Stage

This stuff’ll kill ya!

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CULT FILM GOD Blood Feast, Color Me Blood Red, The Gruesome Twosome, and The Gore Gore Girls — between 1960 and 1972, Herschell Gordon Lewis ruled the drive-in with a steady stream of exploitation movies, made on the cheap for crowds unafraid to experience the kind of special effects that earned Lewis the nickname "the Godfather of Gore." Nowadays, the 81-year-old is a highly respected authority on direct marketing (check out his column, Curmudgeon at Large, at directmag.com), but he’s proud (if bemused) that his films continue to thrill audiences today. As part of the Clay Theatre’s Late Night Picture Show, Lewis will appear in person with his 1970 surreal magician splatterfest The Wizard of Gore (remade this year, by another director, as a Crispin Glover vehicle). He’ll also appear at Amoeba Music with — saddle up, Two Thousand Maniacs! fans — a jug band. Naturally, I seized on the chance to talk to one of my personal heroes prior to his visit.

SFBG I’m so excited to see The Wizard of Gore on the big screen.

HERSCHELL GORDON LEWIS [Laughs] That’s a way to start a conversation.

SFBG Back when you were making your films, did you have any idea that they would still be popular so many years later?

HGL Good heavens, no. All we were trying to do was to stay alive in the film business by making the kind of movies the major companies either couldn’t make or wouldn’t make. I had expected [my films] would simply disappear the way so many major-company pictures do. It’s like Hamlet: they strut and fret their hour upon the stage, and then are heard no more. It is astounding to me that this strange … I’ll call it a movement, which we didn’t even think was a movement, has survived all this time.

SFBG What is the lasting impact of your films?

HGL One benefit that we brought to the arena was that a motion picture that attracts attention can be totally outside the orbit of (1) star name value and (2) great production values. I’ve seen critical comments on these movies, and they weren’t critics’ pictures. Good heavens. They were made simply to startle people. This renaissance that’s taken place in the last few years, first with videocassettes and then with DVDs, it astounds me.

SFBG It proves your theory that reaching the audience is the most important thing.

HGL Yes, and in fact, when I was making these things, I reached a point at which other schlock film producers were sending me their movies to do the [advertising] campaigns. They began to recognize that the campaign not only caused people to come into the theater, but it caused theaters to book these pictures all together. Today I see major-company product — they don’t know how to title a movie. It stupefies me. And the campaign is stultifying. It’s bewildering. It’s exasperating. It’s obfuscatory. I’m using all kinds of adjectives here.

SFBG A film’s title is important. Obviously The Wizard of Gore is a brilliant title.

HGL She-Devils on Wheels was [originally] called Man-Eaters on Motorbikes. And in fact, the theme song in She-Devils on Wheels is called "Man-Eaters on Motorbikes." As we were developing the campaign, it occurred to me that She-Devils on Wheels was a more dynamic title, and we switched. If you think in terms of somebody who is looking through a newspaper or a listing of titles, [if you don’t have] your own ego superimposed on everything you do, the response goes up. I’m no auteur, never claimed to be. Somebody said to me, "Did any of your movies ever get two thumbs up?" And my answer was "No, but we got two middle fingers up."

SFBG It depends on who’s reviewing them, I guess.

HGL Critics’ pictures? Not ever. But they don’t lose money, and that’s how you keep score. I was grinding these things out like so much hamburger.

SFBG What’s been the most surprising moment of your film career?

HGL As you may or may not know, I have a totally different career these days. In the film business I was a schmuck with a camera, and in the world of direct marketing I’m regarded as something of an expert, and I’m in the Direct Marketing Association Hall of Fame. I was writing a piece of copy — this is [in the middle 1980s] — and the phone rang. The fellow on the phone said, "Mr. Lewis, we are having a screening of The Wizard of Gore on Halloween night, and we would like you to put in a personal appearance." And I said, "Come on, who is this?" Because it had been years since I had heard from anyone about movies. I accepted the invitation, fully expecting the whole thing to be a big joke. It was not a joke at all. I was treated with the reverence I certainly don’t deserve. I couldn’t understand it at the time. I said, "What’s wrong with these people?" I no longer ask dumb questions like that. I figure if they invite me, and I accept, if there’s something wrong, it’s wrong with both of us.

SFBG What’s the best part about meeting your fans?

HGL What’s amazing to me about meeting my fans today is that they remember things from these movies that I don’t. It astounds me that people who weren’t alive when I made these movies still regard them as entertaining. That has to be the ultimate compliment to a film director. After all the time has passed, here are movies that cost nothing to make, with casts of nobodies, and totally primitive effects, and people still go to see them. It’s not surprising to me anymore, but I can tell you, it’s quite gratifying.

SFBG Are you excited to come to San Francisco?

HGL San Francisco is one of my favorite towns in all the world, and I am just very pleased to have been invited to come there. I tell you, somebody there is insane to invite me in the first place, but I admire insanity on that level, and I shall show up with great enthusiasm.

THE WIZARD OF GORE

Fri/2–Sat/3, midnight, $9.75

Clay Theatre

2261 Fillmore, SF

(415) 267-4893

www.landmarkafterdark.com

HERSCHELL GORDON LEWIS IN-STORE APPEARANCE

Sat/3, 2 p.m., free

Amoeba Music

1855 Haight, SF

(415) 831-1200

www.amoebamusic.com

Haunting Two Gallants

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By Chris DeMento

Saturday night, Oct. 27, and I’m at the Independent to see Two Gallants. Opening acts Songs for Moms and Blitzen Trapper did well to set the stage for odes. Soft white lights blanched soft white faces, making ghosts of East Coast transplants dressed like goons dressed like Double Dare buffoons. Meanwhile young city-bankers in serial-killer costumes put on cats’ ears for listening. Still a half week shy of Halloween, and it seemed the lot of us, near and far, came quite prepared to be forgetting who we are.

I love rock ‘n’ roll when it smashes lullabies, even as it oozes sap. Two Gallants has me stalking my neighbor a day after the show so he can retell to me events I missed because I was sort of given over, maybe half transfixed.

The duo must have been tired when they hit the stage, road weary, but they hid it well, used it even. It’s not easy to play with lots of energy after a whirlwind two-and-half weeks across the country, unless it’s for a homecoming, which this was, and unless you know how to make it work for you, which they do. I wondered at their transitions – a reggae skeeze, a waltz, then back to indie peristalsis – felt them in my head and in my loins. I don’t know their songs so well but I got lost in them for a while at least.

Speed demons!

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Driving out to Altamont Motorsports Park on the night after a full moon, just a few days before Halloween, even my metal-maimed eardrums could faintly hear the sound of Mick Jagger’s famous plea for peace, uttered from the Altamont concert stage in 1970’s Gimme Shelter: “Who’s fighting, and what for?”

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The cars that go boom.

Well, I’ll tell ya, fighting on Oct 27 were some 50 roached-out, jerry-rigged race cars, hellbent less on victory than on the glory of completing 300 laps — or in many cases, somewhat less — at the track’s annual Pumpkin Smash.

What about them pumpkins? The reason for the season, no doubt — hundreds of orange mofos gave their lives valiantly for this event. The asphalt was luridly smeared with pumpkin guts and gallons of soapy water. Facilitating and maximizing smash-ups never looked so festive…nor made onlookers long so much for pumpkin pie.

Giddy, yup! New Young Pony Club makes us frisky

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By Todd Lavoie

“New Who What Huh?!” All right, maybe the name doesn’t exactly flow from the tongue in gently rolling syllables on the first go-round, but try it with me now, slowly, steadily: New Young Pony Club. Ah, there you are. Very nice. Again. New Young Pony Club. Great. Quick – now three times fast. Now you’re in fine shape for this coming Monday. Why, you ask? That’s when London indie disco-new wave revivalists New Young Pony Club storm the Mezzanine stage, silly.

The five-piece of hip young things and fashion-forward synth lovers insist on their Web site that New Young Pony Club isn’t just a mere dance band, but that they have a mission, a manifesto, even. A subtle manifesto, they add, but a manifesto nonetheless. Since they seem to keep their MO shrouded in mystery – unless, of course, my days of staying two steps ahead are sadly behind me and I just straight up missed the deeper gist of the sloganeering, a serious possibility I must grant as I catch another wisp of gray in my sideburns – I’m going to hazard some crazy-ass guesswork here and offer a theory to NYPC’s driving force. Ready?

Party hard. Oh, and look great doing it.

Bubblegum and barbed wire kisses

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› a&eletters@sfbg.com

Somehow it seems morbidly appropriate that a band like the Jesus and Mary Chain would reappear in a year that has witnessed the sad demise of country tunesmith and pop maverick Lee Hazlewood and the grisly murder trial of überproducer and pop maverick Phil Spector. Siblings straight from a David Cronenberg film, William and Jim Reid had an obsession with classic pop music matched only bya lugubrious death drive. From their earliest three-song sets in Tottenham Court clubs to their studio squabbles at the aptly titled Drugstore to their final onstage collapse in 1998, the Reids always closely chased the black shroud of Thanatos.

"The Mary Chain used to regularly get their heads kicked in at that time," Creation impresario Alan McGee recalled, half boasting and half lamenting the group in a recent Q magazine interview. The JAMC "just brought out the violence in people." Whether with the premature effects of Vox guitar feedback or the cheap lager and drugs overrunning their native East Kilbride, the Mary Chain seemed almost religiously intent on martyring themselves like their titular messiah.

To paraphrase the Nicene Creed, the brothers Reid suffered, died, and were buried in 1998, but at Coachella 2007 they rose again in fulfillment of the scriptures and ascended onto the desert stage. They were seated at the right hand of nubile starlet Scarlett Johansson, who sang backup vocals on "Just like Honey." Thence they shall come again, with glory, to judge the noisy and the acoustic. And their distortion shall have no end.

But enough of the requisite Catholic allusions. Though the barbed wire–and–bubblegum magnum opus that was 1985’s Psychocandy (Blanco y Negro/Warner Bros.) may well have ossified their legendary status in the underground pantheon, the JAMC released a half-dozen albums’ worth of blistering pop — some absolutely classic (1987’s Darklands, 1992’s Honey’s Dead, 1994’s Stoned and Dethroned [all Blanco y Negro/Warner Bros.]) and others of lesser beauty (1989’s Automatic [Blanco y Negro/Warner Bros.] and 1998’s Munki [Sub Pop]). Their sonic palette grew more nuanced than that of the screeching distortion of their debut. It was as rich and varied as those of forebears Spector and Hazlewood, metamorphosing from the girl-group rhythms on "Just like Honey" into the brittle balladeering of "Almost Gold" and the stoned country bliss of "Sometimes Always." Their evocation of ’60s psychedelia, twisted with an insouciant outlaw pose, launched as many garage-punk imitators as did the Velvet Underground. Along the way the Reids incited onstage riots and nearly killed each other in countless drunken scraps, but the notoriety only increased their popularity in the press, bankrolling the fledgling Creation label and inventing the quintessential ’80s genre of shoegaze.

Most critics cite the end of the band as the effect of a fraternal enmity equaled by the brothers Davies or Gallagher. But all of the excesses born of the ’80s — stormy collaborations with shady promoters, narcotized scenesters, and the maddest label bosses — seem immaterial compared to the ’90s alternative rock takeover that finally relegated the Mary Chain to a side-walking anachronism.

A cynic might wonder if the sudden reconciliation between the brothers might not have money as the bottom line. Neither Jim’s solo work as Freeheat nor William’s as Lazycame has garnered much critical or commercial attention, and in the intervening decade both men have settled down to marry and raise families. The new Mary Chain appears to be a matured set of blokes, complete with receding hairlines and bloat, not given to the temptations of lager binges or pissing matches — possibly a reason that Primal Scream hell-raiser Bobby Gillespie wasn’t redrafted on the snare. According to early word, set lists have included tracks from the band’s 21 Singles collection (Rhino, 2002), which seems equally sensational and innocuous. Is the Mary Chain cashing in on the latest wave of rock nostalgia or is there still a violence simmering in the Reids that snakes like the whine of William’s fuzz box? If they promise to dust off "Kill Surf City," all will be forgiven. Amen. *

THE JESUS AND MARY CHAIN

Fri/26–Sat/27, 9 p.m., $40

Fillmore

1805 Geary, SF

www.ticketmaster.com

CMJ 2007: Deerhunter, Japanther, Islands, Santogold, and more cake for all

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Mighty Reatard-ed. All photos by Michael Harkin.

By Michael Harkin

There had been murmurs all week among college radio music-director types that this year’s CMJ line-up wasn’t as cool as in years past, and this seems correct to a certain degree. For one thing, there should have been more hip-hop and electronic showcases than there were, even if only to break up the obvious indie-rock bent of the overall conference. That said, the showcases that did go down often felt pretty representative of the best in the various represented genres: this week saw Mariee Sioux, Erol Alkan, Mika Miko, Earthless, and the Dirtbombs pass through the city limits and give it a go amid the abundant crowds of music industry hawks.

It was a week of late nights, little sleep, and perhaps one Belgian fry too many, but there was a lot of music to be taken in each day from 1 p.m. onward, one had to arise by 11 a.m. if he/she wanted a chance at sighting the next big thing. Here are some highlights from the last three days of the NYC festival:

THURSDAY

Memphis’s Jay Reatard is still pretty young, but he’s already got a certain mythological status among garage-punk mavens: as a former member of the Lost Sounds and the Reatards, and now with his solo career, he’s had a King Midas touch of tunefulness that’s ramped up lately. The dude’s on a roll in the studio, having cranked out the spotless Blood Visions LP last year, as well as some brilliant slabs of vinyl on the side, like the glorious “I Know a Place” single, whose B-side is a stunning acoustic cover of the Go-Betweens’ “Don’t Let Him Come Back.” Tonight at a crowded Cake Shop, he greeted the crowd with “Hey douchebags!” and proceeded to play most of Blood Visions at triple speed, finishing his set in less than 20 minutes. Every song was introduced with the song title and a “LET’S GO” – superb punk from a fiery, poofy-haired, tough-looking group of dudes. Jay will be rolling through the Bay Area in November (12 Galaxies and the Stork Club), and he remarked in a conversation after the show that there are a series of singles coming next year, so look out for that!

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Double Dagger take a stab.

Following Mr. Reatard, Double Dagger brought punk of a different flavor: a more sinister, Fugazi-like intensity characterized their set, as vocalist Nolen Strals hap’ly danced about the stage in his blue, black, and white
camo tee. They didn’t face quite as thick a crowd as the preceding set did, but those that stayed paid witness to a spastic stomp-along series of howls and tight bass grooves. These guys channel the nerdy anger of Shellac and the slanted guitar riffs of Swell Maps in a convincing way, and form yet another piece of evidence that the Baltimore music scene is blooming.

“A cautionary tale, carefully delivered”

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› duncan@sfbg.com

Make no mistake: Eugene Robinson is a throwback — to a time when people used words like honor without being ironic or embarrassed. The vocalist for the 18-years-running art-rock-noise machine Oxbow, Stanford graduate, and Mac Life senior editor is also, to use his descriptor, a "fightaholic." As he says in the introduction to his forthcoming book Fight: Or, Everything You Ever Wanted to Know about Ass-Kicking but Were Afraid You’d Get Your Ass Kicked for Asking (Harper), he shares his "obsession with the eternal, unasked, ‘Can I take him?’" Contrary to what one might assume, people who beat the bloody hell out of each other for fun or profit — Robinson is a mixed-martial-arts cage fighter — are not suffering from antisocial personality disorders but often adhere to a strict moral code. Though, he confessed during our interview in South San Francisco, sitting in my car and looking out over the bay, "I definitely have antisocial reasons as well."

How much of this testing one’s mettle in the "crucible of conflict" is just a dick-measuring contest? Only in the movies, or perhaps in cage fights whose opponents are carefully matched, does the victor triumph because he wants it more. In any given fight a win can usually be attributed the basic physical facts of size and strength, so what’s the point of fighting if you’re merely measuring attributes?

Robinson told me about a fight he had with a Red Sox fan while loading Oxbow’s van in Maine. The Sox, who serve as the home team even for the New England hinterland, had just been humiliated by the Yankees to the tune of 19–2. Three Sox fans strolled by, and one inevitably asked the frontperson what the fuck he was looking at. Given multiple chances to bow out, the guy kept pushing, and ultimately had his ass handed to him. "At that point," Robinson said, "I was honor bound to deliver the lesson he had so aggressively been seeking. Whatever happened in that exchange, it wasn’t dick measuring. It was a cautionary tale, carefully delivered."

But do people really learn from being whupped on? My thinking on this subject has evolved along the lines of my employment. When I delivered pizzas for Pizza Hut in a hot pink Lacoste-style shirt, I was forced to eat spoonfuls of shit doled out by every disgruntled lard ass whose Meat Lover’s Special arrived 10 minutes late. "Someday," I thought, "someone is going to fuck that guy up." Needless to say, it was a precarious act to hang the smothering cloak of my rage on that altogether insufficient nail of "someday." When I moved on to working security at clubs, I realized that yes, someday someone will kick that guy’s ass, and it may as well be today. As the old activist saw goes, "If not now, when? If not me, who?" But after some time, I realized that the behavior of others wasn’t worth getting upset, let alone violent, over. Not because it wasn’t satisfying to deliver lessons, but because no lessons were learned. In this way, I found working in nightclubs as dissatisfying as substitute teaching.

If you fight someone and they win, then might is right, and whichever asshole behavior they were indulging in before the fight is justified. If you fight them and they lose, they will immediately work the victim angle for sympathy and punitive damages. Any attitude adjustment is clearly fleeting.

"This is a valid critique," Robinson told me, but it doesn’t derail his motivations. "The few seconds that we’re together, I’ve got to hope for the best." He recounts a situation when a member of another band was having a high-volume conversation at the edge of the stage while Robinson and Oxbow guitarist Niko Wenner were playing as an acoustic duo. After Robinson warned the musician to "shut the fuck up," things got heated. Audience members tried to cool things out, but, in Robinson’s words, "this evenhanded, kind of neutered approach didn’t pay heed to the reality of the moment. Which is, you had an enemy of art, and you had somebody who was trying to be the standard-bearer of Eros." He pauses. "Forget about all that. If I’m standing at a café and somebody is screaming at the top of his lungs next to me, I’m asking him 100 percent of the time to shut the fuck up. You don’t have to live all over me. It’s boorish. And rude. And uncouth. And in that way, it’s a form of bullying."

While it may seem excessive to put a spindly, long-haired dude in a Texas boogie-rock band in a submission hold called an ultimate head and arm, I can’t argue with Robinson’s reasoning: "Disrespect begets disrespect." In any case, the vocalist does allow for the possibility of walking away. But walking away for him has more to do with the Japanese concept of saving face, of avoiding conflict with honor, than with the Christian ethic of turning the other cheek. "Am I doing this out of graciousness or am I doing it out of fear?" he asked. "I think way too many people will choose to look the other way out of fear. My whole life has been a testament to avoiding base fears."

For this, I’ve got to respect the guy. Robinson may be derided on the Web as a prick, a sadist, and an egomaniac, but let’s look at the lessons: (1) You are honor bound to follow through on a promise. (2) Art is worthy of respect. (3) Fear should be avoided as a motivation. Sounds pretty fucking reasonable to me. Though, in my own top five, I try — and sometimes fail — to add: (4) Violence should be avoided as a teaching tool.

Really, though, we live in a time when shit talking is considered a sport in itself. Go to theoxbow.com and look at some of the live footage. Robinson trances out onstage and strips down to his underwear, and the band plays the sound of a psychological meltdown. Knowing what you know and seeing what you see, why would you fuck with him?

"To a certain degree, culturally, we’ve been neutered. And that’s what civilization is about: to get us to places of greater peace," Robinson said. "But clearly, that aspect of it is not working." I’d have to agree that it’s not working, especially in social situations, where people seem to assume a disconnection in the causal, karmic links between action and consequence. Witness the hapless Scotsman in the 2003 Christian Anthony documentary Music for Adults. He gets pantsed in front of a crowd by Robinson, who asks, with what seems genuine concern, "Did that hurt? Did I hurt your feelings?" before adding the rejoinder "It’s an Oxbow show. That’s what happens." *

OXBOW

Wed/17, 9 p.m., $10

12 Galaxies

2565 Mission, SF

www.12galaxies.com

EUGENE ROBINSON

In conversation with V. Vale and James Stark

Nov. 8, 6 p.m., $5

SF Camerawork

657 Mission, SF

www.sfcamerawork.org

41st Anniversary Special: The privatization of San Francisco

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› tredmond@sfbg.com

William M. Tweed was one of the greatest crooks in American political history, a notorious Tammany Hall boss in New York who managed in the course of just a few years, starting in 1870, to steal more than $75 million (the equivalent of more than $1 billion today) from the city coffers. The way he did it was simple. As Elliott Sclar, a Columbia economist and expert on privatization, notes, Tweed took advantage of the fact that much of the work of city government was contracted out to private companies. Boss Tweed controlled the contracts; the contractors overcharged the city by vast sums and kicked back the money to Tammany Hall.

This is a rather extreme example, but not, Sclar argues, an atypical one: the worst corruption scandals in American history usually involve private contractors and public money. In fact, he argues, privatization is almost by its nature a recipe for scandal and corruption.

Nothing in the public sector — no incompetence, no waste, no bureaucratic bungling — begins to compare with what happens when private operators get their hands on public money. And the cost of monitoring contracts, making sure contractors don’t cheat or steal, and forcing them to act in ways that reflect the public interest is so high that it dwarfs any savings that privatization seems to offer.

That’s the message of the Guardian‘s 41st anniversary issue.

It’s relatively easy to investigate government malfeasance. The records are public, the players are visible, and the laws are on the side of the citizens.

But when Bruce B. Brugmann started the Guardian in 1966 with his wife, Jean Dibble, he realized that the real scandals often took place outside City Hall. They involved the real powerful interests, the giant corporations and big businesses that were coming to dominate the city’s skyline and its political life. The details were secretive, the money hidden.

One of the first big stories the paper broke, in 1969, involved perhaps the greatest privatization scandal in urban history, the tale of how Pacific Gas and Electric Co. had stolen San Francisco’s municipal power, to the tune of hundreds of millions of dollars. The famous Abe Ruef municipal graft scandals of the early 20th century, the Guardian wrote, were "peanuts, birdseed compared to this."

When I first came to work here, in 1982, Brugmann used to tell me that daily papers, which loved to try to expose some poor soul who was collecting two welfare checks or a homeless person who was running a panhandling scam, were missing the point. "If you look hard enough, you can always find a small-time welfare cheat," he’d tell me. "We want to know about corporate welfare, about the big guys who are stealing the millions."

And there were plenty.

In his new book Supercapitalism: The Transformation of Business, Democracy, and Everyday Life (Knopf), Robert Reich, the economist and former secretary of labor, argues that during the cold war, when American politicians railed against the socialist model of economic planning, this country actually had a carefully planned economy. The planning wasn’t done by elected officials; it was done by a handful of oligarchic corporations and military contractors.

Modern San Francisco was born in that same cauldron. During World War II, captains of industry and military planners took control of the city’s economy, directing resources into the shipyards, collecting labor from around the country to build and repair Navy vessels, and making sure the region was doing its part to defeat the Axis powers. It worked — and when the war ended the generals went away, but the business leaders stayed and quietly, behind closed doors, created a master plan for San Francisco. Downtown would become a new Manhattan, with high-rise office buildings and white-collar jobs. The East Bay and the Peninsula would be suburbs, with a rail line (BART) carrying the workers to their desks. Private developers, working under the redevelopment aegis, demolished low-income neighborhoods to build a new convention center and hotels.

Nobody ever held a public hearing on the master plan. And it wasn’t until the late 1960s that San Franciscans figured out what was going on.

By 1971 the fight against Manhattanization began to dominate the Guardian‘s political coverage. It would play center stage in San Francisco politics for two more decades. The paper ran stories about high-rises and freeways and environmental impact reports, but the real issue was the privatization of the city’s planning process.

Ronald Reagan soared into the White House in 1980, rolling over a collapsing Jimmy Carter and a demoralized, moribund Democratic Party. Reagan and his backers had an agenda: to dismantle American government as we knew it, to roll back the New Deal and the Great Society, to get the public sector out of the business of helping people and give the benefits to private business. "Government," Reagan announced, "isn’t the solution. Government is the problem."

The Guardian was firmly planted on the other side. We supported public power, public parks, public services, public accountability. We had no blinders about the flaws of government agencies — I spent much of my time in the early years writing about the mess that was Muni — but in the end we realized that at least the public sector carried the hope of reform. And we saw San Francisco as a beacon for the nation, a place where urban America could resist the Reagan doctrine.

Unfortunately, the mayor of San Francisco in the Reagan years might as well have been a Republican. Dianne Feinstein’s faith in the private sector rivaled that of the new president. She turned the city’s future over to the big real estate developers. She vetoed rent control and gave the landlords everything they wanted. And when the budget was tight, she ignored our demands that downtown pay its fair share and instead raised bus fares and cut library hours.

When gay men started dying of a strange new disease, there was no public money or service program to help them, from Washington DC or San Francisco. So the community was forced to build a private infrastructure to take care of people with AIDS — and years later, as Amanda Witherell notes in this issue, those private foundations became secretive and unaccountable.

In 1994 we got a tip that something funny was going on at the Presidio. The Sixth Army was leaving and turning perhaps the most valuable piece of urban real estate on Earth over to the National Park Service … in theory. In practice, we learned, some of the biggest corporations in town had come together with a different plan — to create a privatized park — and Rep. Nancy Pelosi was carrying their water. Every detail of the Presidio privatization made the front page of the Guardian — and still, the entire Democratic Party power structure (and much of the environmental movement) lined up behind Pelosi. Now we have a corporate park on public land, with that great pauper George Lucas winning a $60 million tax break to build a commercial office building in a national park.

And still, it continues.

Mayor Gavin Newsom, a rising star in the Democratic Party, who told us he’s no fan of privatization, demonstrated the opposite in one of his signature political campaigns this year: he tried (and is still trying) to turn over the city’s broadband infrastructure — something that will be as important in this century as highways and bridges were in the last — to a private company. That’s what the whole wi-fi deal (now on the ballot as Proposition J) is about; the city could easily and affordably create its own system to deliver cheap Internet access to every resident and business. Instead, Newsom wants the private sector to do the job.

The Department of Public Health is running public money through a private foundation in a truly shady deal. The mayor’s Connect programs operate as public-private partnerships. Newsom wants to privatize the city’s golf courses, and maybe Camp Mather. He’s prepared to give one of the worst corporations in the country — Clear Channel Communications — the right to build and sell ads on bus shelters (and nobody has ever explained to us why the city can’t do that job and keep all the revenue). Housing policy? That depends entirely on what the private sector wants — and when we challenged Newsom on that in a recent interview, he snidely proclaimed that the city simply has to follow the lead of the developers because "we don’t live in a socialist society."

This is not how the city of San Francisco ought to be behaving. Because when you give public land, public services, public institutions, and public planning initiatives to the private sector, you get high prices, backroom deals, secrecy, corruption — and a community that’s given up on the notion of government as part of the solution, not just part of the problem.

You start acting like the people who have been running Washington DC since 1980 — instead of promoting a city policy and culture that ought to be a loud, visible, proud, and shining example of a different kind of America.

Machine Head’s Robb Flynn responds to House of Blues banishment

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Machine Head’s Robb Flynn blogs in response to his Oakland band’s canceled dates at House of Blues venues:

In the six years since the attacks of Sept. 11, the United States has become a better place in a number of ways. As a country, we have implemented a few common sense security procedures and protective measures that have made the nation little more secure; as a people, we are a little more conscious of our surroundings and what we can do to increase our safety; and, as a society, we are (to some degree) a little more aware of our effect on the rest of the world, both positive and negative. On the night of Sept. 11, when I asked the crowd in Tucson, Arizona, to please give 15 seconds of silence to pay respect to those whose lives were lost on that tragic day, for that one brief moment, we all felt like one. These are good things.

However, in those same six years, the United States has also managed to deteriorate into a place much worse than it was on Sept. 10, 2001. Since that infamous day, many ugly truths have surfaced, many of the liberties we once took for granted – freedoms we once thought invincible – have been quietly erased by men that have taken it upon themselves to ignore the Constitution and write their own rules. These are the same men that fed the world lies in order to justify a war that it wouldn’t agree to, men who value power and control over human life and exercise it with an unprecedented audacity and disdain for the law. And these are very bad things.

But worse than any of that, in my opinion, is the fact that, for the most part, we are allowing it. We, the people, are sitting idly by while all of this is happening, watching it slowly unravel in front of our very eyes. The scale of it all so large, the stage so vast that it’s impossible not to feel helpless and detached in the shadow of everything that’s happening — that is, until the same kinda s–t happens to you, on a much smaller scale. You tend to turn a blind eye, until you see the same tyrannical attitudes and repressive tactics trickle down into your daily life, absorbed by corporate America and dictated to you as “the way it needs to be.”

Hardly Strictly Bluegrass: Fresh air

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› a&eletters@sfbg.com

"I could tell you about the river," Bill Callahan bellows on "From the Rivers to the Ocean," the opening salvo of his most recent record, Woke on a Whaleheart (Drag City). There’s a pregnant pause, he drops his voice between ascending piano chords — "Or …" — and then a sweet melody buoys the rest of the line, "… we could just get in." After filing 11 albums as Smog or (smog), Callahan begins the first recorded under his own name with a promise of directness, a promise that specifically harks back to Smog’s previous full-length, 2005’s A River Ain’t Too Much to Love (Drag City). That album’s patterned evocations of nature and memory signaled a deep, inchoate sense of regeneration. These currents seem more matter-of-fact on the gospel-flavored Woke on a Whaleheart. Take, for instance, the first single, "Diamond Dancer," a limber bar band groove that opens with the dreamy nursery rhyme "She was dancing so hard/ She danced herself into a diamond/ Dancing all by herself/ And not minding."

Of course, with Callahan things are never so simple. In that same opening verse of "From the Rivers to the Ocean," he exhorts, "Have faith in wordless knowledge." It’s a clear sentiment made less so by the voice delivering it: a voice for which language is all, a means to both intimate and deflect. This push-pull is essential to Callahan’s aesthetic and a big part of why his records are the kind of constant companions whose grooves you wear out. I ask him by e-mail about his connection to the album format, and he writes back, "There will be an exciting time when us album makers will be Mad Max types, battling over the only analog recording equipment and vinyl pressing plants left in the world. This has already started…. Steve Albini bought all the remaining stock of paper leader in the world…. He gave me enough maybe to last the rest of my life, as long as I don’t go crazy with it."

Meaning, I suppose, that there’s still plenty of Callahan to come, a fact that should not be taken for granted. After all, many of his contemporaries didn’t make it through the murk of ’90s indie irony — a notable exception being Callahan’s Drag City labelmate Will Oldham. Callahan was readily heralded in those years for Smog albums like 1997’s Red Apple Falls and 1999’s Knock-Knock (both Drag City), but it often seemed a kind of backhand praise, with critics reductively categorizing Callahan’s music as downcast or deadpan — the same simplistic tropes attributed to Jim Jarmusch’s independent films.

Even for those of us paying closer attention to the gradual refinements across Callahan’s discography, though, A River Ain’t Too Much to Love still had the feeling of a gauntlet being thrown: a powerfully cohesive suite of songs brought off by a newly confident voice, fuller in timbre and all the more steeped in Callahan’s sly sense for forthright obfuscation. If that recording was the watershed for a surprising second act, Woke on a Whaleheart shows the newly Smog-less Callahan in a loose, expansive mood. The album’s a grower, and while I’m not wholly taken with Neil Michael Hagerty’s glitzy production, it’s nice sensing that Callahan feels at home enough in his voice to open it up to some more varied collaborations.

I ask him, foolishly perhaps, if he feels like he has a fuller sense of himself after completing these records. "I don’t reckon so," he replies. "It’s more like a chess move. You watch to see what happens, and then you make your next move."

BILL CALLAHAN

Sun/7, 2:15 p.m., free

Hardly Strictly Bluegrass Festival, Porch Stage

Also with Sir Richard Bishop

Sun/7, 9 p.m., $15

Independent

628 Divisadero, SF

www.theindependentsf.com


HARDLY STRICTLY BLUEGRASS FESTIVAL

The free festival happens Oct. 5, beginning at 3 p.m., and Oct. 6 to 7, starting at 11 a.m., at Speedway, Lindley, and Marx meadows in Golden Gate Park, SF. For more information on all of the performers and events, go to www.strictlybluegrass.com.

Hardly Strictly Bluegrass: The Sadies

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On the horn from his native Toronto, Sadies vocalist-guitarist-keyboardist Dallas Good sounds as courtly and old-world as any immaculately suited and Stetsoned gentleman picker doing time in Boys bands that go by the name of Blue Grass or Foggy Mountain. But make no mistake: Good’s combo is all about the here and now, as evidenced by its new full-length, New Seasons (Yep Roc), which nods to the fleet-fingered hillbilly hotshots of yesteryear ("What’s Left Behind") as well as ’60s-era native sons like the Dillards and the Byrds ("Yours to Discover") and roots de- and reconstructionists like guest Howe Gelb and producer Gary Louris ("Wolf Tones"). And then there’s the musician’s personal hall of fame. "So far it’s been our experience that we can appeal to audiences of drastically different musical styles," Good says, selecting his words as carefully as he might an instrument.

Everything from Black Flag to George Jones?

"Given that, bar none, those are two of my favorite artists," Good, 33, continues, perking up. "There’s no separation between my love for hardcore and country. The single greatest strength in West Coast music output is not what they did in the ’60s — that trophy would go to Texas, I’m afraid." He chuckles. "I would go with the ’80s and the SST roster. In any case, we don’t feel alienated from that audience, that’s for sure.

"We play as fast as anyone."

And they have as sensitive a touch as the Possum’s, which explains why Neko Case, John Doe, Ronnie Hawkins, and, as with their Oct. 5 show, the Mekons’ Jon Langford have asked the Sadies for backing. Such collaborators as Andre Williams, the Band’s Garth Hudson, and Jon Spencer’s Heavy Trash have also lined up to work with the group.

San Francisco will be the site of a kind of homecoming for Good and his brother, vocalist–guitarist–fiddle player Travis: their father, Bruce, is a member of the Canadian bluegrass ensemble the Good Brothers, who, coincidentally, were flown to the city by the Grateful Dead, friends from their mutual Festival Express outing, to record their 1972 debut for Columbia. "Long-haired bluegrass," Dallas describes it, adding that his father and his mother, Margaret, will join the Sadies onstage, as they did in the studio for New Seasons. "I guess the apple doesn’t fall far from the tree." (Kimberly Chun)

THE SADIES

With Jon Langford

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

Cafe du Nord

2170 Market, SF

www.cafedunord.com

Sun/7, 11:45 a.m., free

Hardly Strictly Bluegrass Festival, Star Stage

HARDLY STRICTLY BLUEGRASS FESTIVAL

The free festival happens Oct. 5, beginning at 3 p.m., and Oct. 6 to 7, starting at 11 a.m., at Speedway, Lindley, and Marx meadows in Golden Gate Park, SF. For more information on all of the performers and events, go to www.strictlybluegrass.com.

Hardly Strictly Bluegrass: John Prine

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Although he has never made it commercially, John Prine has been considered one of the premier songwriters in Americana and folk since his first album, John Prine (Atlantic), came out in 1971. "Sam Stone," the story of a Vietnam vet turned junkie, "Hello in There," made a hit by Joan Baez, and the monumental "Angel from Montgomery" were instantly and forever pasted on the American psyche, even if Prine has never reached household-name status.

Prine released records steadily through the 1970s, ’80s, and ’90s, without a drop-off in quality. His talent lies in sketching the stories of everyday people and injecting the characters with the most human emotions in a way that adds a literary depth to the songs without stumbling into the heavy-handedness many folk writers fall prey to. Delivered in his characteristic scratchy tone, Prine’s songs can almost literally kill you if you listen to them at the wrong time. "Far from Me" is one of those. Be very careful here.

His latest album, Standard Songs for Average People (Oh Boy), is a laid-back collection of country covers performed with bluegrass vocalist Mac Wiseman. The pair perform some known numbers — "Saginaw, Michigan" and "Old Rugged Cross" — and cover tunes by Tom T. Hall and Prine pal Kris Kristofferson. An operation to remove cancer from his throat in 1999 has given Prine an even more distinctive voice, and now when he plays his older material, such as the numbers off 2000’s Souvenirs (Oh Boy), it finally sounds as if the words being sung aren’t coming from a precocious 21-year-old but from some world-weary everyman who lives behind the Greyhound station. Simply put, Prine is one of the most talented folksingers America has ever produced. He has two types of songs: great songs and really great songs.

JOHN PRINE

Sat/6, 1:30 p.m., free

Hardly Strictly Bluegrass, Star Stage

HARDLY STRICTLY BLUEGRASS FESTIVAL

The free festival happens Oct. 5, beginning at 3 p.m., and Oct. 6 to 7, starting at 11 a.m., at Speedway, Lindley, and Marx meadows in Golden Gate Park, SF. For more information on all of the performers and events, go to www.strictlybluegrass.com.

Hardly Strictly Bluegrass: The Mekons

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I used to think this was such a self-deprecating title — The Curse of The Mekons — but over the years I’ve come to a much different conclusion about the declaration being made by these punk–post-punk–posteverything spark plugs on their landmark 1991 Blast First album. Now celebrating their third decade together as a band, the Mekons do indeed suffer from a curse: their ability to switch effortlessly from style to style, sometimes even within the same song, without a single slip. Oh, affliction of afflictions! What a curse it must be, having to decide whether to blow listeners’ minds with a punk, a reggae, or a country song or a tune in any of the myriad other forms they’ve mastered….

With their latest, Natural (Quarterstick), the infinitely charming Jon Langford and Sally Timms — purveyors of some of the finest concert banter you’ll ever hope to hear — lead the rest of the scrappy brigade through a dozen distinctively skewed takes on rootsy campfire folk. Timms gets flat-out spooky on "White Stone Door," a drifting specter of a song heightened by sobs of violin. Meanwhile, Langford’s Brian Jones–referencing folk-reggae rouser "Cockermouth" is sure to be an instant crowd favorite, an ode to roamers and wanderers that speaks volumes about the anything-goes spirit that makes the Mekons so extraordinary. (Todd Lavoie)

THE MEKONS

Fri/5, 7:30 p.m., $15

Swedish American Hall

2170 Market, SF

www.cafedunord.com

Also Sun/7, 2:05 p.m., free

Hardly Strictly Bluegrass Festival, Star Stage

HARDLY STRICTLY BLUEGRASS FESTIVAL

The free festival happens Oct. 5, beginning at 3 p.m., and Oct. 6 to 7, starting at 11 a.m., at Speedway, Lindley, and Marx meadows in Golden Gate Park, SF. For more information on all of the performers and events, go to www.strictlybluegrass.com.

Hardly Strictly Bluegrass: Charlie Louvin

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A duet is a delicate thing, often recognized as romantic exhibitionism, rapport spilling forth. In classic Americana arrangements, in which verses are traded back and forth and choruses framed by intricate harmonies, the duet possesses a trippy if not schizophrenic grace: a singer begins the story, then it’s suddenly someone else’s. We hear of a brother’s death, and then that brother is heard harmonizing on the chorus.

While such magic is snide but joyful on albums such as Merle Haggard and Bonnie Owens’s Just Between the Two of Us (Capitol, 1966), for Country Music Hall of Famer Charlie Louvin, who lost his brother Ira, the other half of the legendary Louvin Brothers, to a car crash in 1965, the very idea of a duet is forever haunting. Yet he has continued to pursue it, with his rolling twang and sparkling eyes, well into his 80th year. Louvin has never lost his knack for the unique type of "shape-note singing" he and Ira developed, a blend of gospel harmonies and Appalachian musical forms inspired by other early bluegrass troubadours.

For his self-titled release on Tompkins Square earlier this year, Louvin cast spells with some younger collaborators. Clem Snide’s Eef Barzelay adds compelling, indecipherable emotion to "The Christian Life," originally on the Louvin Brothers’ remarkable Satan Is Real (Capitol, 1960). Alex McManus of Bright Eyes paints careful vocal touches on the Carter Family tune "The Kneeling Drunkard’s Plea." Amid a lyrical landscape of graveyards, bloodied rivers, and ill-fated lovers, Louvin continues to light up the shadows, with a few yelps from friends old and new. (Ari Messer)

CHARLIE LOUVIN

Sat/6, 2 p.m., free

Amoeba Music

1855 Haight, SF

www.amoeba.com

Sun/7, 12:55 p.m., free

Hardly Strictly Bluegrass Festival, Rooster Stage

HARDLY STRICTLY BLUEGRASS FESTIVAL

The free festival happens Oct. 5, beginning at 3 p.m., and Oct. 6 to 7, starting at 11 a.m., at Speedway, Lindley, and Marx meadows in Golden Gate Park, SF. For more information on all of the performers and events, go to www.strictlybluegrass.com.

Hardly Strictly Bluegrass: Emmylou Harris

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Emmylou Harris tends to overwhelm with her beauty in flesh and in voice, so it’s instructive to look to her new rarities collection, Songbird: Rare Tracks and Forgotten Gems (Rhino), for reminders of earthly frailty. From the get-go, the recording reveals that even she has feet of clay. Harris can be derivative — exhibit A: disc one’s "Clocks." This early song displays her in warbly thrush mode. She sounds like a Judy Collins also-ran, and this is a good thing. For the one negative that can be ascribed to Harris the icon is the way she has been saddled with the male-reified pose of tasteful, circumspect handmaiden to Saint Gram Parsons. Such a misstep, alongside the breadth of Harris’s myriad career highs, deflates the myth to human size. I love my Georgia homeboy Parsons and am well aware of the degree to which Harris’s torch bearing is self-appointed, but one still wonders how her progress might have looked were she not stifled by such a fantasy.

Apocrypha has acolyte Harris seeking advice from folkie god Pete Seeger on how to infuse her material with bite in the face of a relatively dulcet reality. While the voice was and remains undeniable in its beauty and harmonic gifts, this box reaffirms that Harris’s intersection with Parsons was the vital source of that infusion of grit and angst. This can be seen in their twangy gospel "The Old Country Baptizing," but her trail also leads in other fascinating directions, toward the hallucinatory spook of "Snake Song." Songbird‘s other boons are a swath of Harris’s fabled collaborations with Dolly Parton and Linda Ronstadt, as well as a rewind to a range of guests as diverse as the late Waylon Jennings, Beck, Dire Straits’ Mark Knopfler, and her great band Spyboy. This is certainly a good example of curating a legacy — something to contemplate when the historied Harris takes the stage at the Hardly Strictly Bluegrass Festival.

EMMYLOU HARRIS

Sun/7, 5:45 p.m., free

Hardly Strictly Bluegrass Festival, Banjo Stage

HARDLY STRICTLY BLUEGRASS FESTIVAL

The free festival happens Oct. 5, beginning at 3 p.m., and Oct. 6 to 7, starting at 11 a.m., at Speedway, Lindley, and Marx meadows in Golden Gate Park, SF. For more information on all of the performers and events, go to www.strictlybluegrass.com.

Gay times

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› a&eletters@sfbg.com

A series of slide projections cycling through a gamut of theater posters greets audiences taking their seats at Theatre Rhinoceros’s 30th season opener. Ranging in design from the openly trashy to the quietly tony, many of these posters offer eye-catching portions of skin and equally intriguing titles: Cocksucker: A Love Story, Deporting the Divas, Pogey Bait, Show Ho, Intimate Details, Barebacking, and Hillbillies on the Moon. It adds up to a hefty if scantily clad body of work that owes its existence to a good extent to the advent of Theatre Rhinoceros. Begun in 1977 by Alan Estes in a SoMa leather bar with a production of Doric Wilson’s The West Street Gang, the Rhino today is the longest-running LGBT theater in the country.

Thirty years like these call for a moment of reflection, and the Rhino’s lasts a brisk and enjoyable 70 minutes. Conceived and directed by John Fisher, who became artistic director in 2002, Theatre Rhinoceros: The First Thirty Years takes a jaunty look back at a raucous, at times traumatic, but overall remarkable theatrical career intimately tied to the social and political history of the queer community. While making no attempt to be exhaustive, or exhausting, Fisher’s swift, celebratory pastiche (with dramaturgy by actor and associate artistic director Matt Weimer) neatly suggests the range of artistic output and the sweep of events and personalities that have gone into defining the theater and its times.

The bulk of the show comprises a choice selection of scenes and songs from productions past (with some original compositions and arrangements by Don Seaver and snazzy choreography by Angeline Young), put on by a capable five-person ensemble, all but one veterans of previous Rhino shows. Sporadically introduced by Fisher — who as MC strikes the right note at once, with a deadpan motorized entrance onto a stage decked out (by designer John Lowe) in a shimmering red glitter curtain worthy of Cher or Merv Griffin — the selections progress more or less chronologically, though the cast leads off with a rendition of "Dirty Dreams of a Clean-Cut Kid," from the musical of the same name by lyricist Henry Mach and composer Paul Katz, which was a hit for the Rhino in 1990. It’s an apt piece to introduce part one of the show, "Coming Out/Living Out," the first of four sections charting the development of the theater and its audience.

Other highlights include a scene from Theresa Carilli’s Dolores Street, an early lesbian-themed play that marked the Rhino’s (at the time somewhat controversial) turn to more inclusive queer programming. It’s a still tart and funny comedy about the relationships in a young lesbian household in San Francisco, at least judging by the scene expertly reproduced by Laurie Bushman and Alice Pencavel.

The live sequences come interspersed with videotaped interviews of Rhino founders and associates, including Lanny Baugniet, P.A. Cooley, Donna Davis, and Tom Ammiano. The cast also reads excerpts from letters to the theater from subscribers and some well-known playwrights, most offering praise and thanks, others caviling at the quality of a specific production, expressing indignation over liberties taken with a script, or offering resistance to the changes in programming that opened the stage to lesbian themes and, eventually, many other queer voices. (It’s indicative of how far things have come that a letter like this last one, which pointed to once serious divisions in the larger gay community, elicited only comfortable laughter from the opening night’s audience.)

In part two, "AIDS," the ensemble re-creates highlights from the Rhino’s historic long-running revue, The AIDS Show: Artists Involved with Death and Survival. A collaborative venture between 20 Bay Area artists and an unprecedented, defiantly upbeat response to the terrifying onset of the AIDS crisis, the show took aim at the still largely repressed issue of safe sex through such numbers as Karl Brown and Matthew McQueen’s cheeky sizzler "Rimmin’ at the Baths" and their equally clever and forthright "Safe Livin’ in Dangerous Times" (both beautifully rendered by the full cast of Theatre Rhinoceros), as well as the terrible toll in drastically foreshortened lives (seen here from the perspective of a mother, affectingly played by Bushman, in Adele Prandini’s "Momma’s Boy"). The AIDS Show, which went on to tour the country and put the Rhino on the national map, premiered to packed houses in 1984, the year its creator and Rhino founder Estes died of the disease.

This show’s parts three and four deal with the growing diversity of voices and issues in the years of relative liberation and mainstream exposure for the LGBT population. A scene from Brad Erickson’s Sexual Irregularities (played by Weimer and Kim Larsen) broaches the conflict between homosexuality and religion, a theme increasingly explored in new work for the stage, while one from Guillermo Reyes’s Deporting the Divas (played by Larsen and Mike Vega) points to the increasing presence of minority voices, reporting on the gay experience from the perspectives of particular ethnic subcultures.

In the postmodern micropolitics of sexual identity characteristic of the new millennium (and spoofed hilariously by Weimer, Larsen, and Vega in a scene from Fisher’s Barebacking), queer theater is characterized by increasingly hybrid categories and a plethora of voices from all sectors of experience. The cast sums up the road thus far with a characteristically proud and wry glance at the possibilities ahead in the show’s final, original number, "The Rhino" (by Seaver, with lyrics by Weimer). But, to invoke an older song, anything goes.

THEATRE RHINOCEROS: THE FIRST THIRTY YEARS

Through Oct. 14

Wed.–Sat., 8 p.m.; Sun., 3 and 7 p.m.; $15–$35

Theatre Rhinoceros

2926 16th St., SF

(415) 861-5079

www.therhino.org

Now there’s a Cure

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› kimberly@sfbg.com

SONIC REDUCER Are you for reals? Seriously, dude, when the going continues on its war path, peace-promoting Buddhist monks land in Myanmar jails, and Pamela Anderson grasps at marriage straws once again — with Paris Hilton sex-vid jock Rick Salomon, yet — we can all safely say that reality looks to be drastically overvalued.

How else to explain the fact that the biggest music news in the past week was pranked out as now-it’s-true-now-it’s-not-now-it’s-true-again fiction: the would-be Meg White sex tape starring a black-haired lady who looks absolutely nothing like the besieged drummer — no wonder White’s acutely anxious; sometimes they really are out to get you — and a faux Radiohead new-album announcement that shuffled you toward a YouTube page flying a pretty hee-hee-larious music video for furiously hip-swiveling ’80s pop star Rick Astley’s "Never Gonna Give You Up." Then hot on Astley’s wiggly behind came the real — I think — announcement of Radiohead’s Nigel Godrich–produced seventh, In Rainbows; the band’s fan service is now taking your order at radiohead.com for the MP3 download (arriving Oct. 10) and blown-out double vinyl and CD "Discbox" including exclusive art and photos, a CD of additional songs, and bundled MP3s, all of which sounds like a way for Radiohead to test the self-release waters à la Prince.

So what’s the next reality hack, hoaxsters? An imminent Led Zeppelin reunion spotlighting the reanimated corpse of John Bonham, thanks to Jimmy Page’s rumored Aleister Crowley connections? A "Big Girls Don’t Cry"–flogging Fergie auditions for the Pussycat Dolls, fronted by Jersey Boys–revived, "Big Girls Don’t Cry" flailer Frankie Valli?

Going against the tide of such prankery is UK goth pop vet Robert Smith of the Cure, famous for his singles-chart cri de coeur "Boys Don’t Cry." I’ve never been a rabid Cure fan, but I must admit that the voluble, down-to-earth Smith won me over with his earnest intelligence in a call from his studio outside Brighton, where the band is embroiled in its forthcoming double album. Making further inroads against fakery, Smith told me he’s been writing more "socially aware lyrics" than he normally pens. "Obviously I live in the real world, contrary to what a lot of people think," he said. "I get angry about things, and I thought it was time for me to put those things into songs."

"It’s just kind of insane," he continued. "The world seems to be reverting almost to the Middle Ages, with the rise of the idiocy of religion. The whole policing of thought and action is anathema to any artist. Any artist has to react!" He described "Us or Them," off the band’s last self-titled LP (Geffen, 2004), as the closest he’s gotten to writing a song protesting "childish, black-and-white portrayals of the world — that isn’t a world I want to live in!"

It’s just been a matter of fitting the words to the right music; otherwise, Smith said, "it sounds like I’m singing, quite literally, from a different hymn book." The band recorded more than 25 songs two years ago, rerecorded them last year, and is back at work on them, although the Cure will take a brief break to play the Download Festival in the Bay Area despite pushing the rest of their North American tour to next year. "We can postpone 27 shows, but we can’t postpone Download Festival," he said. "So we’re just doin’ it! We’re coming over on the Friday, playing that Saturday, and then home on Sunday and going back to the studio. So it’s quite a bizarre weekend for us, but good fun."

The return of on-off guitarist Porl Thompson seems to have inspired the Cure’s latest surge in creativity, though the shock-headed vocalist’s involvement in the band’s recent live DVD, The Cure: Festival 2005, interrupted progress on the double album, which Smith said he will mix and Geffen will release at the same price as the single-album version, which someone else will mix. Smith is wagering most listeners will want to buy the double CD for the price of one. "The difficulty now is to get the digital domain to accede to our wishes and price two songs at the price of one," he said, though ultimately he’s not worried. "I’m at the stage now — well, I’ve always been at the stage — of making music primarily for myself, that I enjoy, and then for Cure fans. So whether or not it’s commercial is not a great concern."

The plan so far is to release three singles, he said. "One is a very heavy, dark single, one is an incredibly upbeat, stupid pop single, and one is out-and-out dance, so that shows you the variety of stuff on the record."

Stupid? How can anyone as obviously smart as Smith go for that? "I’m saying that most good pop singles are stupid — otherwise they’re not good pop singles," he demurred. "I’m from an age when disposable wasn’t necessarily a bad thing." *

THE CURE

Download Festival

Sat/6, 2 p.m., $29.50–$75

Shoreline Amphitheatre

1 Amphitheatre Parkway, Mountain View

www.ticketmaster.com

GET A LOAD OF THIS

YELLOW SWANS


Ex-Guardian staffer and guitarist Gabriel Mindel returns to the scene of so much aural mayhem alongside electronic blitzkrieg Pete Swanson. With Mouthus and NVH. Wed/3, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

ALIENS


Psych pop meets Larry David? What else from the former Beta Band–niks? With Augie March and Kate Johnson. Fri/5, 9 p.m., $15. Slim’s, 333 11th St., SF. www.slims-sf.com

DATAROCK


Norwegian nü ravers pop it up with Foreign Born. Fri/5, 9 p.m., $13. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

"GIRLSTOCK"


Organizer Mael Flowers busts out the bands, belly dancing, spoken word, art, and free barbecue at this benefit for local groups helping those living with HIV/AIDS. Sat/6, Mama Buzz Café, 2318 Telegraph, and the Stork Club, 2330 Telegraph, Oakl. For more info, go to www.girlstock.com

Silver Griffin

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LOCAL LIVE Silver Griffin is composed of three extremely competent musicians, the kind who turn toward one another and half-smile after the execution of a particularly tricky harmony or a successful groove. The band traffics in a muscular, half-danceable brand of indie rock that’s notable mostly for the meticulous slickness of its composition — airtight, but not quite suffocating.

The trio took the stage Sept. 22 at the Rockit Room, breezing through a note-perfect set of songs alternately slinky and strutting. The gig served as a CD release party for the band’s self-released debut, a collaboration with veteran producer Sylvia Massy (Tool, Prince, Red Hot Chili Peppers) titled Here in the Night. The tunes are mostly built off frontperson Liam McCormick’s lilting lyrics and lithe leads, which culminate in chiming eighth-note chorus chords and the vocalist’s wistful, high-register crooning.

Silver Griffin’s songs occasionally evince jazz underpinnings, which might explain the well-honed musicianship that makes the group such a satisfying live act. On record, however, otherwise taut tracks are plagued by meandering horn solos and swells that recall a horrific combination of smooth jazz and Maroon 5’s discarded ideas, convincing at least this reviewer that collusion between indie and fusion is not in anyone’s best interest. McCormick is also a thoroughgoing abuser of the falsetto "Ooo-ooo" vocal technique, often choosing to deploy such dolphin-language scat antics at precisely the point in the song when a memorable lyric would be a bonus.

These caveats aside, Silver Griffin has its fair share of moments, especially when the songs play to the strengths of the talented rhythm section duo, Greg Black and Seabrien Arata. Set standouts included "Taste My Kiss" and "Goldfinger," a shaken-not-stirred homage to the classic Shirley Bassey James Bond theme.

SILVER GRIFFIN Sat/6, 9 p.m., $7, Time Out Bar and Patio, 1822 Grant, Concord. (925) 798-1811, www.timeoutconcord.com

Chomp! Neil Hamburger at Hemlock Tavern

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neilhamburgerbackstage sml;.JPG
What, me worried? Photo by James Maclennan.

By Ben Sinclair

While Neil Hamburger, the oldest and most haggard to receive the title “America’s Youngest Comedian,” is generally enough to handle on his own, having an act like Pleeseasaur (hardly related to the plesiosaur, ancient Loch Ness monster-resembling reptile of the underwater world) open for him felt overstimulating. Not in a bad way, as this is the humor of estrangement, but each performer so demands your attention that to keep laughing for the length of their set can be a trying task. However, on Saturday, Sept. 27, at the Hemlock Tavern, this task was well worth it.

Hamburger brought his repertoire of dark, so-bad-they’re-awesome jokes, told between spates of phlegmy, audience-snuffing smoker’s coughs and interspersed with long digressions.

He also played a game with hecklers: at one point he launched into a series of compliments directed at a few women in front of the stage. Someone yelled, “Tell some jokes!” Hamburger then accused him of having no respect for “these pretty laaadies,” so he asked if the audience would pay, in dimes, the amount of the guy’s ticket in order to get him out. An even better use for these coins, he continued, would be to stack them on the guy’s face as he lay down and stomp a long narrow hole through his forehead.

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Tenacious D tourmate Neil Hamburger stalks the red carpet at the premiere of Tenacious D in the Pick of Destiny. Photo by Simone Turkington.

Divas get desperate … for love

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Twelve famed drag queens. One pageant. BLOOD!

This Saturday, gather in awe at Most Holy Redeemer in the Castro to witness the unveiling of the 2008 Desperate Diva calendar — all proceeds benefitting the AIDS Housing Alliance — and watch Misses January-December duke it out live on stage over who has the most… er…. dates? I forget what they win, but it’s something.

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The one and only Heklina of Trannyshack hosts, and feathers will fly! I love that MAC’s a sponsor …

Desperate Divas 2008 Grand Drag Pageant
Saturday September 29th, 7 – 11 PM, $15 advance/ $20 door
Most Holy Redeemer Ellard Hall
100 Diamond in The Castro
MORE INFO

Cell mates

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› a&eletters@sfbg.com

Dance theater remains a thriving genre in Bay Area performance. To call it a subgenre of one or the other just doesn’t allow due respect for offerings by the likes of Jess Curtis, Joe Goode, inkBoat, Rebecca Salzer, and Deborah Slater. Erika Chong Shuch’s ESP Project, the resident company at Intersection for the Arts, is among the leaders in this field. Playful and romantic, with an irresistible urge to investigate the darker regions of inner and outer space, Shuch’s work partakes freely and idiosyncratically of all that the bare stage might offer in the way of strategy, including dramatic action, unconventional movement (often incorporating nonprofessional dancers), voice-over narration, taped interviews, singing, video installations, and puppetry — all of which went into the alternately eerie and euphoric poetry of 2006’s Orbit (Notes from the Edge of Forever).

Shuch’s latest work moves still further away from dance-centered performance, using movement as only one element in (an almost subordinate) relation to others, especially text and song. But perhaps because of the especially personal nature of 51802, which bares a real-life love story in veiled disguise to interrogate the mixed feelings and existential crises arising from a lover’s incarceration, this latest piece sometimes feels weighed down by a too concrete need to voice some definitive explanation or conclusion.

Nonetheless, Shuch and her ensemble (Dwayne Calizo, Jennifer Chien, Tommy Shepherd, and Danny Wolohan) create some memorable moments, and the mise-en-scène conveys flashes of real inspiration. Moreover, there’s a poetic and pertinent irony in the bitter symmetry offered by the central story, which can be said to begin and end on opposite sides of a wall. The first one divides the apartments of two urban strangers but not the music they create in their seemingly separate worlds, setting up a flirtation in sound that starts as a competitive call-and-response and ends in literal harmony, all before any physical meeting. Composer Allen Willner’s score and original, acoustic guitar–based songs — soulful, bluesy, and romantic — serve as a kind of reincarnated version of this elemental discourse as music becomes the primary medium for connection on a stage inhabited by otherwise lonely bodies, often captured (courtesy of the elegant lighting design, also by Willner) in isolated spots of soft, almost burnished light.

The second wall is, of course, that of the prison. Also literal and figurative at once, it intrudes into an intense love affair whose history is by now fraught with emotional dissonance and even psychological abuse. But love — albeit a more complex and ambivalent version — breaches this wall too, mediated by letters, memories, and imagination. This imagery remains suggestive though underdeveloped (Shuch relates the beginning of the love affair in a few lines about midway through the 60-minute performance). For the most part, the story comes to us more obliquely, through the songs and fanciful scenes and characters deployed to plumb the depths of the isolation gripping both parties to the separation. In one memorable sequence, a man (Wolohan) stranded at the bottom of a well befriends a blind mouse to whom he confesses a childhood act of violence. In other sequences Shuch or Shepherd play stir-crazy shut-ins desperately coaxing a lover’s ghost to haunt the room.

These scenes and others we understand to be inventions of the lover left behind on the outside, walled in by her involved and evolving connection to the incarcerated other. But if 51802 is about absence, its emphatic drive to fill theatrical space with a superfluity of words and dramatic gestures to that effect can end by pushing that absence just out of reach. Words, to a significant degree, have taken the place of movement here, as if furnishing their own jail cell that allows little space for the body.

When raised in song (as when Shuch softly sings the refrain, "I ain’t wavin’ babe — I’m drowning"), they can still seem liberating in their (physical) evocations. But even the more suggestive lines in Shuch’s interspersed text can feel incomplete. A refrain is heard in both dialogue and song states: "There is no perfect good-bye"; this key piece of wisdom sounds true enough. But as Shuch notes with a flowing sweep of the arms, good ones require one person to remain still while the other moves off in a rush of motion. This — a dancer’s insight — sounds like the germ of a larger idea, the opening of some larger movement. But when it comes along, near the end of the 60-minute performance, there is little room or time for much more.

51802

Extended through Oct. 12

Thurs.–Sun., 8 p.m., $10–$25

Intersection for the Arts

446 Valencia, SF

(415) 626-3311

www.theintersection.org

MF Doom swayzies, leaves Pigeon John to do his thing

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By Christopher Lotto

I’d say about a fourth of those who came out to see MF Doom at the Independent on Sept. 18 took off when they found out he wasn’t going to be performing. The rest of us stayed – way to go, SF – to watch Pigeon John, a lithe, high-energy smart-ass from the LA underground. The Independent’s consolation was to open its doors and waive the admission fee, promising full refunds to ticket holders, so why not shtick around for a little what’s his name? I mean, it was Tuesday night, and it was free.

A skilled MC and a well-rounded stage performer, this Pigeon John. He kept it simple: himself, some turntables, some tubs. The set stayed tight even as it went beyond what had been rehearsed for his opening act, and his avuncular talkshit played extremely well between numbers that featured both his Tin Pan Alley tenor and a sharp flow – think
“private-college gangsterism.” He took off his sweater to demonstrate the “Pigeon John,” a sort of go-go-gadget-
arms, semi-apoplectic running man followed by the gratuitous but ever crowd-pleasing slide from side to side. And he pulled some hilarious faux big baller moves, including handing out a couple $10 bills to audience members.

He likes “black white girls” – don’t we all? – and his music seems informed by a variety of popular influences: at the end of the show he had DJ Eq spin the famed guitar intro to “Blackbird,” an appropriately rhetorical sign-off (love for the “Grey” and the “White Album”).

True crime

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› lit@sfbg.com

REVIEW In a July 31, 2007, editorial, the New York Times decried the "more than 5,000 murders … reported each year" in Guatemala, noting that "many are committed by the same groups — both left and right — that terrorized the country" during its 36-year civil war. Yet as author Francisco Goldman writes in The Art of Political Murder: Who Killed the Bishop?, the Catholic Church–<\d>initiated report that precipitated the murder of human rights leader Bishop Juan Gerardi "concluded that the Guatemalan Army and associated paramilitary units … were responsible for 80 percent of the killings of civilians, and that the guerillas had committed a little less than 5 percent of those crimes."

The Times‘ "plague on both their houses" take is a splendid illustration of how poorly served we are by our media’s reporting on Guatemala — and Latin America in general. When Goldman states that the Guatemalan war "was a consequence of a coup engineered by the CIA against Jacobo Arbenz, only the second democratically elected president in Guatemala’s history," he may shock an American audience largely oblivious to events widely known outside the United States.

On April 22, 1998, Gerardi briefed the Guatemala City media on an Archdiocesan Office of Human Rights investigation so thorough that it named more than 50,000 of the war’s estimated 200,000 casualties. At the time, "no Guatemalan military officer had ever been convicted or imprisoned for a crime related to human rights," Goldman writes. And the military planned to keep it that way. Four days later, Gerardi was bludgeoned to death in his garage.

It was a killing so bold as to suggest that military assassination specialists could not have been involved. But, as one Guatemalan journalist wrote, "crimes planned in the [Presidential Military Staff] are executed to look like common violence," and a disinformation campaign immediately sprang into action, one in which, Goldman notes, famed novelist and former Peruvian presidential candidate Mario Vargas Llosa played a particularly despicable role.

The Guatemalan-born, US-based Goldman has written three novels, a background that serves him well in his first nonfiction book, a complicated story of high-level government and military obfuscation eventually penetrated — to a degree — through dogged work by low-level government investigators and prosecutors working at great personal risk. At least two special prosecutors, four witnesses, and one judge involved in the case have gone into exile, and one witness was murdered. But three members of the army and the priest who shared Gerardi’s house were convicted for participating in his "extra judicial execution." Their sentences were finally upheld this year, although by that time one of them had been decapitated in a prison riot.

Goldman observes that Guatemala, El Salvador, and Honduras, whose militaries the United States backed in similar conflicts, all became societies with "some of the highest murder rates in the world," where "the powerful and well connected acted with impunity." The story pauses on a positive note, though, with one prosecutor declaring the beginning of "the second stage of prosecution," aimed at higher-ups involved in the crime, possibly including Otto Perez Molina, the right-wing candidate in Guatemala’s current presidential campaign.<\!s>*

THE ART OF POLITICAL MURDER: WHO KILLED THE BISHOP?

By Francisco Goldman

Grove Press

416 pages

$25

READING

Oct. 21, 5 p.m., free

City Lights Bookstore

261 Columbus, SF

(415) 362-8193, www.citylights.com

Stealing time with Thievery Corporation

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Corporate raiders? Thievery Corporation.

By Kevin Lee

Before Thievery took the stage on Sept. 15 at the Treasure Island music fest, I took the opportunity to sneak backstage and ask what D.C.’s favorite downtempo duo was up to.

Bay Guardian: How are you guys enjoying the Bay Area so far?

Rob Garza: We’re having a great time. We always love being out here. It’s one of our best
audiences.