SF

An underground party primer

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HYPERREAL.ORG
Monthly-ish e-mail calendar (a.k.a. Hyperreal Rave Interface) of upcoming SF underground events
BAYRAVES.COM AND NORCALNIGHTS.COM
Affiliated BBS sites that list upcoming parties
RAVELINKS.COM
Links to a calendar of SF events
SPRACI.COM
“Site for Party, Rave, and Club” Info with links to a calendar of SF parties
NITEWISE.COM
Weekly newsletter that includes major underground events
PACIFICSOUND.NET
The underground and overground crew that throws free parties in Golden Gate Park and on the Bay

Oral histories

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By Marke B.
› marke@sfbg.com
Thousands of fantastically perverse revelers (most of them gay) will flood San Francisco for the Folsom Street Leather Fair on Sept. 23, ensuring that every cranny of the city brims with wanton copulation — which really is the way it should always be in our famously lewd burg, no? Too bad that for the other 364 days of the year, good ol’ slutty San Francisco is considered by erotic tourists to be one of the most prudish cities in the world.
Unlike other civic dens of iniquity, San Francisco has no gay bathhouses, no sleazy back rooms in bars (well, none that the cops have sniffed out yet), and a dwindling amount of mischief in the bushes. This sorry state of affairs is due partly to the advent of Internet hookup sites in 1996 (thanks, AOL) and partly to the break in gay traditions caused by the loss of a generation to AIDS. But mostly it’s due to the “sex panic” of 1984, when well-meaning gay activists looking to protect gay men from their supposedly unsafe urges convinced the city to ban all bathhouses and enforce rules that separated public sex from any sort of alcohol consumption and unmonitorable activity. Gay folks would just have to go to Berkeley to get wet and have sex. That may have made BART more fun, but for many it seemed like a forced expulsion from SF’s sexual garden by Big Brother.
In 1996, gay city supervisor Tom Ammiano tried to get the baths reopened by proposing a set of HIV-risk-reducing regulations that included no private rooms, no alcohol consumption, safer-sex education materials and condoms on-site, brighter lighting levels, and the presence of staff monitors to ensure against unsafe activity. Pretty oddly, the city adopted most of his proposed regulations — leading to the rise of today’s slick, commercially licensed sex clubs — but kept the bathhouse ban. This means that it’s now OK to pay to have sex with strangers in a public setting, but if there’s any kind of water running other than from a broken toilet, you’re in trouble.
Whether or not gay men in San Francisco should be left to their own sexual devices is still a matter of polemical debate. Or is it? Not many people seem to talk about it anymore. But you can’t stop the party. From 1989, when the last bathhouse was closed by a city lawsuit, to 1997, when San Francisco began using commercial licenses to approve sex clubs, a vibrant sexual underground ruled. Often subject to raids by police, the underground included anonymous-encounter mainstays like Blow Buddies and Eros, both of which opened on a members-only basis in hopes of circumventing any legal trouble. It also included less formal play spaces like the Church of Phallic Worship and Orgasm, naughty nooks that live on only in legend.
This dark period — or golden age — of underground sex clubs (and with the lights off, it was probably both) has largely been forgotten. But exciting tales of the past still issue forth from it, and with the current revival of ’70s bathhouse nostalgia, it’s interesting to note that bathhouse culture extended well into the ’80s — yep, folks were dropping towel to Paula Abdul’s “Cold Hearted Snake” — and poured out into the underground sex clubs of the early ’90s before being sucked toward the Ethernet of now. We asked a few of the scene’s regular, anonymous players for their memories of some clubs of the time.
NIGHT GALLERY, A.K.A. MIKE’S PARTY
“You’d ring a little bell at this house a few doors down from the Powerhouse — tingaling-aling — and they’d open the door, and at the top of this long flight of thickly carpeted stairs, there’d be this guy sitting in a chair who would say in this flat, uncommitted voice, ‘Welcome to my party. Friends tend to chip in $5 to help cover costs. My roommate’s in the kitchen if you want to check your stuff.’ That was Mike, and it was funny he said roommate, because you know no one really lived there.
“At the top of the stairs was this long hallway full of amateur erotic art — not like Tom of Finland, more like a horny Grandma Moses. I stole a drawing that I think was supposed to be of an S-M twink but more resembled a Christmas pixie in irons. I don’t remember much about the sex rooms, except there was a shoddy maze in the back and a sign that said ‘No talking in the fun zone.’
“In the kitchen there was a beer keg and a big aluminum bowl of shiny-looking Cheez-Its that I could just never bring myself to snack on. I knew where those Cheez-Its had been. There was also this kind of ‘Your Own Carnival Hot Dog’ maker that was more like a filthy aquarium with gray franks in tepid hot dog water that no queen would touch — despite the metal tongs provided ‘for your protection.’”
TROUBLE
“Conga-line dance-floor fucking was what I remember most about this place. Which is pretty darn difficult if you take varying heights into consideration. Trouble was a totally anything goes kind of club — after-hours alcohol served, a big dance floor with professional-looking lighting, out-in-the-open nasty sex. Like Studio 54 if Liza was a go-go whore and, you know, a sexy guy. It was in SoMa around Folsom and, I think, First.
“There were dark rooms and a maze upstairs — it was in a big warehouse space with a high ceiling. It got raided three or four times before they finally shut it down. It only lasted like eight months. During the raids the cops weren’t all, like, ‘Let’s get the faggots,’ they were more, like, bored, flashing their lights around and saying in a polite voice, ‘Please leave — you have to go now,’ like they were ushers and we had overstayed our welcome at the opera.”
THE BLACK HOUSE
“The Black House was freakin’ scary. It was this old Victorian off Castro painted completely black. I had just moved here — in 1994. I was 23 and thought the Black House was where Anton LaVey used to live and they had Satanic rituals there, but really it was just a bunch of naked guys fooling around in the basement. I don’t remember exactly where it was, but somehow my drunk feet took me there after the bars closed.
“Mostly the guys were cute in a hustler sort of way — this was when tweakers left the house to get laid. But there would be some letches. One guy followed me around telling everyone I looked like an Etruscan statue. I got really embarrassed and had to leave and go look up Etruscan. One time the hot young guy doing coat check took out his teeth to blow some other guy. I wonder whatever happened to him.”
ORGASM
“Orgasm was across the street from Endup on Sixth, so you could just stumble there and have sex at any time of the day or night, it seemed. There was this huge stage, 10 feet deep, where they had live sex shows and some really crusty Goodwill couches. One time I tricked with a guy who asked me to drop him off at Orgasm, and the minute he got there, he shed his clothes and got up onstage for a show. Where did he get the energy?
“Like most other clubs, it was in a warehouselike space, very minimal. There was a door guy and another guy inside with a clipboard, but that was just to look official — there was never anything on the clipboard. The space was divided by curtains for ‘privacy’ and had a long overhead shelf with candles on it, which added atmosphere to the ‘lovemaking.’ There were turntables, and I remember it was around the time that Boy George came out with ‘Generations of Love,’ which was a surprisingly good record.”
CHURCH OF PHALLIC WORSHIP
“I think the Church in SoMa used to have ads in the back of the Bay Area Reporter, but everyone just seemed to know about it. It had a real rough, underground feel. I don’t know if it was officially religiously affiliated, but maybe they got free parking out of it. They served beer after hours — it was like a one-stop shopping hub of gay socializing: backyard barbecue, glory holes, music, the works.
“It was run by a Santa Claus–type character called Father Frank, and every time you called the info line, he’d answer the phone by reciting a homoerotic limerick in this hilariously effeminate voice, like Rona Barrett on 33 1/3. It was a cross between a house and a warehouse — pretty big, but it could get way too overcrowded. What was so great was that it went all night, yet no one seemed like they were on speed. Everyone was just drunk and having a great time.”
1808 CLUB
“This was a big house down by Guerrero and Market near where the LGBT Center is now. I remember this huge door with a tiny window you had to knock on, like it was a speakeasy in Communist Czechoslovakia. This totally hot bald guy would answer, and I’d kind of be intimidated because he was so muscular. Years later he became my personal trainer at Gold’s Gym.
“The place was painted all black on the inside and was on two levels, one overlooking the other. Balconesque, as the French would put it. There were these little cubbyholes all over the place that two people could fit in, and maybe you could squeeze in three on occasion. On weekends it was packed. It was cheap too: $5 for the whole night, and they’d stamp your hand so you could get in and out. I didn’t go too much, because it was in my neighborhood and I like being a little incognito. That’s a little more classy.” SFBG

Notes from the underground

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› kimberly@sfbg.com
Looking for hints of San Francisco’s renowned underground nightlife? It pays to keep your eyes and nose to the ground — and to be textable. That’s one of the few subtle signs that the hottest underground party in town is happening right here on an early Sunday summer morning: reedy, peg-legged hipsters standing out by the curb on this barren, bulldozed Hunters Point artery, busily texting and talking up fidgety, insomniac friends about their next landing strip. Beats bang gently in the background as fashion-damaged kids dangle from the railings along the short flight of steps to the door, smoking and guzzling from sacks like it’s recess at their own semiprivate too-cool school.
Upstairs in a long, tall space lined with huge rectangular windows, the Sixteens are getting ready for a set. And everyone else — and that’s every-fucking-body — is madly dancing on the other side to stabbing electrotech beats that come off so metallic and grimy that you could slice yourself open and get a nasty infection on ’em. Is that arch-retro-candy raver actually swinging a stretchy glow stick with one hand while trying to hold on to a mixed drink in the other? Swirling moiré patterns, projections of flames, and found industrial footage lick the walls of the room and the faces of the dancers. A burnt-orange slice of summer moon is slung low in the sky as if already hungover from the shit-hot party raging below.
Closing time — you may not know whom you want to take home, but do you know where your next party is? Above-grounders might say “you don’t need to go home, but you can’t stay here,” but you needn’t turn into a pumpkin and pass out in your car just yet. Bay Area underground parties like this one — and of every imaginable stripe and musical genre — are where sleepless scenesters flock.
So why is the underground scene continuing to blossom like a hundred Lotus Girls on a dust-caked playa in a city chock-full of wholly legit clubs? This summer, as a series of humongoid dance clubs including Temple Bar SF, prepped to throw open their doors, one had to wonder: why bother going off the grid?
Perhaps that’s where you can find the sounds you crave, a frustrating chore when clubs book conservatively — and an experience that may end all too soon with the city’s 2 a.m. last call. DJs such as Jamin Creed of BIG are seeing their grime and dubstep parties, for instance, starting to blow up now both over- and underground after gestating in after-hours soirees. “It’s a music-orienting thing, to be honest,” says underground breaks party thrower DJ Ripple, né Lorin Stoll. Citing undergrounds in Big Sur as well as the Harmony fest in Santa Rosa, the ex-Deadhead sees continuity between the city’s Left Coast vibe and “the merging of the counterculture of the ’60s with the rave culture of the ’90s, merging with the experience and professionalism of Burning Man culture in the 2000s. It’s created this nice renaissance in underground music.”
Dub it an unintended fringe benefit stemming from the failure to change the city’s last call two years ago, an effort led by Terrance Alan, chairman of the Late Night Coalition and legislative chair of San Francisco’s Entertainment Commission. That move failed — after the San Francisco Board of Supervisors unanimously passed a resolution urging the state legislature to make the change — when the proposed legislation got stuck in committee at the State Assembly. Despite the support of the city’s Entertainment Commission, Board of Supervisors, and Mayor Gavin Newsom, the bill was opposed by antialcohol groups and organizations such as the Oakland Police Department, whose officers testified that a later last call in San Francisco would create traffic accidents in Oakland. “Those observations were never supported in the data on changes in last call,” Alan says today.
The reality is that partly as a result of those quashed endeavors, the Bay Area underground party scene continues to flourish, via Tribe.net, lists, and those omnipresent flyers. Tomas Palermo — a DJ, Guardian contributor, and former XLR8R editor — thinks the underground warehouse and techno event circuit has been bubbling along nicely since 1988, with surges in house in the early ’90s and explosions in drum ’n’ bass during the dot-com years. And even a seasoned listener like him isn’t immune to the simple pleasures of an outdoor beatdown: “In the last two weeks I went to a free [breakbeat] sound system gathering in a tiny grassy nook of Golden Gate Park and a Sunset Party in McLaren Park,” he e-mails.
The latter gatherings, put on by Pacific Sound System, just may embody the resilient, oh-naturel vibe of the undergrounds in this area. DJ Galen began the daytime Sunset Parties on summer Sundays about a dozen years ago at Golden Gate Park. Old-school — yep. Family oriented — believe it. Ideal if you’re still tweaked the morning after — maybe. An outdoor dance floor of up to 3,000 — yikes. “I just feel events are very much the reflection of the people who put them on, and you can kind of tell when people are doing it for money or just the pure feeling of bringing people together through music and the outdoors,” says Galen, who co-owns Tweekin Records. When he started the parties, he was a shell of a raver, burned out from lifelong training as a swimmer for the 1996 Olympics. “I hadn’t felt like I lived life and came home and some friends took me to a party and just opened my eyes,” he recalls, citing the Wicked Crew’s Full Moon Raves as inspirational. “Looked at all these people having fun and a sense of community — I just got so excited that this whole other world existed and got immersed in it.”
He maxed out his credit card, bought a sound system, and began playing house music in the park as the audience grew. His three-person collective has since produced successful overground boat parties, but they’ve maintained that earthbound sense of perspective. “I think that’s one major reason why things have gone well — we’re not out of it for ego,” he says. “We are very respectful of everyone, and in turn people are respectful of us. When we leave these parks, they’re spotless, and a lot of people have told us, ‘Wow, that was a really crazy party, but everyone’s so mellow and nice!’ SFBG

More underground:


Live bait: the secret life of warehouse shows


Oral Histories: underground gay sex clubs of the early ’90s

Party primer: underground party web sites

Hotel Workers win after 2-year struggle

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UNITE HERE Local 2 has reached an agreement with San Francisco’s leading hotels after a two-year struggle.
So far, 13 CLass A hotels have agreed to a settlement that includes card check neutrality, which means that if a hotel buys up a smaller, or non-unionized hotel, workers at the non-unionized hotel have a right to join the union, too.
This settlement covers 4,200 workers.

UNITE HERE Local 2 is now working on settling with another 30 SF hotels, where contracts of 5,000 workers have expired.
As UNITE HERE Local 2 president Mike Casey put it, ” we’re not done until all of the hotels are settled.”
Casey feels that the hotels that have settled have created a pattern for others to follow.”
“It would be unacceptable for a hotel to think it could get some cheaper deal or have a competitive advantage over other hotels,” he said of what he sees as a “citywide standard that doesn’t create 2nd class citizenship for other hotel workers.
Casey is hopeful that the ovewrwhelming majority of hotels will settle up in next 30-45 days. He notes that for the handful of hotels that are non-unionized but that some day could be bought by a uionized chain, the settlements include a provision that allows their workers to join the union and raise their standards.
“The hotels resisted and said they’d never allow it,” says Casey of the card check provision. “It’s quite unprecedented. I think the hotels finally decided to make a smart business decision. They realized it was costing them more to fight than to settle with us.”
Unite Here Local 2 spokesperson Valerie Lapin also told the Guardian that settlements had been reached in New York, Chicago and Monterey and that others are still being negotiated in a number of cities, including San Francisco, Hawaii and a couple of hotels in Monterey that aren’t covered by the settlement that’s already been reached in that city.
While the details of each settlement varies, Lapin said that overall the settlements are good.
“The wages and benefits are very good, which is a reflection of how prosperous the industry is, and the settlements guarantee the rights of workers to join a union,” she said.
In additFor more details of the settlement, check out www.unitehere2.org.

TUESDAY

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Sept. 19

Dvd/Music

Bad Brains, Live at CBGB 1982

There’s nothing fancy about the new Bad Brains DVD, Live at CBGB 1982 (Music Video Distributors), but then again, there doesn’t need to be. The recently issued concert film captures the band onstage at the peak of their early hardcore era – performing classics such as “Redbone in the City,” “How Low Can a Punk Get,” and “Attitude” – with no annoying camera tricks or other distractions. (Will York)

9 p.m.
12 Galaxies
2565 Mission, SF
Free
(415) 970-9777
www.12galaxies.com

Visual Art

“Mexico As Muse: Tina Modotti and Edward Weston”

Intended as an archive for the monumental partnership between two major artistic figures, Tina Modotti and Edward Weston, the San Francisco Museum of Modern Art’s “Mexico as Muse” serves more as a teaser to Modotti’s life and work. While Weston’s images of earthen pots, ancient pyramids, and Mexican skies build a foundation for later works, his portraits of his artistic partner are by far his most interesting contributions to “Mexico as Muse.” Modotti chose her subjects carefully, opting for the limitless possibilities of telephone lines stretching over the rural Mexican landscape and flimsy, partially ajar doors instead of the immobile and established nature of Weston’s content. (K. Tighe)

Through Jan. 2
Fri.-Tues., 11 a.m.-5:45 p.m.; Thurs., 11 a.m.-8:45 p.m.
San Francisco Museum of Modern Art
151 Third St., SF
$12.50, $8 seniors, $7 students, free under 13 and members (free first Tuesday; half price Thurs., 6-8:45 p.m.)
(415) 357-4000
www.sfmoma.org

MONDAY

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Sept. 18

Event

“True Lust Confidential”

Let’s be honest, spoken word and open mic nights are not typically linked to eroticism and sexual candor. This is not the case at the Porchlight’s “True Lust Confidential,” a steamy literary event dedicated to all things sexy that promises to be anything but typical. The night’s lineup boasts an idiosyncratic mix, including comedian Michael Capozzola, hat-obsessed movie critic Jan Wahl, burlesque dancer and erotic poet Lady Monster, and self-proclaimed “smutsmith” Allison Landa. (Hayley Elisabeth Kaufman)

8 p.m.
Cafe du Nord
2170 Market, SF
$12
(415) 861-5016
www.cafedunord.com
www.porchlightsf.com

Discussion

Labor and war

Join trade unionists and workers at a discussion on wars in the Middle East with union leaders Monadel Herzallah, Alan Fisher, Professor Mary Ann Ring, and Jack Heyman and members of Transport Workers Solidarity Committee Chair. The event is sponsored by Break the Siege Coalition, Labor Video Project, Labor for Palestine, and Labor Action Coalition. (Deborah Giattina)

7 p.m.
522 Valencia, third floor, SF
$3 donation requested
(415) 282-1908

SUNDAY

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Sept. 17

Music

The Queers

Thirteen-year-olds from all over will be flocking to this all-ages show to see the legendary lineup of pop punk sensations. But somewhat older, die-hard fans of the notorious old-school punk band the Queers now have an excuse to party all weekend. The original Joe Queer will be present, shamelessly trying to promote the band’s latest CD, the live slab Weekend at Bernie’s (Doheny). (Kellie Ell)

With Hard Ons and Groovie Ghoulies
8 p.m.
Cafe du Nord
2170 Market, SF
$12
(415) 861-5016
www.cafedunord.com
www.thequeersrock.com

Music

Jaguares X Anniversary

After Saúl Hernández left the seminal Mexican rock band Caifanes in 1995, he had a dream that he was playing guitar inside the mouth of a jaguar. This image is the source of the band’s moniker and is an apt description of its sound. Los Jaguares, even in their quieter moments, play with an urgency and intensity that make it seem like every note could be their last before being devoured whole. (Aaron Sankin)

8 p.m.
Fillmore
1805 Geary, SF
$45
(415) 346-6000
www.thefillmore.com
www.jaguaresmx.com

SATURDAY

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Sept. 16

Music

Starlite Desperation

Where some psychedelic rockers come off passive and fey, the feral psych-garage trio the Starlite Desperation incite an intense and raw reaction with their signature blend of dirty blues and urgent guitar dissonance, all punctuated by singer Dante Adrian’s spooky yet alluring vocals. With their major-label debut, Take It Personally (Capitol), the band reach into a sonically darker realm with “I’m Ready Again,” whose modernized Cramps-like slither and frenetic bass line induce involuntary hip shaking. San Francisco’s own Bella Vista (featuring former members of Vue) bring a primal stomp and swagger to the opening slot. (Hayley Elisabeth Kaufman)

9:30 p.m.
Hemlock Tavern
1131 Polk, SF
$7
(415) 923-0923
www.hemlocktavern.com
www.starlitedesperation.com

Music

Rainer Trüby

It’s been four years since producer-remixer-DJ Rainer Trüby last graced San Francisco – chances are he’s picked up at least one or two decent records in the meantime. One-third of the Trüby Trio (with Roland Appel and Christian Prommer of Fauna Flash), compiler of the essential Glücklich albums for Compost Records, and a friendly obsessive-compulsive who collected matchboxes as a child before switching to the slightly cooler records, Trüby is cited by none other than Gilles Peterson as one of the world’s best DJs. House, Brazilian, jazz, electro, hip-hop – Trüby drops it all into a mix that still manages to be more about dancing than name-checking. (Peter Nicholson)

10 p.m.
Poleng Lounge
1751 Fulton, SF
$15
(415) 441-1751
www.polenglounge.com

FRIDAY

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Sept. 15

Visual Art

“Bringing the Feral Fight Home”

I’ll tell you one of the things I like most about Daniel Tierney’s art – namely, the fact that he often crumples up his large works on paper. Take Cowboy Town, an acrylic-on-paper two-part piece that is included in this solo show of paintings and drawings. Precrumpling, its larger image of a desolate, dusty street would be impressive, but the creases and wrinkles add dimension and bring across some frustration – or at least a sense that 2005 Goldie winner Tierney isn’t more sacred than thou about what he makes. (Johnny Ray Huston)

Through Oct. 14
6-9 p.m. reception
Ping Pong Gallery
1240 22nd St., SF
Free
(415) 550-7483
www.pingponggallery.com

Discussion

African development

Environmental justice activist Frank Muramuzi leads a discussion on alternatives to developing dams in Africa – with Walter Turner, history and ethnic studies scholar and host of KPFA’s Africa Today; Terri Hathaway, Africa campaigner with International Rivers Network; and Rev. Phi Lawson.

7 p.m.
First Congregational Church in Oakland
2501 Harrison, Oakl.
Free
(510) 848-1155

THURSDAY

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Sept. 14

Film/Music

“Indiecent Exposure”

One of many things “Indiecent Exposure” has going for it is an array of movies with good titles. In addition to live musical selections from Murdered by the Moore Brothers and food by the Tamale Lady, this evening showcases short works such as Shitty Cat (by Ray Potes of Hamburger Eyes) and another couple of man-gone-bad or man-gone-mad stories, Ryan Finnerty’s I Kill People for Money and Eric Noren’s Fish Tales. (Johnny Ray Huston)

7 p.m.
111 Minna Gallery
111 Minna, SF
(415) 974-1719
www.myspace.com/indiecent_exposure_sf

Music

Tortoise

If imitation is the highest form of flattery, Tortoise had much reason to feel admired in the late ’90s. The Chicago group’s hybrid sound – shimmering timbres propelled by shape-shifting rhythms – won over many collegiate rockers (this writer being no exception), and for a few years anyhow, it seemed as if every band in the world simply had to work a xylophone into the mix. With the post-rock wave well past its crest, Tortoise’s canonized albums don’t sound as fresh as they once did, but the band’s omnivorous taste and unquestionable chops have aged well – plenty of proof can be found on A Lazarus Taxon (Thrill Jockey), a recently released box set of previously unreleased and out-of-print material. (Max Goldberg)

8 p.m.
Great American Music Hall
859 O’Farrell, SF
$21
(415) 885-0750
www.gamf.com

Fringe on top

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› a&eletters@sfbg.com
There’s a crisp fall edge to the heady pee-asma of the Tenderloin as huddled, roaming packs of theater scavengers move hourly among the tolerant local traffic — two unmistakable signs of the SF Fringe Festival. How like Halloween it all seems too, the greedy devouring of tricks and treats at the Fringe, that 12-day carnival of the theater world gleefully unimpeded by judges’ panels, censors’ boards, or the general plague of good taste.
The open-door policy of the Fringe makes for a thoroughly unhinged program of nearly 40 local, national, and international acts, all under an hour and all under 10 bucks. In this situation, word of mouth and capricious fortune serve as the principal guideposts for sporting patrons ricocheting from one show to the next among 10 different venues, including such nontraditional environs as Original Joe’s restaurant-bar and the mobile fiesta known as the Mexican Bus.
Amid opening night’s offerings Sept. 6 came the latest from Fringe superstars Banana Bag and Bodice. Something of a superstar satire itself, The Fall and Rise of the Rising Fallen explores, exclaims, and explodes the mass-cultural phenomenon (“mass retardo reactions”) surrounding a legendary band, the Rising Fallen, six years defunct since playing just one glorious gig.
Part one of a longer piece, Rising Fallen unfolds as a pretentious and outlandish presentation by a grad student expert (Christopher W. White) writing his thesis on the “post-wave neo-nick nick scene.” His quickly wayward lecture includes testimonials and reenactments featuring former lead guitarist Taylor Taylor (Dave Malloy), number one groupie Janey Jane (Rebecca Noon), and some other dude (a roving protean presence played by Joseph Estlack). Amid a couple of microphones and practice amps, an electric guitar, a handheld light source, a video monitor, and a suitably quirky musical score by Malloy come various ego-refracted takes on the myth and mystique surrounding the band’s long-estranged lover-founders, Jacko and Grandma Mo. They are played remotely if indelibly via some recorded images and a pair of cell phones by BB and B’s New York founders, Jason Craig (who cowrote the piece with Malloy) and Jessica Jelliffe.
Word-struck, wryly antisoulful, but only fitfully inspired (especially by comparison with their previous shows), Rising Fallen never quite finds its legs. Ironically, Craig’s and Jelliffe’s charismatic but elusive personae might have held the piece together more had the actors actually been live onstage.
The following night saw two premieres with strangely similar themes by SF companies. Get It? Got It. Good., an absurdist three-act play by SF playwright-director Dan Wilson (Vagina Dentata), begins as a desperate hunt by two losers (Catz Forsman and Sam Shaw) for an elusive “it” sought by their clients (a frustrated couple played by Kevin Karrick and Stefanie Goldstein) and ends with an inquiry into the nature of good and bad that devolves into a Luigi Pirandello–like unraveling of the play itself. Although the play tends to substitute volume and verbosity for more penetrating writing at points, Wilson and his capable eight-person cast reach several high notes (not least actor Hal Savage’s Catholic sermon).
The ghost of Pirandello haunted the stage once more that evening. This time it was in the back room at Original Joe’s on Taylor, where RIPE Theater unveiled its latest, @six, an amusing set of interconnected scenes written by the company that eventually turns its purported premise — a series of coincidental encounters between two antagonistic couples (Sarah McKereghan and John Andrew Stillions; Mark Rachel and Deborah Wade) and a silent bystander (Noah Kelly) — inside out. Some uneven writing and thematic unraveling aside, great ensemble acting and consistently sharp humor held this one together.
Other promising fare in the SF Fringe Fest couldn’t be sampled in time for this column, including local legend-in-his-own-right Dan Carbone’s new show, Bay Area playwright Ian Walker’s Stone Trilogy, and the anticipated sequel The Thrilling Adventures of Elvis in Space II. For the whole enchilada, including audience reviews, visit the fest’s Web site. SFBG
SF FRINGE FESTIVAL
Through Sun/17
Call or see Web site for showtimes, locations, and prices
www.sffringe.org

Six-string samurai

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› a&eletters@sfbg.com
Discovering new metal bands worth their salt these days isn’t just hit-and-miss — it’s mostly miss. In fact, most kids now trying to crack the genre make me want to jump onstage, grab them by their greasy hair, and scream, “Satan is boring!” or “You are not Metallica!” into their prematurely damaged eardrums.
So when a friend slipped me the unmastered studio tracks of Totimoshi’s forthcoming album, Ladron, I was hesitant. After I explained to him that I was still mourning Bass Wolf and simply wasn’t ready for another Japanese rocker in my life, he rolled his eyes and told me to go home and listen to the thing.
Totimoshi, it turns out, is not a Japanese band.
In November 1997, Totimoshi singer-songwriter-guitarist Tony Aguilar had nearly given up hope in finding the right bassist to collaborate with: “I just couldn’t find anyone who wanted to work on the kind of things I was doing.” Meeting budding bassist Meg Castellanos at a warehouse concert in San Francisco changed everything. “I ended up teaching her a few things,” he says. “She got really good in no time and started writing her own stuff.”
And so began Totimoshi — a band that would go on to break the boundaries of multiple genres, build an innovative new framework for independent hard rock, and go through drummers like jelly beans.
Luke Herbst became the band’s seventh drummer in early 2005 and has proven to be the missing link in the Totimoshi sound. “He’s an integral part of the band,” Castellanos says. “He’s gotten a lot of very high praise. Everyone — even our past drummers — are really impressed with him.”
When the trio of Totimoshi walked into San Francisco’s Lucky Cat Studios to record, they came prepared to answer one burning question: what happens when you put one of the hardest-working, heaviest bands in the Bay Area in a studio with Helmet frontperson Page Hamilton and the Melvin’s sound engineer?
Pure fucking genius.
The group met Hamilton after he selected them to open the Helmet reunion tour last year. He was the obvious choice for producer. But working with your idol isn’t all fun and games: Hamilton started cutting things up right away. “He came in and cracked the whip,” Castellanos confesses. “We sat in the studio and went through every part of every song with a fine-tooth comb. It was a bit hellish.”
“It was really hard for me to give up the reins,” Aguilar adds. “But I swallowed all that. It turned out amazing.”
A quick listen to any of Totimoshi’s previous discs shows that they’ve had their chops for a long time. Ladron (meaning thief in Spanish) is due out Oct. 24 on Crucial Blast and marks a new stage in the band’s development. They’ve folded the grimiest parts of early Nirvana into the deepest, darkest depths of Sabbath, producing a wailing, slithering, flopping hodgepodge that’s purely Totimoshi.
In my attempts to pin down a description of Ladron, I keep coming back to an apocalyptic wasteland. Barren desert. Blazing sun. This is likely the result of one too many viewings of Six-String Samurai, but the image in my head is clear: Totimoshi riding a firestorm of worthy, working warrior bands (the Melvins, High on Fire, Neorosis) into the rock kingdom to reclaim the throne. Flicking tabloid pop stars and a domesticated, stuttering Ozzy aside, they loudly announce to their cohorts that metal once again rules. The people rejoice.
Hardly strangers to the road, Totimoshi tour the hardcore way: constantly. In a van. With little money and even less tour support. “What continues to drive us is the message, the music,” Aguilar says. “We care about our art so much we are willing to live in a van for months on end. It’s hard, but it’s what is necessary.” If some indie rock poster kid tried using this logic, this is the part where I’d tell him to crawl his whiny ass down from the cross and get a job. From Aguilar’s mouth, these are the inspired words of a man who lives for his craft. I can feel the passion bleed through when he tells me, “We’re not going to sit here and wait for Mr. Big to come and say, ‘You’re a great band!’ We’d rather get the message out ourselves.”
The group is about to spread that message on a very long tour with the help of Mastodon, the Bronx, Oxbow, and Year Long Disaster. “It has nothing to do with ‘making it,’” Castellanos says. “We just want to be working musicians once and for all. I think with this album the timing is right.” Their newest member apparently agrees. “Luke’s willing to sacrifice for these upcoming tours,” she continues. “I think he already lost his job.” He might not be needing it. SFBG
TOTIMOSHI
Sat/16, 9 p.m.
Parkside
1600 17th St., SF
$8
(415) 503-0393
Also Sun/17
Golden Bull
412 14th St., Oakl.
Call for time and price
(510) 893-0803

T off

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› kimberly@sfbg.com
SONIC REDUCER You scream, I scream, we all scream for … the black concert T. It’s the music-merch phenom that will always annoyingly outsell all other comers, as Brad Hudson of JSR Merchandising explained at SXSW earlier this year. Keep your bandeezys and doggie baseball jerseys — the black T-shirt is the Coke Classic of live-show sales, the fail-safe upon which Stones tours are built. Why? Well, as one multitentacled insider recently announced to me, you can’t download a T-shirt!
But what to wear after that? It wasn’t hard to figure that out during my struggles through the two recent diva releases, Beyoncé’s strident, backward-glancing sophomore full-length, B’Day (Sony BMG), and Paris Hilton’s microdermabrasioned lite-pop debut, Paris (Warner Bros.). Both CDs find the ladies busily hawking duds and assorted nonmusical product. Why even bother critiquing what lay embedded in the shiny plastic discs behind Beyoncé’s eerily blank Madame Tussaud’s wax cover image or Hilton’s sleek rich-bitch-slash-sexpot pose? Why celebrate Hilton’s easy, sleazy, ultimately unfulfilling musical grabs at the Grease soundtrack and “Do Ya Think I’m Sexy” or bash Beyoncé’s dog-note shrieks (she’s playing Diana Ross in Dream Girls, so why compete on record?) and frantic but intriguing ladies-first messages? These CDs are so clearly vehicles from which to launch clothing lines (in Beyoncé’s case, her mother’s Dereon by House of Dereon label, baldly peddled in the inside booklet) and perfume (Paris’s Heiress, as well as handbags and watches).
Too bad then that Beyoncé has simultaneously hit a fashion low point, modeling a hideous mod houndstooth swimsuit and bastardized Bardot milkmaid frills on her CD — B has been damaged by one too many Guess Jeans and Baby Phat advertising campaigns, I presume. All of which could have been forgiven if Beyoncé had coughed up a track on par with “Crazy in Love” — but no such luck. The emergency-siren sample of “Ring the Alarm,” echoed on Paris’s opening, “Turn It Up,” can’t save that siren’s single; I prefer the unexpected guilty pleasure kick-him-to-the-curb power ballad “Irreplaceable.” How telling that as the B girl declares war on good taste on B’Day, the worst faux-fierce track is titled “Freakum Dress.”
Amid all this accessorized insanity, we should thank our musical deities that when it comes to local clothes hos, we have been gifted with the gifted Music Lovers. The band’s singer-songwriter, Matthew “Ted” Edwards, has been much in demand of late. When he and drummer Ping Chu sat in last month at the Sonic Reducer DJ night at Hemlock Tavern, the Birmingham, England, native was psyched about the group’s rave reviews in Europe and was occupied writing the music for superfan Margaret Cho’s latest burlesque project, “Sensuous Woman Cabaret,” and rehearsing with Cho at the Plush Room. But who wants to get into details about the new Music Lovers’ Guide for Young People (le Grand Magistery) — and its songs of kebabs and lager (“Brother, I Am Walking”) and a certain Anglo avant-garde Marxist composer (“Thank You, Cornelius Cardew”)? Edwards would much rather discuss the Music Lovers’ love of shopping.
“We adhere to a pretty strict dress code, which is enforced by all of us,” he told me recently over the phone, “because it’s respectful to the audience. I want to say I made an effort and do the best I can. I’m not interested in seeing another group of lads in T-shirts.”
So the besuited Music Lovers are actually a little like — the Ramones?
“Except we’re tidier,” he replied. “I make no apologies for that. I’ll spend my last 60 bucks on a decent shirt.
“We’re a band apart.”
You have to admire such a hard stand on the seemingly superficial topic of style, but then Edwards does fall in line with a mod way of thought: dress sharp, seize that dream, and maintain a sense of dignity even if you have to spend every bit of your bellhop wages to do it. Likewise, the rangy, suave pop Guide, which boasts harder-rock moments than the Lovers’ debut, The Words We Say before We Sleep, maintains a subtle, knifelike edge and wit that a cultural connoisseur like SF-reared comedian Margaret Cho can appreciate. “I think that the Music Lovers are the greatest, and I love working with them because they have such a sophisticated sound, completely new yet strangely familiar,” she e-mailed me. “Listening to them feels like I’m stepping into a film like Purple Noon or Belle du Jour, and I have really long earrings on that almost touch my shoulders.”
It takes an effort to maintain that romantic mood: Edwards, 38, never quite recovered from his “horrific experience signed to Virgin as a fresh-faced 20-year-old” fronting an R&B and pop band. “We recorded an album with a guy named Pete Walsh who recorded Climate of the Hunter with Scott Walker, and we made this incredible album. And Virgin put it on the shelf. There’s been a lot of water under the bridge, but I’ll never be on another major label.”
Since then, Edwards, now an occupational therapist, has been accruing the experience that comes in handy when writing songs about artful eccentrics like Cardew: he once called bingo numbers and sang covers aboard a Scandinavian cruise line and did a tour of Italian communist clubs. “We’re a band of Little Edies,” Edwards declares when I ask him for his favorite character from the brilliant Grey Gardens, the Maysles’ documentary that graced the cover of the Lovers’ 2003 EP, Cheap Songs Tell the Truth. “I probably veer between Little Edie and [handyperson] Jerry. Sometimes I’m Jerry and I mope around the garden. But I could also be Big Edie, because I do have a tendency to lie in bed covered with cats.” SFBG< MUSIC LOVERS Thurs/14, 8 p.m. Amnesia 853 Valencia, SF Call for price (415) 970-0012 Fri/15, 6 p.m. Amoeba Music 1855 Haight, SF Free (415) 831-1200

Listen in

0

› le_chicken_farmer@yahoo.com
CHEAP EATS It’s hard to talk to yourself. You don’t have anything to say, and you’re afraid you might be boring. But the trans man in the bar said if I wanted my voice to change, I was going to have to practice into a tape recorder. He sounded effortlessly like a man saying this, because one of the lucky things about taking testosterone is that your vocal chords automatically thicken and your voice gets deep.
Estrogen, on the other hand, doesn’t do a damn thing to your vocal chords.
Ah, between me and you, I never could stand the sound of my voice anyway, which is just one reason why I’m a writer and now an instrumentalist. However, every now and again some kind stranger with either a big heart or bad eyes will ma’am me, and then when I open my mouth to speak, they become flustered or worse: apologetic. I would like to give people the option of actually believing I am female, if they want, or at least getting it: that I am trans and trying — you know, intentionally — to look like I do.
So, OK, according to experts (a guy in a bar), I have to talk into tape recorders and listen back and practice. Great — I have a tape recorder in my car. I already do this: I whistle melodies, make up songs, ideas for what to write, and so on. Only instead of playing them back, because I can’t stand the sound of my own voice, I immediately erase these cassetteloads o’ brilliantness or tear them apart or burn them.
Lately I listen, and this is bad for one’s mental health. Seriously, I think psychological damage happens every time I hear myself talking from outside of my own head. The upside is that eventually, if this keeps up, I will be completely crazy, instead of just most-of-the-way, and we all know that crazy people are very good at talking to themselves.
So then I’ll be able to do this thing and get better at it and live happily ever after except when I’m sad and miserable. I love how life twists, turns, circles, and shoots off, just like atoms and sentences.
I was in the kitchen — or the “kitchen” end of my one-room shack — categorizing onions, when the phone rang. “Save me from myself,” I muttered, pouncing on it with enough suddenness to weird Weirdo-the-Cat right out of her skin.
It was my friend Last Straw. Could I cat-sit her three cats?
“Yes!” I screamed and then hung up.
Weirdo-the-Cat was staring at me, shuddering.
“Chicken-sit the chickens,” I told her, threw my toothbrush and makeup and baseball glove in the pickup truck, and went. I had city bidness to tend to anyway, such as one last meal with the Cookie Diva before she headed home to Cackalacky.
“Where do you eat breakfast around here?” I asked Last Straw while she was showing me where all the cat food goes.
“Café Floor,” she said.
“Not the cats,” I said. “Where do people eat breakfast?”
“Café Flore,” she said.
The trouble with cookie divas and chicken farmers having breakfast together is that they can never agree on a time. Divas sleep until noon, everybody knows, and chicken farmers wake up at the crack of dawn. I tried to get her to compromise, but Café Flore isn’t even open yet at 6:30 on a Saturday morning. So she won. We didn’t meet until nine.
I’d already had breakfast once by then, and coffee, and more coffee. So I just ordered coffee, and a frittata. A great one — with chile peppers, salsa, and pecorino cheese. It came with toast and potatoes, but I couldn’t finish them because I wasn’t really hungry.
The Diva had a bowl of oatmeal and remarked that it was much better than the bowls of oatmeal one typically gets in the South. I’m sure it cost at least three times as much too, because before coffees our meal came to 14 bucks, and I think mine wasn’t more than $8, $8.50 tops. But anyway it was delicious. And you gotta love Café Flore, atmospherically, with its great sidewalk patio, wood, greenery, and windows onto the colorful Castro world out there.
We talked and talked and the Diva, being a classically trained pianist, gave me a much-needed musical pep talk.
I offered her some of my potatoes. SFBG
CAFÉ FLORE
Sun.–Thurs., 7 a.m.–11 p.m.;
Fri.–Sat., 7 a.m.–midnight
2298 Market, SF
(415) 621-8579
Takeout available
Full bar
MC/V
Bustling
Wheelchair accessible

Camp Hip

0

› paulr@sfbg.com
Everybody seems to love Thai food, but the oohing and aahing is generally confined to the cooking. You don’t hear much about the stunning designs of Thai restaurants. In one sense, this is just fine; good food is its own reward, and overclever interior decoration can lead to sensory overload. Still, Thai restaurants tend to be plain Janes more often than not, many fitted out with those steel-frame chairs that look like they’ve been salvaged from the mess hall of some battleship that’s being put into mothballs, or scrapped.
You will not find such chairs at Be My Guest, a Thai bistro that opened recently along inner Clement. You will find, instead, curvy white plastic numbers that look like halves of giant eggshells mounted on bird legs. Have we stumbled onto the set of an early Woody Allen movie, Everything You Always Wanted to Know About Sex, maybe, in which Woody plays spermatozoa anxiously awaiting to launch to … he knows not where? One would not say the overall bleachiness of Be My Guest’s look — white walls and curtains complete the laundry-day motif — is beautiful, exactly, but it does command attention and does strike a certain balance between camp and hip. (Camp hip, is this a permissible term?) And those who detect a slight LA edge in the playful tackiness will not be surprised to learn that there is a sibling restaurant, Gindhi Thai, in the southland.
The chairs are not particularly comfortable. They have a water-slide quality, and one has to be careful not to end up on the floor while shifting one’s legs, which must serve as braces. But that is really my only misgiving about a place that otherwise is a worthy addition to the already formidable array of restaurants along Clement between Arguello and Park Presidio. Be My Guest might not quite be a destination restaurant on its own, but it is part of, and contributes to, one of the city’s premier destination zones, those stretches of street you can meander along, studying menu cards, until you find a place that appeals and pop in, knowing you aren’t likely to be disappointed. (NB: parking is an ordeal.)
Like a number of Thai places I have visited recently, Be My Guest is rather effortlessly vegetarian friendly. To make sure, I paid a visit with a vegetarian friend, who immediately picked up the flavor of shrimp in the basket of delicious rice crisps of many colors set before us, to nibble as we pondered the menu. (With this quibble duly noted, we nibbled them together.) She went on to detect the presence of fish sauce in the delicious tofu larb ($6.95), minced (and slightly rubbery, but not in a bad way) bean curd mixed with lime juice, mint, and chiles and heaped on romaine spears useful for scooping. Since I am just a part-time vegetarian, it would never have occurred to me that fish sauce — which is as central to the Indo-Chinese cuisines as soy sauce is to the cooking of China and Japan — would raise an issue. Full-time vegetarians will want to plan accordingly.
No flag was raised over the sweet-potato fritters ($6.95), which resembled dragonflies cast in bronze and would have been even better if there’d been some kind of sauce to dip them in. (The fritters were presented with cucumber two ways: as slices linked together in paper-doll fashion, and diced into a vinegary little salad with carrot threads.) And we knew beforehand that the panang curry ($9.95), fettucinelike strips of boneless chicken awash in a well-tempered red sauce, would present no vegetarian issue, since no vegetarian would go near it despite its rich deliciousness. (Panang curry is a coconut-milk curry enhanced with ground peanuts — a Malaysian touch.) On the other hand, the veg curry corner ($9.95) — a crock of soupy, basil-scented green curry laden with broccoli florets, chunked eggplant, snow peas, and green beans — passed vegetarian scrutiny like a traveler, divested of shoes, watch, belt buckle, loose change, and toothpaste, sailing through a security checkpoint at the airport.
Given the egg-shaped chairs, it follows that we would find an omelet ($6.95) on the noontime menu — a vegetarian omelet no less, filled with mixed greens, spinach, asparagus, mushrooms, and tofu and given a definite Southeast Asian perfume by ginger and lemongrass. But the wider possibilities of lunchtime are grouped under the rubric “Afternoon Delight,” which provides (for $7.25) a choice of starter and of main course, along with soup, salad, rice, and seasonal fruit. One day’s soup, of celery and tofu in a pale vegetable broth, we found to be no better than serviceable, the salad was a wallflower heap of mixed greens, and the fruit consisted of some grapes and orange wedges. But the fish cake, though texturally a bit of a rubber sponge, was intensely tasty (and a pretty caramel color), while a red vegetable curry was rich and just spicy enough to conceal the plebeian character of its carrot-and-potato ballast.
Thai bistro. I choke slightly on this expression while accepting that, at least in its American sense, it does apply to Be My Guest. The place captures just the right balance of hominess and style: its hours are liberal and its prices moderate, and it draws (especially on weekend evenings) a diverse crowd, tilting toward youth and bubbling with energy. And that’s everything you always wanted to know. SFBG
BE MY GUEST THAI BISTRO
Dinner: daily, 4–10:30 p.m.
Lunch: daily, 11 a.m.–3 p.m.
951 Clement, SF
(415) 386-1942
www.bemyguestthaibistro.com
Full bar
AE/MC/V
Moderately noisy
Wheelchair accessible

Gala Symphonix

1

The noses were small, the dresses were expensive, the Mayor was in attendance, and the music was sublime. Yep, I crashed the annual SF Symphony Opening Gala, chockful o’ Zellerbachs, Wilseys, DuPonts and whomever else rich-like, and lived to blog all about it (despite being almost kicked out for yodeling during the singing of the National Anthem, ahem.)

natgeo1.jpg
“Pose for the Guardian? I’ve been in National Geographic, and I thought that was weird …” (actual quote)

TUESDAY

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Sept. 12

Visual Art

“Prophets of Deceit”

OK, what was I just saying about there not being so many Sept. 11 art events? I kinda like CCA Wattis Institute’s approach, which is opening a show that is openly critical of the delusions that have sprung forth in the aftermath of the World Trade Center attacks. Actually, the dozen-artist “Prophets of Deceit” seems more ambitious than that description – together its varied film- and video-gifted crew of contributors should provide some bizarrely insightful views of messianic and apocalyptic cults and their fear-selling leaders. (Johnny Ray Huston)

7:30-9 p.m. reception; through Nov 11
CCA Wattis Institute for Contemporary Artists
1111 Eighth St, SF
Free
(415) 551-9210
www.wattis.org

Fim/Discussion

The World According to Sesame Street

Watch the film The World According to Sesame Street and find out how the muppets have helped people in troubled areas such as Bangladesh, Kosovo, and South Africa. Human rights advocate Chivy Sok; executive director of the George Lucas Educational Foundation Milton Chen, PhD; and associate director of International Child Resource Institute Lisa Ruth Shulman, JD, give a presentation before the screening. (Deborah Giattina)

5:30 p.m.
San Francisco Public Library
100 Larkin, Koret Auditorium, SF
Free
(510) 452-7178

MONDAY

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Sept. 11

Music

Spencer Day

Spencer Day is San Francisco’s own portal to the past: Old Blue Eyes has nothing on this kid. Hailing from a highly musical family in Utah, he commands a microphone and steers a piano into places seldom heard these days. Enchanting audiences, Day spins a room into flickering black and white, conjuring trench coats and pearls, finger weaves and cigar smoke. (K. Tighe)

With Same Shape and Joe Bagale
9 p.m.
Cafe du Nord
2170 Market, SF
$15
(415) 861-5016
www.cafedunord.com
www.spencerday.com

Visual Art

“Terror? An International Interdisciplinary Project”

Five years on, the lack of localized art events directly responding to Sept. 11 is a little surprising. Count on Intersection for the Arts to weigh in with an exhibition that steers clear of the jingoism currently crowding movie theaters and television screens. Composed of hundreds of works on paper from around the world, “Terror?” takes on the title subject from myriad personal and political angles. The exhibition is augmented by other events at the space later this month, such as a “War on Terror” discussion led by activists Tram Nguyen and Sandip Roy. (Johnny Ray Huston)

6-9 p.m. reception; through Nov. 11
Intersection for the Arts
446 Valencia, SF
Free
(415) 626-3311
www.thintersection.org

SUNDAY

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Sept. 10

Event

SF Zine Fest

You start with just a staple gun and a dream, but pretty soon you’ll want an audience. The San Francisco Zine Fest fills CELLspace to the brim with minicomics, literary journals, zines galore, and even arts and crafts booths for those who can’t go an afternoon without a glue stick fix. The peeps behind the fest are offering various workshops and plenty of film and animation screenings during this year’s free event. (K.Tighe)
CELLspace, 2050 Bryant, SF
Free
(415) 648-7562
www.sfzinefest.com
www.cellspace.org

Film

Three Dollars

There-but-for-the-grace-of-whomever is the overriding theme of this Australian drama from director Robert Connolly (The Bank), based on Elliot Pearlman’s novel. Life is pretty – just pretty – good for chemical engineer Eddie (David Wenham); his academic wife, Tanya (Frances O’Connor); and their daughter, Abby (Joanna Hunt-Prokhovnik). But it’s a life wobbling on any number of fragile foundations, primarily in the financial realm: when both parents lose their employment in rapid sequence, things suddenly look desperate. The film has some ambitious, even metaphorical aspects that seem incompletely developed, and most viewers will find that the last reel’s events drop Eddie too far, too fast to be believed. Nonetheless, for the most part Three Dollars handles suspense, humor, warmth, and near-tragedy in an affecting way – all the while facing off against some of life’s big questions. (Dennis Harvey)

Now in Bay Area theaters

SATURDAY

0

Sept. 9

Comedy

Axis of Evil Comedy Tour

Honoring the new comedy practice of touring with those of similar ethnic backgrounds, members of the Axis of Evil tour also pay homage to a much older tradition: addressing issues of racism through comedy, à la Richard Pryor. This group serves one purpose – to bring that humor back by saying outlandish things like this: “How many people here were Middle Eastern on September 10th and Mexican on September 11th?” (K. Tighe)

7:30 p.m.
Palace of Fine Arts
3301 Lyon, SF
$37.50
(415) 392-4400
www.axisofcomedy.com
www.cityboxoffice.com

Visual Art

“It’s Only Rock ’n’ Roll”

Root Division has compiled an end-all, one-night-only photo exhibit: “It’s Only Rock ’n’ Roll” includes the best rock and punk pictures of the last 40 years. The list of photographers is impressive – rock photo godfather Jim Marshall will show alongside the infamous Jenny Lens, supreme master of the punk rock photo. Where would punk rock be if we hadn’t seen Iggy Pop’s rib cage? Patti Smith’s possessed stage persona? Blondie?!?! (Tighe)

7 p.m.-midnight
Root Division
3175 17th St., SF
$5 donation
(415) 863-7668
www.rootdivision.org

FRIDAY

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Sept. 8

Visual Art

“Coprophagiology”

This is a colossal week for art openings – and the people behind “Coprophagiology” are out to grab your attention with a photo postcard that proves this tiny exhibition’s title refers to the act of eating your own shit. But the more interesting aspect of Anna Maltz and Haden Nicholl’s double-trouble show (at onetime Guardian critic Clark Bruckner’s gallery) might be its exploration of mental instability. (Johnny Ray Huston)

6-9 p.m. reception; through Oct. 7
Mission 17
2111 Mission, suite 401, SF
Free
(510) 467-1818
www.mission17.org

Film

“Friscophilia”

Artist’s Television Access welcomes four shorts of the extremely local variety for “Friscophilia: An Exploration of San Francisco Locations and History.” Included are deep cuts of bike messengers in action, SF’s tourist scene, gentrification, and, in the wonderfully titled Mischief at 16th and Florida, history as seen from one grimy street corner. Together, the films constitute a decidedly bottom-up look at the city. (Max Goldberg)

7:30 p.m.
Artist’s Television Access
992 Valencia, SF
$5-$10
(415) 824-3890
www.atasite.org

WEDNESDAY

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Sept. 6

Music

Chromatics

It’s easy to be confused about the Chromatics. The Portland group used to be a herky-jerky four piece made up of two men and two women, but the ladies left to form Shoplifting. Only Adam Miller remains from the original lineup, but all along Glass Candy’s Johnny Jewel, who has now joined the band, has produced their records. With Natty Miller rounding out the trio, today’s Chromatics have moved on from their kicking and moaning youth to the more grown-up and sophisticated world of disco. (Deborah Giattina)

With Glass Candy and Clipd Beaks

Hemlock Tavern

1131 Polk, SF

9:30 p.m.

$8

(415) 923-0923

www.hemlocktavern.com

Stage

San Francisco Fringe Festival

Not every show worth seeing happens under the big top. That’s what’s so great about fringe festivals. They allow both the amateur and seasoned performer with a curious idea to put on a sideshow both offbeat and electrifying. At this year’s 15th Annual San Francisco Fringe Festival, theatergoers can enjoy edgy and creative spectacles of all stripes, as the SF Fringe has booked 49 acts to put on more than 200 performances in fewer than two weeks. Take a break from the banality of the everyday with Jack Halton, who will roll a rock up Powell in Sisyphus on Vacation, a Drive-By Theater Production. (Giattina)

Through Sept. 17.

Call or see Web site for showtimes, locations, and prices (festival passes, $35–$65)

(415) 673-3847

www.sffringe.org

Famez!

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› superego@sfbg.com
SUPER EGO Does it count as gay if you’re in love with yourself? That was my philomasophical rumination as I obsessively re-YouTubed Kevin Federline’s icky, icky “rap” debut on last month’s Teen Choice Awards. Because if loving yourself counts, then I agree with most of the 200,000 teens who posted comments: K-Fed is gay, honey. Too gay to know she’s a train wreck.
Yet I simply couldn’t tear myself away. My chica Anna Conda had just got fagbashed in the Tenderloin. (She’s OK; the fucks got busted.) There’s a ginormous police state crackdown on New York clubs going down right now. And then, you know, the whole scary fuckin’ world and stuff. Oh lord, it’s a mess.
But here I was lost in the Yubehole, glued to Mr. Britney Spears’s Vanilla Ice-O-Matic Beastie Boys bar mitzvah act, complete with breakin’ goofballs in golf pants and choreography cribbed from Basic Instinct’s bisexual dance floor. Ignorance was bliss. Thank the ethernet someone just then uploaded hundreds of ’90s underground vogue ball clips, so I could toggle my ogle to some real synthetic talent — and erase the taste of rap tapioca from my slack-jawed mouth. Search string “femqueen” for days and days of two-snaps-up.
Talking point: if technology’s taught us anything, it’s how to use our screens to look away.
Talking point: I’d still do him. Ugh.
But wait. Hold up. Replay selection. Why the online mainline? If I really wanna see someone act a fool, I’d rather see it in person. I’d rather have some fun with it — and them have fun with it too. One of the finer club pleasures to arise since the death of the supastar DJ has been the explosion of live performance. People are gingerly stepping out of the virtual fishbowl and doin’ it live. Dirty drag, ragged karaoke, amateur strip contests, impromptu tambourine circles: it’s an interactive wonderland out there, I tells ya. A Xanadu on Xanax. And everyone’s a sparkly Newton-John.
So fuck K-Fed. I bust out to FAME!, the new hip-hop karaoke monthly at the Bar of Contemporary Art, hosted by DJ White Castle and MC Hector Preciados of the Sweatbox crew. It’s a smallish crush of good-looking folks there, but the joint is boisterous. The first thing I see is a guy in a Jesus getup flowing to some Notorious B.I.G. That put the kibosh on my plans to tackle “It Takes Two.” Can’t beat the Notorious JC, y’all. He’s followed up by a dude in a Hebrew Oakland A’s cap. Say what? I’m freakin’ out. The kid has mads, and the crowd’s tipped up on its South Side Zappos, spilling its cran-Absoluts. Polish up your Tupac and have at.
Four shots later, I head to Deco for nine-foot-tall dragsaster Renttecca’s new out-of-control monthly, Starfucker. Absurd Galz-Gone-Wild antics galore, a downstairs sex parlor, busty wonder Hoku Mama’s loungy sauna-swamp, and a “Hottest Ass in the Tenderloin” contest. (I brought a can of Raid for that last one. And maybe will for the second one as well.) I was approaching Deco’s magic portals when a large, muscular hand laid itself on my seductively bared shoulder. It was one of the hot denizens of FAME!
Dip it low, pick it up slow, roll it all around, punk it out like a backhoe: uh-oh. Looks like my trajectory’s changed. Sorry, Renttecca, but in the limpid, slightly crossed pools of his gangsta-dreamy eyes I forgot Deco, forgot Starfucker, even forgot FAME!
Hey, what’s my name? SFBG
FAME!
Last Fridays, 10 p.m.–2 a.m.
BOCA
414 Jessie, SF
$5
(415) 756-8825
www.sweatboxsf.com/fame
STARFUCKER
Fourth Fridays, 10 p.m.–4 a.m.
Deco
510 Larkin, SF
Call for price
(415) 346-2025
www.myspace.com/starfuckme

Air Americana

0

› a&eletters@sfbg.com
Madonna and her scantily-clad kabbalah practice may have been ousted by the Russian Orthodox Church, but rest assured, oh ye faithful, the Silver Jews are finally coming to San Francisco. The band, often mislabeled as a Pavement side project, actually coalesced before Pavement, though the two backstories share a history of caustic revelation.
David Berman, guitarist-vocalist Stephen Malkmus, and drummer Bob Nastanovich formed the Silver Jews in 1989 while students at the University of Virginia. After graduation, they took the budding project with them to New York. Their music thrived in that city’s frenetic air. The band’s roster has changed continuously, but Berman, a heartbreaking writer and constant innovator, has always been at the helm. It’s his project, his voice.
Berman will be turning 40 in January. Four awe-inspiring full-lengths, a host of smaller projects, and a well-received poetry book (1999’s Actual Air) have placed him firmly in the cultural spotlight, often against his will. Berman is a recluse in some ways, a natural wordsmith — and instantly demanding performer — in others. He’s given the Bay Area numerous poetry readings but never a rock show.
Until now. Berman has been through some tough, emotionally trying shit lately, but he’s back, with the eloquent deadpan that has made him the envy of songwriters, indie philosophes, and music junkies everywhere. Longtime fans may call this unprecedented tour a resurrection, but Berman laughs it off. “I’d always planned to be a middle-aged performer,” he jokes via an e-mail interview. “This year has just been the run-up to the start of my contract with the Missouri River Blues Barge’s Menthol Topaz Casino.”
Waiting for a new Silver Jews album is like waiting for John Darnielle of the Mountain Goats to take the stage: everyone is ready to be shattered and jubilant, lyric by lyric, tune by tune. On 2005’s Tanglewood Numbers, the first Silver Jews effort since 2001’s Tennessee (both Drag City), Berman’s voice sounds deeper than ever, as if it might break at any moment and never come back.
The Tanglewood crew is rather big — 13 folks including Malkmus and Will Oldham — but that’s just how they do it in Nashville, where the record was recorded and mixed. Other Nashville-ized albums by the likes of Cat Power and Oldham these past years have taken some getting used to. Tanglewood hits the heart instantly.
Berman’s vocal duos and duals with his wife, Cassie, who plays a variety of old-timey instruments on Tanglewood, are organic and intensely personal. “Humans have been failing Human Relationships 101 for half a million semesters straight now,” writes Berman. The ability to perform back-and-forth vocal lines is “one of the many things you can do more easily under a band name than as a solo artist,” he notes. “Different souls are in the music.”
On “I’m Getting Back into Getting Back into You,” the Jews sound trapped in a psychedelic small-town roller-skating rink, needing to raise their voices to be saved. But maybe we’re all trapped. “I’ve been working in an airport bar/ It’s like Christmas in a submarine,” Berman croons. An ominous “om” sneaks in at the end of the tune.
Since their first recordings, made on answering machines and Walkmans, Berman and the Jews have been proving that our main roads are really back roads and vice versa. He writes of those early days: “Getting the tape back after a good performance was hell — first the breaking and entering …” Americana, broadly defined, is sustained by such neighborhood trickery. When Lucinda Williams revisits childhood gravel roads or Darnielle sings about hearing the screams of football season, particularly American landscapes reveal what we had always thought were private obsessions. Such artists gain a universal appeal by taking local scenes and spraying themselves all over them. It’s sound graffiti and it feels so good.
Berman’s current plan is deceptively simple: “To keep making these different versions of the master Silver Jews album in the sky.” On Tanglewood, “How Can I Love You If You Won’t Lie Down?” rocks hard but also highlights Berman’s tragicomedy: “Time is a game only children play well/ How can I love you if you won’t lie down?”
The Mezzanine performance will feature Peyton Pinkerton and William Tyler on guitars — Pinkerton played on 1996’s The Natural Bridge, Tyler on 2001’s Bright Flight (both Drag City) — Brian Kotzur on drums, Tony Crow on keyboards, and Cassie Berman on bass. Even the lineup gets Berman going. “Peyton is a descendent of William Henry Harrison…. I’m convinced that many of our country’s best electric guitarists are the far-flung descendents of mediocre 19th-century American presidents.” SFBG
SILVER JEWS
With Monotonix and Continuous Peasant
Sun/10, 8 p.m.
Mezzanine
444 Jessie, SF
$19.99
(415) 625-8880
www.mezzaninesf.com