avoided admitting or denying the detective charge and added he had no further comment. Less than a week later, Thieriot wrote the Senate subcommittee and admitted to the charge, saying the use of the detectives was “entirely reasonable and proper.” This statement, which contradicted his statement in his own paper, was not reported in the Chronicle. The “competing” Examiner also reported nothing — neither the original private detective story nor the Washington testimony nor the Thieriot admission.
Nor did either paper report anything about the intensive JOA lobbying campaign headed by Hearst president Richard Berlin, who twice wrote letters to President Richard Nixon threatening the withdrawal of JOA endorsements in the l972 presidential election if he refused to sign the final bill. This episode illustrated in 96-point Tempo Bold the pattern of Ex and Chron suppression and obfuscation they used to advance their corporate agenda at the expense of the public interest and good journalism, all through the years and up to Hearst’s current monopoly maneuvers with Dean Singleton and the Clint Reilly antitrust suit to stop them.
Perhaps the most telling incident came when Nicholas von Hoffman, in his Washington Post column that was regularly run in the Chronicle, called the publishers “as scurvy as the special interests they love to denounce.” He singled out the Examiner and Chronicle publishers, writing that they were “so bad that the best and most reliable periodical in the city is the Bay Guardian, a monthly put out by one man and a bunch of volunteer helpers.” Neither paper would run the column, and neither paper would publish it as an ad, even when we offered cash up front. “The publisher has the right to refuse to run anything he wants, and he doesn’t have to give a reason,” the JOA ad rep told us. The Guardian of course gleefully ran the censored column and the censored ad in our own full-page ad.
On July 25, l970, the day after Nixon signed the Newspaper Preservation Act, the Guardian filed a major antitrust action in San Francisco attacking the constitutionality of the legislation and charging that the Ex-Chron JOA had taken the lion’s share of local print advertising, leaving only crumbs for other print publications in town. We battled on for five years but finally settled because the suit became too expensive. The Examiner and Chronicle continued to black out or marginalize the story, but they and the other JOA papers gave Nixon resounding endorsements in the l972 election even though he was heading toward Watergate and unprecedented disgrace.
Well, in October 2006 the mainstream press is a different creature. Hearst and publisher Dean Singleton are working to destroy daily competition and impose a regional monopoly. The Knight-Ridder chain is no more, and the McClatchy chain has turned the KR remains into what I call Galloping Conglomerati. Even some alternatives, alas, are now getting chained. Craigslist has become a toxic chain. Google, Yahoo!, and Microsoft (known as GYM in the online world) are poised to swoop in on San Francisco and other cities throughout the land to scoop up the local advertising dollars and ship them as fast as possible back to corporate headquarters on a conveyor belt.
I am happy to report on our 40th anniversary that the Guardian is aware of the challenge and is gearing up in the paper and online to compete and endure till the end of time, printing the news and raising hell and forcing the daily papers to scotch the rumors coming from our power structure exposés and our watchdog reporting. The future is still with us and with our special community and critical mission, in print and online. See you next year and for 40 more. SFBG
STOP THE PRESSES: As G.W. Schulz discloses in “A Tough Pill to Swallow,” (a) Hearst Corp. was fined $4 million in 200l by the Justice Department for failing to turn over key documents during its monopoly move to purchase a medical publishing subsidiary, the highest premerger antitrust fine in US history, according to a Justice Department press release; (b) Hearst was also forced by the the Federal Trade Commission to unload the subsidiary to break up its monopoly and disgorge $l9 million in profits generated during its ownership; (c) Hearst-owned First DataBank in San Bruno was alleged in the summer of 2005 to have inflated drug costs by upward of $7 billion by wrongly presenting drug prices, according to a lawsuit reported in a damning lead story in the Oct. 6 Wall Street Journal. Hearst blacked out the stories. And the Dean Singleton chain circling the Bay Area hasn’t pounced on the stories as real daily competitors used to do with fervor.
STOP THE PRESSES 2: SOS alert to the city and business desks of the “competing” Hearst and Singleton papers: here are the links to the key documents cited in our stories, including federal court records of the Oct. 6 Boston settlement with the Hearst-owned First DataBank (www.hagens-berman.com/first_data_bank_settlement.htm), the Justice Department’s antitrust fine of Hearst in 200l (www.usdoj.gov/atr/cases/indx330.htm), and the Federal Trade Commission decision requiring Hearst to give up its monopolistic subsidiary, Medi-Span (www.ftc.gov/bc/healthcare/antitrust/commissionactions.htm).

Or you can read the Guardian each week in print or online.

Politics, beauty, and hope in the Guardian’s arts pages


Forty years of fighting urbicide — and promoting a very different vision of a city

NOISE: Stinging, singing courtesy of Matt Bauer

0

Don’t hate Bay Area singer-songwriter Matt Bauer because he looks like a lost, somewhat menacing member of Neurosis. Hate him because he’s so damn good: the Kentucky native’s 2004 disc, Nandina, was frickin’ amazing, and his latest EP, Wasps and White Roses, featuring Jolie Holland, is equally excellent. Nick Drake, Iron and Wine’s Sam Beam, and all ye guitarsmiths, look out.

mattbauer.jpg

Bauer performs with Tarnation and Peggy Honeywell on Tuesday, Oct. 17, at 9:30 p.m. at Hemlock Tavern, SF. $7.

TUESDAY

0

Event

Ed Halter

What is war good for? Besides lining the pockets of Dick Cheney’s fun bunch, it’s sure done a lot for the video game industry. Village Voice critic Ed Halter makes two local stops with his new book, From Sun Tzu to Xbox: War and Video Games. His multimedia lecture explores “war gaming in the new world order.” (Cheryl Eddy)

7:30 p.m.
PFA
2575 Bancroft, Berk.
$4–$8
(510) 642-5249
www.bampfa.berkeley.edu.

Also Sat/21, 8:30 p.m.
Artists’ Television Access
992 Valencia, SF
$5
www.othercinema.com

Music

Tarnation

There’s a painting from the ’30s by Thomas Hart Benton called The Ballad of the Jealous Lover of Lone Green Valley, in which a farm town in the American West reveals its ugly underbelly in the form of a drunken man threatening a woman with a knife. The landscape swoops and swirls with a brooding menace. Local country weepers Tarnation write songs for such occasions. Possessing a voice that smokes and drifts, melancholic balladeer Paula Frazer will introduce you to loves gone wrong and lives gone sour while the band dumps you knee-deep in the most forlorn corner of the lonesome desert. (Todd Lavoie)

With Peggy Honeywell and Matt Bauer
9:30 p.m.
Hemlock Tavern
1131 Polk, SF
$6
(415) 923-0923
www.hemlocktavern.com
www.paulafrazer.com

MONDAY

0

Event

Black Panther DVD release

Celebrate the 40th anniversary of the Black Panther Party’s inception at a DVD release party for What We Want, What We Believe: The Black Panther Party Library, produced by Roz Payne of Newsreel, the 1960s independent filmmaking collective. Payne screens selections from the four-disc set, which includes exclusive material from her extensive archives of FBI documents. Former Panters join the filmmaker in conversation. (Deborah Giattina)

7:30 p.m.
AK Press Warehouse
674-A 23rd Street, Oakl.
Donations accepted
(510) 208-1700
www.akpress.org

Music

Ladytron

Back in 2001, when Liverpool electro wizards Ladytron released their debut album, 604 (Emperor Norton), hipsters everywhere seemingly decided they had found the perfect backdrop for shopping. Little wonder: the band spun stylishly retro synth sounds from the new wave and disco eras and welding them to a more rockish sensibility, crafted catchy, inventive pop songs about love, sex, and yes, shopping. Since then, Ladytron have incorporated denser, gloomier textures and occasional blurs of buzz saw guitars into their sound, culminating in the spellbinding melodrama of 2005’s Witching Hour (Rykodisc). (Todd Lavoie)

With Cansei de Ser Sexy
8 p.m.
Fillmore
1805 Geary, SF
$25
(415) 346-0600
www.livenation.com
www.ladytron.com

SUNDAY

0

Dance

Savage Jazz Dance Company

Do you know what jazz dance is? For Reginald Ray Savage, who took it upon himself to let the Bay Area see what he considers jazz dance when he founded his Savage Jazz Dance Company 14 years ago, the definition is simple: jazz dance is what gets performed to jazz music. His musical taste is immaculate and never better than in the current premiere: Everything’s Everything is all based on Miles Davis. (Rita Felciano)

3 p.m.
ODC Theater
3153 17th St., SF
$15–$25.
(415) 863-9834
www.odctheater.org

Also Oct. 19–21, 8 p.m.; Oct. 22, 3 p.m.
Malonga Casquelourd Center for the Arts
1428 Alice, Oakl.
$14–$19
1-866-558-4253, (415) 256-8499

Music

Vagabond Opera

Somewhere in the Pacific Northwest, there run two rivers, one of vodka and one of absinthe. Not found on any maps, they are known only to five men and one woman. The name of these musicians? Vagabond Opera. Fusing klezmer with sounds of the Balkans and the Rom, along with a peppering of belly dance, opera, and tango, these neo-cabaret fire starters roll out a rabble-rousing vision of globalization, 1920s-style. With the “Bay Area’s Premier Balkan Brass Band,” Brass Menazeri. (Todd Lavoie)

9 p.m.
Amnesia
853 Valencia
$7
(415) 970-0012
www.amnesiathebar.com
www.vagabondopera.com

SATURDAY

0

Music

Method Man

You’ve gotta be slightly touched, as we Irish say, to blow this off. Star of stage and screen Method Man touches down at Mezzanine, a club transformed into a curvy glass-and-wood venue where you can still get conveniently hammered. The stage looks worthy of Duke Ellington, and you might say Meth is Ellingtonian; if, as he says on “Say” — from his new Def-Jam joint, 4:21: The Day After — radio is squeezing him out in favor of vapid programming, it’s equally true that artistically, he’s above such mundane concerns. (Garrett Caples)

With Masta Killa and Inspectah Deck
9 p.m.
Mezzanine
444 Jessie, SF
$25
(415) 348-4656
www.mezzaninesf.com

Music/Benefit

“Raise Up”

It’s kind of become a fact of Bay life that the only time you’re gonna see an all-female DJ performance is at either an event specifically touted as such or a breast cancer benefit. So check out this breast cancer benefit, featuring wicked housemeisters Sharon Buck, Forest Green, Didje Kelli, DRC, and Ladyhouse. “Raise Up” is a stellar chance to hear a knockout lineup while doing your part during Breast Cancer Awareness Month. Proceeds go to the Carol M. Baldwin Breast Cancer Research Fund. (Marke B.)

9 p.m.–2 a.m.
Shine
1337 Mission, SF
$5–$10 donation
(415) 255-1337
www.shinesf.com

FRIDAY

0

Event

“Crime and Consequences”

Get inside the criminal mind for an evening with these devilishly deviant and devastatingly raw true-life accounts that are like crime scene photos in memoir form. “Crime and Consequences” is a gritty literary event that examines the dark world of crime and its effects as seen from perspectives varying from perpetrator to prey. This reading includes appearances by ex–SFPD Police Chief Prentice Earl Sanders and Bennett Cohen, coauthors of The Zebra Murders: A Season of Killing, Racial Madness, and Civil Rights; and Rachel Howard, author of The Lost Night, a chronicle of her father’s unsolved murder. (Hayley Elisabeth Kaufman)

6:30 p.m.
Hemlock Tavern
1131 Polk, SF
Free
(415) 923-0923
www.hemlocktavern.com

Music

Hank IV

Got a hankering for the bad ole days of walking, talking, pill-popping hillbilly proto-rockers? Or the wicked nights of their football-fried offspring and hard-bitten, mulleted grandkids? Sure you do. That’s why you’ve got to get down with Hank IV, San Francisco’s self-proclaimed bastard sons to the sticky throne of pop dissolution, motor oil headaches, garage rock heartbreak, and ear-bleed cacophony. This supergrope, comprising ex-members of Icky Boyfriends and Bum-Kon, has finally issued an initial, tasty slice of vinyl, Third Person Shooter (Hook or Crook). (Kimberly Chun)

With TITS, Nate Denver’s Neck, the Mantles, and Shellshag
9 p.m.
Elbo Room
647 Valencia, SF
$7
(415) 522-7788
www.elbo.com

Also Oct. 22, 2 p.m.
Amoeba Music
1855 Haight, SF
Free
(415) 831-1200

THURSDAY

0

Film

The Host

The Host is the best monster movie since the height of the Alien series, so director Bong Joon-ho is justified in referring to artist Jang Hee-chul as his H.R. Giger. The biggest domestic box office hit ever in South Korea, The Host is spooky, hilarious, poignant, and a not-too-subtle attack on US imperialism. You can see the movie — and creature effects by SF-based animators the Orphanage — months before its theatrical release thanks to this screening, part of the first annual SF International Animation Showcase. (Johnny Ray Huston)

7 p.m.
SF Museum of Modern Art
151 Third St., SF
$7.50–$11
(415) 561-5000
(415) 947-1292
www.sffs.org

Music

Mobius Band

Unrestrained guitar melodies matched to tepid moods and pop sensibilities — check. An arpeggiator program fluttering in a milieu of dense-sounding rhythms and monotone vocals — check. Though this instrumentation might have influential bands such as Kraftwerk dancing on the tip of your tongue, it’s gracing Mobius Band’s infectious avant-pop this time. The group mixed new-wavish pop with electronic swells on last year’s The Loving Sound of Static (Ghostly International). MB open for the National, indie rockers enjoying their own tidal wave of success. (Chris Sabbath)

With Baby Dayliner

9 p.m.
Great American Music Hall
859 O’Farrell, SF
$15
(415) 885-0750
www.musichallsf.com

Even wrong when right

0

By Steven T. Jones
Even when the Chronicle gets it right, they get it wrong. Political writers Carla Marinucci and Tom Chorneau scored a great story by discovering that Amos Brown — the SF pastor and former supervisor — had been paid $16,000 by the Schwarzenegger campaign prior to deciding to endorse Herr Governor. It was disgraceful and should shred any credibility that Brown had left. But then they screwed up the story by alternately labeling Brown a “liberal” and a “progressive,” when he was neither. As a supervisor, Brown was conservative and a reliable vote for downtown, and since then, he’s been shilling for the Republican-funded SFSOS and selling out his flock to conservative nutball Rev. Sun Myung Moon. Marinucci and other Chron writers also regularly prop up disgraced SFSOS head Wade Randlett. It’s telling of the Chron’s worldview that they consider Brown to be left of center.
The paper also did some PR work for the Schwarzenegger this morning by writing about the party for Virgin Airlines, despite the lack of news. The company doesn’t yet have permission to operate and it seemed mostly about demonstrating Arnold’s bipartisan appeal by putting him next to Mayor Gavin Newsom, where they each claimed credit for “creating 1,700 jobs.” Too bad the actual total, as reported by Fog City Journal, is just 100 jobs. Oh well, can’t let those pesky facts get in the way of good politics.

WEDNESDAY

0

Oct. 11

Film

MCCLA Video Fest
Filmmakers from nine countries submitted pieces for judgment in the Mission Cultural Center for Latino Arts Video Fest. Each film was to be representative of the artist’s view of the Latino community, and from the looks of it, no two views are remotely alike. The winning pieces, which range from fiction and experimental to documentary, will be shown in four programs this Wednesday and Thursday at the Roxie. For anyone who is interested in amateur filmmaking, this should prove to be a visual treat indeed. (Erin Halasey)

6:45 and 9 p.m.
Also Thurs/12, 7 and 9 p.m.
Roxie Film Center3117 16th St., SF
$8
(415) 863-1087
www.roxie.comwww.videofest.blogspot.com

Music

John Scofield plays the Music of Ray Charles

Jamie Foxx has already made a lucrative career out of impersonating Ray Charles, and I’m not sure how many Charles tribute acts we really need. That said, there’s nothing normal about the music of John Scofield. Scofield is one of the best and most unpredictable jazz guitarists working today. He has more than held is own while playing with heavyweights Miles Davis and Medeski Martin and Wood. In 2005, Scofield cut an album of Ray Charles covers, That’s What I Say (Verve), that blew both the Ray movie soundtrack (Atlantic/WEA) and Genius Loves Company (Concord) out of the water. Maybe after seeing this show you’ll think all the other Charles-related tributes are a bit pointless. (Aaron Sankin)

8 p.m.
Independent
628 Divisadero
$25
(415) 771-1421
www.independentsf.com
www.johnscofield.com

NOISE: Magic Christian, fer chrissakes

0

—– Forwarded Message —-
From: Paul Kopf
To: heidichiao@yahoo.com
Sent: Tuesday, October 10, 2006 11:47:44 PM
Subject: Magic Christian Show This Thursday, October 12 @ Red Devil Lounge

Hey there MC people…

Thanks to all who came out to last week’s Little Steven Underground show @ The 12 Galaxies..It was such a total blast!!Great to play in SF to a packed crowd..I know Cyril appreciates it. Happily, we get another opportunity to play another cool SF show this coming Thursday, October 12 @ The Red Devil Lounge ( http://www.reddevillounge.com) with Powell St. John and The Aliens and Joel Gion of the great Brian Jonestown Massacre’s new band ,The Dillantantes. So, should be a cool show.So, if you can, we’d love to see you there.Magic Christian are playing in the middle spot so we should go on around 10:00pm or so. Again sorry for the short notice about the shows but we’ve been real busy these days working night and day to get the new CD done, which will be ready to go with the coming year.!! See you Thursday….

Cheers!,
MC

Details…..

Who: Magic Christian with Powell St. John and The Dillantantes
When : This Thursday, October 12, 2006
Where : Red Devil Lounge
1695 Polk St.
SF
Time : 9:00pm

Cost: $ 8

Win, lose, or draw

0

FESTIVAL Anyone who assumes the San Francisco Film Society hibernates between springtime fests is sorely mistaken. Aside from all the preparations for next year’s landmark 50th SF International Film Festival, much year-round activity has been emanating from the organization’s Presidio headquarters, including a recent outdoor screening of giant-ant classic Them! Next up: the first San Francisco International Animation Showcase, three days of films at the San Francisco Museum of Modern Art. Clear your Oct. 12 calendar, for the only place your butt needs to be is sitting in a theater watching Bong Joon-ho’s The Host, without a doubt the monster movie of this year’s festival circuit. It features F/X by San Francisco’s own the Orphanage — and a giant, hungry, nasty sea creature riddled with political and social subtext. Oct. 14 heralds a pair of shorts programs: “The Kids Are Alright,” with award-winning student films like Sukwon Shin’s Rock the World (George W. Bush, Colin Powell, and … Journey?) and Luis Nieto’s ingeniously seamless live action–animation hybrid Carlitopolis, about a spectacularly resilient lab mouse; and “International Panorama,” with dynamic works from England, Iran, Japan, and beyond. The minifest wraps up with The Incredibles director Brad Bird’s 1999 The Iron Giant, which to everyone but diehard Pacifier fans remains Vin Diesel’s best family-friendly performance to date. (Cheryl Eddy)
www.sffs.org

Static shock

0

› a&eletters@sfbg.com
REVIEW When it premiered in New York two years ago, Sam Shepard’s latest play was timed to influence the outcome of the presidential election — an enticingly bold agenda. Of course, if you want to influence elections, as everybody understands by now, you need to be more than bold. You need to be Diebold. And anyway, what politician worries about what’s on an Off-Broadway stage? As political theater goes, Hugo Chávez calling George W. Bush the devil and sniffing out his sulfuric farts before the United Nations has much more oomph to it, in addition to getting at least as big a laugh. Chávez also backed up his warm-up zingers with a real political program. And he reads Noam Chomsky!
Two years and another flagrantly stolen election later, The God of Hell remains less interesting for any recyclable reference to the electoral contest between Democrats and Republicans (two packs squaring off again for dominance in the same corporate-owned kennel) than for the reflection in its bleak farce of something larger: an attempt to redraw the psychic and social landscape. Shepard’s ostensibly simple political broadside — whose call to alarm rings more with absurdist resignation than Brechtian defiance — has nonetheless a wily power curled up inside.
The play — sharply directed by Amy Glazer and leading off the 40th anniversary season of the Magic Theatre, Shepard’s old stomping ground — opens on the home of a dying breed: a Wisconsin dairy farmer and his wife. Emma (played with just the right suggestion of guileless good humor and native smarts by Anne Darragh) loves her indoor plants, which she compulsively waters to within an inch of their lives. Frank (John Flanagan), meanwhile, “loves his heifers,” as his affectionate wife readily explains to Frank’s old friend and their current houseguest, the jumpy and radioactive Graig Haynes (Jackson Davis), hiding from some unspecified disaster out west at a mysterious place called, in a name redolent of real-life nuclear disasters, Rocky Buttes. On the one hand, the couple looks primed to live happily heifer after. On the other, they appear stuck in a semiparadisial oasis amid unforgiving winter and a sea of agribusiness, isolated, alone, stoic, lonely, a little loony, and lost without knowing it — yet.
Emma is in the act of coaxing Haynes from the basement with some frying bacon when a stranger at the door interrupts her. As the pork sizzles, the man (Michael Santo), a business suit we later learn goes by the name Welch, appears to be selling a host of patriotic paraphernalia out of his attaché case. But his pushy demeanor quickly goes beyond the usual sales routine, his interest in Emma’s loyalty and her basement growing downright creepy, exuding an unctuousness and a sly arrogance that perfectly suggest the totalitarian turn in what Frank calls a “country of salesmen.” (Santo, whose face stretched into a thin grin bears an eerie resemblance to our real-life torturer-in-chief, is altogether perfect in the part.)
Shepard’s farmers, while purposefully cartoony, aren’t country bumpkins. Nor are they merely atavistic 1950s farmers, existing wholly in the past and detached from the present (as Welch, with telling condescension, likes to imagine them). Locally speaking, they are savvy and sure. (It’s no joke holding your own as an independent dairy farmer amid government-subsidized corporate behemoths.) Emma in particular is rooted to the very house itself, born on a patch of floor Hayes finds himself standing on at one point.
It’s the world beyond the farm and Wisconsin that the main couple find hard to grasp. In the play’s central irony, Frank and Emma tentatively mark the outer world by reference to a standard pop-cultural conspiracy narrative. But significantly, it’s just that laughable (at first) recourse to the formula of a TV thriller or sci-fi movie that points in the direction of the truth, helping Emma and Frank chart the terrain opened up by the arrival of Haynes and Welch. Long before his old friend resurfaces, Frank has already imagined for him, however vaguely, just the kind of intrigue and danger he turns out to have been undergoing. After passing the seeds of this narrative to his wife (who, as it were, dutifully overwaters them), Frank turns around and mocks her paranoia of government vehicles: “Dark cars. Suspicious. Tinted windows. Unmarked Chevies. Black antennas bowed over.” But we already know she’s right. The terrain of conspiracy, like the empire it limns, stretches in all directions, making borders meaningless except as a demagogic strategy in Welch’s fascist, state-centered patriotism.
The play invokes borders mainly to undermine, comically deflate, or cynically manipulate them. The overall and overwhelming implication is their irrelevance to an imperial might that recognizes no boundaries in the exercise of its will (things don’t need to escalate far before Welch threatens to send a bunker buster through Emma’s kitchen window). The vastness of the system confronting Emma and Frank comes across most dramatically in the unstoppable reach of plutonium — named after Pluto, the god of hell — which here serves as both a literal threat of the system and the ideal metaphor for its poisonous, apocalyptic reach. It’s this geography (real, metaphorical, potential) that the play wants us to pay attention to, since survival depends on some grasp of the lay of the land. SFBG
THE GOD OF HELL
Through Oct. 22
Tues.–Sat., 8 p.m.; Sun., 2:30 p.m.
Magic Theatre
Fort Mason Center, bldg. D, Buchanan at Marina, SF
$20–$45
(415) 441-8822
www.magictheatre.org

In bed with the Long Winters

0

It’s become popular to characterize the Long Winters’ John Roderick as an intellectual ronin of sorts: a librarian without master who travels the countryside lending his songs and wisdom to brainy 826 benefits. Others reject this stuffy veneer outright, preferring to embrace him as a lovable vaudevillian rogue of the “song, dance, seltzer down the pants” variety.
Still, Roderick is well aware of his reputation as a mysterious dude, explaining, “It’s never been clear, even to the people close to me, whether or not I might actually be an emotionally abusive, exploitative, drunken rapist posing as a sensitive singer-songwriter, and that’s an ambiguity that I cultivate.”
His band, the Long Winters, are back with their third album, Putting the Days to Bed (Barsuk), a sonic patchwork of lust, architecture, rock ’n’ roll love children, and memories of lovers past that defy destruction. Maybe. Roderick writes to ensure that his lyrics don’t bind the listener with logistical detail, preferring to provide softly focused emotional Polaroid photos. “What I’m shooting for is that the listener be able to recall their own stories — when they felt the same way,” he says. With mentions of everything from teaspoons to retired Air Force pilots, however, come fans usually seeking interpretational guidance. Why not indulge listeners with answers? “No one really wants me out in the parking lot after a show explaining my lyrics” he deadpans. “Even if a few people might think they do.”
The crazy thing is, it actually works. On “Teaspoon,” rituals of courtship, “the way that she smiles me down,” careen past as a horn section trumpets the start of a new relationship. Even if the lady in question “claims to be clowning,” the mood is clear, the butterflies in the stomach already swirling. Putting the Days to Bed’s best moment is the wistfully gorgeous “Seven,” a song that lies on its back in tall grass, staring at the sky and hoping against hope to see a lost lover’s face in the clouds. “Would you say that I/ Was the last thing you want to remember me by?” Roderick wonders aloud.
It’s this kind of masterfully eloquent longing that has built the Long Winters no small amount of indie fame. Yet while appreciative of the kudos, Roderick quickly reduces them to a digestible perspective: “I think the Long Winters fall somewhere between it being OK for us to sample some crackers from the deli tray of the Wrens without getting our hands slapped but not so far as to get drunk and spill guacamole on Sufjan Stevens’s pants.” (Kate Izquierdo)

More of Kate Izquierdo’s interview with Long Winters’ John Roderick.

LONG WINTERS
With What Made Milwaukee Famous and the Vasco Era
Fri/13, 9 p.m.
Cafe du Nord
2170 Market, SF
$12
(415) 861-5016
www.cafedunord.com

Sweet dreams

0

› kimberly@sfbg.com
“It definitely contributes to this kind of cavelike, sort of womblike environment up here.”
Tom Carter is surveying his kingdom, a.k.a. the Oakland apartment he shares with his partner, Natacha Robinson, and we both try to make the connection between Charalambides, his 15-year-old duo with ex Christina Carter, and the hundreds of Playmobil figurines that populate damn near every surface around him. The only Playmobil-free space seems to be Carter’s cranny-cum-closet-cum-studio housing a computer equipped with Pro Tools and sundry plug-ins that simulate analog effects. Otherwise the Lego-like pieces cover his mantles, bookshelves, lintels, and alcoves, reenacting the Crusades, banquets, pirate ship scenes, you name it. In front of Carter on the table is Robinson’s latest tableau in progress: a petite pair of anthropomorphized mice in wedding garb, fashioned from Sculpey, next to a pile of teensy clay food.
It’s a distracting collection, yet the multitudes also seem to mirror Carter’s prodigious creative output: in addition to Charalambides — which most recently released one of the more straight-laced recordings of its lifespan, A Vintage Burden (Kranky), an almost slow-fi folk album that manages to be both haunting and achingly beautiful — Carter is in Badgerlore (the Bay Area supergroup of sorts with Seven Rabbit Cycle’s Rob Fisk, Six Organs of Admittance’s Ben Chasny, Yellow Swans’ Pete Swanson, Grouper’s Liz Harris, and Skygreen Leopards’ Glenn Donaldson); Zaika with Marcia Bassett of Double Leopards; Kyrgyz with Loren Chasse and Christine Boepple of the Jewelled Antler Collective and Robert Horton; and various stirring CD-R projects with solely Horton (the latest, Lunar Eclipse [Important], collects 73 minutes of terrifying drone, conjured with the aid of e-bow, boot, vibrator, and field recordings). All of which led Carter, who also records other musicians regularly and continuously toils on live CD-Rs, to quit his job as a manager at Berkeley’s Half Price Books in order to concentrate on performing live with Charalambides, which plays its first show in the Bay Area this week since Carter moved to town in 2004. The duo has also lined up fall dates at Arthur Nights in LA and All Tomorrow’s Parties in the UK.
There’s obviously a lot on Carter’s plate — we’re not even going to start with the dusting. But Carter is no one’s toy, despite his laid-back style and acid-washed drawl and the fact that Charalambides is now catching a second wind of attention from publications like Wire after putting out vinyl-only recordings throughout the last decade on respected underground imprint Siltbreeze.
Carter began Charalambides in 1991 with fellow Houston record store employee Christina after playing in “pretty goofy” bands like Schlong Weasel. (They named the band after a Greek surname noticed on a shopper’s check; “it was supposed to be evocative but doesn’t mean anything,” he explains.)
“I probably would have met her anyway,” Carter says now of their fateful encounter. “I knew all her boyfriends.” Nonetheless the two were wed, becoming creative partners.
Houston at that time was a hotbed of “superweird experimental stuff,” Carter says. “It was sort of grunge-influenced in a way, but it was sort of psychedelic and bizarre. People just making odd decisions based on drug use and volume.”
Third Charalambides members would come and go, like guitarist Jason Bill and pedal steel player Heather Leigh Murray, but the Carters were constants, even after they broke up in 2003. The 2004 album Joy Shapes (Kranky) documents the split. “It was kind of an intense record to make and kind of intense to listen to,” remembers Carter. “Exhausting to listen to and just exhausting all around.”
Developing their songs through improvisation and then overdubbing parts over the sounds, Charalambides dropped in and out of dormancy until 2000, mostly, Carter says, because “we were never really comfortable as a live band.” The group started to make music with an eye to performance. “We always wanted things to be somewhat formless when we approached a song, but at the same time, we wanted to kind of know what we were doing so it would actually exist as a song. What was the minimum thing you could have in a song and it still be a song?” Vintage Burden turned out to be their first “duo record” in ages, a return to the way the pair had once worked, producing sprawling psychedelic numbers, with one notable difference. Christina, who now lives in Northampton, Mass., wrote all the songs before Carter flew to her home to record on her eight-track Tascam digital recorder. Working on music was easy, he says. “Neither one of us is a particularly grudge-bearing person.”
Keep the grudges for movie-house sequels. Currently listening to ’60s West Coast rock groups like the Byrds and the Grateful Dead in addition to peers and pals like the Yellow Swans and Skaters, Carter might be considered the kick-back link between hippie experimentation of the past and the transcendent aggression of the present. “I do consider myself part of the tradition of Texas–West Coast transplants,” he says mildly. Why do so many Texans turn up on these shores? “I dunno. It’s a place to smoke weed in peace. Ha-ha-ha.” SFBG
CHARALAMBIDES
With Shawn McMillen, Hans Keller,
and Feast
Mon/16, 9 p.m.
Bottom of the Hill
1233 17th St., SF
$7
(415) 621-4455
www.bottomofthehill.com
Also Tom Carter–Shawn McMillen duo, Sean Smith, and Christina Carter
Tues/17, 8 p.m.
21 Grand
416 25th St., Oakl.
$6
(510) 44-GRAND
21grand.org

Smile when you say “mockney”

0

› a&eletters@sfbg.com
For those of you living in a cool-free cave out by the FM tower, Lily Allen is hot property. Her first single, the ska-tinged “Smile,” has topped Britain’s charts and has been oozing out of iPods and shopping malls alike as the song of the summer across Europe.
Allen’s album, Alright Still (Regal/Parlophone), is a collection of rocksteady pop that veers between sweet crooning and sassily blunt day-in-the-life raps à la “Cool for Cats.” (In fact, she covered Squeeze, citing “Up the Junction” as a favorite song.) Like Squeeze lyricist Chris Difford, Allen doesn’t shy away from the seedier side of London life, taking on would-be suitors in bars, catty girls in clubs, the occasional crack whore, and an obvious favorite, the loser ex-boyfriend. On “Smile” she laments, “When you first left me I was wanting more/ But you were fucking that girl next door/ What ya do that for.”
Humor is indeed one of the sharpest weapons in Allen’s arsenal, adding a layer of verboten wit to her otherwise radio-friendly dancehall beats. It’s not the first time that ska has infiltrated mainstream airspace, but where Gwen Stefani plays an edgy vixen of the runway, Allen comes across as the sexy, streetwise girl next door, more clubhouse than penthouse — an urban chanteuse with a penchant for strapless sundresses, throwback fly-girl gold ropes, and downtown kicks.
Shortly after signing her deal with Parlophone in September 2005, Allen started a MySpace account and began using the site to test her demos in front of the general public “just to see what people’s reaction was to them. And it was pretty good,” she explains on the phone from London. “I think that gave the record company more confidence in me than they probably would have without it.” “Pretty good” is an understatement, with her plays now exceeding four million, her “friends” nearing the 80,000 mark, and GQ calling her “the first lady of MySpace.” Followers also hit Allen’s account to read the brutally honest, sometimes hilarious blog updates that chronicle her ascent to pop stardom.
One such entry finds her attacking the bottle to calm her nerves before performing in front of 30,000 people at a festival — and getting so drunk that her management sends her home in a car, where she finds that she has no keys and must sit in a gold ball gown in the middle of her street. These tales of transformation — her gilded coach seems in constant danger of reverting to a pumpkin — endear her to a dedicated throng of fans who respond to her words with comments numbering in the hundreds and sent her single to the top of the charts for several weeks running.
But not everyone loves Allen. Speaking and singing in a decidedly unposh London accent on songs like “LDN,” a bouncy, carnival brass band romp, has caused her to be ridiculed as “mockney,” for fronting a ghetto background. (Her father is comic actor Keith Allen, and her mother is a successful film producer.)
Obviously tired of these accusations, she fires back, “My mum came to London with absolutely no money, a daughter at the age of 17 years old, no job, nothing. We lived in a council flat, which is like the projects in America, so I get a little insulted when people say, ‘Oh, she’s a middle-class girl who hasn’t experienced anything.’”
Allen has also been labeled a man hater for her lyrics about men, arrogant for her commentary on icons like Madonna, and overly vain for her choice of clothing. She thinks she knows why. “I’m a 21-year-old girl, and I speak my mind,” she retorts. “I’m not going to film premieres in revealing dresses and having my photo taken and giving [journalists] nice little sweet sound bites about how brilliant everything is.”
As formidable as her detractors would like to seem, however, they’re no match for the album-buying fans who, Allen is happy to report, have snapped up “300,000 already.”
One of the album’s tracks, “Friday Night,” is a rude-girl meeting in the ladies’ room in which horn blasts straight out of the Skatalites’ “Guns of Navarone” echo and obnoxious scenesters make Allen’s night out a living hell. She isn’t having it and informs the snotty girls, “Don’t try and test me cos you’ll get a reaction/ Another drink and I’m ready for action.” “It’s funny how people completely misunderstand that song and think it’s about me being aggressive towards others,” she says softly. “It’s actually about hating that kind of bravado in other people.” There’s little such cockiness when Allen confirms that she “can’t wait” to start her club tour of the States, where she has already surpassed mere Britpop buzz, poised to prove her worth as the lone jewel in the pawnshop of throwaway starlets. SFBG
LILY ALLEN
Thurs/12, 9 p.m.
Popscene
330 Ritch, SF
$12 (all tickets sold at the door; ticket vouchers will be distributed at 8:30 p.m.)
(415) 541-9574
www.popscene-sf.com

Breakfast with Dr. Bish

0

This weekend brings a major event: the rare return of Bruce Baillie — whose visions of San Francisco are just as brilliant and uncanny, if not as famous, as Alfred Hitchcock’s — to a movie screen in the city. Contemporary filmmaker Apichatpong Weerasethakul, the director making the most revelatory commercial features today, cites Baillie as his favorite experimental filmmaker. Though Baillie primarily made short films, the philosophical rivers of beauty that run between their works are deep. The moment seemed more than right for a conversation between Baillie and filmmaker Michelle Silva, who helps run Canyon Cinema, one of the two organizations (along with SF Cinematheque) that Baillie founded. They got on the phone and let the tape roll. SFBG We’re recording. BRUCE BAILLIE How do they say that in the industry? SFBG “For quality assurance, we’re recording this conversation.” BB Well, for the recorder’s sake, I might be mumbling a little, because I’m still eating my second bowl of cereal. It’s the famous Dr. Bish’s elixir, which all filmmakers require. SFBG You’ve built a monumental body of cinema now housed in our Library of Congress. You’ve also founded two distinguished organizations, the avant-garde film distributor Canyon Cinema and the experimental film and video exhibitor San Francisco Cinematheque, which both began in your own backyard over 40 years ago. At the beginning, did you have any forethought about the significance of your work and the movement you would initiate? BB To give a generic response, probably not. People don’t operate that way generally. Adolf Hitler probably had a pretty grand idea at the beginning, but it was ill founded. Theater was always one of the bases. I was very taken by Balinese theater and Noh theater. Also [Jean] Cocteau’s admonishments that all theater must arise from local familiarity. We had all those ingredients there, almost like baking bread, and it did arise very nicely and warmly and simply. We had a theater in the woods with the neighbors coming over and putting up park benches. There was a big old willow tree by our house and conveniently, a hill behind that held the big surplus screen nicely. I always say to myself, “What is theater made of?” and it really is any collage collection of sticks and stones. It can be highly technical or it can be like the charred bones and the fire out in the desert of Mongolia. If it’s done with that kind of ancient mind-set, that kind of respect and adulation of the content — and also the Irish tradition of the manner of presentation — then you’re all right. It could be under the apple tree that I’m looking at now while we speak. I’m not too worried about all the modern stuff, aside from the problem of the way semiconscious people identify with the mere technology of it and become two-dimensional. Then you don’t have theater, you have President Bush at Harvard taking business administration. SFBG When I watch your films, such as Here I Am, the tightly framed faces reveal unconventional beauty. Could you talk about the people who do appear in your films? BB I will try … I’m going to have to wash the Bishery off my teeth. The only trouble with the Bish formula at breakfast is that it not only gives you thick ankles eventually if you keep eating it, but it’s also hard on the dentures or teeth. We don’t like to admit it on the labels. We have a big business shipping this stuff out of the house in a dehydrated form to all the filmmakers in the world. Especially in Asia, it’s very popular. We sent a batch to South Korea for a festival. I just got their booklet back, from a Dr. Kim. I didn’t realize she was such an esteemed colleague of the doctor here. Apparently the huge batch of dehydrated Bishery was rejected by most of the younger people there, who prefer their own diet, so they sent it up to North Korea. I don’t know what’s going to come of that. I might be able to save us from the bombs and everything they’re trying to throw over here. Anyway, avante, as my old friend would say — on to the question. There’s all kinds of references in our literature, especially, I suppose, in the holy works like the Gita and the writings of the Buddha, which run across the idea of direct perception. Just seeing. Or in the Bible, the Old Testament. Or the Tibetan teachings for the acolytes who were becoming monks and priests — they used to sit up above the road, maybe one at a time, and observe the faces coming up from the world below. For some reason, when most people take a camera in hand and click on a face, all they get is a two-dimensional representation. I don’t see why I’d wanna be satisfied by that. When you photograph, you photograph what is, not what is merely apparent or not. That’s the assignment, really, and it’s not completed and shouldn’t be exceptional. SFBG The spiritualism in your films, like Mass of the Dakota Sioux, Tung, and On Sundays, seems to be combined with a little bit of disdain for modern civilization. There’s that mixture. BB Well, there’s what Jesus called hatred of the world — which is something one might be able to teach his or herself along the way, to give up all the appearances and become one with the continuity of life flow itself. That’s a whole process. Some people, like myself, are born with a disdain, yes, for the world in that other sense. For example, my totem animal is a wolf, and I’ve never liked my neighbors. That’s a horrible thing, but I was born with that in my portfolio and I work with that every day. Some people really are very fond of going to the supermarket and the malls and are able to behave themselves when they’re buying a pair of shoes. Actually, whether they believe in it all or not doesn’t seem to come into any question, and overall it’s quite wonderful that they’re able to be not only very kind but loving with all of these comings and goings. To me, going to the aerodrome to pick up the Alaska Air number 387 is the most frightening kind of experience that anyone could have devised in purgatory. In my own case, since you’re asking me, this person, not someone else, about the images they project, the images are contaminated with not only a great universal love but at the same moment a great hatred for the goings on of worldly affairs and events and shapes and forms. So as I get into nature I find it less contaminated by man’s touch, but it’s also frightening in its own way, of course, with all the monsters at the edge of the world that are ready to devour you when you’re out on your sailboat in the Atlantic. And the tigers in the night and the ragings of the great beasties. SFBG In your work there will sometimes be a shot where the subject is the mist or the fog. Those two aspects cut together create a tension that has an emotional effect. How would you say your palette developed and matured over time? BB I lived my life with the camera and I deliberately took on nothing else. No family, which is the main thing one gives up to live that kind of life, and I lived en route, always on the move. Living in my car, just seeing and trying my best to get it through that little eyepiece, that little Bolex viewfinder — the first version, which was half the size of the later version. I can’t see through it anymore, it’s so small. There’s no reason at all to settle for anything less than a grand attempt at bringing back from the unknown what is there. The what is of this. Part of it can kind of humorously involve a practice that I used to throw out when I was teaching, that is, to learn to become invisible. I would line all my students up and say, “OK, everybody close their eyes,” and then I would run around the corner [laughs] and disappear. We’d go into it a little further, where I’d say, “What I really meant was we have to learn not to use the camera, just the way a policeman has to learn not to use his or her pistola.” It’s a weapon, a medium, that exists between self and other. One must become selfless, invisible, in order to relate to the other or vice versa. “When you meet the tiger on the trail, you become one with him instantly by your training so that there’s no fear.” Rather than ignorantly involving one’s self in confrontational relationships, one intelligently unifies the selfhood between the two appearances and it becomes one reality. That’s how you work with a Bolex. (Intro by Johnny Ray Huston; interview by Michelle Silva)

Subtle and sincere

0

› kimberly@sfbg.com
SONIC REDUCER Honestly, is sincerity back? And if not sincerity, then can we expect at least Bruce Springsteen, Thin Lizzy’s Phil Lynott, and that word-drunk, narrative-schwinging, Dylan–damaged breed of songwriter that you associate with a kind of East Coasty, epic rust belt, bar-band earnestness that freedom-rocked our worlds in the early ’80s? I know Bob Seger is back — please don’t make me listen to the new album.
You can be forgiven for assuming a J. Geils Band revival is schlumping right around the corner once you cock your vulnerable hearing aid to the Killers’ new album, Sam’s Town (Island). Am I the only one who thinks that someone at the label misread the memo and got the sponsor, whoops, the title wrong? “Sam’s Club” rolls off the tongue much more naturally. I mean, it’s pretty easy to read these songs — more Freddie Mercury and Bono than Bruce and John Cougar Mellencamp — as dispatches from some sorry rocker stuck deep in the aisles at a big-box discount retailer. “My List” — that’s gotta be about forgetting what you went in there for. “Why Do I Keep Counting?” doubtless involves bulk purchases of those butter horn megapacks. “For Reasons Unknown”: yeah, I also buy too much bargain toilet paper and then give half away to relatives — does anyone actually save money this way? “Bling (Confessions of a King)” — Sam’s Club isn’t just about pepperoni-pizza-flavored Combos, and hulking bottles of Motrin.
I don’t care what the Killers kids think — as ambitious and against type as it plays, Sam’s Town simply sucks. So I urge you, if you are truly in need of barfed-up visions of Dylan (and his more rocking imitators), to check out this year’s underacknowledged Wooden Wand and the Vanishing Voice opus, Second Attention (Kill Rock Stars). There is such a thing as being too prolific. Mr. Wand makes so much music that this one was easy to skip.
Another band of would-be rock gods from the all-boy school of Les Paul essentialism is the Hold Steady. Call me a girl, but I never got their shtick and just assumed they were snarky, annoyingly sarcastic smart-asses with prep-school blazers who were made to listen to too much anthem rock at an impressionable age. That is, until I actually saw them at CBGB’s during last year’s CMJ Music Marathon, playing their hearts out, looking like insurance adjusters taking their favorite Cheap Trick fast songs out for a spin.
Yup, it was one of those moments that make you punch the air with your fist, yell like a middle schooler, and pour beer over the guitarist’s Converse. Instantly, you reverted to the brain-dead, raving, ravaged die-hard rock ’n’ roll fan in full ear-bleed death roll — all you needed was a stingray to whip around and pierce you in the aorta so you could die happily, destroyed by the wilderness you’d always deep-down loved. Like an extremely famous TV crocodile hunter.
That performance — and maybe even the Hold Steady’s new Boys and Girls in America (Vagrant) — may be all that it takes to fluff your flaccid affection for stale Bruce Hornsby–style piano lines. Thus it was heartening to hear HS vocalist Craig Finn sounding so, er, out of it in the touring vehicle last week, stuck in traffic outside Atlanta. “Hopefully, I write about the highs and the hangovers,” he drawled. One KISS anecdote later and he was gone. Next up: Tad Kubler, who writes the band’s music.
Kubler assured me that HS have suffered — suffered Guided by Voices comparisons, thanks to the amount of spilled beer that drenches their stages. “Getting hurt onstage is definitely kind of a drag,” he offered. “I almost knocked myself out in Bowling Green, Ohio. Jumping over a railing, I caught my head on monitors that I didn’t see over the stage. Personal injury onstage is something we avoid, but if it’s for the art …”
SUBTLE TRANSITION The Bay Area geniuses of Subtle know all about personal injury — and they know it’s not worthwhile — despite the blatant excellence of their new full-length, For Hero: For Fool (Astralwerks). It’s “a distinctive blend of television, Monty Python, Galway Kinnell, and comic books,” as vocalist Adam “doseone” Drucker described it, also in Atlanta. The band manages to impress despite the fact that one of its core members, Dax Pierson, was seriously injured and paralyzed when Subtle’s van hit black ice while on tour last year.
Drucker began the band with Pierson and recalls starting the new album when Pierson got out of rehab: “The accident struck like lightning. It was the heaviest of times, so we turned around and worked on the record. One of the major motifs of the record is diving into whatever it is,” although, he adds, “we refrained from putting it on our sleeve and wearing it around all day.”
Pierson contributed some demos to the album but has been unable to tour — in fact, Drucker said last week Pierson returned to the hospital for a major operation to reinstall his medication pump. “It’s the main thing on his plate, to put it frankly,” explained Drucker, who added that Pierson has been making phenomenal music since the accident. As for performance, Pierson wants to be prepared when he returns to the stage, Drucker said, because he was “probably the greatest performer. He was a gangsta at it. When he wants to return to performance, he wants to kill it in the capacity he is in.” SFBG
SUBTLE
Sat/14, 10 p.m.
Bottom of the Hill
1233 17th St., SF
$12
(415) 621-4455
WOODEN WAND AND THE SKY HIGH BAND
Sun/15, 9 p.m.
Hemlock Tavern
1131 Polk, SF
$7
(415) 923-0923
HOLD STEADY
Tues/17, 8 p.m.
Great American Music Hall
859 O’Farrell, SF
$13–$16
(415) 885-0750

Change of heart

0

› le_chicken_farmer@yahoo.com
CHEAP EATS It still says Carl’s on the sidewalk in the doorway because that’s what it used to be, and the light from the big scripted Carl’s sign used to romanticize our windows. I was on the bottom (like I like it), and then Wayway lived upstairs from me, and Earl Butter lived on top of him. So anytime any of us looked out our windows, Guerrero and 18th, that was what we’d see: Carl’s.
Ten years later, Wayway, having circled around the Mission, is back on that corner, haunting my old apartment (or vice versa), and Earl Butter still lives up top. Carl’s is something else. The latter-day Missionaries line up around the corner weekend mornings, and their dogs bark, and their cars block people’s driveways, and horns blow, and the longtime residents of 18th and Guerrero wake up too early with hangovers and hate the world. Or at least the little section of it called Tartine. At least Earl Butter does.
I crash in his closet sometimes, and I see him in the morning looking out the window and shaking his fist or worse. Out of respect for Earl and Carl and the “good old days,” I refused for years to eat at Tartine.
Then this: I get an e-mail in response to something I wrote about unisex bathrooms being like bacon to me, and this cool-sounding woman with a cool-sounding name wants to point me to a cool-sounding Web page called PISSR (People in Search of Safe Restrooms). Cool. Oh, and by the way, while she’s at it, she wonders if I’m still looking for dates, and if so, would I happen to be at all interested in queer girls?
I wrote back and said, in effect, where do you eat and when do you want to go there?
Of the three places she mentioned, the only one I’d never been to was Tartine. So we made a plan — Monday, lunch — and that was the day I was cooking one of my chickens all day to say good-bye to my closest, dearest friend Carrie with. Remember?
Big dinner, four courses. So around 11 in the morning, well into Lucille Ball mode and covered in feathers, flour, and tears, I called my lunch date to cancel. First time we’d actually spoken, but before I could come to the point, I must have accidentally said something funny, because she laughed, and that was the end of it. I don’t know if you know this about your favorite chicken farmer, but whether it’s menfolk or the wimmins, the sexiest thing in the world to me is a good laugh. Know what I mean? You can have all your body parts. I want to hear what you laugh like.
She laughed like I like.
“I’m running a wee bit late,” I lied. (I was running a lot late.) “Can we push it back a bit?”
We could! We did, and I was halfway to the city before I realized I was still wearing my apron. At red lights, in the rearview mirror, I tried to make myself pretty, plucking my eyebrows and feathers, etc.
Now, out of necessity, I use the word “date” very loosely these days. Watch out! If you’re meeting me to return a book you borrowed, chances are I’m telling everyone I have a date. In this case, she’d used the word first, so even though it was a pressed sandwich to go, a short walk to Dolores Park, and sitting in the grass for an hour between cooking and more cooking, hell yeah, I was nervous.
Especially about the getting-the-sandwich part, because what if Earl Butter saw me? I had no doubt he would have opened his window and ruined everything. (He confirmed this later: he would have.)
My date was sitting on a bench out front, as planned, reading a Nancy Drew book. She was beautiful, the kind of beautiful that makes you want to run back home and take a longer bath (or in my case, a bath), put on different, cleaner clothes, do something about your hair, and read a lot more than you’ve read so that at least you might seem smart.
Too late for all that. Too late for any of it. I knew Earl Butter to be out gigging until three, and it was quarter till. We got our sandwiches, prosciutto and provolone and something ($8.25) for me, banana and something for her, and we escaped into the park.
So just like that, I have a new favorite restaurant. The sandwich — I’m serious — was awesome!
As for the date … oops, outta space. SFBG
TARTINE
Mon., 8 a.m.–7 p.m.; Tues.–Wed., 7:30 a.m.–7 p.m.; Thurs.–Fri., 7:30 a.m.–8 p.m.; Sat., 8 a.m.–8 p.m.; Sun., 9 a.m.–8 p.m.
600 Guerrero, SF
(415) 487-2600
Takeout available
Wine
AE/MC/V
Wheelchair accessible

Charm latitudes

0

› paulr@sfbg.com
Presidents are so seldom intentionally funny that when a genuine wit makes it to the Oval Office, we (the people!) tend to notice and remember. As a quipster, John F. Kennedy is without peer in modern times, and while his crack that Washington, DC, is “a city of Northern charm and Southern efficiency” might not be his best line, it’s still a pretty good one — not to mention useful for certain latter-day restaurant writers, who admire the deftly phrased paradox while being perennially fascinated by the truth embedded in it. Whether in the New World or the Old, we tend to think of the north as the home of efficiency and practicality, the south of beauty and sensuality, and can ever the twain meet without some sort of Death in Venice disaster?
Kennedy described himself as “the man who accompanied Jacqueline Kennedy to Paris” — another excellent line — so we know he traveled to France. Did he notice, when there, that France might be the one place on earth where the twain could indeed be said happily to meet — that France is simultaneously a northern land of clean cities, fast trains, and a more or less honest bureaucracy and also a Mediterranean realm on easy terms with life’s sunlit pleasures? If so, he has left us no witticism to announce the fact. But I think he would have warmed to Cafe Claude, which isn’t in Paris but feels as if it is, on some lane in the Marais too narrow even for Europe’s ubiquitous Smart Cars.
Here the lane is Claude Lane, a brief segment of asphalt lined by tall glassy buildings that rise in the complex borderland of Union Square, Chinatown, and the Financial District. Nearby Belden Lane, paved with bricks and lined from one end to the other with cafés, trattorias, and fish houses, is better known as a Euro-style restaurant row, but the basic principle is the same, as is the strollable, alfresco feel. The city seems less encroaching in these places, and that is largely because cars are unable to speed through.
Cafe Claude opened more than 15 years ago, so teething and shake-down issues belong to the deep past. The more pertinent question for a place of this age is whether it manages to be both polished and self-renewing or whether senescence has set in. In Café Claude’s case, the answer is pretty clear: it’s in its prime, lively and well run, with food of the urban-earthy sort — rustic dishes prepared with soupçons of metropolitan flash — so characteristic of a certain stratum of Paris restaurants.
For many people, the ultimate treat in French bistros is a plate of steak frites. For me, it is roast chicken ($12.50), a leg and thigh slow-cooked to a gold-dripping tenderness and served with a bright mix of chard, lemon slices, and black olives adrift in the jus. Fries go quite as well with roast chicken as with beef, but at Claude you have to order them on the side ($4, plenty for two). They are sprinkled with herbs and served with a “sauce piquant,” a kind of paprika-enhanced sauce gribiche, lumpy with stubs of cornichons.
The duck rillette ($5) situates a petite slice of meaty pâté, about the size of a brownie, in a vast nest of greens. If shared by two people, the dish is like a charcuterie version of an Easter egg hunt, with the spoils consisting of a single egg. It is best to think of the rillette as a tasting experience: a burst or two of flavor, then on to something weightier, such as that excellent blast from the past, coquilles St. Jacques ($11). Here we have a trio of sea scallops on the half shell bundled with shrimp, mussels, and mushrooms and sealed, oysters Rockefeller–style, under a broiled cap of Gruyère and bread crumbs. The presentation is simple but impressive, and there is a definite unwrapping-a-present pleasure in cracking through the cap to the glistening treasures within.
Weightier still is lamb confit ($23), two rounds of lamb loin braised to pot-roast tenderness and served atop shreds of green cabbage dotted with black olives and bits of red bell pepper. Lamb fat can get pungent if heated, and I had a worry or two beforehand that lamb cooked in lamb fat would be a little too gamy, but the dinnertime kitchen (under chef Leo Salazar) succeeded in discreetly hitting the mute button, with the result a nice lamby — but not too lamby — flavor.
Complaints: the roast-carrot soup ($7), with a submerged reef of Emmentaler gratings, was tongue-searingly hot. A napoleon ($12) of sliced tomatoes and tabs of feta cheese was underseasoned, though the heirloom tomatoes were gloriously ripe. A pan bagnat ($10) featured a smear of tuna salad apparently made from ordinary canned tuna.
But all this was forgiven and then some when the list of digestifs was found to include Armagnac. Armagnac! A snifter for $8 — not bad. Could this be the next big thing? I sippingly pondered that question while the clafouti monster across the table dove into a griotte cherry version ($7) — eggy, I thought (upon a sample or two), but attractively so and baked in a handsome dish of white porcelain.
Cafe Claude must be one of the nicest spots in town to eat outside. There is less tumult and wind than on Belden, and while conventional wisdom teaches that the alfresco season is fleeting in this land of pampered softies, we must remember that the French have a different view: Parisians will take their coffee at sidewalk cafés even with snowflakes twirling softly down around them. So there is northern charm after all. SFBG

CAFE CLAUDE
Continuous service: Mon.–Sat., 11:30 a.m.–10:30 p.m. Dinner: Sun., 5:30–10:30 p.m.
7 Claude Lane, SF
(415) 392-3515
www.cafeclaude.com
Full bar
Noisy
AE/DC/DS/MC/V
Wheelchair accessible

Defeating Pombo

0

EDITORIAL One of the half-dozen worst members of the United States Congress represents a district less than 50 miles from San Francisco. Republican Richard Pombo of Tracy chairs the House Resources Committee and has used that post to attempt to eliminate the Endangered Species Act and gut a long list of environmental regulations. He’s been an ally of Tom DeLay and Jack Abramoff. He’s rabidly antichoice. And if the Republicans keep control of the House, he will become even more powerful.
A few months ago, his seat seemed fairly safe: Pete McCloskey, a liberal Republican, challenged him in the primary but didn’t even come close to defeating Pombo. His Democratic challenger, energy consultant Jerry McNerney, was way behind in fundraising and the national Democratic Party wasn’t exactly targeting this as a competitive seat.
But times change quickly, and right now some polls (although admittedly ones taken by McNerney and his allies) show the race close enough that an upset is entirely possible. The GOP is clearly worried and has poured half a million dollars into Pombo’s campaign. McNerney’s now on the national radar; retired general Wesley Clark came out to endorse him, and there’s Democratic Party money flowing in too. But he’s still behind Pombo, and resources may turn out to be a key factor in the final weeks.
McNerney isn’t a San Francisco liberal by any stretch (he’s even been a consultant to Pacific Gas and Electric Co., albeit on alternative energy). But he’s radically better than Pombo: he’s pro-choice and pro-labor, and as someone whose career is in the wind power business, he’s got a real understanding of energy and environmental issues.
We support McNerney, and we’re more than happy to endorse him, even though he’s outside the area for which we usually issue recommendations. But for San Francisco and central East Bay residents, whose Democratic congressional representatives face no real opposition, this may be a place to put some money and political energy: McNerney is holding an SF fundraiser, and his campaign is looking for volunteer help. Defeating Pombo would be a huge coup and might be one of the most effective ways for local folks to help Democrats take back the House. SFBG
McNerney’s fundraiser is Oct. 11 from 6 to 8 p.m. at Delancey Street, 600 Embarcadero, SF. Info: (925) 556-7077.

NOISE: Ka-Chingy! For free, actually

0

Who doesn’t love free music? Can we all agree that despite its mammoth size and the weird experience of tearing through brambles and over big dogs, small children, and oldsters reading the Sunday paper, that Hardly Strictly Bluegrass wouldn’t be quite the same if it wasn’t free, free, free!?

chingy.jpg

Anyway here’s even more for you cheapskates: we all know pop stars are increasingly making more appearances at, of all things, cellie stories (Chris Brown showed at a San Leandro Verizon store last week), but now phone and wireless companies are also getting behind music in other ways.

Tomorrow, Oct. 11, Flash Concerts (backed by Cingular Wireless and Sony Ericsson) present Chingy, free, at the Mezzanine. The dealie is that fans have to register to “Get in and Win” and sending the text message city code “SF” to “FLASH” (35274). Registrants will receive “Alerts” including: event details, exclusive free concert invites, VIP access, meet & greets and special music prizing. Text “SF” to “FLASH” or visit your local Cingular Wireless store for more details.

Then you’re “Right Thurr,” as the Chingster might say. One wonders how many Sony Ericssons the dude scored with this tie-in. Ah, something to contemplate when the doors open at 8:30 p.m. at 444 Jessie St., SF.

At least you didn’t have to sit through any commercials…

Keegan McHargue’s opening in NYC

0

By Mirissa Neff

Better late than never right? Way back on September 21st I checked out the opening of Keegan McHargue’s show The Control Group at Metro Pictures Gallery in Chelsea. The hugely successful opening followed on the heels of Keegan being featured on the cover of the Guardian’s Fall Arts Preview. Here’s the artist with his mom and dad:

DSC02100.jpg

It was impossible not to feel SF pride and I think Keegan was happy to see some homefolk in the Big Apple. The entire block was choked with hipsters as several neighboring galleries had openings. Rubbed elbows with Michael Stipe who seemed genuinely interested in the art as opposed to the free wine and cheese.