Stage

B.B. King charms the Fillmore

1

By Ariel Soto

When someone is a master of their art, it means they can make the simplest things genius. Think of Alice Waters: she’s one of the most famous chefs in the world and her dishes are based on totally minimal ingredients. B.B. King (http://www.bbking.com/) is the master of blues guitar. On May 21, King played to an ecstatic audience at the Fillmore Theater. King plays like no other musician I’ve ever seen, lingering on the silences, or playing only one exquisite note that lasts for over a minute and sounds like an orchestra of complexity. King is also an incredible storyteller, relating tales about his life as an 83 year old guitarist traveling the world to play music and even about discovering Viagra, with constant accompaniment from his band to gives his stories even more umph. He also has quite an appreciation for all the ladies and had everyone sing “You are my sunshine” followed by a required kiss between any lovers in the audience. The artist made sure the house lights were raised … he just loved watching the ladies get smooched! King is beyond comfortable and charismatic on stage, and with over 15,000 concerts under his belt, I’m sure this master has quite a few more tunes to share with many more audiences around the world.

bbking1_0509.jpg

Sonic Reducer Overage: TV on the Radio, Bun B, Fischerspooner, Webbie, Floating Goat, Passion Pit, and more

0

Memorial Day weekend – the wind is down, and the moment has come to break out the hibachi, dust off those sassy hot pants, and kick back for at least a day or three. And of course, there’s more worthy music to fit in there, in between the sunbathing, cookie-baking, and electroclashing.

Fischerspooner
Does the GE halo give me a double chin? And does it electroclash with the rubber tubing? The jaw-dropping live act whips out a dour, synthpop Entertainment, as well as a new stage show. Fri/22, 9 p.m., $29.50. Fillmore, 1805 Geary, SF. (415) (415) 421-8497.



TV on the Radio and Dirty Projectors

The praise-rattled TVs were peppy as all get out at Treasure Island fest last year – and here they come again with the better-than-ever Dirty Projs, which blew everyone away at SXSW this spring. Fri/22, 8 p.m., $30. Fox Theatre, 1807 Telegraph, Oakl. (415) 421-8497.

Afro-lunacy in bloom

0

a&eletters@sfbg.com

LOST TELEVISION


"Ticket to Heaven," the last of the series of Our Gang comedies, was produced by Oscar Micheaux in 1944, with music provided by Babs Gonzales and his band, Three Bips and a Bop, on a makeshift sound stage constructed inside of a Harlem tenement building. The plot summary is as follows: With the help of Farina, Pineapple, and Stymie, Buckwee runs amok after reading an early Nation of Islam pamphlet that promises a place in heaven to any Black Muslim who killed a white person for Allah. The throats of the entire gang are slashed with unsheathed straight razors. Alfalfa is forced to sing "Ole Man Ribber" before his throat is slit by a young Robert Blake in blackface. Directed by Spencer Williams, the script was written by Flournoy Miller, who dedicated this final episode to the memory of his late partner, Aubrey Lyles. Miller then moved on to penning scripts for Gosden and Correl’s. Amos ‘n’ Andy television show. The controversial episode aired last Nov. 22, 1963, much to the glee of the N.A.A.C.P.

LOVE SPELL


You can’t eat with everybody. You got to have the right vibrations.

Vera Grosvenor, dancer-vocalist, Sun Ra Arkestra

Menstrual blood, in both the Hoodoo folk traditions of the American South and the Straga traditions of southern Italy, is used to bind one’s affection to another. In Sicily, for example, a few drops of blood pricked from a woman’s finger is stirred into a man’s coffee. In the southern states, a man might get Hoodoo’d with a few drops of menstrual blood mixed into his red beans and rice. This spell is also quite effective when worked in the reverse by men substituting menstrual blood for the obvious. The following is an excellent recipe a lady might serve a gentleman caller for lunch.

Tomato with Basil Dressing

diced tomatoes

1 bunch basil

4 Tbs. balsamic vinegar

5 Tbs. olive oil

2 cloves garlic

3 tsp. of menstrual blood

Salt and pepper

Let stand for 30 minutes. Serve with Toscanini bread, Parma ham, salami, and a carafe of red wine. Bon appetit!

R.J. AT THE CROSSROADS


"What fool coon nonsense is this?" the Devil asked. "You call this a sacrificial offerin’? These ain’t nothin’ but some greasy, chewed-up chicken bones! What happened to my sammich?"

"Ah’ done et’ it" R.J. replied. "Ah gots hongry on de way ober ‘cheer!"

"Well how in the hell do you expect to play the greatest blues guitar in the history of the world if all you got to show for it is some splintered chicken bones all spit up with some nasty ol’ nigger slobber? What’s wrong with your head, boy? I’m the devil! You gots to give me somethin’ … !"

In the moonlight, R.J. turned his empty lint-lined pockets inside out. He gave the Devil a helplessly pathetic half-smile. "You is ’bout the most pitiful colored boy I done ever laid these infernal eyes on," the Devil said. "But I’ll tell you what I’m gonna do …. "

CRAB CORNER, MI, MAY 19


A report released late last night from the Crab Corner sheriff’s department confirmed recent rumors concerning retired physical education instructor, D.T. Ward, 68, who alleged over the weekend that a spectral, feral-eyed black man passed through the walls of his newly-paneled basement Saturday morning, and greeted him with a strange but cheery salutation.

"At first, I thought he was askin’ for a plate of ‘green eggs ‘n’ ham,’" D.T. told a disbelieving deputy. "Like in them Dr. Seuss books. But now that I think on it, what he said sounded somethin’ more like what them magician fellas say ‘fore they pull a rabbit outta their hats — Wham! Bam! Alley Ka Zam! — only this nigra fella was more dicty an’ foreign soundin’, like he was addressin’ royalty or somethin’, lookin’ at me with them flint-fire eyes. Gave me the Willies!"

According to Ward, whom long-time neighbors suspect is rapidly degenerating into senility, the red-haired apparition floated into the upstairs kitchen, where he took a box of Cap’n Crunch from a kitchen cupboard and prepared a large bowl of the sugar-coated cereal, using close to a full quart of milk. The sepia-tinted spectre then returned to the basement, sat on the sofa, nestling the bowl on his lap, and watched cartoons on the family’s new big-screen television with the Wards’ three visiting grandchildren — Ralph, Edwina, and Skip. The children chirped that he enjoyed early-vintage Popeye cartoons best.

"Right neighborly fella," D.T. said. "Real nice to the kids. Didn’t drink, smoke, or cuss. Helped around the yard. Wore a bowtie".

"MORE FRIGHTENING THAN A CLOWN AT MIDNIGHT" — LON CHANEY SR.


The wretched inherited the earth. And the Man spurt a glorious rain. His underwear was left sticky with seed.

Witches taught naming was power. To name was to know and exert influence over the world of things. The ability to name determined the fuction of a thing. To name was to tame. But we learned otherwise. Real power lay in un-naming.

We refused names, numbers, and codes. We refused stamps, marks. We acted anonymously and moved beyond the Man’s mechanisms of global economic and social control. If the Man could not name us, he could not know or tame us. Once he declared us one thing, we become another. We were an invisible and ever changing alphabet. The Man found our meaning more difficult to grasp than a bead of mercury.

He lamented. The cornerstone of the corporate nation-state, the family, had crumbled.

"Errant fathers! Sluttish mothers! Bastard births! Negro music! What is the world to do?" he mourned. "Return to the power of prayer!" So when the robots rolled into the cities, chirping "Automaton Christian Solidiers," we became the robots. The Man did not and could not know. We was them.

Even at the end, in the euphoria of his avarious wet dreams, he thought the tumors raging within were of his own making. But how could he know?

We shifted gender, race, and class. And hopped from one species to the next. We were flora and fauna. We were never what we seemed to be. We were never what he expected. We were random, illogical, varied. He could not predict us.

Then he turned on himself. "To restore order," he said, "we must restore the family. We must attempt to rebuild our moral foundation with the assistance of God."

In his megalomania, the Man resurrected the biblical Abraham from the dust. The ancient patriarch stood before the people and lifted his simple robes. He turned and bent over and exposed the halves of his pimpled ass. His asshole puckered and spoke in gaseous bleats. Throngs of people shuddered in awe. The Savior had come at long last in the mask of Abraham’s encrusted asshole.

"The father is the spirtual leader of the househould," it said, "the model of God’s love. And he must wash his wife in the waters of that love. He must also instruct his children on matters God’s word with diligence. It is his moral obligation, a duty bestowed on him by heaven. It is the responsiblity of men to teach and reaffirm God’s word."

A rancid pungency wafted through the crowd in fog-like densities. The people swooned and were overtaken by uncontrollable nausea and diarrhea. Soon, the streets were flooded with the waters of God’s love. And the waters clogged the circuitry of the robots under the Man’s control.

It was then the Man expired, jacking off in pools of his own shit.

Darius James is the author of the novel Negrophobia and the film survey That’s Blaxploitation!: Roots of the Baadasssss ‘Tude (Rated X by an All-Whyte Jury).

Downtown’s missing history

0

EDITORIAL To hear the proponents of a new downtown condo complex talk, you’d think they were giving the city a wonderful deal. In exchange for an exemption from height limits that would allow a tower twice the allowable size just a few yards from the Transamerica Building, the developer would give the city a little patch of parkland that’s now privately owned. Even the city planning director, John Rahaim, seems to think the special treatment is acceptable, since none of the other buildings in the area are nearly as tall as the Pyramid, and, he told the Chronicle, "usually you cluster tall buildings together."

Of course, the usual crew of downtown boosters love the architecture (a sort of spiral design), love that it would create housing in an area that’s generally empty at night, and figure that something only about half as tall as the high-rise it’s next to can’t be all that bad.

But there’s a stunning lack of historical perspective in all this discussion.

The Transamerica Building seems like an icon today, but when it was first proposed in 1969, it met with strong opposition — not so much because of its unique design (although some prominent architecture critics thought it was hideous) but because it was way too big, too tall, and jammed into a human-scale neighborhood where all the other buildings were low-rise. It was a flash point for the anti-Manhattanization movement and rallied preservationists, environmentalists, and neighborhood advocates.

One of the central issues: in order to accommodate the new tower, the city would have to give up a block-long section of Merchant Street, an alley filled with small businesses. The controversy over the sale of that public street occupied center stage in the Transamerica battle, and in order to convince the supervisors to hand over the public property, Transamerica agreed to build a little park on the edge of the property. That’s how Redwood Park came into being — as a concession from a developer who had been given public land.

And now another developer, Andrew Segal, is offering to give the park back — again, as mitigation for a project that’s too big for the site. So the city, in exchange for approving a bad project, winds up with land it would have had anyway if it hadn’t accepted a different bad project four decades ago.

And there’s been very little attention paid to the historic reasons why this project would need special exemptions from two city laws to move forward. In the mid-1980s, with Dianne Feinstein in the mayor’s office, the city was getting choked with tall, bulky — and frankly, nasty-looking — high-rises that were turning downtown and South of Market into dark, windy, dismal canyons. After long debate, many public hearings, and extensive discussion, the voters approved two measures aimed at limiting the impact of overdevelopment. One of them, Proposition K, barred new buildings from casting shadows on public parks. The other, Proposition M, limited high-rise office development and mandated the preservation of neighborhood character. At the same time, the height limits in that area — on the edge of Jackson Square and North Beach — were reduced, again after many hearings and much debate. The idea was that downtown’s skyscrapers shouldn’t be intruding northward.

Let’s remember: this won’t be affordable housing. The new condos will be priced at the top of the market (clearly the developer thinks the housing market is coming back in San Francisco). And while environmentalists like the idea of building housing near jobs, very few of the new condos that have gone up downtown have provided housing for San Franciscans. Most are owned either by empty-nesters returning from the suburbs, Silicon Valley commuters, or international jet-setters seeking a SF pied-à-terre.

So there are very good reasons for planners and the supervisors to reject this project — and for the city not to forget that the rules that make this deal unappealing were neither random nor a mistake. There’s history here, and once you understand it, the project makes very little sense. * *

Fear itself

0

le.chicken.farmer@gmail.com

CHEAP EATS It was the stuff that nightmares are made of, two little kids, shrill and shrieking with maniacal laughter, chasing me around a cluttered house with huge, dripping spoonfuls of mayonnaise.

My bad. I’d made the mistake of showing them my Achilles heel. Still it’s remarkable how innately merciless kids, sharks, and hyenas can be. I begged. I pleaded. I tried to reverse my position: I LOVED mayonnaise, I’d in fact been overjoyed, appetized, and positively heartwarmed to find them dipping tablespoons into the jar and filling their faces.

Nothing worked. They were foaming at the mouth, lipslick and shiny, sticking out their whited tongues, baring their dripping teeth, spitting and tearing at me with greasy fingers, little glistening dollops flying every which way from their spoons and hair. If I didn’t already have PTSD now, after years of my mother’s cooking … forget it!

I’ll be surprised if I can open a refrigerator ever again, even in the safety of my own home, my own refrigerator … let alone order a hamburger in a restaurant. Let alone a turkey or ham sandwich.

And the sad thing is: I was just about to get over it, I think. After a lifetime of all-out avoidance, I had knowingly and ungaggingly ingested things with mayonnaise in them on three separate occasions in 2009. A dip, a dressing, and (I shouldn’t say this because it was a secret ingredient) a birthday cake.

Enjoyment would be a strong word for what I felt on each of these occasions, but after tolerance comes appreciation, right? And after that, enjoyment can’t be far behind.

My new favorite expression has to do with jumping over your own shadow. Which, of course, can’t literally be done, but once you make the decision to live poetically, as opposed to, say, politically, polemically, pedagogically, or potlucklessly, well …

Give you an example: I have three things, a passport, an airplane ticket, and a really very thick fear of flying — which, although it is not as deeply-rooted or legendary as my mayophobia, nevertheless requires more anti-anxiety medication.

Or did, but that might be about to change. Things do.

After the kids chased and caught and slimed me, I couldn’t get the gag reflex to go away. No amount of bathing helped. No amount of laundry detergent could induce me to ever again wear the clothes I was wearing. Dips, dressings, and birthday cakes I regard with tight lips and at least one eyebrow raised.

Yet I look forward to being with the little doodooheads. I admit I especially look forward to their bedtime, where my storytelling has taken on an uncharacteristically moral tone. Essentially, any chicken or other animal who exploits any other chicken or other animal’s weakness winds up being eaten by snails.

Hey, not my favorite kind of ending, either; just another hazard of the profession, like being sick most of the time and needing vacations. Why I am going to Germany for said vacation is a long, untellably excellent and delightfully moral-less story, more my speed, entailing swirls of dragons, dragonflies, butter, the color blue, my friend Kiz, punk rock, and the Loma Prieta earthquake …

Anyway, I’ve got one month left to live, for sure, and then a layover in Philadelphia, so I thought I’d practice on a cheesesteak. Enter Phat Philly, stage left. Make that stage 24th Street near Valencia, in the Mission. This is my new favorite-smelling restaurant, for sure. I would like to be laid to rest in there, unboxed, maybe taxidermed onto the wall, or just propped up in an out-of-the-way corner, even for a week, in case our sense of smell survives us some.

Classic pepper steak with provolone … I’m telling you, and the rolls are imported from Philly, which you wouldn’t think would be a good thing, normally. But: they work! They’re great.

And Sockywonk let me taste her onion rings, and did not pour ranch dressing in my ear. Adults are so cool!

PHAT PHILLY

Daily 11 a.m.–11 p.m.

3388 24th St., SF

(415) 550-7428

Beer & wine

AE/D/MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

Crash landings

0

news@sfbg.com

As the U.S. military wrestles with President Barack Obama’s plan to expand the war in Afghanistan while reducing its presence in Iraq, there’s a mounting cost on the home front for the 1.9 million soldiers who have been deployed to those conflicts and are now beginning the often difficult transition back to civilian life.

Inadequate stateside mental health and other veterans’ services has been serious problem for years (see "Soldier’s heart, 12/22/04). A report in January 2008 by the RAND Corp. titled "Invisible Wounds of War" found that nearly 20 percent of Iraq and Afghanistan veterans report symptoms of posttraumatic stress disorder (PTSD) or major depression, and that an additional 19 percent experienced a possible traumatic brain injury while deployed. But only slightly more than half of these returning veterans seek treatment that RAND called "minimally adequate."

The report estimated that PTSD and depression will cost the nation $6.2 billion in the two years following deployment, but also estimated that investing in more high-quality treatment — and thus lowering the rates of suicide and lost productivity among veterans — could reduce those costs by $2 billion within two years. Modern life-saving and protective technologies and repeated deployments appear to be making the problem worse now than in previous wars.

"Early evidence suggests the psychological toll of the deployments may be disproportionately high compared with physical injuries," the report stated, concluding that a national effort is needed to expand and improve the capacity of the health care system and to encourage veterans to seek this care.

That national picture is reflected in San Francisco. Judi Cheary of San Francisco’s Department of Veteran Affairs medical clinic said that 25 percent of the service members they see returning from Afghanistan and Iraq receive a mental health diagnosis.

Keith Armstrong, the clinic’s PTSD counselor and a professor of psychiatry at University of California-San Francisco, noted that veterans often have a diagnosis that includes depression and PTSD, or substance abuse and PTSD. "So they may be struggling with many problems," said Armstrong, who wrote Courage After Fire: Coping Strategies for Troops Returning from Iraq and Afghanistan and Their Families (Ulysses Press, 2005). "Others simply have adjustment challenges from being in combat."

For instance, traffic can be difficult for returning service members who drove in combat conditions, where explosives were a constant concern. "They are scanning the environment because that’s what kept them safe in combat, or pushing the steering wheel when a friend is driving, trying to move from one lane to another," he explained.

According to V.A. data, California has the third-highest number of veterans in the nation. In Northern California, most live in the Central Valley, leaving some San Francisco vets feeling isolated. "There’s a lot of talk about supporting the troops, which is nice, but it’s intellectual," Armstrong said. "Here people may not disclose that a family member is in war, not because they’re afraid people will spit on him, but because they are afraid that people will say dumb things."

His clinic has seen an increase in these veterans in the past year. Armstrong typically sees three clusters of PTSD symptoms: intrusive symptoms (vets can’t get particular images and experiences out of their head); avoidance symptoms (vets believe they don’t have a great future ahead; they feel numb, it’s hard to get close to them); and arousal symptoms (vets are often irritable and angry).

Anger often causes the most problems. "We see more self-destructive and reckless behavior in younger folks," he added. "They have anger, revenge-based fantasies. They know what it’s like to blow someone’s head off or to see it being blown off, so when they get angry, that crosses their mind." But he said that couples and families often talk more about "the numbing" and "the inability to connect."

Armstrong also pointed out that many vets worry about the effect on their career of getting help, and how it looks to others if they do. "That’s due to both their training and age group," he said, noting that 50 percent of soldiers are 17-to-24-year-olds, and 89 percent are male.

"So it’s not just about war, but about the developmental stage of the troops," he said. "It’s an appropriate age to be independent and not get any help. But that, combined with the stigma of asking for help — and if they have PTSD avoidance symptoms — can keep them from going in."

As a result of recent studies showing that PTSD can develop up to five years after discharge, the V.A. extended what was previously a two-year limit in which veterans could get help to a five-year window. They also now have a suicide prevention hotline number for vets: 1-800-273-8255.

"The V.A. overall has made some mistakes, but it has really taken suicide prevention seriously," Armstrong said.

There are nonprofit options as well. Founded in 1974, Swords to Plowshares provides counseling and case management, employment, training, housing, and legal assistance to homeless and low-income veterans.

Equally important, it’s staffed by veterans like Walter Williams, who served in Iraq and Afghanistan and has combat-related PTSD, and Tia Christopher, a survivor of military sexual trauma. "The experience of being in a war zone as well, or being sexually assaulted by some one in your own unit, that’s profound," Armstrong said.

As Christopher explained, she and Williams have similar symptoms and attend weekly V.A. appointments to deal with their own mental health issues, between providing services to other veterans at the group’s Howard Street office.

"Pretty much everyone coming back has combat stress and everyone I know has been buying rifles," Christopher said, noting that cleaning guns can be a meditative therapeutic activity for veterans. "Combat stress becomes clinical PTSD when those symptoms don’t go away."

Christopher said women who were in combat and survived military sexual trauma face "a double whammy." Out of the military for more than seven years, Christopher observed that "things get better, but the memories don’t go away."

In 2007 there were more than 2,000 reported military sexual assaults, but only 181 were court-martialed, she said. "So basically survivors are dealing with injustice of nothing happening.

"I used to wish that PTSD gave you purple spots," she added. "That way people would know you had it. Instead, you are left dealing with getting panic attacks all of a sudden and being on edge."

"I call it a flare-up," Williams said. "It’s different each time. Sometimes, when I have to focus and get my mind around something, I’m blank. I feel like I want to cry, but I can’t."

Unlike past generations who openly identified as vets, "this new wave of vets is "more intent on blending in," Williams said. "They’re trying to suppress their symptoms. They don’t want to be seen as weirdos."

Deployed to Iraq and then Afghanistan as a communications specialist in 2004, Williams recalled having to give up his weapon twice and being put on suicide watch. "For a week, they watched me, then they gave me my weapon back."

He’s convinced that the best solutions to the challenges facing this latest wave of PTSD-afflicted vets lie in "listening to stories from the mouths of people with it," he said.

Bobbi Rosenthal, regional coordinator for V.A.’s homeless program, said that an estimated 20 percent of the 6,514 people recorded in San Francisco’s 2009 homeless count are veterans.

Anita Yoskowitz, administrative site manager for the V.A.’s homeless services center on Third Street, said 90 percent of the vets who use the clinic’ showers, laundry facilities, and computer lab have PTSD.

And while many of the center’s clients are still from the Vietnam and Desert Storm era, the average age is starting to come down, she said, as veterans from Iraq and Afghanistan begin to trickle in.

Veterans can come to the clinic every day, but those who are not clean and sober are limited to three times a week. When folks come for medical care, Yoskowitz said, "the clinic is on the look out for mental health problems."

Jacob Hoff, who volunteers at the center’s computer lab, said that from conversations he overhears, it’s clear that coming back is hard. "There’s a lot of survivor’s guilt. I can really tell the young kids who are coming in and learning how to be homeless. The older guys tell them where to go for food."

Donald Fontenot, who enlisted in 1980, was on the computer looking for housing when he shared his story. He enlisted when he was 18 and then messed up his knees jumping out of a C-141 jet, so he understands the stress of no longer being able to perform.

"You are young and strong and then all of a sudden, you can’t do these things," said Fontenot, who was living in his car behind the clinic until it got towed by the police. "So I wound up more homeless."

Currently staying with a friend, Fontenot recalled meeting a Vietnam vet who likes to walk around Golden Gate Park at night with a pistol. "It gives him the feeling of walking around in the jungle," said Fontenot, who is searching for suitable Section 8 housing — another unique challenge for PTSD-afflicted veterans in San Francisco.

For some, the road to recovery leads them from the streets of San Francisco back into the arms of their family. One such local family shared their story with the Guardian and we decided to shield their identities for privacy. Mike recalled the dramatic change he saw in his brother, Joe, who joined the Marines directly after 9/11, after he tore up his shoulder in Iraq.

"His whole mentality, even if he didn’t support the war in Iraq, was of a to-die-for-it Marine," said Mike, recalling the hurt and disappointment in Joe’s voice after he had two surgeries, and couldn’t return with his unit to combat.

Mike said his brother’s state of mind worsen after he had been out of active duty for three years, and that the first signs that his brother might have PTSD were night sweats and an inability to pay attention.

"But how can you expect soldiers to pay attention to isolated thoughts, words, and action, when they are or have been immersed in culture that teaches you to ‘walk, talk, shoot, shit’?" Mike asked.

Joe was homeless in San Francisco for stints in 2007, but never longer than a week. Mike recalled how things came to a head when the two brothers got into a fight one night after Mike closed the bar where he worked.

"Here we are, I’m 30 and he is 28, in a fist fight, and I told [Joe], ‘I think you’re losing your mind.’ And he said, ‘then save me,’ lying on my kitchen floor at four in the morning. But then that was it, no more conversation."

Joe soon checked himself into a couple of private facilities where he berated psychiatrists for not knowing about military combat zones and could always check himself out. "Then he went over to the East Bay, went into a 24-hour Fitness Center to use the shower, got into it with a security guard for trespassing and disorderly conduct, got arrested, and was brought to the V.A.’s PTSD center in Palo Alto," Mike said.

It was at this state-of-the art facility that Joe began to get help, and this year he returned to Chicago, where he is living with family until he returns to school to pursue his master’s degree. Joe’s mother, Betty, said dealing with all this has been minor compared to the prospect of losing her middle son permanently. But she resisted labeling behavior she believes was connected to his imploding marriage and financial problems when he moved to California, as well as to fallout from his injuries in Iraq.

She recalls getting an e-mail from their now former daughter-in law saying, "Joe has been living in the park, camping." Betty said the first year after Joe came back was pretty tough. "We knew the marriage was over. And a couple of times I called two of his real close friends who are Marines, to tough-talk to him. For a period of time, he was acting out, a different person. You could tell something wasn’t right, and yeah, some blamed it on the service."

Asked what she thought of giving vets with PTSD a Purple Heart, an idea the military floated earlier this year, Betty said, "I don’t know. They all have to go through it in some respects. My feelings about why he ended up totally collapsing is that he was trying to do too much on too little. They are over there, building cities and lives for people. Then they get back and find they can’t support their families or themselves. But at least it’s not like when folks came back from Vietnam and were labeled as bums."

Guardian staff writer Sarah Phelan’s son deployed to Iraq in 2007 and returned in April 2008.

Two

0

paulr@sfbg.com

When Hawthorne Lane became Two late in 2007, I quietly mourned. The original restaurant had been, from its opening in 1995, one of my very favorite places in the city — none better — and when you are sitting on top of the world, where is there to go but down? The idea of attracting a younger clientele made a certain steely-eyed business sense; nearby Bizou had become Coco500 largely for this reason, so there was precedent. But young people also tend to be noisier than their elders, and Hawthorne Lane had been that rare thing: a nicely muted setting that managed to be lively at the same time. And beautifully upholsterd.

In hindsight, owner David Gingrass’s complex decision to simplify and shrink his glorious establishment was as prescient as that of a broker who got out of stocks and into cash as the febrile Bush "boom" entered its terminal phase. The restaurant’s second dining room is still there, darkened like a sound stage awaiting some new production, and maybe better days will bring that new production. For the moment it’s a quiet shrine to memory. All the action, meanwhile, is in the front room, which is still dominated by the gigantic, copper-topped bar. The crowd does appear to be younger — not too, though! — while the décor now includes a gorgeous communal table whose glossy wood top appears to have been salvaged from an old whaling ship.

And, glory be, the food is as sublime as ever. Gingrass himself recently returned to the kitchen after a long hiatus, and he means to emphasize his longstanding interest in charcuterie and bread. (Those with elephant memories might recall that he personally sold housemade sausages from a booth at the Ferry Plaza farmers market in the mid-1990s when the market set up every Saturday morning in the middle of the as-yet unrestored Embarcadero.)

But Two also emphasizes value. Nowhere is this more evident than in the "5 for $5" menu, which is presented as kind of five-course tasting menu but doesn’t require you to order the whole thing. You can pick and choose. The menu changes every Tuesday and might include a soup, salad, small pizza, meat course, and dessert. I did find a salad of crimini mushroom carpaccio to be underpowered, despite the bolstering presence of shaved celery hearts, grana padano cheese (a close relation of Parmigiano Reggiano), and a lemon-white truffle vinaigrette. Perhaps the disappointment flowed from the mushrooms, which are basically glorified button mushrooms; or perhaps the salad was overwhelmed by one of shaved brussels sprouts ($9), heavily showered with pecorino cheese (sharper than the grana padano), dotted with marcona almonds, and dressed with a garlic-chili vinaigrette. The salad looked like a sculpture made from lawn clippings and was fabulously tangy.

Other than that mismatch, the $5 items held up sturdily. Roasted tomato soup, topped with a dab of Parmesan cream, was silken and hearty. A four-slice pizzetta topped with a shmear-like combination of of smoked salmon, dill crème fraîche, and chives delivered a strong, smoky bite. And roasted Peking duck arrived in chunks aboard radicchio cups, buffered by totsoi and finished with a glistening sour-sweet Seville orange chutney that beautifully matched the richness of the meat. It was also a near-reincarnation of what had been one of Hawthorne Lane’s signature dishes.

Roasted marrow bones ($9) probably don’t count as charcuterie, but, like sausage, they do suggest an imaginative frugality, a bent for extracting wonder from unassuming sources. Bones often end up in stock pots, but here a pair was marinated in garlic and thyme, roasted, then served in a shallow platter with a caramelized onion broth (basically French onion soup without its cheese beret) and a baby loaf of crusty country bread. The marrow itself, dug from the bones with demitasse spoons, turned out to be flavorfully geutf8ous, like beef jam suitable for spreading. If all cooking were like this — simple in origin and execution, spectacular in result — it would be a happier world.

Lamb is always a little fancy, but what would spring be without at least a taste? Two’s kitchen grilled a boneless loin and fanned the slices over toasted fregola pasta (pebbly, like Israeli couscous) tossed with braised spring onions, almonds, unidentified greens, and jus. The crunch of the pasta gave particular satisfaction, as did the rosiness of the meat.

The humble cupcake need not be humble. It can be filled with chocolate cream, like a truffle, or topped with peanut-butter frosting, for a real American experience. Five bucks gets you … two!

TWO

Dinner: Mon.– Thurs., 5:30–9 p.m.

Fri.-Sat., 5:30–10 p.m.

22 Hawthorne, SF

(415) 777-9779

www.two-sf.com

Full bar

AE/CB/DC/DS/JCB/MC/V

Well-managed noise

Wheelchair accessible

Prison report: 3,600 layoffs — and WHAT programs?

15

By Just A Guy

Editors note: Just A Guy is an inmate in a California state prison. You can read some of his past columns here, here, and here. He will try to respond to all comments and questions, but since it’s often hard to communicate from prison, it may take a while, so be patient.

I was gratified to see that Arnold is, supposedly, laying off 3,665 correctional officers and correctional employees. While I don’t wish anything bad on the employees or their families, I do feel it’s about time something like this was done and it sets the stage for releases. Not only that, but people out there seem to forget that government shouldn’t be immune to the harsh realities of rough economic times. Any business worth its salt would have laid off lots of people long ago and eradicated redundancies, unproductive workers, and unproductive positions. A normal business that is run well also takes inventories, which, I really don’t think California does in any measure. California really needs a six sigma methodology, BAD. Ask Meg Whitman, she was the CEO of eBay and is planning to run for governor, Meg said she would lay off at least 30,000 workers. Hmmm.

This is from the San Francisco Chronicle:

Lance Corcoran, a spokesman for the prison guards’ union, said the union doesn’t know how many guards will be laid off. He blasted the inmate–release proposal.

“This short-term savings is going to have long-term costs, and the costs will be measured, unfortunately, in lives,” Corcoran said. “I anticipate some incredibly sensational crime committed by an individual that should have been incarcerated.”

I understand that it’s Corcoran’s job to ridicule anything the California Correctional Peace Officers Association sees as a threat to its ability to protect union members and their jobs, but I think it’s really funny that he’s saying that some sort of sensational crime will be the result of releases. Corcoran seems to think that the general public is so naïve (or are they?) as to not realize that any person being released is going to get out anyway!

The fact that a person was released early has absolutely nothing to do with whether or not he or she commits another crime, sensational or not. Obviously another scare tactic perpetuated by the CCPOA with no counter point to Corcoran’s assertion offered by the Chronicle — imagine that. (And why is it that the mainstream news media always seems to quote the CCPOA on prison issues — but rarely talks to, say, prisoners rights groups, or anyone else, for the other side of the story?)

Live Shots: Yoshida Brothers strum up Yoshi’s

0

Text and photos by Ariel Soto

yoshidabros2_0509.jpg

yoshidabros3_0509.jpg

yoshidabros6_0509.jpg

Walking confidently on stage and decked out in tradition Japanese garb, the Yoshida Brothers took over the stage at Yoshi’s SF in the Fillmore — they’ll be performing there until May 16th. The Yoshida brothers play the shamisen, a square shaped guitar like instrument with only three stings that twangs and resonates long after the stings have been plucked.

yoshidabros5_0509.jpg

Sour grapes

0

le.chicken.farmer@gmail.com

CHEAP EATS Wish I could take the two parties I went to on Saturday and superimpose them onto each other, so that the Rockridge moms and dads could mix with the young trans men, drag kings, and queer burlesque performers.

When I mentioned this seemingly surreal idea to Alice Shaw after our soccer game Sunday, she said, simply, "Do it. You can!" And she teaches photography, so I decided to believe her.

Not only that, but since my own training is technically as a fiction writer, I think I’ll bring my buddy Earl Butter with me to both parties, even though in real life I only ate lunch with him and then dropped him off at his house.

Earl Butter deserves a bigger piece of pie. Don’t you think?

"My whole life has been a series of disappointments," Earl Butter really did say, at lunch. "One after the other after the other, and eventually you reach the point where one more thing … well, it might just be the one that breaks you."

We were both looking at his piece of pie, and it was, in fact, astonishingly small. Small enough to put inside a teacup. Small enough to break anyone’s spirit.

I gave him half my piece. To be honest, I didn’t miss it. If I go back to Mission Pie, it will be for a cup of coffee.

Now, to show you what a great friend and altruistic farmer I really really am, after lunch I took Earl Butter with me to this Kentucky Derby party in Oakland. Of course you heard that a 50:1 long-shot won, by a mile, and that gives me more hope than Susan Boyle gave everyone else.

But I already had more hope than is good for me, anyway.

Anyway, so I met this big fat queer stripper chick stage-named Kentucky Fried Woman at a burlesque show. "I’ve heard all about you," I said, because I had. I’d heard that she has a Derby party every year and makes buttloads of the Best Fried Chicken Ever.

Praise the Lard … it’s true!

And there were biscuits, and corn bread, and mac ‘n’ cheese, and every possible shade of white and yellow things to eat, but I have a confession to make: I went to two shows in one week and didn’t get the burlesque thing. I mean, song and dance and comedy I understand, but the part that ends in swirling pasties? … Nothing. I’m sorry.

This probably seems like sour grapes coming from an uncurvaceous woman with sour grape-sized tits, so it probably is sour grapes. And/or to me, life itself is almost unbearably sexy as it is, with it’s fried chicken and red umbrellas, its beautiful people, licking their lips.

A friend had to explain it to me. But I still didn’t get it. Maybe the striptease, like fried chicken itself, is simply not for everyone. That was how I decided to leave it.

Then I went to this party. Then, later that night, I went to this other party. I was on the dance floor talking to my two new favorite people: the woman whose children I watch, and the mom next door, our hostess, who was wearing a wig, false eyelashes, it being her birthday.

Perhaps giddy at having found sitters, one or two other people were wearing wigs. That was it. Oh, and one guy was wearing a cowboy hat. I was wearing what I always wear: a skirt, a shirt, and a little mascara.

"I’ve been watching you," Cowboy Hat blurted, as soon as we’d been introduced. He seemed unable to contain himself. "And I have to say," he spilled, "that you have really impressed me with your outfit!" I think he was a doctor. He had to notice the life leaving me as he went on and on, congratuutf8g me on my get-up, my costume, how well I’d done!

Worst of all, he meant all this as a kindness, so vodka and tonic in his face was not an option.

The only way to shut him up, which didn’t hit me soon enough, sadly, was to unbutton my shirt, swing it over my head, and let it fly. I undid my bra, my skirt, the music erasing the rest as I danced down to my exact body, the song, finally getting it. *

MISSION PIE

Mon.-Thu., 7 a.m.-9 p.m.;

Fri., 7 a.m.-10 p.m.;

Sat., 8 a.m.-10 p.m.; Sun., 9 a.m.-9 p.m.

2901 Mission, SF

(415) 282-1500

No alcohol

Cash only

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

The world stage

0

a&eletters@sfbg.com

Recently I was lucky enough to land at an international theater festival in Wroclaw, Poland, jostling elbows with a transnational mix of theater folk on the occasion of the 13th annual European Theatre Prize, this year awarded to the great Polish director Krystian Lupa. It was an eye-opening glimpse at some awesome theatrical muscle rarely if ever seen in the Bay Area, or even the United States. Globally-renowned powerhouses like Italy’s Pippo Delbono and Belgium’s Guy Cassiers were there with some extraordinary work, not to mention that of Lupa, whose utterly brilliant and plotless eight-hour fantasia on Andy Warhol’s Factory, Factory 2, proved an absolute highlight of my theatergoing career thus far.

While dreaming of the day Factory 2 takes its local bow, I can only appreciate all the more what places like UC Berkeley’s Zellerbach Hall or San Francisco’s Yerba Buena Center for the Arts do in bringing us news of the theatrical world — or news of the world, theatrically. Another local presenter of exceptional international work has been the San Francisco International Arts Festival, whose sixth season begins this week. SFIAF and executive director Andrew Wood have increasingly made world theater a vital part of the fest’s eclectic performance mix. This year is no exception, with three must-sees in the lineup.

First, South Korea’s Cho-In Theatre makes its U.S. debut with The Angel and the Woodcutter, an original physical theater piece reutf8g the Korean folk tale in a wordless, poetical drama as uncompromising as it is unexpected. Then, Russia’s famed, immensely creative performance ensemble, the Akhe Group — proponents of what they call "Russian Engineering Theatre" and favorites at SFIAF in 2005, where they presented White Cabin — return with the U.S. premiere of Gobo.Digital Glossary, a wild and captivating conglomeration of video projections, animation, ambient music, lasers, clowning, and trompe l’oeil.

Also receiving its Bay Area premiere is Beyond the Mirror, an unprecedented collaboration between New York’s Bond Street Theatre and Afghanistan’s Exile Theatre. The description of this first American-Afghani theatrical outing might ring a bell: Mirror had been slated to open Brava’s theatrical season in fall 2008, when the U.S. government’s inexplicable delays in processing visas for the Afghan performers forced its last-minute cancellation. That disappointment will happily be rectified by SFIAF when Mirror opens at Cowell Theater. (A second San Francisco appearance follows as part of foolsFURY’s Fury Factory festival in June.)

The two companies began crafting the play after meeting by chance in 2002 among the refugee camps outside Peshawar in northern Pakistan, where the activist, physical-theater–based Bond Street went after 9/11 to develop links to the Afghan people and work with a German NGO building schools in the devastated country. Exile, meanwhile, had formed as a group of refugee playwrights, actors, and other performance professionals committed to keeping Afghan arts alive and reflecting the concerns of the Afghani population living as second-class citizens in Pakistan.

Never more timely, the play ranges over the last three decades of Afghanistan’s history, using an expressive mélange of theatrical forms and techniques — including oral history, mythology, live music, traditional dance, drama, acrobatics, puppetry, and film — to tell a story of war and hope at the cusp of yet another turbulent chapter in the country’s unfolding story. Notably, the eight-member half-American, half-Afghani cast includes Afghanistan’s most famous actress, Anisa Wahab, who grew up in happier times on camera as a child star and has continued to act despite its still dangerous implications for women.

Communicating partly with some mutual English, and largely in terms of both distinct and shared physical vocabularies, the artists developed what became Mirror in a nonlinear, highly abstract way, according to Bond Street artistic director Joanna Sherman, who codirected it with Exile’s Mahmoud Shah Salimi. That in no way diminishes its rootedness or poignancy.

"We went around the countryside and interviewed different people, and videotaped them as they would allow," Sherman explained by phone from New York. "Our challenge was to portray these terrible stories in a way that was not gruesome or impossible to watch. We used our physical techniques in a way that it would be watchable and compelling but not exactly ‘realistic.’"

Since Mirror‘s premiere at the second Kabul Theatre Festival in 2005, much has happened in the U.S. and Afghanistan, prompting a small but significant revision, a new final scene, according to Sherman. "We do leave on a thought of hope," she stressed. "But [we’re] doing some interviewing again and getting some additional video. We’ll see what happens."

SAN FRANCISCO INTERNATIONAL ARTS FESTIVAL

May 20-31, various venues

www.sfiaf.org

Aerosol melodies

0

marke@sfbg.com

Ah, Le Poisson Rouge — how I yearn for you. The edgy New York City club and performance space has become a golden nexus for the current rich collision of the indie, electronic, and contemporary classical worlds. Zing go the avant-garde, filter-bent strings in the Bay often enough, of course, especially through the out-there provenance of sfSound (www.sfsound.org), the biannual Soundwave Series (www.projectsoundwave.com), and Berkeley’s Center for New Music and Audio Technologies (cnmat.berkeley.edu). But it took last August’s sold out Herbst Theater one-off by Wordless Music, the Poisson-based org that brings big indie names to the new music stage, to finally hold SF’s flannel-clad fixie pixie population enraptured by the freakier side of symphonica, with the white-noise-drenched West Coast premiere of “Popcorn Superhet Receiver” by Radiohead’s Jonny Greenwood and soul-loosening pieces by Bay boys Fred Frith (“Save As”) and Mason Bates (“Icarian Rhapsody”).

It’s been a massive year for 32-year-old Virginia native Bates, who told me over the phone that he moved from NYC to North Oakland four years ago because he “wanted a house and a short commute to a great city.” In March the Julliard grad debuted a six-movement work, Sirens, commissioned by local vocal greats Chanticleer, right after he wrapped up a three-season young-composer-in-residence program with the California Symphony. Perhaps his biggest break came last month, when the YouTube Symphony Orchestra, assembled via audition vids and led by San Francisco Symphony conductor Michael Tilson Thomas, made its debut at Carnegie Hall, playing a portion of Bates’ latest orchestral suite, The B-Sides. Like many other professional cynics, I had my nails sharpened and painted Jungle Red for this dreadful-seeming Internet marketing buzz-blast, but the inclusion of Bates’ forward-thinking work helped rescue the affair from maudlin crowd-pleasing.

Speaking of gimmicks, here’s what many perceive as Bates’: he plays a laptop onstage with the orchestra. Good heavens! Mere gimmickry’s a sad assumption — sure enough, his YouTube gig has reignited that tired technology vs. “true” classical debate that has periodically raged ever since the theremin took the Paris Opera stage in 1927. But Bates, who has toured clubs in his DJ Masonic guise for years, rises above all that with a deep knowledge of dance music history, which itself claims a long and fruitful entanglement with contemporary classical, and a mission of sonic integration.

“The laptop is a piece of the enterprise, a means of augmenting the texture of an orchestral arrangement and adding a richness that evokes new sonic landscapes,” says Bates, who considers his keyboard a “specialized extension of the percussion family.” As for snap judgments about technology, “it actually goes both ways,” he says. “Of course, some traditional symphony-goers can’t really go there. But it’s important for people from the club world to know that I’m not just orchestrating techno” — like the Balanescu Quartet’s version of Kraftwerk or the Williams Fairey Brass Band’s take on acid house. “I’m not Richie Hawtin for woodwinds and booming tubas. I’m coming from a more ambient, electronica place — I’m always aware that I’m playing off something while delving into unique textures and expanded sonari.”

The B-Sides, which will have its full debut for three nights with the San Francisco Symphony at Davies Symphony Hall, consists of five movements inspired by archetypal ambient moods — from the buzzing insects and tropical evocations of “Aerosol Melody Hanalei” to astronautical voice transmissions and blankets of static in “Gemini and the Solar Winds.” “Wharehouse Medicine,” which the YouTube Symphony debuted, is like a nifty bit of Leonard Bernstein pumped up with chattering clicks and back-ear bass that energetically summons up the chillout rooms of yore. If it seems odd that Bates references vinyl in his title, while combining laptop rumination and live orchestration, don’t sweat it. “I was thinking back to the experimental freedom that B-sides once afforded to groups like Pink Floyd — surgical strikes into trippy terrain.”

Bates will also be bringing his outstanding Mercury Soul project (www.mercurysoul.org), conceived with conductor Benjamin Shwartz and visual artist Anne Patterson, to Davies after the May 22 symphony performance and to Mezzanine (www.mezzaninesf.com) on May 28. Mercury Soul “is almost a negative image of what I do with an orchestra,” Bates says, “where I DJ and we create a club atmosphere interspersed with live performances of contemporary works by the likes of Steve Reich and John Luther Adams.”

“Look, I know a laptop is never going to be as expressive as a fiddle,” Bates says, a twang of his Virginian upbringing coming through. “And a CD installation pack may never rival the power of a written score. But if I can expand and screw around with orchestral space that way, then it definitely meets my intent.”

THE B-SIDES

With the San Francisco Symphony

Wed/20, Fri/22, and Sat/23

8 p.m., $35–$130

Davies Symphony Hall

201 Van Ness

(415) 552-8000

www.sfsymphony.org

Dance: Emporer Norton, back as folk tale

0

By Rita Felciano

329-stagebox.jpg
Andrew Wass as Emperor Norton. Photo by Andrea Flores

Two years ago Catherine Galasso appeared at the WestWave Dance Festival in Gnome Trouble, based on the Grimm brothers’ fairy tale Snow White and Rose Red. Freud would have loved to bite into that story of sibling rivalry. Even though Galasso’s piece wasn’t that successful, it somehow stayed in memory. Apparently she likes folk tales. She is back with another one, The Improbable Reign of Norton I, Emperor of the United States. In fact Norton was a 19th century San Franciscan, eccentric to say the least. He will be joined on stage by other semimythic Barbary Coast denizens, including Joaquin Murrietta, a Robin Hood type bandit. Sharing the bill with Galasso will be a kindred spirit, Seattle’s Salt Horse dance-sound company, with This Was a Cliff. Taking an entirely different perspective — improvisatory and nonnarrative — they also create imagistic dance-theater works in which reality and fantasy collide and cooperate. The double bill comes courtesy of SCUBA, the national touring network created by ODC Theater, Velocity Dance Center in Seattle, and the Southern Theater in Minneapolis. This small venture by cooperating presenters was founded in 2003 in a time of plenty. It seemed a good idea then. It’s an even better one today if small presenters and their artists are going to survive.

SCUBA WITH CATHERINE GALASSO AND SALT HORSE Sat/9, 8 p.m.; Sun/10, 7 p.m., $15–$18. ODC Theater, 351 Shotwell, SF. (415) 863-9834, www.odctheater.org

Hot sex events this week: May 6-12

0

Compiled by Molly Freedenberg

madisonyoung_0509.jpg
Femina Potens curator, international award winning Bondage Model and Feminist Porn Star Madison Young hosts this month’s “Sizzle.”

————-

>> Sizzle
Femina Potens celebrates Masturbation Month with an auto-erotica reading and open mic extravaganza, featuring writer and sexologist Carol Queen, porn performer and BDSM professionalDusty Horn, queer porn producer and bondage model Madison Young, and Xicana burlesque mistress Chica Boom. (Also check out the benefit for Femina Potens at The Lex on Saturday.)

Fri/8, 8pm. $10-15.
Femina Potens
2199 Market, SF
www.feminapotens.org

————-

>> School of Shimmy
Learn to shake it on the stage or in the bedroom with Dottie Lux and guest teachers in this two-hour workshop. Includes history of burlesque, how to create a character, and basic choreography. All ages, genders, and experience levels welcome.

Thurs/7, 7:30pm. $30.
Center for Sex and Culture
1519 Mission, SF
www.sexandculture.org

———-

>> Sex Work on Wheels Tour
The Bike Coalition combines two of our favorite things – bikes and sex – with this two-wheeled tour of San Francisco’s sexy side, including stops by streets named for Gold Rush-era madams, sites of 19th century parlor houses, and discussion of labor struggles in the sex industry..

Sat/9, 11am-2pm, free.
Main Library at Fulton Street steps, SF
www.sfbike.org

———-

>> Girl Girl Tricks for Men, Part 2
Ever suspect lesbians have secrets about sex with women that would make you a better lover? Dig deeper into the world of lesbian sex with this sexy and intellectual romp through lesbian bedsheets with bisexual dyke and sex educator Kristy Lin Billuni. Men only.

Tues/12, 8pm. $25-30.
Good Vibrations
1620 Polk, SF
www.goodvibes.com

Down wit’ ODP

0

a&eletters@sfbg.com

SONIC REDUCER Remember Y2K, the dot-com boom … electroclash? Born when the 9/11 attacks were but a glimmer in Terror’s eye, electroclash flickered into view swiftly, a punk/DIY movement of sorts as every imaginative slut ‘n’ buck plugged into easily accessible music-making technology via no-band-backtalk laptops. It all climaxed with a 2003 tour and then an electroclash backlash, as associated artists distanced themselves from the tag. Now, much like a sexy, robotic zombie designed to sell booze with sleek chrome boobs, it seems to be clattering back to life, à la the Star Trek franchise or any other once-future-forward artifact from a distant age.

It’s been too long. After dance-punk, plain ole electro, Bmore moves, laser booty, bass crazes, and the like, the crass class of 2000 is threatening to strut its kicks ‘n’ kinks once again. May 5 was apparently ground zero for electroclash’s survivors. The man who coined the genre, Larry Tee, returned then with Club Badd (Ultra), and Perez "My Penis" Hilton, Amanda "My Pussy" Lepore, and Princess Superstar on board with him. Fischerspooner came back the same day as well, promising Entertainment (FS Studios) before a May 22 live production at the Fillmore. Casey and company select the path of earnest synth-pop and downbeat soundscape explorations ("Money Can’t Dance"), while Mr. Tee’s, er, full-length comes off as a "badd" joke or novelty toss-off at best and embarrassing at worst, thanks to its tone-deaf paeans to "Agyness Deyn" and "The Noughties" (sorry to inform Tee that the aforementioned is nearly over). Yet both recordings pale in comparison to another May 5 entry in the mini-revival. I Feel Cream (XL) is the latest effort by an original who creeps into the oddest cultural crannies, from Gap ads to 2003’s Lost in Translation: Peaches.

OK, I’m still hot for ex-teacher Merrill Nisker. I cherish those sexy dialed-in giggles over her Itty Bitty Titty Club, back around the time that The Teaches of Peaches (Kitty-Yo/XL, 2000) thrust into view. And I’m rooting for Peaches — 40 and onto her fourth long-player — to snatch the dance floor crown from Lady GaGa. With her now-well-foregrounded singing and still-girlish-sounding dirty party raps, she’s equipped to do it.

Just dance? There’s no denying that Peaches is feeling the creamy, gooey fluidity of life beneath the mirror ball, assisted by producer James Ford of Simian Mobile Disco, among others. But her orgies are crammed with sharp edges and jagged corners; the at-times- gorgeous arrangements are preoccupied with candy-hued horror show synth textures, rave airhorns, whinnying house effects, and last-days-of-disco tropes. Yes, Peaches has been busy, much like her album. Teaming with Yo Majesty’s Shunda K on "Billionaire" — a faux-gold-digger-on-gold-digger track that sounds like the first single off a Gwen Stefani solo missive — Peaches concludes with a curdled snarl, "Until they tie the noose /never overproduced." Is the irony intentional?

Half self-aware smartass, half full-blown art babe caught up in the carnival, Peaches has moved from the more politically confrontational Impeach My Bush (XL, 2006) toward the rave era’s pacifying teat. The video for the designed-to-be-a-hit "Talk to Me," in which a mohawked Peaches tears at a Dorian Gray-like portrait, daisy-enchained by wiggy Grudge-style spectral waifs, says it all. Most divas — Yo Madgesty comes to mind — would be content to get the seduction right, but the liberal sprinkling of Peaches’ imperfect raps gives you a taste of why she has stood the test of time. She’s the dutifully iconoclastic daughter of Madonna. She’s also mother superior to legions of raw solo geeks who want to kick it roughly, bravely at center stage. "I drink the whiskey neat /You lick my crow’s feet," Peaches coos on "Trick and Treat." A proper lady Madonna would never be quite so frank about her age or sexuality.

And few can scheme up a playground chant-turned-pop tune like Peaches, whose school kid yelps on "Show Stopper" — "Show stopper, panty dropper /Everybody’s favorite shocker … I’m a stage whore /I command the floor /Rock you harder than a martyr in a holy war /Can’t help but engage you /Never mind my age /It’s like breaking out of a cage" — dare you to call her ODP (Ol’ Dirty Peaches). Peaches may not have the smoothest flow in the room, but does anyone brave the muddy psychosexual rapids of identity and abandonment quite like her? Call this Electra clash, Oedipus.

PEACHES

June 5, 9 p.m., $25–$27

Grand Ballroom at Regency Center

Van Ness and Sutter, SF

(415) 673-5716

www.goldenvoice.com

On the rise

0

a&eletters@sfbg.com

Even when times are shaky in San Francisco, it’s a fine time to head to PlayGround. At the upcoming 13th annual Best of PlayGround festival — which rides into the Thick House on steadily mounting popularity for an unprecedented four-week run beginning May 7 — a ticket will get you a lot of theater, in terms of quantity, quality, and novelty.

Since 1996, the annual festival has drawn from the best work presented in PlayGround’s signature short play contests — a monthly challenge (from October through March) to develop a 10-minute script in four days around a given theme ("When Pigs Fly" served one time), with winning scripts getting staged readings by leading Bay Area acting and directing talent in Monday Night performances at Berkeley Repertory Theater. The festival, meanwhile, gives the cream of the yearly crop (those earning PlayGround’s Emerging Playwright Award) fully staged productions, again with the collaboration of the finest Bay Area directors, actors, and designers.

This unusual mix of fresh, untested (or just emerging) talent on the page and seasoned professionals on and off the stage means there’s really nothing else quite like it in Bay Area theaters, and it remains a crowd-pleaser. Attendance at Monday Night performances broke all records this year, notes artistic director Jim Kleinmann, who founded PlayGround in 1994 with colleagues Brighde Mullins and Denise Shama.

But it’s also been a marked success in the underlying mission of developing new theatrical voices and strengthening the theater community as a whole in the Bay Area. (A recent Theatre Bay Area Magazine article listing the region’s 13 top emerging playwrights included no less than eight PlayGround alumni.) Kleinmann says the inspiration for PlayGround came from a playwriting exercise developed by his old teacher at Brown University, renowned playwright Paula Vogel, but has steadily expanded to include several commissions for full-length work from PlayGround writers. This year’s five commission winners will have their work presented in staged readings as part of the festival. The thrust throughout has been to nurture craft in the context of encouraging ties between new and seasoned theater makers.

"It certainly has evolved," Kleinmann says. "As the number of writers increased over time and the writers started to have longer-term relationships with PlayGround a couple of years into the Monday Night format, we added the festival, [which] became a really important showcase." These festival playwrights would have their works published too in a PlayGround anthology, making them available to readers and theater companies elsewhere. Still, a few years later Kleinmann and colleagues began work on new avenues of support.

"We’d always hoped that if we could discover these writers and worked to nurture them, midsize theaters would take them under their wings," he says. "That wasn’t happening as quickly as we might have hoped. So we found there was a need to bring writers to another level [with the commissions], where they would be able to be supported in their full-length work."

It’s a formula that has paid off with writers and audiences for more than a decade. Among the other enticements of new work in this format, there’s a serious vicarious thrill that goes with seeing actors of the caliber of a Stacy Ross or Jim Carpenter, under direction of a Barbara Oliver or Chris Smith, assay work by a gifted but still-developing or even unknown voice. In addition, "there’s no question it creates a dialogue about their work and [the actors and directors] become champions for their work," Kleinmann says. "What you [end up having] is a stronger community."

"BEST OF PLAYGROUND FESTIVAL"

May 7–31 Thu–Sat, 8 p.m.; Sun, 7 p.m., $28-$40

Thick House, 1695 18th St, SF

(415) 401-8081, www.playground-sf.org

SCUBA with Catherine Galasso and Salt Horse

0

PREVIEW Two years ago Catherine Galasso appeared at the WestWave Dance Festival in Gnome Trouble, based on the Grimm brothers’ fairy tale Snow White and Rose Red. Freud would have loved to bite into that story of sibling rivalry. Even though Galasso’s piece wasn’t that successful, it somehow stayed in memory. Apparently she likes folk tales. She is back with another one, The Improbable Reign of Norton I, Emperor of the United States. In fact Norton was a 19th century San Franciscan, eccentric to say the least. He will be joined on stage by other semimythic Barbary Coast denizens, including Joaquin Murrietta, a Robin Hood type bandit. Sharing the bill with Galasso will be a kindred spirit, Seattle’s Salt Horse dance-sound company, with This Was a Cliff. Taking an entirely different perspective — improvisatory and nonnarrative — they also create imagistic dance-theater works in which reality and fantasy collide and cooperate. The double bill comes courtesy of SCUBA, the national touring network created by ODC Theater, Velocity Dance Center in Seattle, and the Southern Theater in Minneapolis. This small venture by cooperating presenters was founded in 2003 in a time of plenty. It seemed a good idea then. It’s an even better one today if small presenters and their artists are going to survive.

SCUBA WITH CATHERINE GALASSO AND SALT HORSE Sat/9, 8 p.m.; Sun/10, 7 p.m., $15–$18. ODC Theater, 351 Shotwell, SF. (415) 863-9834, www.odctheater.org

Whole lotta Loquat: the SF indie rockers kick off their du Nord residency Thursday

0

loquat sml .jpg

By Kimberly Chun

Talk about an unrelenting burst of creativity: San Francisco indie rock band Loquat will be going for broke with its May residency at Cafe du Nord. Vocalist-guitarist Kylee Swenson told me the group is attempting to make each show special, with visuals arranged by the mysterious Kernel Panic, special guests like Raul Sanchez of Penny Arcade, and special DJs like Ted of BAGel Radio. “I just hope it works!” she said by phone. “It could be a total disaster!” As we spoke, Loquat was still tweaking the blend of performers and stage sets.

The group hasn’t been slacking on working on music, either: it has 20 songs written for its next full-length – though don’t expect Loquat to share its latest tunes yet. “We’re still in the incubator stage,” Swenson explained.

Pretzeled logic

0

a&eletters@sfbg.com

Ever since Michael Moore first attempted to meld Woody Allen and Ralph Nader, and Morgan Spurlock made himself the genially comic-lite host of an experiment in culinary consumerism, more and more documentarians have been tempted to star in their own movies. This is dangerous terrain, given that whenever one introduces the Element of Me into examination of a larger issue, Me tends to hog the spotlight. Even in certain films where the filmmaker’s own scarring formative experiences with mental illness (2003’s Tarnation) and so forth are the subject, there are often worrying overtones of narcissism, selectivity, and pursued melodrama. When documentarians are their own casting couch, what often really gets fucked is the unalloyed truth.

On the surface, Kate Churchill’s Enlighten Up! appears to squirrel around that trap. After all, she found a stand-in to occupy the center stage one senses an itchiness to claim for herself. He’s new to the film’s milieu and theme, so its narrative can become his process of discovering what she apparently already knows and would like to share. Meet Nick Rosen, an athletic, attractive New Yorker. A sometime investigative journalist on ambiguous leave from that or any other employment, he has the time and willingness to find out how "yoga can transform anyone physically and spiritually."

Trouble is, Churchill insists that he "transform" — and Rosen resists. Or rather, he just doesn’t "get it," doing pretty damn well by the asanas (poses) yet admitting early on that "spiritual awakening is a concept I cannot even relate to." He’d rather check out the dateable hot chicks nearly every class is packed with — and when he demands one off-camera night after months of celibacy for cinema’s sake, Churchill seems more pissed off than is seemly. (She doesn’t speak to him for two days.)

This is the stuff of Seinfeld-ish comedy. She seeks higher consciousness! He, pressure application to lower parts! But Churchill is fundamentally humorless — you can tell by the way she inserts "humor" with cutesy sound-effects. Her frustration at Rosen’s inability to "progress" as expected feels hypocritical because she doesn’t reveal the intricacies of her own progress. "The purest, most peaceful moments of my life have happened on my yoga mat" she notes. But just what it’s done for her — or why she needed it to — is left unaddressed. She finally vents, "I’m really sick of yoga," allowing that the project began with the hope that if she could "make someone else change, then maybe I would too." A provocative admission. Which is then dropped like a hot potato.

Of course pragmatist Rosen sorta flunks his yoga journey, fine-tuning his torso while remaining averse to "charismatic personalities" and "supernatural ideas." How could he not, when Churchill shops him through a bewildering catch-all array of disciplines, faiths, and techniques variably yoga-esque: Ishta, Bikram, Kundalini, contortionism, numerology, even "laughing therapy." Class instructors, students, and gurus offer evaluations both contradictory and redundant; the filmmaker seldom lets them get more than a sound bite in. Briefly she seems about to address the ethics of commercialization in a 5,000-year-old tradition turned multibillion dollar industry, then kinda forgets to. (See 2006’s superior doc Yoga, Inc.)

Finally, struggling to put a happy spin on a process that didn’t go as planned but that she won’t admit was really about herself all along, Churchill exhales "Nick was right — yoga has no simple definition, and that’s the beauty of it!" This is one tricky pose to sustain, the Self-Canceling Handstand with Delusional Lotus Smile. Perhaps the real lesson to be learned from Enlighten Up! is that if you’re making someone else walk the plank — er, spiritual path — at swordpoint, your own consciousness is the one that really needs lifting. *

ENLIGHTEN UP! is now playing in Bay Area theaters.

Men and their Moogs: Junior Boys vs. Sebastien Tellier

0

By Andre Torrez

I went to Bimbo’s to see Junior Boys on a whim. I knew someone who had an extra spot on the list. I didn’t know what I was getting into, and was just happy to hang with my friend. Parking was a bitch, but we settled on a lot and made our way into the swank club. North Beach was definitely in the house.

Looking around, I couldn’t help but notice that this wasn’t exactly my scene. I felt like I was in an episode from The O.C. where the kids somehow get to hang in the bar and watch the latest “cool indie band” circa-2004. Waiting in anticipation of a band you don’t know usually proves to be anti-climactic, but there was something about the performance itself that was amiss. It didn’t take long for me to put my finger on it: I was annoyed at the lack of camaraderie between the band members, especially the core songwriting duo: the front man and the mysteriously silent man on the Moog synthesizer directly to his left. The drummer was in the background as expected, albeit all Genesis-looking because of the cool lighting, but the lead singer and this Moog man were placed prominently next to one another even though Moog man never spoke a word. I guess he had a cool haircut and all, but if you’ve got nothing to say and little to do, why take the spotlight? He might as well have been a prop. It was almost as if a wall was dividing front man and Moog man — they had little to no interaction with one another on stage. Not even a glance.

juniorboys.jpg
Moog man and frontman.

The two main men of Junior Boys would be better off pursuing separate musical paths, instead of catering to trends by fusing the electronic with the organic. With his scruffy look, the lead singer-guitarist came across as more of a traditional songwriter. He focused on lyrics and on connections with the audience. He was adept at banter and seemed to thrive off the audience’s energy. The man at the Moog admittedly held down the electronic portion of the show, but he was utterly detached. Given the opportunity to let loose, I’m sure he’d come alive — if he just wasn’t stifled by that other guy with the words and guitar. Both parties would flourish creatively if they just ditched the commercial combination sound. But who am I to judge? It’s probably payin’ the bills.

One night later at the Independent, Sebastien Tellier had the Moog-and-guitar combo down to a science. His sound was a perfect balance of heavy, deep, and dark elements. He had a lot more fun mixing synthesizers and rock star posturing, with a guitar representing a full-on phallus.

Happy Birthday, Allen Cohen

0

Ann Cohen, wife of the late poet Allen Cohen, writes,

“This morning when I woke up my first thought were of Allen Allen Cohen and all of us are part of the world community. Allen, the San Francisco Oracle Staff and All our friends were and are about people working together
Embracing each others differences This brings strength to us, A world community.
HAPPY BIRTHDAY ALLEN WE MISS YOU.”

Cohen, founder and editor of the legendary Oracle of Summer of Love fame, would have been 69 today (4/23/2009). Ann and his friends are meeting tonight at 7 p.m. at the Bocci Cafe in North Beach where Cohen always celebrated his birthday. His friends will sit where he always sat, near the stage. Cohen died April 29, 2004, at the age of 64.

Ann sent along the poem Allen wrote to celebrate his 56th birthday.

allen.cohen.jpg

On my 56th birthday

It is a warm spring day.
Our pre-school children
are playing barefoot
in the backyard.
Cleo, the Siamese cat,
is chasing squirrels
in the branches of the Ash tree.

Last night at the moment
of my birth 56 years ago
the mocking bird
was calling for its lover.

While driving to San Francisco,
the sky became overcast with grey clouds.
As the sun filters through them
a silvery light illuminates the city
The hills of Marin are
wearing a white fog hat.

We are on our way to meet
the Vagabond Poet at
the Muddy Waters Café.
Later we will meet some friends
for dinner at the Bocce Cafe

As I write this in the car
passing through the streets
in the warehouse district,
there is a quietness in the air.
Few cars are in the streets but
people amble along the sidewalks.
It is still good to be here
in this body creating.

Allen Cohen

Read more or Allen Cohen’s poems here and here.

Pics: Lines Ballet tingles, lights up YBCA

1

Text and Photos by Ariel Soto

lines_6.jpg

lines_5.jpg

Evocative African beats and spine-tingling motion are filling up Novellus Theater at Yerba Buena Center for the Arts all this week as the local dance company Alonzo King’s Lines Ballet takes the stage. The company, which has been in San Francisco since 1982, breaks away from traditional, stuffy ballet by adding modern movements and contemporary music, with each dance creating a story about the struggles and reality of everyday modern life. It is obvious why they are called Lines Ballet — the dancers’ bodies seem to stretch across every inch of the stage, constantly in fluid movements, keeping the audience’s eyes glued to the tip of their toes and the ends of their fingers and making them come back for more, year after year.

lines_3.jpg

lines_4.jpg

lines_2.jpg

Beach demon Wavves baptizes SF

0

By L.C. Mason

wavves2.jpg

Even though I’m in my twenties, I feel firmly stuck in teenagerdom, where absolutes reign supreme, the world is always about to end, and indifference is not only allowed, but is a right. Evidently, so does fellow 22-year-old Nathan Williams, the mastermind of the SoCal noise-scrubbed punk project Wavves. At Bottom of the Hill on April 13, his arty, minimalist gospel of hazy boredom and elation churned the sold out spitfire crowd like the hippest TV evangelist with a guitar, drumset and one Herculean Marshall stack in the middle.

The genius of Williams’ sermons are the one-line gems of angst-ridden pubescent sentiment (“Everything’s so fucked”; “You see me / I don’t care”; “I’m getting high / to pass the time / no reason why”) he deftly delivers under a mask of cool ennui –the elusive equilibrium that every teen strives for, but few achieve. Therein lies Wavves’ universal charm: the music gives us a chance for emotional redemption, cleansing our minds of the hormone-fueled confusion that plagues our youth.

R.W. Ulsh and Nathan Williams of Wavves
wavves1.jpg

Williams and his bespectacled drum-wizard R.W. Ulsh unleashed their set with “Beach Demon,” a speed-ridden amp-sizzler with a lean riff and meaty drums serving up a clanging two-step beat. Usually awash in snaps, crackles and pops, Williams’ on-stage vocals were crystal clear, showcasing his San Diegan drawl. He wailed words we’ve lived by for the past eight years: ”Nothing to do / nowhere to go / everything’s wrong / everything’s wrong,” and his rapid-fire chorus of “Going nowhere / going nowhere / going nowhere” propelled the audience into a maelstrom of fist-pumps and matted hair. Williams’ fuzzed riffery during the extended breakdown not only got the house sweaty but also smelly in its reverie.

The Wavves-brand slow jam was “Side Yr On,” a mournful tune about missed phone calls. Williams’ stony, soaring falsetto and dirge-riffs vividly evoked the sobering brutality of the kind of rejection that hurts at any age.

The night’s coda, “Wavves,” started with gratuitous bass drum and snare beats and whimsical, falsetto Beach Boys croons with a singalong quality that the ladies on the floor couldn’t resist. Williams clearly enjoyed it; a mischievious grin painted itself across his face when their chirps rose above the noise. His boyish string of declarations “I wanna be with you / I wanna be a punk / I wanna see the sun / I wanna be your daddy-o,” reference past pop-punk classics and condense life’s most simple pleasures into music. The one-man juggernaut’s seething, feedback-laden guitar freak-out closed the set, only to leave the rest of us panting for more. The anointing of the San Francisco sect of fervent Wavves fan had taken place.

Tiger Beat-for-punks pic of Williams
wavves3.jpg

Live Wavves clips after the jump:

Fun under seige

0

news@sfbg.com

As San Francisco’s party season gets underway — a time when just about every weekend includes street fairs and festivals, venerable celebrations like Bay to Breakers, quirky cultural events such a flash mobs, promoter-created club nights, and underground parties designed to raise funds for Burning Man camps and other endeavors — police and other party-poopers keep finding new ways to crack down on the fun.

The latest: potentially fatal price gouging of the How Weird Street Faire, a series of bizarre police raids on underground clubs, and state alcohol officials threatening to yank local club licenses.

For years, the Guardian has been warning that NIMBY neighbors, intolerant enforcers, and indifferent city officials were threatening the vibrant social events that make San Francisco such a fun and unique city (see “Death of fun,” 5/23/06, “Death of fun, the sequel,” 4/25/07, and regular recent posts on the SFBG Politics blog).

Lately the situation has gotten so bad that even the conservative San Francisco Examiner has written about the problem (“Squeezing the fun out of festivals,” 4/13/09) and followed it up with an editorial calling for city officials to address the issue and ensure that the cultural events can keep happening.

Overwhelming public opposition to recently proposed restrictions on the May 17 Bay to Breakers and April 12 Bring Your Own Big Wheel events led City Hall to pressure the San Francisco Police Department into reversing promises of a crackdown, although many events are being threatened.

The How Weird Street Faire is scheduled for May 10, although organizers say they can’t come up with the nearly $10,000 the San Francisco Police Department is demanding by May 1. Organizer Brad Olsen sought help from City Hall (Sup. Ross Mirkarimi and senior mayoral aide Mike Farrah — who helped save BYOBW — have both tried to intervene, so far to no avail) and unearthed city codes that seem to cap police fees for events like How Weird at $5,494, but the cops haven’t budged.

“Although we appreciate your position, it would be unwise for the SFPD to risk public money by not collecting the required fees prior to the event. If the event is the only way your group is able to pay for police services, we are all betting that the event will be as successful as you hope,” SFPD Lt. Nicole Greely wrote to How Weird promoters on April 13, suggesting that organizers take out a loan to pay the escautf8g protection money demanded by SFPD.

But Olsen said his grassroots group, which barely breaks even on the event, has never in its 10-year history been required to pay in advance and told us that entrance donations at the event are the only real source of revenue for the popular dance party.

Meanwhile the Guardian has heard multiple reports of undercover cops infiltrating underground parties in SoMa in the early morning hours of April 11 and 12, followed up by groups of more than a dozen uniformed officers storming in and roughly making arrests for resisting arrest, illegal alcohol sales, and drug possession.

“All of a sudden an undercover cop just tackled someone on the dance floor,” 27-year-old San Francisco resident Ryan Parkhurst told us, describing the scene at one party. “Then at that point, more than 10 officers came upstairs … I asked an officer, ‘What’s going on?’ and he said, ‘Arrest this guy.'”

Parkhurst said four cops then jumped on him, roughed him up, and arrested him. “Another guy was beat up worse than I was, with severe bruises and scratches all over his face.”

Parkhurst said he was charged with being drunk in public, resisting arrest, and assaulting an officer, but when he went to court on April 13, he was told all charges had been dropped.

SFPD spokesperson Sgt. Lyn Tomioka spent several days trying to gather information on the raids, but had little to offer by Guardian press time. “I can’t give you the answers you’re looking for based on what the computer is telling me,” she said. The District Attorney’s Office also did not respond by press time.

The attention that the California Department of Alcoholic Beverage Control (ABC) is paying to licensed venues seems to have ratcheted up lately as well. DNA Lounge, a nightlife haunt for freaks of all stripes, was cited by ABC in February for operating “a disorderly house injurious to the public welfare and morals” after undercover agents for the department witnessed brief instances of nudity and simulated intercourse during the DNA’s popular regular queer parties Cream and Escandalo.

These instances occurred during go-go and stage routines, mostly involving flashing buttocks and a wet T-shirt contest. In a statement on the DNA Lounge Web site , www.dnalounge.com, DNA owner Jamie Zawinski contends that ABC is retaliating against his club for appealing the department’s decision not to grant DNA a conversion of its license from a Type 48 (21-and-over bar) to a Type 47 (all-ages venue that serves food). During the appeal process, a settlement was reached, and the DNA successfully converted its license.

“As a direct result of our having filed an appeal, ABC began sending undercover agents into the club during our gay and lesbian promotions looking for dirt,” Zawinski writes, drawing attention to the specific targeting of DNA’s queer nights, a particular that inflamed the gay community when a story about it was published in the Bay Area Reporter.

It is the specific requirement that all-ages venues collect 50 percent or more of their revenue from food sales that has gotten several other San Francisco clubs in trouble with ABC. The state requires that venues possessing a Type 47 (“bona fide eating place”) license, a requirement for most all-ages clubs, earn just as much revenue from food sales as liquor sales. That’s particularly daunting for businesses that have traditionally made most of their money at the bar.

“There is grave concern and fear,” San Francisco Entertainment Commissioner Terrence Alan told the Guardian, “that the recent conflicting and oftentimes underground regulations [of ABC] could undermine the great and ongoing work of the Entertainment Commission and Sup. Ross Mirkarimi’s proposed cultural legislation.”

Alan was referring to the “Promoting and Sustaining Music and Culture in San Francisco” charter amendment sponsored by Mirkarimi that would “produce a master plan and vision that promotes a sustainable environment for music, culture, and entertainment throughout the city.”

It appears the law enforcement types are doing everything possible to make sure Mirkarimi’s vision never becomes reality.