Stage

Judge denies SF Weekly motion for new trial

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Judge Marla Miller July 18th rejected attempts by the SF Weekly and its chain owner to overturn the Bay Guardian’s victory and $16 million jury award in a predatory pricing case.

The ruling on the defendants’ post-trial motions marked the end of the first full round of this legal fight and sets the stage for a shift to the California Court of Appeal. All that remains to be decided by Judge Miller is the Guardian’s upcoming motion for attorneys’ fees, which are expressly allowed to a prevailing party under the California Unfair Practices Act.

SF Weekly and Village Voice Media had asked Miller to overturn the jury verdict or order a new trial, and the company lawyers spent hours July 8th arguing that the evidence presented in a five-week trial didn’t justify the jury’s decision. And they claimed, in a laundry list of challenges, that Miller had issued improper jury instructions and erred in admitting evidence at trial.

Defense attorneys James Wagstaffe and H. Sinclair Kerr also tried to get the judge to overturn the 16-paper chain’s liabilty for any damages awarded by the jury. That would have left the Weekly as the only guilty party. VVM had admitted in earlier post-trial proceedings that the Weekly has a negative net worth and alone would be unable to pay the Guardian anywhere near $16 million.

Miller, with little comment, denied those requests.

In her “order denying defendants’ motion for new trial” Miller stated:

“To the extent that the motion for New Trial is based upon the grounds of insufficiency of the evidence to justify the verdict (Civil Procedure Code #657(6) and excessive damages (Civil Procedure Code #657(5) the court has weighed the evidence and is not convinced from the entire record, including reasonable inferences therefrom, that the jury clearly should have reached a different verdict. To the extent that the motion for New Trial is based upon errors at law which Defendants contend occurred at the trial and were excepted to by them (Civil Procedure #657(7), the Court finds these contentions lack merit.”

The defendants have said they plan to appeal.

The case centered around the Guardian’s charge that the Weekly had for years violated California’s Unfair practices Act by selling advertising space below the cost of producing it for the purpose of injuring the locally owned, independent competitor.

Evidence presented at trial showed that the Weekly had consistently lost money, as much as $2 million a year, since New Times, now known as VVM, bought the paper in 1995.

The chain later bought the East Bay Express, and transformed it from a profitable paper to one that consistently lost money. Between the Weekly and the Express, VVM has lost some $25 million in San Francisco.

The evidence also showed that VVM’s executive editor, Michael Lacey, had vowed to put the Guardian out of business, and that Weekly advertising and business staff were instructed to try to take business away from the Guardian by below cost pricing, whatever the sacrifice in revenue and profits.

And while the VVM lawyers mounted a convoluted legal argument to claim that the parent company wasn’t legally liable for any damages, the trial showed that the senior executives at the Phoenix-based chain were not only aware of the predatory strategy but were active participants in enabling the Weekly to carry out its pervasive program of below-cost sales..

In fact, two senior officers, CFO Jed Brunst and Controller Jeff Mars, testified on the stand or in pretrial depositions that the SF Weekly would have gone out of business years ago if the chain hadn’t made a policy of shipping large sums of money from headquarters into the San Francisco operation to subsidize below-cost sales.

After the trial, jurors said they were convinced that VVM sought to destroy local competition. Juror Kerstin Sjoquist, a local business owner and graduate student, said in an interview that “it felt overly predatory on the part of the Weekly” and that “the predatory intent trickled down from the top.”

Although the VVM lawyers have 60 days to file their notice of appeal, there’s already some indication of what the chain will try to argue to the higher court. Even before the trial started, Andy Van De Voorde, VVM executive associate editor, who flew in from Denver to cover the trial for the Weekly, argued in his blogs that the California Unfair Practices Act was out of date and irrelevant. Referring to the act as a “depression era law,” (actually, the act dates back to 1913, California’s Progressive Era), Van De Voorde suggested that modern competitive markets made such a law pointless.

The law bars any business from selling a product or service below cost with the intent to harm a competitor or destroy competition. That prohibition has been upheld by many appellate court decisions, some as recent as the 21st century. The state Legislature has reviewed and even amended that part of the state code many times in recent decades, but has declined to make any fundamental changes in the protections afforded by the Unfair Practices Act.

And the trend toward chain ownership and consolidation of businesses in everything from coffee shops to bookstores and hair salons would seem to suggest that the need for a law protecting independent local merchants from predatory chains is greater than ever today.

That’s certainly true for the news media: One company new owns almost every daily newspaper in the Bay Area.

Both before and after the trial, the VVM lawyers also argued that a ban on predatory pricing would violate the Weekly’s First Amendment rights. If the paper was forced to live within its means – that is, to raise ad rates and stop relying on big subsidies from the chain – Weekly managers might have to cut the size of the staff, thus reducing editorial coverage, the lawyers argued.

Two judges – first Richard Kramer, who handled pre-trial rulings, and later Miller – rejected that argument wholesale.

As the Guardian’s lawyers argued, newspapers have always had to follow basic business regulations – even when they might cost money that could have gone to editorial staffing. No newspaper has ever seriously tried to claim that labor laws, or environmental laws, or workplace-safety laws, or tax laws were a First Amendment violation.

Still, those claims may appear again in the appellate briefs.

Meanwhile, the costs to VVM and the Weekly will continue to rise: If the verdict is upheld on appeal, the chain will have to pay interest on the jury award, which is now accruing at about $4,300 a day. And at this point the Guardian has an additional statutory right to recover reasonable attorney’s fees, which could add a substantial amount to the current judgment of more than $16 million

The Guardian’s lawyers are Ralph Alldredge, Richard Hill and E. Craig Moody.

You can read the Guardian’s key legal brief on the post-trial motions here. For a detailed history of the case, click here

Diaboliques

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› a&eletters@sfbg.com

Sex is such an unalloyed force in Catherine Breillat’s films that it actually seems to consume narrative. Among a controversial lot that includes Fat Girl (2001) and Romance (1999), The Last Mistress is unique for its classical trimmings, but its plot points and character development are still no more or less important than the emotional content of a moan. All the French writer-director’s films are anatomies of hell, but this time she’s courting provocations instead of simply imposing them. The thickening of Breillat’s stock may be due to her 2004 stroke, or her decision to adapt an earlier work (the film freely elaborates on an 1851 novel by Jules Amédée Barbey d’Aurevilly), or the fact she’s finally snagged an actress who enlarges her take on female appetite-for-destruction.

That actress is Asia Argento. In performances typically labeled raw or animalistic by a mostly male press, the daughter of Dario bottles up the rage simmering underneath every black magic woman and femme fatale in film history. It’s telling that Argento’s daredevil acting style doesn’t conjure other actresses so much as rockers like Diamanda Galás, PJ Harvey, and Courtney Love — women who live on the literal edge of a stage.

In The Last Mistress, Argento isn’t so tongue-in-cheek that she’s willing to slobber a rottweiler (as in a much-discussed moment from Abel Ferrara’s 2007 Go Go Tales). Breillat has given Argento a character who dovetails with her persona. Her Vellini is constantly described as a creature and, in a key moment, as a mutt. Her titular courtesan — rumored to be the illegitimate offspring of an Italian princess and a Spanish matador — is conjured by flashbacks and the looks and idle gossip of others. The film opens with a churlish count and countess plotting to inform Vellini that the object of her longtime amour fou, Ryno de Marigny (Fu’ad Ait Aattou), is marrying the virginal Hermangarde (Roxane Mesquida). Our first image of Argento — a double-portrait of actress and character, stretched over a divan in a classic pose of seduction — instantly explodes any element of Merchant-Ivory farce, with the actress already burnishing the angry glow of her character’s typecast destiny.

A moment later, Vellini is relishing Ryno’s porcelain weight, her pleasure-hungry visage adjacent to the glassy eyes and growl of a stuffed tiger head. The shot suggests Breillat is playfully embracing her unsubtle craft. Radical plot offensives aside, she isn’t so different from Joseph Mankiewicz in her camera movements, editing, and composition. Her reactionary feminism might sink into serviceability except for one thing: when it comes to staging and directing her actors’ body language, she’s a master.

Pascale Ferran’s Lady Chatterley (2006) flushed cheeks where Breillat’s dark drama gnashes teeth, but the films are united in loosing their actresses to trammel over history. Ferran crafts an amorous epic; Vellini climaxes only a few minutes into Last Mistress, raising the discomfiting question: what if the enabling (and ennobling) freedom that lets us do as we please only turns us into slaves of desire? The answer might look something like Sofia Coppola’s fizzy tonic of lethargy and shopping, Marie Antoinette (2006), though Argento’s supporting role as Comtesse du Barry in that film practically beggared Breillat’s fleshy rejoinder. Where Sex and the City‘s infantilized Manhattan suggests constant airbrushing, woman directors such as Breillat make Paris drawing rooms, Versailles, and the French countryside shimmer with unsettled agendas.

THE LAST MISTRESS

Opens Fri/18 at Bay Area theaters

See Movie Clock at sfbg.com

www.ifcfilms.com

Biennialmania

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› a&eletters@sfbg.com

Biennials, triennials, and whatever other rotation of years, are place-based exhibitions. They obviously happen somewhere, and the place dictates the context. The "Whitney Biennial 2008," for example, focused on "American art," an increasingly ambiguous term — in recent years the show has included growing numbers of artists with hyphenated identities. "Today there are more artists working in more genres, using more varieties of material, and moving among more geographic locations than ever before," reads the blurb on the Web site for this year’s edition. "By exploring the networks that exist among contemporary artists and the work they create, the Biennial characterizes the state of American art today."

That sense of international movement seems to be informing the shape and scope of biennials everywhere, creating curatorial fashions that are almost predictably inventive — and often place structural concepts ahead of visual appeal. The West is riding a surge of art surveys, and you just have to skim the institutional rhetoric to sense how complicated, or perhaps rote, the idea of location has become.

The current Site Santa Fe biennial in a very identifiable New Mexico location is a salient example. It was created by the curator/organizer, Lance Fung, who contacted curators at alternative spaces around the world and asked each to recommend artists. The 22 selected artists and collectives were commissioned to produce ephemeral "site-inspired" projects. As the release notes, "All the works are created on site, and are informed by this specific locale and the surrounding Santa Fe environs…. Much of the show has actually occurred prior to the opening, on the ground in Santa Fe, and prior to that, in virtual space, as ideas, proposals, and thoughts that have been transmitted around the world." The show contains just one collaborative team that lives in Santa Fe.

According to its Web site, Yerba Buena Center for the Arts’ fifth triennial "Bay Area Now" exhibition, opening Saturday, July 19, "explores questions around how to re-imagine a regional survey in the midst of globalization." The Bay Area is an interesting case in this regard because it is a fairly self-enclosed, self-defined site — and unlike the Santa Fe show, few people will travel to San Francisco just to see "BAN 5." Curators Kate Eilertsen and Berin Golonu tackle this formidable scenario with a cross-generational, cross-disciplinary gallery exhibition and four guest-curated shows that "will diversify ‘Bay Area Now”s curatorial vision and extend the artwork beyond the walls of our galleries and beyond the confines of our region." It remains to be seen how successfully they meet the challenge.

It’s interesting to compare "BAN 5" rhetoric with that surrounding the "2008 California Biennial," which opens in October at the Orange County Museum of Art. (Full disclosure: I contributed a short interview to the catalog.) "How does one approach a regional biennial?" states the promotional literature on the show’s Web site. "In a climate of globalism and transnationalism, how does a regional biennial serve artists and audiences? What is distinctive and different about cultural production at this point in time, in this context? How does one approach contemporary artistic practices based on locational parameters?"

The "CAB," organized by Lauri Firstenberg, will also stage off-site projects at venues such as Estación Tijuana, an independent exhibition space in Tijuana, Mexico, and SF’s Queens Nails Annex, a space that hosts BAN 5 as well. Extending an exhibition’s geographical reach is admirable and interesting, though those efforts may fracture these shows and make them harder to see — one wonders, if you just make it to Queens Nails, will you really see "BAN 5" or "CAB"?

The parallels are distinct and reflective of the zeitgeist. But as much as we’d like to think these exhibitions are about now, they most directly reflect the years in which they were organized. America will be getting a new president, but it’s shrinking from rising fuel costs and economic woes. In such an environment, regional identity — think locavores — most likely will grow stronger. Here’s hoping "BAN 5" captures some of that energy.

Port O’Brien

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PREVIEW A little more than a year ago, a "too-pretty-to-refuse-you" friend dragged me to a Bright Eyes concert. I remember almost nothing of the group’s set, and I wasn’t the drunk one. Connor Oberst, so hipster-slim you know he’s a lightweight, strutted on stage, Corona in hand, his stage presence as deflated as his sound, unsure of the notes in his repertoire’s half-octave range. His reputation as a talented musician debunked, he nevertheless justified his holding the helm at the label he founded, Saddle Creek, judiciously booking Oakland locals Port O’Brien as his opening band. Oberst isn’t the only A&R man with his eyes on O’Brien — just last year the band toured Europe with Modest Mouse, and for good reason.

With a quivering-lip, about-to-cry delivery held in common with Oberst, O’Brien frontman Van Pierazalowski sings log-cabin laments to the supporting sounds of soft-pedaled piano, back-porch banjo, and guitar strums. When drummer Joshua Barnhart turns on his snare, tightens his drumheads and polishes his crash cymbals, the sound morphs into an Appalachian anthem, the folk instrumentation swallowed by vocals sung together by the audience and the entire band. O’Brien leaves its audience members wishing their hearts had ears in one instant, and bouncing on the balls of their feet, arms held high and voices raised in song the next. If Oberst specializes in wrist-slitting emo, O’Brien cleans the wounds with a fusion of old-wives witch hazel and indie antiseptic sting: modern moonshine melodies to shout and sob our separate ways to catharsis.

PORT O’BRIEN With the Builders and the Butchers. Fri/11, 9:30 p.m., $12. Café Du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

Sneaky Creek

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TORSTEN KRETCHZMAR


What is it that makes Torsten Kretchzmar so different, so alluring? Perhaps it’s that he knows what girls like — as proven in the music video for "I Know What Girls Like," where the bespectacled German wins a barroom bro-down against a bunch of pool-playing dudes. Perhaps it’s because he’s the best Teutonic electropop icon since Klaus Nomi rocketed up to the sky. Or perhaps it’s because he’s — quite frankly — hot. Whatever the case, all will be screaming with Kretchzmarmaniac glee when he takes the stage. (Johnny Ray Huston) With Freddy McGuire, Justine Electra, and Katrina Lamb. July 16, 8 p.m., $5–$15 sliding scale. New Langton Arts, 1246 Folsom, (415) 626-5416

JEL


Oakland sound collagist Jeffrey Logan impressed the heck outta everyone and their brothers with his artful Soft Money (Anticon, 2006). Next up, a putf8um single, which will guarantee plastic surgery for his entire family. (Kimberly Chun) With the Sixteens, the Fucking Ocean, and NED. July 17, 9 p.m., $7. Eagle Tavern, 398 12th St., SF. (415) 626-0880

EXTRA ACTION MARCHING BAND VS. WHAT CHEER?


Can’t wait for the battle of the brass? The blood-spitting firestarters of the Bay’s EAMB kick off MCMF, and the 18-piece Providence, R.I., ensemble WC closes it with oodles of horn-dog action. (Chun) Extra Action Marching Band with Nurses, Fluff Girl, and Butt holes Urfers. July 18, 9 p.m., $8. Eagle Tavern, 398 12th St., SF. (415) 626-0880. What Cheer? with Tiger Honey Pot, MGM Grand, and Super Secreta Especiale July 20, 3:30 p.m. (all-ages show), $5. Million Fishes Gallery, 2501 Bryant, SF. www.millionfishes.com. What Cheer? with Super Secreta Especiale July 20, 8 p.m., $10. Amnesia Bar, 853 Valencia, SF. (415) 970-0012

ARIEL PINK’S HAUNTED GRAFFITI


He’s baaack. (Chun) With Anavan, Late Young, Rainbow Arabia, and Hecuba. July 18, 9 p.m., $10-$15. Cellspace, 2050 Bryant, SF. (415) 648-7562

EARLIMART


There is life after Elliott Smith. The former Fresno-nauts have scored mucho acclaim for their layered, sonically enriched new album — pun alert — Hymn and Her (Majordomo). It’s the third most added college-radio album in the nation to boot. (Chun) With Built Like Alaska and the Parson Red Heads. July 19, 9:30 p.m., $14. Café Du Nord, 2170 Market, SF. (415) 861-5016

LADY GENIUS


Volunteer Pioneer is gone but not forgotten: this SF fivesome formed in the ashes of guitarist Jason Byers’ and vocalist-multi-instrumentalist Kyle Williams’ group, emphasizing the pop bliss of boy-girl harmonies. Wait for it, wait for it: their first EP on Gold Robot Records. (Chun) With Huff This, Gwendolyn, and the Parish. July 19, 9 p.m., $7. Hotel Utah, 500 Fourth St., SF. (415) 546-6300

Noise to go

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Load combo Monotract inspired immediate double — nay, triple — takes as it took the stage at the label’s South by Southwest showcase at Room 710 in Austin, Texas, last year. Noise impresario Carlos Griffoni and ace drummer Roger Rimada were missing in action due to a snowstorm, and the New York City band’s sole rep turned out to be guitarist-vocalist Nancy Garcia — flailing away on guitar with massive curls and girlish frock and evoking images of early punk women before the genre’s look, and sound, became codified. Alongside Garcia was an impromptu experimental-music supergroup incarnation of Monotract — Sonic Youth’s Thurston Moore also on guitar, Burning Star Core’s C. Spencer Yeh on violin, and Magik Marker’s Pete Nolan on drums — generating a memorable, noise-fueled set only tangentially related to the genuine article’s powerful album that same year, Trueno Oscuro (Load). The fourth album by the band ended up drawing praise from both Pitchfork Media and The Wire for its loud-soft waves of epic distortion ("Red Tide"), no-wave-ish blurt ("Cafu y Kaka"), and electronic-groan tribal-chant ("Big N"), which saw Garcia memorably motor-mouthing toward the reverb-bristled finale.

Apparently Garcia is not only resourceful in a jam, but something of a triple, even quadruple, threat. The Miami, Fla., native of Cuban American descent has been working in dance, video, and visual art, in addition to music, since moving to NYC eight years ago, where she studied at the Merce Cunningham dance studio and recently received a master’s in interactive technology at New York University’s Tisch School of the Arts. And she’s traveled far —aesthetically and geographically — from her sun-baked teen years in Miami, listening to grunge on the radio and flailing at her guitar as part of Rat Bastard’s Laundry Room Squelchers.

Her first tour with the noise group at 18 led to some "permanent damage, for sure," she says with a chuckle, speaking by phone from NYC. "I was really young and in high school, so it was just really amazing that someone invited me to go on a stage and I could play whatever I wanted. Basically there was no judgment passed, ever."

A dancer since age six, Garcia began composing music and dance at around the same time, so it was natural that one medium informed the other. Garcia’s 2007 dance piece, No Keys, for instance, juxtaposed frugging and head-banging rock moves drawn from Tina Turner and Iggy Pop with lyrics from the Slits and John Holt, beneath one of the musician’s wall-size drawings. Another work, 2005’s localstwang, saw Garcia moving and making music simultaneously, using contact mics attached to effects pedals and amps. That sense of play will factor into Garcia’s Mission Creek show — a first for her as a solo live performer: it will involve guitar, oscillators, and perhaps other "random instruments in the space," she offers. "I like to stay sort of open. Oh, also some movement. It’s hard not to move when there’s music playing."

NANCY GARCIA

With Fishbeck/Duplantier, Jane(t) Pants, and Kunsole

Fri/18, 8 p.m., $5–<\d>$15 sliding scale

New Langton Arts

1246 Folsom, SF

(415) 626-5416

Dye, dye, darlings

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Feel like dyeing? If yes, there are many products available to help you do so, but it’s unlikely that any color you choose will be anywhere near as exciting as the fearsome fun that Bleachy Bleachy Bleach conjures up. By the time they’ve set a dance beat behind their computer-scrambled screams and guitars, second-guessing is out of the question: these two shred hard without having to bring any ordinary instruments on stage.

Band members Kadienne Eslami and Jessie Abbey met in high school in Pleasanton and often went to shows in Oakland, Berkeley, and friends’ houses before deciding to start a band. According to Eslami, who spoke about the project by phone from her Pleasanton home, it was the frequent re-dyeing of their formerly purple and pink heads of hair that brought about the Bleachy Bleachy Bleach name — a moniker that also suggests the purging, triply frown-obliterating force of their music. Smiles are what got them started in the first place. "We started out playing through a PlayStation on a DDR mat, then started putting more emotion into it," said Eslami, who spells out her first name on one of the group’s earliest tracks, "Boobopera," before the bass beat kicks in and a splintered "easy lemon squeezy" rap unravels into screeches and buzzing chatter in French.

They employ noise in a variety of ways, alternately emotional and playful: the manic skitter of their new song "Toys" closes out its beat with a small dog’s bark. The duo also make use of a toy guitar, saxophone, and other assorted odd instruments in their convention-melting assemblages.

"Mostly what we do is record with instruments and collaborate with friends to make beats," Eslami says, "particularly Dylan Reznick from [the now-defunct band] Robin Williams on Fire, and most recently with Vice Cooler of XBXRX." When gigging on the John Benson–built Bus venue and elsewhere, they sing on microphones alongside their programmed laptop, adding that human presence that makes their songs so affecting. "Tennies," a song off their 12-inch coming out later this year, is about a guy Eslami met on Muni who had holes drilled in his head: "he explained how when people talk to him, he interprets their sentences backwards and has to translate them back to himself." Backwards translation won’t be necessary to keep beat with the Bleach, but scratching a chalkboard could make for fun accompaniment.

BLEACHY BLEACHY BLEACH

With Rubber O Cement, Take Up Serpents, Ettrick, Amir Coyle, Mikey Yeda, and Hora Flora

July 17, 8 p.m. doors, $5

Balazo 18

2183 Mission, SF

www.balazogallery.com

Resurrection blues

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› kimberly@sfbg.com

Lazarus has risen — in North Beach. Picture him, dazed and confused, perfumed with decay and dragging a tattered burial cloth, easily mistaken for yet another starry-eyed traveler in search of beat antiquities, wandering down Columbus Street. But the Bible-thumping, god’s honest truth is Lazarus is more likely to be sighted making a beeline into Café Trieste, work-weary and bright-eyed, smiling broadly and snatching a small iced coffee at the counter. That’s our latter-day Lazarus, otherwise known as Trevor Montgomery, once a member of Tarentel and the Drift and now generating an occasionally beautiful, always heartfelt moan of his own, last heard on 2007’s almost-epic animistic howl of a recording, Hawk Medicine (Temporary Residence).

We meet at Montgomery’s former workplace, Trieste, amid the still wild-eyed bohos, newly pressed and somewhat impressed seekers, and aspiring poets — or at least bloggers — hunched over laptops in crusty corners. Montgomery slips into the crowd seamlessly here at his liberation locale. When he first moved to North Beach about five years ago, he lived in a Chinatown hotel — as the sole non-Cantonese speaker. "It really freed me up to really write songs because I’d been living with Danny [Grody] and Jefre [Cantu-Ledesma] in Tarentel for years before that and I could never play," he explains above the din of java-making. "I felt like everybody was listening to me."

Now in the shadow of Coit Tower, Montgomery is glad to find that people are indeed listening: the four-piece touring version of Lazarus — which includes Kathryn Sechrist and Kelly Nyland in addition to the Papercuts’ Jason Quever — recently returned from a date at All Tomorrow’s Parties in the United Kingdom, curated by Montgomery’s friends Explosions in the Sky. He swears it was probably Lazarus’ best performance to date. "People surprisingly wouldn’t let me leave the stage," he says happily. "I’m really, like, all blown away." On top of that was the thrill of selling merch next to Wu-Tang Clan and Animal Collective.

Unfortunately there’s sadness mixed in with the joy. Montgomery also has had to cope with the aftershocks of his mother’s massive brain aneurysm two months ago, which sent him down to Orange County, where he grew up, to "take care of my dad and make dinner for him." Still, he was able to take his recording gear to make music in his parents’ garage — pieces that likely will show up on his forthcoming 12-inch on Secretly Canadian offshoot St. Ives, which will sport recycled, hand-modified LP covers courtesy of Montgomery and his artist chum Ryan Coffey. "I think the theme of the record musically is going to be extremes: opposites," Montgomery says. "I’ve been doing just a lot of wild, maniacal guitar playing." He laughs and throws his arms around. "You know, I have a lot of that in me. I need to get it out." *

LAZARUS

With Tiny Vipers and Garrett Pierce

Thurs/17, 9:30 p.m., $6

Hemlock Tavern

1131 Polk, SF

www.hemlocktavern.com

Tilly and the Wall’s top picks for players

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Hey, Tilly, whatcha listening to? Oh, right, I mean, Neely Jenkins, one of Tilly and the Wall’s vocalists. What do the energizer kids of TATW listen to on their off-hours? Read the first part of Jenkins’ interview here.

FIVE IN TILLY AND THE WALL’S NEELY JENKINS’ CAR
• Sparks
• “A compilation my friend made of reggae music, which I didn’t used to be able to stand, but as of recently, I’m really starting to enjoy.”
• Sigur Rós
• Cyndi Lauper. “We played a festival in Japan, and she was playing the same stage. She brought me to tears with ‘Time after Time.’ It was so insanely good. During the last song she said, ‘I’m going to need some help from the ladies,’ and she pulled us onstage for ‘Girls Just Want to Have Fun.’ I had tears of joy pouring down my face.”
• The Smiths. “That’s always a constant in my life. They always make me super-happy.”

The Fourth of July in Rock Rapids, Iowa, 1940-53

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The good old days in Rock Rapids, Iowa,
the Fourth of July, l940-53

By Bruce B. Brugmann

(Note: In July of l972, when the Guardian was short a Fourth of July story, I sat down and cranked out this one for the front page on my trusty Royal Typewriter. I now reprint it each year on the Bruce blog, with some San Francisco updates and postscripts.)

Back where I come from, a small town beneath a tall standpipe in northwestern Iowa, the Fourth of July was the best day of a long, hot summer.

The Fourth came after YMCA camp and Scout camp and church camp, but before the older boys had to worry about getting into shape for football. It was welcome relief from the scalding, 100-degree heat in a town without a swimming pool and whose swimming holes at Scout Island were usually dried up by early July. But best of all, it had the kind of excitement that began building weeks in advance.

The calm of the summer dawn and the cooing of the mourning doves on the telephone wires would be broken early on July Fourth: The Creglow boys would be up by 7 a.m. and out on the lawn shooting off their arsenal of firecrackers. They were older and had somehow sent their agents by car across the state line and into South Dakota where, not far above the highway curves of Larchwood, you could legally buy fireworks at roadside stands.

Ted Fisch, Jim Ramsey, Wiener Winters, the Cook boys, Hermie Casjens, Jerry Prahl, and the rest of the neighborhood would race of their houses to catch the action. Some of them had cajoled firecrackers from their parents or bartered from the older boys in the neighborhood: some torpedoes (the kind you smashed against the sidewalk); lots of 2 and 3-inchers, occasionally the granddaddy of them all, the cherry bomb (the really explosive firecracker, stubby, cherry red, with a wick sticking up menacingly from its middle; the kind of firecracker you’d gladly trade away your best set of Submariner comics for).

Ah, the cherry bomb. It was a microcosm of excitement and mischief and good fun. Bob Creglow, the most resourceful of the Creglow boys, would take a cherry bomb, set it beneath a tin can on a porch, light the fuse, then head for the lilac bushes behind the barn.

“The trick,” he would say, imparting wisdom of the highest order, “is to place the can on a wood porch with a wood roof. Then it will hit the top of the porch, bang, then the bottom of the porch, bang. That’s how you get the biggest clatter.”

So I trudged off to the Linkenheil house, the nearest front porch suitable for cherry bombing, to try my hand at small-town demolition. Bang went the firecracker. Bang went the can on the roof. Bang went the can on the floor. Bang went the screen door as Karl Linkenheil roared out in a sweat, and I lit out for the lilacs behind the barn with my dog, Oscar.

It was glorious stuff – not to be outdone for years, I found out later, until the Halloween eve in high school when Dave Dietz, Ted Fisch, Ken Roach, Bob Babl, and rest of the Hermie Casjens gang and I made the big time and twice pushed a boxcar loaded with lumber across Main Street and blocked it for hours. But that’s another story in my Halloween blog of last year.

Shooting off fireworks was, of course, illegal in Rock Rapids, but Chief of Police Del Woodburn and later Elmer “Shinny” Sheneberger used to lay low on the Fourth. I don’t recall ever seeing them about in our neighborhood and I don’t think they ever arrested anybody, although each year the Rock Rapids Reporter would carry vague warnings about everybody cooperating to have “a safe and sane Fourth of July.”

Perhaps it was just too dangerous for them to start making firecracker arrests on the Fourth – on the same principle, I guess, that it was dangerous to do too much about the swashbuckling on Halloween or start running down dogs without leashes (Mayor Earl Fisher used to run on the platform that, as long as he was in office, no dog in town would have to be leashed. The neighborhood consensus was that Fisher’s dog, a big, boisterous boxer, was one of the few that ought to be leashed).

We handled the cherry bombs and other fireworks in our possession with extreme care and cultivation; I can’t remember a single mishap. Yet, even then, the handwriting was on the wall. There was talk of cutting off the fireworks supply in South Dakota because it was dangerous for young boys. Pretty soon, they did cut off the cherry bomb traffic and about all that was left, when I came back from college and the Roger boys had replaced the Creglow boys next door, was little stuff appropriately called ladyfingers.

Fireworks are dangerous, our parents would say, and each year they would dust off the old chestnut about the drugstore in Spencer that had a big stock of fireworks and they caught fire one night and much of the downtown went up in a spectacular shower of roman candles and sparkling fountains.

The story was hard to pin down, and seemed to get more gruesome every year – but, we were told, this was why Iowa banned fireworks years before, why they were so dangerous and why little boys shouldn’t be setting them off. The story, of course, never made quite the intended impression; we just wished we’d been on the scene.
My grandfather was the town druggist (Brugmann’s Drugstore, “where drugs and gold are fairly sold,” since 1902) and he said he knew the Spencer druggist personally. Fireworks put him out of business and into the poorhouse, he’d say, and walk away shaking his head.

In any event, firecrackers weren’t much of an issue past noon – the Fourth celebration at the fairgrounds was getting underway and there was too much else to do. Appropriately, the celebration was sponsored by the Rex Strait post of the American Legion (Strait, so the story went, was the first boy from Rock Rapids to die on foreign soil during World War I); the legionnaires were a bunch of good guys from the cleaners and the feed store and the bank who sponsored the American Legion baseball team each summer.

There was always a big carnival, with a ferris wheel somewhere in the center for the kids, a bingo stand for the elders, a booth where the ladies from the Methodist Church sold homemade baked goods, sometimes a hootchy dancer or two, and a couple of dank watering holes beneath the grandstand where the VFW and the Legion sold Grainbelt and Hamms at 30¢ a bottle to anybody who looked of age.

Later on, when the farmboys came in from George and Alvord, there was lots of pushing and shoving, and a fist fight or two.

In front of the grandstand, out in the dust and the sun, would come a succession of shows that made the summer rounds of the little towns. One year it would be Joey Chitwood and his daredevil drivers. (The announcer always fascinated me: “Here he comes, folks, rounding the far turn…he is doing a great job out there tonight…let’s give him a big, big hand as he pulls up in front on the grandstand…”)

Another year it would be harness racing and Mr. Hardy, our local trainer from Doon, would be in his moment of glory. Another year it was tag team wrestling and a couple of barrel-chested goons from Omaha, playing the mean heavies and rabbit-punching their opponents from the back, would provoke roars of disgust from the grandstand. ( The biggest barrel-chest would lean back on the ropes, looking menacingly at the crowd and yell, “ Aw, you dumb farmers. What the hell do you know anyway?” And the grandstand would roar back in glee.)

One year, Cedric Adams, the Herb Caen of Minneapolis and the Star-Tribune, would tour the provinces as the emcee of a variety show. “It’s great to be in Rock Rapids,” he would say expansively, “because it’s always been known as the ‘Gateway to Magnolia.” (Magnolia, he didn’t need to say, was a little town just over the state line in Minnesota which was known throughout the territory for its liquor-by-the-drink roadhouses. It was also Cedric Adams’ hometown: his “Sackamenna.”) Adams kissed each girl (soundly) who came on the platform to perform and, at the end, hushed the crowd for his radio broadcast to the big city “direct from the stage of the Lyon County Fairgrounds in Rock Rapids, Iowa.”

For a couple of years, when Rock Rapids had a “town team,” and a couple of imported left-handed pitchers named Peewee Wenger and Karl Kletschke, we would have some rousing baseball games with the best semi-pro team around, Larchwood and its gang of Snyder brothers: Barney the eldest at shortstop, Jimmy the youngest at third base, John in center field, Paul in left field, another Snyder behind the plate and a couple on the bench. They were as tough as they came in Iowa baseball.

I can remember it as if it were yesterday at Candlestick, the 1948 game with the Snyders of Larchwood. Peewee Wenger, a gawky, 17-year-old kid right off a high school team, was pitching for Rock Rapids and holding down the Snyder artillery in splendid fashion. Inning after inning he went on, nursing a small lead, mastering one tough Larchwood batter after another, with a blistering fastball and a curve that sliced wickedly into the bat handles of the right-handed Larchwood line-up.

Then the cagey Barney Snyder laid a slow bunt down the third base line. Wenger stumbled, lurched, almost fell getting to the ball, then toppled off balance again, stood helplessly holding the ball. He couldn’t make the throw to first. Barney was safe, cocky and firing insults like machine gun bullets at Peewee from first base.

Peewee, visibly shaken, went back to the mound. He pitched, the next Larchwood batter bunted, this time down the first base line. Peewee lurched for the ball, but couldn’t come up with it. A couple more bunts, a shot through the pitcher’s mound, more bunts and Peewee was out. He could pitch, but, alas, he was too clumsy to field. In came Bill Jammer, now in his late 30’s, but in his day the man who beat the University of Iowa while pitching at a small college called Simpson.

Now he was pitching on guts and beer, a combination good enough for many teams and on good days even to take on the Snyders. Jammer did well for a couple of innings, then he let two men on base, then came a close call at the plate. Jammer got mad. Both teams were off the bench and onto the field and, as Fred Roach wrote in the Rock Rapids Reporter, “fisticuffs erupted at home plate.” When the dust cleared, Jammer has a broken jaw, and for the next two weeks had to drink his soup through a straw at the Joy Lunch. John Snyder, it was said later, came all the way in from center field to throw the punch, but nobody knew for sure and he stayed in the game. I can’t remember the score or who won the game, but I remember it as the best Fourth ever.

At dusk, the people moved out on their porches or put up folding chairs on the lawn. Those who didn’t have a good view drove out to the New Addition or parked out near Mark Curtis’ place or along the river roads that snaked out to the five-mile bridge and Virgil Hasche’s place.

A hush came over the town. Fireflies started flickering in the river bottom and, along about 8:30, the first puff of smoke rose above the fairgrounds and an aerial bomb whistled into the heavens. BOOM! And the town shook as if hit by a clap of thunder.

Then the three-tiered sky bombs – pink, yellow, white, puff, puff, puff. The Niagara Falls and a gush of white sparks.

Then, in sudden fury, a dazzling display of sizzling comets and aerial bombs and star clusters that arched high, hung for a full breath and descended in a cascade of sparks that floated harmlessly over the meadows and cornfields. At the end, the flag – red, white and blue – would burst forth on the ground as the All-American finale in the darkest of the dark summer nights. On cue, the cheers rolled out from the grandstand and the cars honked from the high ground and the people trundled up their lawn chairs and everybody headed for home.

Well, I live in San Francisco now, and I drive to Daly City with my son, Danny, to buy some anemic stuff in gaudy yellow and blue wrapping and I try unsuccessfully each year to get through the fog or the traffic to see the fireworks at Candlestick. But I feel better knowing that, back where I come from, everybody in town will be on their porches and on the backroads on the evening of the Fourth to watch the fireworks and that, somewhere in town, a little boy will put a big firecracker under a tin can on a wood porch, then light out for the lilacs behind the barn.

P.S. Our family moved in l965 from Daly City to a house in the West Portal area of San Francisco. There are, I assure you, few visible fireworks in that neighborhood. However, down where we work at the Guardian building at the bottom of Potrero Hill, the professional and amateur action is spectacular.

From the roof of our building at 135 Mississippi, and from any Potrero Hill height, you can see the fireworks in several directions: the waterfront fireworks in the city, fireworks on the Marin side of the Golden Gate bridge, fireworks at several points in the East Bay, fireworks along the Peninsula coast line.

And for the amateur action, parents with kids, kids of all ages, spectators in cars and on foot, congregate after dusk along Terry Francois Boulevard in San Francisco along the shoreline between the Giants ballpark and Kellys Mission Rock restaurant.
The action is informal but fiery and furious: cherry bombs, clusters, spinning wheels, high flying arcs, whizzers of all shapes and sizes. The cops are quite civilized and patrol the perimeter but don’t bother anybody. I go every year. I think it’s the best show in town. B3.

Fighting for the right to party

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› steve@sfbg.com

It’s become increasingly difficult and expensive to stage street fairs, concerts, or other parties in San Francisco, a trend chronicled by the Guardian over the past two years (see "Death of fun," 05/23/06 and "Death of fun, the sequel," 04/25/07). But event and nightlife promoters have responded with a proposed ballot measure that would write the right to party into the city’s charter.

The "Promoting and Sustaining Music and Culture in San Francisco" charter amendment would acknowledge the importance of special events to the city’s character, streamline the process for obtaining city permits, and require the nine-plus city departments that promoters must deal with to submit reports outlining how their policies and fee structures will need to be altered to comply with the new mandate for fun.

The measure was developed by the Save SF Culture Coalition, whose members include the Entertainment Commission, Black Rock City LLC (which stages Burning Man as well as events here in town), the Late Night Coalition, and the Outdoor Events Coalition (a group formed last year to counter city policies and neighbor complaints that threatened to scuttle the North Beach Jazz Festival, How Weird Street Faire, concerts in Golden Gate Park, and other events). The measure is sponsored by Sup. Ross Mirkarimi and has picked up four other supervisors as cosponsors, so it needs just one more vote for the Board of Supervisors to place it on the November ballot.

"It was long overdue that the city produce a master plan and vision that promotes a sustainable environment for music, culture, and entertainment throughout the city," Mirkarimi said.

In fact, event promoters say they’ve been hit by a quadruple whammy that threatens their livelihoods and the vibrant nature of the city: rising fees charged by city departments looking to close budget gaps, increased concern over alcohol consumption and other liability issues, more conflicts over noise in increasingly dense neighborhoods such as SoMa, and the ability of a handful of complaining neighbors to create event-killing permit conditions. And those last two problems are only likely to get worse as the city grows.

"We want the city to create a sustainability policy that will save our outdoor events in the face of all the development that is going on," said John Wood, a member of the Late Night Coalition and a promoter who also serves on the San Francisco Love Fest board of directors. "We need to be able to say, ‘This is city policy and you’re not following it.’"

Promoter and club owner Terrance Alan was an original member of the Entertainment Commission, which was formed in 2003 in part to resolve complaints over noise and manage relations between nightclubs and their neighbors. But he said the agency has little staff and no leverage over other city departments involved in permitting, which includes the Planning, Building, Port, Police, Fire, Health, and Recreation and Park commissions and departments, as well as the Municipal Transportation Authority and Interdepartmental Staff Committee on Traffic and Transportation (ISCOTT), the body that approves street-closure permits.

"We have been completely unsuccessful at getting their attention," Alan said. But this new measure, he said, would "set the stage for ongoing discussions that need to be happening."

Or as Wood put it, "It would give us ammunition in the future battles we’re going to have. It’s not going to make those battles go away."

Recreation and Park Department spokesperson Rose Dennis said her agency must deal with many competing concerns, ranging from budgetary issues to being responsive to complaints raised by citizens. "We understand that it might feel heavy-handed, but we have a duty to do so because we have to balance a number of concerns," Dennis said. "[Event promoters] have a bottom line, and we have a bottom line. We have a lot of people to serve."

Yet she said the department will comply with the measure and adjust its policies, fees, and procedures as needed if the measure is approved by voters.

At a June 27 Board of Supervisors Rules Committee hearing, there was lots of support for the measure and no real opposition. "We’re concerned about the future of arts and culture in San Francisco," Steven Raspa, who does special events for Black Rock City, said at the hearing.

All three committee members voiced support for the measure, but because it needed some minor changes, a final vote was pushed back to July 9. Proponents characterize the measure as trying to bring some balance to a situation in which the loudest wheels — those of NIMBYs complaining about noise or party detritus — keep getting greased.

"The bureaucracy is hearing from these neighborhood groups all the time," Wood said. "We feel that we are the majority and we need to demonstrate that politically."

Amanda Witherell contributed to this report.

To read the measure or learn more, visit www.savesfculture.com

US Air Guitar Championships soundcheck thrashes past

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By Ariel Soto

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With their beer mugs in hand, a crowd gathered around a small stage at Bar None in the Marina for US Air Guitar Championships soundcheck on June 24th, before the show later at the Independent. Hot Lixx Hulahan, the 2006 National Air Guitar Champion who hails from San Francisco, started the evenings show by “playing” a myriad eclectic guitar tunes that spanned several musical genres.

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Hey, hey, Hot Lixx

Each artist who performed was unique not only in their way of strumming the strings, but also in their personal fashion sense and ability to interact with the crowd. At the beginning of the show Hot Lixx said that what the judges look for at the actual competition is showmanship, skills when actually playing the guitar, and most importantly that they embody a powerful sense of “air” in their every move.

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No need for earplugs at SFTV Unplugged

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Stefan Grant and bassist Martin Morales rock the Devil at SFTV Unplugged.

By Kat Renz

A year ago, local guitarist Stefan Grant wasn’t sure how he’d continue playing live shows. The drummer of his alternative/metal band, Kinetic Chain, moved to Chicago, and the tribe was further split after he and the lead guitarist suffered a falling out.

And then, as so often happens in those bummer times, epiphany struck: what if they took a different direction from the guitar riff-driven, crashing drum sound they were so used to and went acoustic instead? “Let’s strip it down to what it is,” Grant said, adding that he wanted to create an opportunity to play and see live music that’s easy on the ears but still rock, as opposed to jazz or pop – a sweet space he considers relatively rare in the city. Thus was born SFTV Unplugged.

It’s not a novel approach – remember how killer those episodes of MTV Unplugged were back in the ’90s? “I think there are a lot of 30-plus people who liked Unplugged a lot,” Grant said, as we proceeded to rail off a list of our favorite performances. Alice in Chains. The Cure. That legendary Nirvana performance with Kurt Cobain sarcastically commenting on everything from harp-tuning to Leadbelly’s for-sale guitar amid a stage buried in star-gazer lilies.

The Hot Pink List 2008

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>>ALLAN AND LEO HERRERA



Yes, they’re gay brothers, which is, like, totally hot. But even if they weren’t related, their individual artistic creations would have us on the hook. Heads of HomoChic (www.homochic.com), the new gay mafia collective that combines gallery shows, fashion design, and nightlife craziness into mind boggling events, they’re inspiring the latest generation to revel in its scandalous past. Leo’s photography mixes porn with historical reference to dizzying, stimuutf8g effect. Allan’s costuming and styling brings bathhouse and backroom gay culture to light. Currently the Chihuahua, Mexico-born siblings have pieces in the queer Latino "Maria" show at Galería De La Raza. Leo features pants-raising boy-pics and a video installation centered on Harvey Milk. Allan, whose Money Shots underwear line graces many an alternaqueer’s backside, displays a chandelier made of 2,000 pink condoms.

MARIA

Through July 4

Galería De La Raza

2857 24th St., SF

(415) 827-8009

www.galeriadelaraza.org


>>ANNIE DANGER



Who’s the superbusy M-to-F artist and activist stirring up trouble with the mighty force of a Dirt Devil — the one they call Annie Danger? She’s sketched flora and fauna for environmental manifesto Dam Nation (Soft Skull Press, 2007), appeared as a blackjack-playing nymph in a shit-stirring Greywater Guerillas performance, dressed like a wizard at a recent Gender Pirates party, and just played Pony Boy in a queered-up "Outsiders." Right now at Femina Potens gallery (www.feminapotens.org), you can see her as Sister Wendy, the wimpled PBS art nun, in her video for "Untold Stories: Visual and Performative Expressions of Transwomen." In a rare occurrence, you can meet Annie Danger as herself at the National Queer Arts Festival’s edgy "TransForming Community" spoken word event. Who she’ll be when she MCs Friday’s thrilling Trans March (www.transmarch.org) is anyone’s delightful guess.

TRANSFORMING COMMUNITY

Thurs/26, 7:30 p.m., $8–$15

LGBT Community Center

1800 Market, SF

(415) 865-5555

www.queerculturalcenter.org


>>DEXTER SIMMONS



"I worry not just for fashion, but for the future of television," this multitalented fashion designer, stylist, hair and makeup artist, model, and Oakland native told us with a laugh backstage at the Vans Warped Tour, where he was frantically preparing bands for the stage. "There’s a cheesy aspect creeping in right now because of fashion reality TV that scares me. It looks too easy, and creates too many followers. Wise people want one-of-a-kind, personalized looks. That’s why I love San Francisco," he adds. "It’s small but big — global even — and it likes to take risks." Dexter’s company, FLOC (www.teamflocouture), formed with his best amigo Lauren Rassel, has been taking local runways and nightclubs by fierce, feathery storm since it was formed two years ago, and local rockers like Von Iva and Svelt Street swear by FLOC’s Warriors-inspired designs. Now working as a stylist for SF-based online retail giant Tobi.com, Dexter seems destined for the big time — his designs are penetrating the world and making heads turn a wee bit sharper.


>>CHELSEA STARR



She’s too-too much, this Miss Starr. A genre-straddling DJ and ubiquitous promoter celebrated for her many regular parties (including new weekly Buffet at Pink, a fabulously popular all-female DJ weekly shindig, and Hot Pants, a queer biweekly that draws out the crème de la crème of the city’s thigh-baring night owls), as well as a groundbreaking writer who just toured the country as part of the Sister Spit all-girl spoken word road show, and a fashion designer with her very own eponymous line of eminently wearables — there are just so many ways to love her. This week she’ll find time to spin at umpteen Pride parties, as well as at her very own special Pride edition of Hot Pants. "I’m also a twin, a Gemini, and a cookie monster," Chelsea tells us with a wink.

HOT PANTS

Fri/27, 10 p.m., $5

Cat Club

1190 Folsom, SF

(415) 703-8964

www.myspace.com/hotpantsclub


>>JOSH CHEON



We can’t fib — smarties turn us on. So when we heard that cutie DJ Josh Cheon, host of West ADD Radio’s thuper-queerific "Slave to the Rhythm" program (www.westaddradio.com/slavetotherhythm) held advanced degrees in cell biology, neuroscience, and psychology, we suddenly had to hide our pointiness. An integral member of San Francisco’s gay vinyl-fetishist collective Honey Soundsystem (www.honeysoundsystem.com), Cheon just got back from rocking London’s premiere alternaqueer club, Horsemeat Disco. While his radio show’s name pays homage to Grace Jones, his eclectic sets encompass Candi Staton classics and Detroit Rock City jams. As a featured disc-meister at Bibi, San Francisco’s glorious, charitable party for Middle Eastern and North African queers, he taps his Lebanese roots with Arabian and Persian pop and disco favorites like Fairuz, Googoosh, and Dalida — and some surprise grin-givers from the likes of Boney M.

BIBI

Fri/27, 9 p.m., $20

Pork Store Café

3122 16th St., SF

(415) 626-5523

www.myspace.com/BibiSF


>>MONISTAT



She’s everywhere, lately, this feisty mistress of the night. Trash drag fanatics, glamorous electro freaks, after-hours hipster hot tub revelers — she’s a muse to many, with a sharp tongue and handmade Technicolor outfit for all. Plus, just in general: hot Asian tranny fierceness. "I’m thoroughly inspired by the pigeons in the Civic Center," she tells us. "Also, parties full of beautiful people worshipping me." She’ll be hosting the Asian and Pacific Islander stage at this year’s Pride festivities. But first this plus-size supermodel, trainwrecking DJ, oft-blacklisted performer, and dangerous skateboarder will be throwing a sleazoid party called Body Rock on gay-historic Polk Street "for the musically impaired and fans of a man in a dress, which would be me. I’ve walked through the fire and come out blazing!"

BODY ROCK

Thu/26, 10 p.m., free

Vertigo

1160 Polk, SF

(415) 674-1278

www.myspace.com/monistat7


>>CHRIS PEREZ



Which highly influential SF gallery owner brought John Waters, Todd Oldham, the mayor, and hundreds of sweaty kids together (with a couple kegs) under one roof this spring for photographer Ryan McGinley’s West Coast solo debut? Chris Perez of Ratio 3, whose shows also helped artists score Artforum covers and big time awards. Perez pairs an intuitive talent for identifying a popular hit with innovative curatorial decisions. But his space is no mere white box in the gourmet ghetto: "You’re never just walking down Stevenson," explains this escapee from Catholic school and former San Diego Museum of Photographic Arts volunteer. "Unless you’re hooking up or getting cracked out." Or peeping great art. On Friday, Ratio 3 dresses up as ’90s queer-radical gallery Kiki, for "Kiki: The Proof is in the Pudding," a group tribute to late curator-activist Rick Jacobsen.

KIKI: THE PROOF IS IN THE PUDDING

Fri/27, reception 6–8 p.m., free

Ratio 3

1447 Stevenson, SF

(415) 821-3371

www.ratio3.org


>>HUNTER HARGRAVES



If you think constant AIDS activism is exhausting, try doing it in drag. Stanford grad Hunter heads up StopAIDS (www.stopaids.org) community initiatives by day, and is a board member of diversity-seeking And Castro For All (www.andcastroforall.org), through which fellowships in his name are awarded to young queer activists every year. By night and early morning he becomes Felicia Fellatio, a precariously-heeled tranny who’s single-handedly hauling grunge back onto drag stages — a recent flannel-drenched lipsync of Pearl Jam’s "Jeremy" teared up many a jaded eye — and he DJs queer punk parties like Trans Am (www.myspace.com/transamtheclub) and Revolution, the hot monthly tea dance for HIV-positive men at Club Eight (www.positiveforce-sf.com). Felicia also auditioned for America’s Next Top Model (seriously) but was eliminated when her man hands slapped someone prettier. You can catch Hunter and Felicia, although probably only half of each, at the StopAIDS booth at this year’s Pride celebration.


>>ALICIA MCCARTHY



Hipsters sporting $80 faux-penciled rainbow patterns and glossy-mag ads with jagged color intersections are fronting a style artist Alicia McCarthy helped originate — but she does it a hundred times better. Her current show at Jack Hanley takes off in a dozen different directions from her signature shapes and spectrums in a manner that reflects an honestly fractured identity. Coiled thought forms, a wooden chair facing the backside of a scruffy penguin flying toward a wall of mirrors, and a show-within-the-show by friend Stormy Knight that includes sketches by a parrot named The National Anthem and sculpture by Redbone the dog. McCarthy’s latest exhibition also displays more than a few small works subtly placed where a wall meets the floor, which goes to show that she’s still making some art that only people who pay attention will discover.

ALICIA MCCARTHY

Through Sat/28, free

Jack Hanley Gallery

395 Valencia, SF

(415) 522-1623

www.jackhanley.com


>>MON COUSIN BELGE



Half-naked, goo-spitting art rock in a sling never got so deliciously tawdry. When this San Francisco quartet of self-professed "bunch of fags with vision and bacon cheeseburgers" takes the stage and launches into "Tweaker Bitch" or "Pigdog" off their new album Quelle Horreur (World Famous in SF Records), anything involving titilutf8g revulsion can happen and usually does. Fronted by enigmatic singer Emile, a Belgian addicted to plastic surgery — 39 procedures to date — and leather thongs, Mon Cousin Belge (www.moncousinbelge.com) updates queercore for the ambivalent masses with "deep faggotry jams" and knickers-wetting live performances. Bring a towel to their launch party at Thee Parkside bar in Potrero Hill. You’ll definitely need it — the crowd of cute intel-queers they draw is over-the-top steamy.

QUELLE HORREUR LAUNCH PARTY

Sat/28, 10pm, $6

Parkside

1600 17th St., SF

(415) 503-0393

www.theeparkside.com

The Guardian Queer Issue 2008

Pride 2008 events

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› culture@sfbg.com

ONGOING

Frameline Film Festival Various locations; see Web site for dates and times, www.frameline.org. The humongous citywide queer flick fest is still in full eye-popping effect.

Golden Girls Mama Calizo’s Voice Factory, 1519 Mission, SF; (415) 690-9410, www.voicefactorysf.org. 7 and 9pm, $20. Through Sat/28. Revisit all the "gay" episodes of this classic and tragic sitcom, as performed with panache and pratfalls by gender clowns Heklina, Pollo Del Mar, Cookie Dough, and Matthew Martin.

National Queer Arts Festival Various locations; see Web site for details, www.queerculturalcenter.org. Experience scandalously good spoken word, cabaret, art installations, and so much more as this powerhouse monthlong celebration of queer revelations continues.

THURSDAY 26

PERFORMANCES AND EVENTS

Marriage Is Not Enough: Radical Queers Take Back the Movement New Valencia Hall, 625 Larkin, SF; (415) 864-1278. 7pm, $7 donation. Spread-eagled with one foot in the past and the other in the future, Radical Women host a forum to honor the efforts of drag queens and queers of color in 1969’s Stonewall rebellion and to discuss the docile nature of LGBT leadership in the face of poor and working-class queer issues today.

"Our Message Is Music" First Unitarian Church and Center, 1187 Franklin, SF; (415) 865-2787, www.sfgmc.org. 8pm, $15-$35. The world’s first openly LGBT music ensemble will kick off Pride Week with a range of music from Broadway to light classical. Includes performances by the Lesbian/Gay Chorus of San Francisco, San Francisco Gay Men’s Chorus, and the San Francisco Lesbian/Gay Freedom Band.

Pansy Division Eagle Tavern, 398 12th St., SF; (415) 626-0880, www.pansydivision.com. 9pm, $7. Homoerockit band Pansy Division plays a live set with the handsome help of Glen Meadmore and Winsome Griffles following a screening of the film Pansy Division: Life in a Gay Rock Band.

CLUBS AND PARTIES

Body Rock Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Incredibly energetic tranny-about-town Monistat hosts a bangin’ electro night for queers and friends featuring San Francisco’s favorite crazy DJ Richie Panic. Expect wet panties.

Cockblock SF Pride Party Minna, 111 Minna, SF; www.cockblocksf.com. 9pm-2am, $5. DJs Nuxx and Zax spin homolicious tunes and put the haters on notice: no cock-blockin’ at this sweaty soiree.

Crib Gay Pride Party Crib, 715 Harrison, SF; (415) 749-2228, www.thecribsf.com. 9:30pm-3am, $10. The hopefully soothing Ms. Monistat (again!) and the irritating — in a fun way — Bobby Trendy set it off at this homolicious megaparty popular among the 18+ set, complete with a Naked Truth body-art fashion show and a T-shirt toss, in case you lose the one you came with in the melee.

The Cruise Pride Party Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 9pm-2am, free. Hey, dyke sailor! Hike up your naughty nauticals and wade into this ship of dreams (yes, it’s a theme party) with DJs Rapid Fire and Melissa at the lovely lesbian Lex. Land, ho.

The Tubesteak Connection Aunt Charlie’s, 133 Turk, SF; (415) 441-2922, www.auntcharlieslounge.com. A warm and bubbly tribute to early Italo house, wonderfully obscure disco tunes, and outfits Grace Jones would die for. With DJ Bus Station John.

FRIDAY 27

PERFORMANCES AND EVENTS

Same-Sex Salsa and Latin Ballroom Dance Festival and Competition Magnet, 4122 18th St., SF; (415) 581-1600. www.queerballroom.com. 7pm-12am, free. With $100 awarded to the winner of this fancy-footwork competition, the stakes for this event’s salsa-hot dancing surpass the single bills slipping into thong strings this week.

San Francisco Trans March Dolores Park, Dolores and 18th Sts; (415) 447-2774, www.transmarch.org. 3pm stage, 7pm march; free. Join the transgender community of San Francisco and beyond for a day of live performances, speeches, and not-so-military marching.

CLUBS AND PARTIES

Bibi: We Exist and We Thrive Pork Store Café, 3122 16th St., SF; (415) 626-5523, www.myspace.com/BibiSF. 9pm, $20. The Middle Eastern and North African LGBT community hosts a charitable happy hookah party to native tunes spun by DJs Masood, Josh Cheon, and more.

Bustin’ Out III Trans March Afterparty El Rio, 3158 Mission, SF; 282-3325. 9pm-2am, $5-$50, sliding scale. Strut your stuff at the Transgender Pride March’s official afterparty, featuring sets from DJs Durt, Lil Manila, and giveaways from Good Vibes, AK Press, and more. Proceeds benefit the Trans/Gender Variant in Prison Committee.

Charlie Horse: No Pride No Shame The Cinch, 1723 Polk, SF; (415) 776-4162, www.myspace.com/charliehorsecinch. 10pm, free. Drag disaster Anna Conda presents a bonkers night of rock ‘n’ roll trash drag numbers, plus Juanita Fajita’s iffy "gay food cart" and Portland, Ore.’s Gender Fluids performance troupe.

Cream DNA Lounge, 375 11th St., SF; (415) 626-1409, www.creamsf.com. Two levels of sexy girl energy and a catwalk to scratch your lipstick claws on, plus a Latin lounge with hip-grinding tunes from DJs Carlitos and Chili D.

GIRLPRIDE Faith, 715 Harrison, SF; (415) 647-8258. 8pm-4am, $20. About 2,500 women are expected to join host DJ Page Hodel to celebrate this year’s Pride Weekend, and that’s a whole lotta love.

Hot Pants Cat Club, 1190 Folsom, SF; (415) 703-8964, www.myspace.com/hotpantsclub. 10pm, $5. DJ Chelsea Starr and many others make this alternaqueer dance party a major destination for hot persons of all genders and little trousers.

Mr. Mighty, 119 Utah, SF; (415) 762-0151, wwww.mighty119.com. 10pm-6am, $20. Darling promoters Big Booty, FSLD, Beatboxevents, and Big Top join forces to produce the party premiere of Pride week with DJ Kidd Sysko and Lord Kook spinning alternative techno sounds, and a special deep and dirty set from soulful house god David Harness.

Sweet Beast Transfer, 198 Church, SF; www.myspace.com/beastparty. 10pm-2am, $10. Reanimate your fetish for leather and fur by dressing up as fiercely feral fauna for the petting-zoo of a party. This week, after all, is mating season.

Tranny Fierce Supperclub, 657 Harrison, SF; (415) 348-0900, www.supperclub.com. 8pm dinner, 10pm afterparty. $85 dinner, $15-$25 afterparty. Total ferosh! Project Runway winner Christian Siriano hosts a four-course meal of trash-talking and looking fierce. The afterparty serves up drag nasty from Holy MsGrail, Cassandra Cass, and more.

Uniform and Leather Ball Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.frantix.net. 8pm-midnight, $25 & $40. The men’s men of San Francisco’s Mr. Leather Committee want you to dress to the fetish nines for this huge gathering, featuring men, music, and more shiny boots than you can lick all year. Yes, sirs!

SATURDAY 28

PERFORMANCES AND EVENTS

Dykes on Bikes Fundraiser Eagle Tavern, 398 12th St., SF; (415) 626-0880, www.dykesonbikes.org. Noon. Dykes on Bikes can’t drink and drive: they need your help. A pint for you means a gallon of gas for them. Stop by before heading to the march.

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-6pm, free. Celebrate LGBT pride at this free outdoor event featuring DJs, speakers, and live music. This is the first half of the weekend-long celebration sponsored by SF Pride. Also Sun/29.

Pink Triangle Installation Twin Peaks Vista, Twin Peaks Blvd parking area, SF; (415) 247-1100, ext 142, www.thepinktriangle.com. 7-11am, free. Bring a hammer and your work boots and help install the giant pink triangle atop Twin Peaks for everyone to see this Pride Weekend. Stay for the commemoration ceremony at 10:30am to hear Mayor Gavin Newsom and Assemblymember Mark Leno speak.

Pride Brunch Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.positiveresource.org. 11am-2pm, $75-$100. Raise a mimosa toast to this year’s Pride Parade grand marshals with many of the community’s leading activists.

Same-Sex Country, Swing, and Standard Ballroom Dance Festival and Competition Hotel Whitcomb, 1231 Market, SF; (415) 626-8000, www.queerballroom.com. 6:30-8pm, free. The Queer Jitterbugs get reeling at this one-of-a-kind contest that’ll shine your spurs and get you swingin’ out of your seat.

San Francisco Dyke March Dolores Park, Dolores and 18th Sts, SF; www.dykemarch.org. 7pm, free. Featuring music from the Trykes, Papa Dino, Las Krudas, and more, plus a whole lot of wacky sapphic high jinks.

CLUBS AND PARTIES

Bearracuda Pride Deco, 510 Larkin, SF; (415) 346-2025, www.bearracuda.com/pride. 9pm-3am, $8 before 10pm, $10 after. Hot hairy homos generate serious body static on the dance floor at this big bear get-down.

Bootie Presents The Monster Show DNA Lounge, 375 11th St, SF; (415) 626-1409, www.bootiesf.com. The city’s giant mashup club hosts a drag queen bootleg mix extravaganza, as Cookie Dough and her wild Monster Show crash the Bootie stage.

Colossus 1015 Folsom, SF; (415) 431-1200, www.guspresents.com. 10pm-8am, $40. The beats of mainstream club favorite DJ Manny Lehman throb through the largest and longest, uh &ldots; dance party of Pride week.

Deaf Lesbian Festival Dyke Ball San Francisco LGBT Center, Rainbow Room, 1800 Market, SF; (415) 865-5555, www.dcara.org. 8pm, 440. Feel the music, close your eyes, and dance to the rhythm of your smokin’ partner at the Deaf Lesbian Festival’s first ever Dyke Ball.

Devotion EndUp, 401 Sixth St, SF; (415) 357-0827, www.theendup.com. 9pm, $15. This storied dance party is back with "A Classic Pride." DJs Ruben Mancias and Pete Avila spin all-classic soulful and stripped-down house anthems for a sweaty roomful of those who were there back when.

Dyke March After Affair Minna, 111 Minna, SF; www.diamonddaggers.com. 8pm-11pm, $12-$20 sliding scale. An early-ending party featuring drag queens, burlesque stars, and belly dancers ensures that beauty sleep comes to the next day’s easy riders whose love of bikes and beer rivals that of any Hell’s Angel or fratboy. Or, stick around for Minna’s ’80s night, Barracuda.

Manquake The Gangway, 841 Larkin, SF; (415) 776-6828. 10pm, $5. Disco rareties and bathhouse classics in a perfectly cruisy old-school dive environment with DJ Bus Station John.

PlayBoyz Club Eight, 1151 Folsom, SF; www.clubrimshot.com. 10pm-3am, $10. The stars of legalized gay marriage, Obama’s candidacy, Pride week, and Black Music Month all align for this hip-hop heavy celebration.

Queen Pier 27, SF; www.energy927fm.com. 8pm, $45. Energy 92.7 FM brings back the dynamism of the old-school San Francisco clubs for this Pride dance-off. Chris Cox and Chris Willis headline. Wear your best tear-away sweats and get ready to get down, Party Boy style.

Rebel Girl Rickshaw Stop, 155 Fell, SF; wwww.rebelgirlsf.com. 9pm-2am, $12. Rebel Girl brings the noise for this one with go-go dancers, Vixen Creations giveaways, drink specials, and, you know, rebel girls.

SUNDAY 29

PERFORMANCES AND EVENTS

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-7pm, free. The celebration hits full stride, with musical performances and more.

LGBT Pride Parade Market at Davis to Market and Eighth Sts, SF; (415) 864-3733, www.sfpride.org. 10:30am-noon, free. With 200-plus dykes on bikes in the lead, this 38th annual parade, with an expected draw of 500,000, is the highlight of the Pride Weekend in the city that defines LGBT culture.

True Colors Tour Greek Theatre, UC Berkeley Campus, Hearst and Gayley Streets, Berk; (510) 809-0100, www.apeconcerts.com. 5pm, $42.50-$125 Cyndi Lauper, The B-52s, Wanda Sykes, The Puppini Sisters, and queer-eyed host Carson Kressley bring it on for human rights and limp wrists.

CLUBS AND PARTIES

Big Top The Transfer, 198 Church, SF; (415) 861-7499, www.myspace.com/joshuajcook. A circus-themed hot mess, with DJs Ladymeat, Saratonin, and Chelsea Starr, plus Heklina’s "best butt munch" contest. Will she find the third ring?

Dykes on Bikes Afterparty Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 1pm, free. How do they find time to ride with all these parties?

Juanita More! Gay Pride ’08 Bambuddha Lounge, 601 Eddy, SF; (415) 864-3733, www.juanitamore.com. 3pm, $30. Juanita More! hosts this benefit for the Harvey Milk City Hall Memorial, with DJs Robot Hustle and James Glass, and performances by fancy-pants Harlem Shake Burlesque and the Diamond Daggers. Fill ‘er up, baby!

Starbox Harry Denton’s, 450 Powell, SF; (415) 395-8595, www.harrydenton.com. 6pm-midnight, $7 High atop the Sir Francisc Drake Hotel, the swank Harry Denton’s presents DJ Page Hodel’s patented brand of diverse and soulful bacchanalia.

Sundance Saloon Country Pride Hotel Whitcomb, 1231 Market, SF; (415) 626-8000, www.sundancesaloon.org. 6pm-11pm, $5. Hot hot bear husbands on the hoof, line-dancing for the pickin’ at this overalls-and-snakeskin-boots roundup.

Unity Temple, 540 Howard, SF; www.templesf.com. Legendary kiki-hurrah club Fag Fridays rises again with a sure-to-be-smokin’ DJ set from the one and only Frankie Knuckles, the goddess’s gift to deep house freaks and friends.

In on the Outside: Howlin Rain, the Walkmen, Toot and the Maytals added to Outside Lands fest lineup

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Howl on, Howlin Rain – at Outside Lands.

This in from the publicists of Outside Lands Music and Arts Festival, the first annual ticketed large-scale multi-stage event in Golden Gate Park. (A portion of every ticket sold will directly benefit Golden Gate Park):

“Outside Lands Music and Arts Festival is proud to announce new additions to the already-stellar line-up for the first inaugural event. Howlin Rain, The Dynamites, and Carney are rounding out Friday, Aug. 22. The Walkmen, Abigail Washburn and the Sparrow Quartet featuring Bela Fleck, and Everest have been added to Saturday, Aug. 23. Toots and the Maytals, Rogue Wave, Mike Gordon, and Vienna Teng have been added to Sunday, Aug. 24.

“The multifaceted, three-day festival will take place in San Francisco’s historic Golden Gate Park on Aug. 22-24, 2008. Radiohead, Tom Petty and the Heartbreakers, and Jack Johnson will headline the event. Tickets for the Outside Lands Music and Arts Festival are available for purchase at www.SFOutsidelands.com.

“The updated schedule for each day is as follows:”

Friday, Aug. 22 (first band is on at 5 p.m.)
Radiohead
Beck
Manu Chao
The Black Keys
Cold War Kids
Steel Pulse
Black Mountain
The Felice Brothers
Howlin Rain
The Dynamites
Carney

Saturday, August 23 (first band is on at 1 p.m.)
Tom Petty and the Heartbreakers
Ben Harper and the Innocent Criminals
Primus
Steve Winwood
Lupe Fiasco
Café Tacvba
Regina Spektor
Galactic’s Crescent City Soul Krewe featuring Dirty Dozen Horns
M. Ward
Devendra Banhart
Matt Nathanson
Two Gallants
Dredg
Abigail Washburn and the Sparrow Quartet featuring Bela Fleck
The Walkmen
Sidestepper
Kaki King
The Coup
Donavon Frankenreiter
Nellie McKay
Goapele
Sean Hayes
Rupa and the April Fishes
Everest

Sunday, Aug. 24 (first band is on at 1 p.m.)
Jack Johnson
Wilco
Widespread Panic
Rodrigo y Gabriela
Broken Social Scene
Andrew Bird
Sharon Jones and the Dap-Kings
Drive-By Truckers
Toots and the Maytals
Stars
Rogue Wave
ALO
Jackie Greene
Mike Gordan
The Cool Kids
Grace Potter and the Nocturnals
Little Brother
Bon Iver
The Mother Hips
Nicole Atkins and the Sea
K’naan
Back Door Slam
Culver City Dub Collective

Jonathan Richman makes out on his multiple-night stand in the Mission

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Baby, you’re a Richman: Jonathan Richman back in the ’70s.

By Laura Mojonnier

One gets the sense that Jonathan Richman spends a lot of time alone in his room – staring at that telephone that never rings, practicing his Angus Young-style leg kicks, and listening to French lessons on tape. When he does get out of the house, his favorite activity is touring with longtime drummer Tommy Larkins, with whom he’ll play the last shows of a four-night stint at the Make Out Room tonight through Thursday.

From his days as a teenage Velvet Underground fan-turned-Modern Lover to his middle-aged flirtations with Spanish guitar and Romance languages, Richman has been a hero to suburban loners for more than 30 years. He documents his chronically broken heart and his love of painters like Vermeer and Van Gogh with geeky charisma and rare candor, revealing a self-effacing wit that somehow remains totally unironic. This is the guy who once sang, “I go to bakeries all day long / There’s a lack of sweetness in my life,” after all.

Richman was in top form last night at the Make-Out Room. The venue’s intimate atmosphere paired with a stripped-down setup – just Richman on acoustic guitar and Larkins on drums, peppered by the occasional cowbell solo – played to the songwriter’s strengths as a performer. His always-amusing lyrics (did he really just encourage us to “behold the lilies of the field” three times?) and legendary stage banter were supremely audible, even when they weren’t in English.

Towards Carfree Cities: “We’re not doing enough”

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Steven T. Jones reports from the Towards Carfree Cities conference in Portland
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“We’re not doing enough,” Gil Peñalosa told the Towards Carfree Cities conference during his keynote speech yesterday. Cities are facing multiple crises connected to over-reliance on the automobile – declining public health, environmental degradation, resource depletion, loss of community, not enough space in U.S. cities to handle the 100 million people they’ll need to accommodate in the next 35 years – and most are responding with baby steps that deny the scope of the challenge our species in facing.

Peñalosa is sort of a rock star among the carfree set. After spearheading the transformation of his native Bogota, Columbia into a healthy, forward-thinking community by overhauling parks and roadways and pioneering the carfree “Ciclovia” concept that San Francisco is now adopting, Peñalosa took to the international stage, serving as executive director of Walk and Bike for Life and working closely with pioneering urban design firms such as Gehl Architects.

Unlike many European cities that have aggressively moved beyond automobile-centered development models, Peñalosa said no U.S. city has demonstrated the political will to make carfree living a realistic option for all their citizens, particularly the very young and very old. He congratulated Portland for recently receiving the top-tier platinum designation for bicycle friendly cities from the League of American Bicyclists.

That’s very good, but he noted that it’s tough to go from good to great, which is what needs to happen now if we’re to slow global warming, reverse obesity trends, and prevent soul-sapping gridlock in our cities. “The reality is Portland is far from being great,” Peñalosa said. “You are only good. You’re far from being great.” He also commended New York City for announcing just a day earlier that much of Manhatten will be carfree for three days this summer. But again, good, not great.

San Francisco, by the way, is a tier below Portland’s platinum with a ranking of gold. Sure, we’re doing a Ciclovia for three days this August and talking about a congestion pricing fee for driving downtown (something New York City recently tried and failed to implement). But compared to cities such as Copenhagen, Amsterdam, Berlin, Paris, Vancouver, Barcelona, and Melbourne – where well over half of all trips are taken by foot, transit or bicycle and the populations are far healthier – San Francisco, New York City, and Portland are living in the last century. He said it’s time for the best U.S. cities to start playing at the level of their international counterparts.

“That’s where Portland belongs and that’s the challenge,” Peñalosa said. “Under existing conditions, we have to make major leaps instead of baby steps.”

Marc Bamuthi Joseph

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PREVIEW Marc Bamuthi Joseph is an artist who makes you want to bow down in admiration or curse the gods for bestowing him with so many talents. He’s a poet. He’s a singer. A dancer. An actor. An activist. And good-looking, to boot. It doesn’t seem fair that one human being should possess so many gifts, even when he uses them for the benefit of others by revealing truths about environmental destruction, human devastation, and the experience of fatherhood. Joseph draws connections between the global and the personal to express the idea that all politics is local. Although his reputation primarily is based on his solo choreo-poems — most prominently Word Becomes Flesh (2003) — with his 2005 hip-hop Scourge, he stepped outside his comfort zone into the arena of ensemble work. For that collage-meditation on being an American of Haitian descent, he brought in a combination of actors and dancers. Now with the break/s: a mixtape for stage, he returns to the solo form. Taking Jeff Chang’s tome Can’t Stop Won’t Stop: A History of the Hip-hop Generation (Macmillan, 2005) as a starting point, Joseph puts his own perspective on the phenomenon. He has called the work "a travel diary recorded as dream. It’s Lewis and Clark at hip-hop’s Mason-Dixon line. It’s one last look at Africa."

MARC BAMUTHI JOSEPH Thurs/19–Sat/21, 8 p.m. Yerba Buena Center for the Arts, 701 Mission, San Francisco. $23–$30. (415) 978-2787, www.ybca.org

The public power initiative: let’s roll

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By Bruce B. Brugmann

Coming home after almost two weeks in Sweden with the annual World Association of Newspapers (WAN) assembly and study tour, I was struck once again how nothing seems to change in San Francisco when it comes to the PG&E/Raker Act scandal.

PG&E was still firmly in control of the city’s energy policy in the mayor’s office. Mayor Gavin “The Green Knight” Newsom had capitulated spectacularly to PG&E and had reversed his policy of supporting a plan by his PUC that would have given the city control over some local power generation at the Mirant power plant (the peaker proposal.) The mayor had met secretly with PG&E executives and stiffed representatives from the Potrero Hill neighborhood and the environmental, environmental justice, public power, and community choice aggregation (CCA) movements.

The Hearst-owned Chronicle continued its long corporate tradition of blacking out the real story of the accelerating PG&E/Raker Act scandal. The utility was beautifully executing its divide and conquer strategy it has honed ever since the days that John Muir and the Sierra Club fought in vain to stop the damming of Hetch Hetchy Valley in Yosemite National Park for the city’s public water and power supply. (In that battle at that time, the Guardian would have stood with Muir.)

Amanda Witherell laid out the latest sorry episode in her story in Wednesday’s Guardian. Her lead: “Green City Mayor Gavin Newsom finally outlined what he calls a ‘more promising way forward than the current proposal’ of building two publicly owned power plants in San Francisco. The way forward: retrofit three existing diesel turbines at the Mirant Potrero Power Plant, while simultaneously shutting down Mirant’s most polluting smokestack, Unit 2.”

Our editorial laid out the political context: “The politics of the deal are complicated, but the driving force is clear: PG&E didn’t want the city moving even a small step toward public power, and as usual, the big utility is getting its way…PG&E has been trying for months to derail the peakers–not, of course, out of any concern for the environment, but because the city would own the power plants. At first Newsom stuck by his SPUC but when seven PG&E lobbyists came into his office and gave him the facts of life (see ‘PG&E offers Newsom a blank check‘), he backed down.

“And now, after meeting with the CEOs of PG&E and Mirant, Newsom is pushing the worst possible alternative: he wants to retrofit the Mirant plant and let the private company operate its own peakers. Same fossil fuel plants in the Bayview. Same type of air pollution. And the facility would be owned by a private company.”

Repeating for emphasis: When PG&E spits, City Hall swims. When PG&E spits, the mayor swims.

And so PG&E and Newsom have set the stage for the next phase in this great battle to kick PG&E out of City Hall, enforce the federal Raker Act mandating public power for San Francisco, and bring our own cheap, clean Hetch Hetchy public power to the residents and businesses of San Francisco.

The next stage is the emerging new public power initiative that Supervisors Ross Mirkarimi and Aaron Peskin are working on, with a wide swath of neighborhood and public power forces, aimed for the November ballot as a charter amendment.

This would be the third go at taking on PG&E head-on on the November ballot. This time it has a good chance of succeeding since PG&E and Newsom have gone out of their way to make the case for public power in 96 point Tempo Bold for all to see and savor. The measure will also be helped by massive turnout with Obama, seven supervisorial races, a clutch of solid progressive measures, and a smart, aggressive Obama like grassroots organizing campaign.

Let’s roll. B3, who wonders when he will no longer see the fumes from the Mirant plant from his office window at 135 Mississippi Street at the bottom of Potrero Hill

Click here to read this week’s article, Newsom’s power play.

Click here for this week’s editorial, A vote for public power in November.

Facing the music

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› a&eletters@sfbg.com

Mini video-enhanced chamber operas seem to be the flavor of the month, at least in a certain stretch of the Mission District. Only three weeks ago, Bay Area composer Erling Wold’s solo opera Mordake began its world premiere run at Shotwell Studios (as part of the San Francisco International Arts Festival) with inimitable tenor John Duykers in the part of the titular medical mystery and suicide — a pampered Victorian gentleman with the seemingly sentient face of his sisterly "evil twin" pasted to the back of his head. Beautifully constructed throughout (beginning with Wold’s prerecorded but generally enthralling minimalist score and Dukyers’ expansively human turn as "the man who ate his family"), Mordake availed itself of an exquisite and all-encompassing video design that cunningly developed the opera’s themes while allowing traditional lighting, costumes, and sets to be kept to a select minimum.

Meanwhile, a few blocks away at the Lab on 16th Street, composer-librettist Lisa Scola Prosek’s Trap Door followed suit with a one-hour chamber work on the plight of a US soldier in Iraq accused of killing an unarmed civilian. Billed as a "video opera," Trap Door is in fact performed live by a cast of seven and another six musicians (including composer Prosek at the piano) but unfolds against a wall-projection (designed by filmmaker-videographer Jacob Kalousek) whose purpose is to open up and to some degree comment on action otherwise constrained by a physically tight, nontraditional stage with minimal scenic components.

Like Wold, Prosek is a gifted local composer happy to work at or near the Bay Area’s new-theater fringes, and is well versed in its multimedia possibilities. Her last chamber opera, Belfagor, based on Machiavelli’s satirical comedy and set to an Italian libretto, also incorporated an elaborate video-based design scheme as part of its impressive debut at the Thick House. But the results in Trap Door prove far less successful this time around.

Only part of the problem has to do with the multimedia dimension: missing Kalousek’s synched video contains some arresting images and evocatively incongruous backdrops (such as the negative image of a revolving Ferris wheel overlapping one particularly dramatic scene), but others feel either less inspired or arbitrary, simultaneously being difficult to read or fully take in against the multiple surfaces at the back of the stage.

Beyond these individual elements, it’s the underlying theme that proves problematic. Based on a dream of the composer’s, Trap Door uses music as both vehicle and metaphor for exploring the moral agency of a hapless soldier, Private Able (Clifton Romig), who is presented with an impossible situation in which his simple human wants and patriotic dreams run up hard against the chaos, hypocrisy, corporate double-dealing, and native outrage that dwell at the bloody forefront of American empire. As promising as that may sound, it seems to have been too complex an idea to adequately develop here, at least not without falling back on overly compressed musical motifs and a kind of stiff dramatic shorthand that skirts mere caricature.

Director Jim Cave’s solid staging ensures that the many swift scene changes come over gracefully. But the condensed action means that even the main character and his Iraqi counterpart — the taxi driver Omar (tenor Mark Hernandez) — have little dramatic depth, while characters like Jane the Journalist (soprano Bianca Showalter) can only come across as cartoons. The more choice aspects remain, unsurprisingly, the musical ones. Romig’s smooth, rich bass meshes nicely with a set of agreeable voices, including several fairly strong duets with sopranos Maria Mikheyenko and Eliza O’Malley. But in general, even the music feels too cramped and underdeveloped, like a series of tantalizing abstracts for some larger vision.

TRAP DOOR

Thurs/12–Sat/14, 8 p.m., $15–$20 sliding scale

Lab

2948 16th St., SF

(415) 864-8855, www.thelab.org

Mo’ Jello

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› kimberly@sfbg.com

SONIC REDUCER What do you give a 50-year-old punk icon who has everything? A silver-studded dog collar? A reason to believe — or rebel? Peace of mind?

"Boy, I can’t think of much," Jello Biafra, né Eric Boucher, says with a chuckle at the question of what to gift him for his 50th birthday June 17. "I’m already such a pack rat, the last thing I need is more stuff. The main vice is vinyl, but I archive a lot of stuff. I’m a librarian’s kid."

Instead, the ex–Dead Kennedys vocalist, in characteristically against-the-grain fashion, will gift celebrants at his birthday-bash-to-end-all-bashes, the two-day "Biafra Five-O" at Great American Music Hall, with turns alongside the Melvins and a newly assembled band, the Axis of Merry Evildoers, which includes Victims Family’s Ralph Spight on guitar, Faith No More’s Billy Gould on bass, and Sharkbait’s Jon Weiss on drums. Oh yeah, and each punk-rock fire-/party-starter will receive a poster, or if it arrives in time, a 7-inch of Biafra and members of Zen Guerilla covering Rev. Horton Heat’s "Speed Demon" and Frankie Laine’s "Jezebel."

So what gives with the very public celebration of three decades of punky monkey-wrenching? "I saw the Stooges on Iggy’s 60th last year, and that was a great show," Biafra tells me while snacking in his San Francisco digs. "I got carried away with the moment and promised myself, if he’s that good at 60, I better be a tenth as good at 50 and get something together."

Expect Biafra’s new group to be part of a continuum: one that began with Dead Kennedys and has manifested in collaborations with the Melvins, DOA, No Means No, Al Jourgensen, Mojo Nixon, and others. "The hope is you’re still going to get a pretty sharp set of teeth," he promises. And speaking of DK, the man who would be SF’s mayor ("It was done as a prank") — and who was nominated as the Green Party’s 2000 presidential bid, right on the coattails of Ralph Nader ("It kind of got dumped in my lap") — is also recognizing the 30th anniversary of the Dead Kennedys, which played its first show in July 1978 opening for the Offs, DV-8, and Negative Trend, despite an extremely acrimonious lawsuit between the vocalist and his bandmates that led a jury to award control of the catalog to the rest of the group.

Despite intimations of a reunion on the part of the remaining Dead Kennedys, the bitterness of the conflict still rankles, with Biafra confessing with a wry chuckle, "I’ve had battles with suicidal depression — especially after that ugly Dead Kennedys lawsuit." Further, he says, "I really resent all the times they played these so-called reunion shows advertised as reunions, and there’s my picture in the ad. I think we have a new genre of punk, and it’s called fraudcore!"

Nonetheless, he hasn’t completely ruled out a reconciliation: "Sure, if those guys were ever willing to undo every last bit of damage they’ve done, I’d consider going back on stage with them. But so far they’ve been way too greedy and way too cowardly to even consider it."

So leave it to the Melvins to convince Biafra to tackle a few DK songs in honor of his birthday. The once SF-based band — in a near-original lineup including Mike Dillard — also will attack early hardcore tunes culled from a 1984 demo sent to Biafra. It turns out those pack-rat tendencies, coupled with Biafra’s abiding love of music, led him to hold onto that ancient tape, which the Melvins lost long ago. "It’s a good thing I saved these things," Biafra says. "They’d forgotten those songs existed." *

BIAFRA FIVE-O

With Jello Biafra and the Melvins, Biafra and the Axis of Merry Evildoers, the Melvins, and (Mon/16) Drunk Injuns and Los Olvidados, and (Tues/17) Triclops! and Akimbo

Mon/16–Tues/17, 8 p.m., $22-$40

Great American Music Hall

859 O’Farrell, SF

www.gamh.com

COUNTRY TEASIN’ WITH NEIL HAMBURGER

Moanin’ and groanin’ has never been so hammily hilarious. Comedian Neil Hamburger has a brand new hat — namely, a sorry-ass Stetson — to go along with his new bag: the recently released Neil Hamburger Sings Country Winners (Drag City). Teaming with longtime Bay Area–ite Dave Gleason on guitar, Amoeba Music co-honcho Joe Goldmark on pedal steel, and Todd Rundgren cohort Prairie Prince on drums, Hamburger, a.k.a. onetime Bay stalwart Gregg Turkington, plans to stir misery-loving odes to classic backwoods grimness ("Please Ask That Clown to Stop Crying") into his archetypal miasma of whining/joke-telling during his present tour. So why turn to C&W, which currently seems to consist of "songs about shopping," rather than tears, beer, and chicken dinners? "A lot of rock ‘n’ roll is just people screaming," groans Hamburger from Los Angeles, far from the SF storage locker he claims to have once dwelt in. "You hear enough of that in San Francisco on the streets. With those big, bushy beards and screaming — what’s the difference between a contingent of homeless guys carrying signs and the Doobie Brothers?"

June 11, 9 p.m., $13–<\d>$15. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.gamh.com

IT’S TIME FOR TIMES NEW VIKING

They may be pegged as part of the so-called shitgaze underground — thanks to their pals in Psychedelic Horseshit who coined the term — but Columbus, Ohio, trio Times New Viking are as grounded as a trio of Midwestern ex-art-schoolers can be. Keyboardist Beth Murphy met guitarist Jared Phillips and drummer Adam Elliott while attending Columbus College of Art and Design, and the three found that their education came in handy when it came to playing together nicely — and noisily, particularly on their new Matador album, Rip It Off. "When you’re in art school you’re always forced to critique your work and think about everything you’re doing," Murphy, 26, explains from her hometown. "That got, like, really annoying to have to validate every mark you made. But now I think it’s kind of like ingrained in us, so we can’t help but think about every aspect of what we do." Their creative approach to music-making? "One of the first rules we set up was 300 percent creative control," she says. "We all have 100 percent say in everything, and we don’t ever tell each other what to do."

With Hank IV, Psychedelic Horseshit, and Fabulous Diamonds. Fri/13, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Blondells have more fun?

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At the start of his 2007 biography Joan Blondell: A Life Between Takes (University Press of Mississippi, 300 pages, $30), film historian Matthew Kennedy introduces the story of one of Hollywood’s forgotten actresses by posing a phenomenological question: what does it mean to always be gazed upon?

In describing Jack Warner’s golden girl of the 1930s, Kennedy looks to the lineaments of her face and body as the first sign of her success. "The architecture of [Blondell’s] mouth, simultaneously sharp and soft, suggested Cupid," he writes. "She had a radiant smile, straight white teeth, pillowy lips, and easy curls in her gamboge blonde hair…. Her figure was voluptuous, at one time measuring 37–21 1/2– 36." As for Blondell’s eyes, "they were spellbinding on screen, and apparently more so in person."

Kennedy’s paean to Blondell is reminiscent of Roland Barthes’ poetic 1957 short essay, "The Face of Garbo." But whereas Garbo’s face represents for Barthes an eternal, unforgettable synecdoche of Hollywood, Blondell’s mystique lies mostly in her erasure. What became of this celluloid icon whose image once defined an era but has since been lost in the canister?

"Joan Blondell: The Fizz on the Soda," playing at the Pacific Film Archive, collects some of the actress’ most memorable performances from a 50-year career. A vaudeville performer turned Warner Brothers ingenue lauded by the Western Association of Motion Picture Advertisers (WAMPAS) as the most promising performer of her time, Blondell was part of the first generation of talkie actors who blossomed against the moribund backdrop of the Great Depression. After a childhood spent at the mercy of a peripatetic acting family, her endurance and versatility were soon exploited by the Hollywood meat-grinder. Unencumbered by unions, censors, or truculent auteurs, moguls like Jack Warner and Louis B. Mayer managed Hollywood like an industrial assembly line, churning out most films in four weeks. By the end of the 1930s, Blondell had completed more than 50 films.

Alongside contemporaries such as Clark Gable, Bette Davis, Barbara Stanwyck, and Judy Garland, Blondell was the face of the Hollywood studio system as it began its ascent to the so-called Golden Age. From the art nouveau musicals of Busby Berkeley (Gold Diggers of 1933) and pre-Code cheap thrills (1931’s Night Nurse and 1932’s Three on a Match) of the Depression to the classic melodramas (1945’s A Tree Grows in Brooklyn) and noirs (1947’s Nightmare Alley) of the postwar era, Blondell’s putf8um performances regularly stole the spotlight. Her greatest onscreen collaboration came after a serendipitous meeting with promising stage performer Jimmy Cagney at a Broadway audition for playwright George Kelly. They would go on to star together in nearly a dozen Warner films, including The Public Enemy (1931), Blonde Crazy (1931), and Footlight Parade (1933).

Despite her constant, almost Puritan dedication to craft, Blondell’s equal devotion to a home life away from the screen might have contributed to her disappearance from the Hollywood A-list. She reportedly hated the spotlight and refused the preening lifestyle of industry players. Three disastrous marriages — to cinematographer George Barnes, actor Dick Powell, and producer Mike Todd — as well as work exhaustion and a predilection for domestic seclusion largely devalued her star status by the 1950s. It would not lessen the impact of her performances, however — 1951’s The Blue Veil, 1957’s Lizzie, and John Cassavetes’ 1978 dramedy Opening Night confirmed that maturity had not diminished her gift.

Blondell represented "the three-dimensional face on a two-dimensional screen," according to Kennedy, who describes her as "full of surprises, one moment as tough as Joan Crawford, the next as fragile as Margaret Sullivan, the next as saucy as Mae West." Her screen image represents a peak moment of Hollywood radiance. But that same radiant image contained a delicate talent yearning for the darkness of obscurity.

JOAN BLONDELL: THE FIZZ ON THE SODA

Fri/13 through June 29, $9.50 ($13.50 for double bills)

Pacific Film Archive Theater

2575 Bancroft, Berk.

(510) 642-5249

bampfa.berkeley.edu

Greater Goode

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Actors are advised to avoid sharing the stage with kids and dogs because they steal the show. Maybe puppets should be included. Joe Goode’s hero in Wonderboy is a not-quite-three-foot concoction of wood, plaster, and cloth. He is adorable and you can’t take your eyes off him. Master puppeteer Basil Twist gave him his body; Goode and his dancers gave him a soul.

With this world premiere Goode has created one of his most poetic works in years. It is not to be missed. He has done so with five new dancers who seem to have inspired choreography as richly physical as any he has done. The piece’s floating lifts, wrestling holds, and tumbling rolls looked spontaneous but were finely shaped. A male-female duet spoke of tortuous relationships with fury and compassion; a quartet for four bare-chested males came across as erotic and tender.

Melecio Estrella, Mark Stuver, and Jessica Swanson gave the puppet its brittle and slightly raspy voice for a narrative by Goode and what he called "some of the wonderboy artists and thinkers" he has known. He explored a question that has preoccupied him for his entire career: how does an outsider find a place for himself in life? Bringing his customary tenderness, wit, and melancholy to the inquiry, he rarely hit a wrong note. Wonderboy‘s outsider character begins life as a sensitive little boy who watches the world from the safety of his home (designed by Dan Sweeney). Gradually he steps out and encounters rejection, rage, and love — especially with dancer Andrew Ward — before finally finding a community of his own. Twist coached Goode’s six dancers in the nuances of puppetry to exquisitely animate the nuances of the boy’s trajectory.

The program opens with excerpts from the 1996 installation piece, Maverick Strain. The Western barroom scene includes two hard-drinking hookers (Patricia West plays the confused one, Swanson the tough one). As a lounge singer (music by the brilliant Beth Custer), Goode is never less than a star — as is Alexander Zendzian as a transvestite rape victim, in a performance that chills the soul.

JOE GOODE PERFORMANCE GROUP

Fri/13–Sat/14, 8 p.m.; Sun/15, 7 p.m.

Yerba Buena Center for the Arts Theater

700 Howard, SF

(415) 978-ARTS, www.ybca.org