Stage

The soul stirrers

0

› a&eletters@sfbg.com
The set is modestly spare, a disheveled if not quite ramshackle affair, being the basement studio of an imaginary low-watt radio station run by a solitary disc jockey (Peter Newton) with a thing for Japanese culture, an anguished relation to the American scene, and an insomniac disposition. But just as the deepest truths can rise immaculately from the muffled vibrations of a scratchy old blues record, so does Bay Area playwright Gary Aylesworth’s new play See That My Grave Is Kept Clean slyly and unassumingly sound nothing less than the soul-stirring chords and discords of an embattled American imagination.
The play’s DJ-everyman, sitting at his desk and console in a kimono, his samurai sword on one side, his classic blues discs on the other, coos into the microphone to whomever might be listening to the evening’s program. Caught between suicidal despair and a desire for revitalization, he’s fending off the highly bankable depression of a Prozac nation with the ameliorative properties of Japanese rice balls. He’s also bent on finding a little truth amid the “tsunami of propaganda” that characterizes the society outside. To this latter end, he’s got the classic recordings from the Anthology of American Folk Music on heavy rotation, markers of another era of American depression — marvelous songs Newton and Aylesworth actually perform live (including the song borrowed for the play’s title) in lilting harmonies to their own musical accompaniment.
But our DJ sets some archival interviews spinning too, in counter-rotation to one another, as it were. The other characters (played by Aylesworth, acting out the interviews the DJ intersperses throughout the program) are two formidable contemporaries and spiritual adversaries of the mid-20th century: Edward Bernays and Harry Smith. The juxtaposing of these two figures, polar extremes yet both highly influential in the economic and cultural spheres, becomes the motive propelling Aylesworth’s deceptively casual, humorous, melodious, and intriguing new play.
Bernays, considered a father of the public relations industry (“public relations” being a phrase he coined to substitute for the tarnished term “propaganda”), was by the 1920s and for decades afterward the much sought-after guru of ballyhoo. He sold everything from cigarettes to presidents to a bloody US-backed coup in Central America on behalf of the United Fruit Company. Bernays was also (not incidentally) the nephew of Sigmund Freud, whose ideas he put to pioneering use in the realm of what he called “the engineering of consent.”
On the other side of the stage (and every other important extreme) is Harry Smith, the play’s prickly patron saint. A character too protean and idiosyncratic for a neat label, Smith was among other things an experimental filmmaker and the musicologist who compiled the legendary multivolume Anthology of American Folk Music, recordings largely made in the late 1920s and early 1930s. Originally issued on the Folkways label in 1952, it was so influential in the folk music revival and beyond that Bob Dylan (our DJ reminds us) once boasted that he would not have existed but for Harry Smith. Along the way, the play broaches Smith’s other passions as a jazz enthusiast, painter, and even a record producer (he recorded the Fugs’ debut album in 1965, which leads to the story recounted in the play of how he came to be consulted on the best way to levitate the Pentagon as part of a famous 1967 antiwar action).
Aylesworth plays the nonagenarian Bernays with a high, rasping voice and a set of repetitive, almost cartoonlike gestures that (along with a tendency for the “taped” interview to slow down and speed up at odd, sometimes telling moments) poke fun at the self-congratulatory figure. Bernays is a man so far from shy about bragging of his connections and achievements that he unconsciously paints an entirely grim view of modern society with the cheeriest of dispositions. By contrast, Smith (played with equal facility and a slightly hyperbolic, wry affect) has a cantankerous air about him. While forthcoming enough, he casts back a knowingly cautious, skeptical, even sarcastic tone to his various interviewers.
Here are two spiritual fathers, you might say, of the 20th-century United States, whose diametrically opposed outlooks constitute and reflect something like a metaphysical rift in the culture at large. Blended with Aylesworth’s simple yet choice staging, the acute and droll performances, and the laid-back but excellent renditions of selections from the Anthology, See That My Grave Is Kept Clean approaches its themes with a charm all the more forceful for being quirky and understated.
And if our DJ channels the despair of the age, it’s clear that despair cuts two ways too. It leads either to the acquiescence and metaphysical poverty of Bernays-style fables of freedom and plenty or to the awakened, agitated thought, action, and social conscience of a Harry Smith, which seeks nothing in the end more than the obliteration of myth and the reanimation of the senses. With its rousing good humor and a shrewd theatrical assurance whose crystalline simplicity resonates with far-reaching themes, See That My Grave Is Kept Clean gives eloquent voice to the restless rebel wide awake beneath the glossy, manufactured surface of the American dream. SFBG
SEE THAT MY GRAVE IS KEPT CLEAN
Through Sun/27
Thurs.–Sat., 8 p.m.; Sun., 7 p.m.
Traveling Jewish Theatre
470 Florida, SF
$15–$20 (Thurs., pay what you can)
(415) 831-1943
www.constructioncrewtheater.com

A sister fears Halloween in the Castro

0

OPINION Any attempt to organize an official Halloween in the Castro is a terrible idea, maybe even a deadly one. But before I rant, let me give a little history. In the wake of the Oct. 17, 1989, Loma Prieta earthquake, a BBC story reported that “a massive rescue effort is now underway in what experts believe is the second biggest earthquake ever to hit the United States.”
More than 3,500 people were injured and 100,000 buildings damaged. For this reason, a few members of the Sisters of Perpetual Indulgence made a spontaneous decision to stand in the Castro among the drag queens and costumed folk that Halloween to put on street theater and collect donations for the mayor’s relief fund for the victims of the earthquake. A brilliant move. We collected thousands.
This put a bee in our bonnets … er … wimples to use Halloween as a fun fundraiser the next year. A tremendous success. Each year the caliber of entertainment drew more people and brought in more donations, enabling us to entertain the otherwise unruly crowds while collecting donations for AIDS charities. The events were a hit, until we saw attendees getting hit — with bottles, bats, and other deadly weapons — by drunken gay-bashers out to get their kicks. The next year we saw that police checking for weapons had collected garbage cans full of baseball bats, hammers, knives, axes (none of these were the rubber kind), and many blunt instruments that could harm people. I saw someone with a mask running a gas-powered chain saw. But when police told us that among other weapons they had confiscated an AK-47 assault rifle, that was the year the Sisters were through with Halloween in the Castro, frightened that an event we had sponsored might bring about death.
So we tried something different. Luring people away from the Castro and into a private club, we turned the Pleasuredome in SoMa into a Halloween-themed party space with ornate All Hallows Eve–oriented backdrops and props. We had stellar entertainment, and the door charge went to AIDS and cancer charities. There was only one rule: you had to be in costume. The event was called HallowQueen, with the slogan “Evolve with the Sisters as Halloween moves to the next level.” It was successful in getting people out of the Castro and into a safe space, but we couldn’t afford to do it again on our meager budget.
The attempt to move the party to the Civic Center did not work because of poor planning and insufficient advance public relations. And since the Castro was still gated off, the queer-bashers thought that was the better locale in which to be violent. There were several stabbings that year.
There should be no official gathering in the Castro. No gates set up to make it look like an event. Police should infiltrate the area to keep peace but not harass the costumed folk. And something must be scheduled by the city outside the Castro and managed well to draw the crowd away to safety. Then perhaps the Sisters will get involved again. Then maybe the Sisters will MC and run a stage. But as it is now, the cordoned-off section of the “official” Halloween will end at Market and Castro. That is potentially deadly — inviting bashers and spoilers to assemble right at the very entrance of the Castro. Boo! SFBG
Sister Dana Van Iquity
Sister Dana Van Iquity is a member of the Sisters of Perpetual Indulgence.

Joan of archaeology

0

HAIRY SITUATION “Trog has a beautiful Victorian,” Matthew Martin says after giving me the address of the house where he and his castmates are rehearsing their upcoming stage production. A day later I arrive at said residence and am ushered through the front door, where cast members from Trog! — including Martin and Trog himself, Mike Finn — greet me after descending a staircase in a dramatic manner.
Joan Crawford might approve.
Not that Crawford’s approval is a viable method of judging the success of Trog!, which parodies her truly absurd final big-screen effort, a 1970 supposed horror movie that Martin brilliantly describes as “an attempt to meld Planet of the Apes and The Miracle Worker.” I first saw Trog while eating a potent batch of hash-tinged popcorn, and that psychedelic effect seems to have carried over to this theatrical version, which incorporates video projections, Finn’s circus skills, Martin’s library of movie scores, and aspects of Crawford’s life into the story of anthropologist Dr. Brockton (Crawford in the movie, Martin-as-Crawford-playing-the-scientist in the play) and the sweet troglodyte she loves and protects from a hostile, misunderstanding public.
After passing a banquet room stocked with candy bars and carbonated beverages, Martin, producer Steve Murray, and I gather around a table on the back porch to discuss Trog! “I was going to go for more of an authentic, orange-haired, Joan-in-Trog look,” says Martin. “But I thought, I’m going to seem more like Susan Hayward or the Joker than people’s iconic image of Joan.”
Martin has played Ann Miller, Katharine Hepburn, Judy Garland, and personal fave Bette Davis as both Baby Jane (in the early-’90s hit Whatever Happened to BB Jane?) and Charlotte Hollis (in last year’s Hush Up, Sweet Charlotte), but this is his first time taking on a Crawford role. You might say now he knows how Joan of Hollywood felt. “It’s another one for the gun belt,” he says with a laugh, lighting up a cigarette and observing that Crawford’s good manners were so extreme that she would “write a thank-you note to someone’s thank-you note.”
A native San Franciscan who once embodied both Addison DeWitt and Eve Harrington in the same high school speech class performance, Martin counts Charles Pierce among his early influences. “I was mesmerized by how [Pierce] could control an audience,” he says. But he also takes pains to distinguish his acting approach and experience from drag cliché — for one thing, one of his best stage roles to date was Oscar Levant in Theatre Rhinoceros’s recent production of Schönberg; for another, he concentrates on overall character rather than gender when playing a part.
Trog! allows Martin to celebrate “unadulterated ham-ola,” which his producer Murray feels is absent from most gay theater, which is obsessed with being serious or fixated on naked boys. Though Trog!’s sense of parody extends beyond the source material, it doesn’t miss the movie’s most ludicrous moments, from Crawford’s repeated requests for a “hypo gun” down to her character’s strange (perhaps drunken) reference to the “savage breast” and off-kilter pronunciation of the g in the name Trog. “I’ve rehearsed Neil Simon plays to an empty theater and worried, ‘Is this funny at all?’” says Martin. “But if nobody laughs at this, at least we’ve been entertained by our own high jinks. A lot of this show is wah-wah burlesque, very vaudeville, with physical comedy. Mike [Finn] is a trained circus performer — how many Trogs do you know that can juggle and ride a unicycle?”
Martin knows one, it soon becomes apparent, when he, Finn, and the rest of Trog!’s cast (minus a busy Heklina) run through a performance, complete with copious examples of the “fourth-wall breakage” that Martin adores. Anytime the script refers to the press or a reporter, Martin directs his gaze at me, and in one scene, I’m dragged onstage to play the role of a doctor who incites Trog’s wrath by stroking his chest under the guise of looking for a heartbeat.
If the rehearsal is anything to go by, besides Michael Sousa’s pinched-nose performance as a snotty villain, many of Trog!’s funniest moments come from the considerable chemistry between Martin and Finn — or rather, between Crawford and beast. At the end of the interview, I ask Finn what it’s like to play the role of Trog. “It’s familiar,” he says. Then he gets straight to the point. “I’m a hairy man.” (Johnny Ray Huston)
TROG!
Through Sept. 23
Wed.–Sat., 8 p.m.; Sun., 3 p.m.
Theatre Rhinoceros
2926 16th St., SF
(415) 861-5079
www.therhino.org

NOISE: Whoo! I mean, Wu! Rock the Bells…

0

Guardian assistant art director Ben Hopfer checked out the Rock the Bells rap convo on Aug. 6 in Concord:

redsmoke.jpg
Redman carouses backstage at Rock the Bells.
All images by Ben Hopfer.

Rock the Bells sets the bar for what a quality hip-hop festival should be all about. Last year’s lineup was good — members of the Wu-Tang Clan appeared, including Raekwon, Ghostface Killah, and Method Man — and this year’s bill embodied hip-hop at its highest level. The entire Clan — excluding the RZA — performed in tribute to the late Ol’ Dirty Bastard.

Meth.jpg

Ghost.jpg
Wu-tang Clan definitly brought the motherfucking ruckus with the highly energetic Method Man trading off on leads with Ghostface Killah.

Mastakilla.jpg

RaekwonUgod.jpg

Wutang.jpg
Other members all had their own distinct styles. Pictured: Mastakilla, Raekwon, U-God, Method Man, and the GZA.

Festival organizers always find the right mix of quality hip-hop from the Bay Area and beyond. Local talent like Zion I, Del tha Funkee Homosapien from the Heiroglyphics, as well as the Living Legends were going to be on hand this time, so I knew in advance that the show was going to be insane. In addition to those artists, the lineup was back-loaded with some pretty big names: De La Soul, Talib Kweli, Mos Def, Redman, and of course, the Wu-Tang Clan. Toss into this already diverse stew the politically charged Planet Asia and Immortal Technique, and you have the spectrum covered.

PlanetAsia.jpg
Planet Asia introduced energy early on at the festival.

Immortal1.jpg
Immortal Technique offers revolutionary music to the masses.

Immortal2.jpg
Immortal Technique lets me know what he thinks of the Minutemen with the Brown Berets.

When it came to the music, the festival was top-notch. I can’t say the same about the venue. Call me a purist, but I like to see my hip-hop up close. Pack me in a club well past the fire marshall’s limit — I won’t care. Hip-hop crowds need to be enclosed. We’re kind of like cattle that way. The Concord pavilion just wasn’t built for this kind of show. Some ’80s arena rock, yes. Mos Def, no.

ZionI.jpg
Zion-I holds it down for the Bay backstage.

DelaSoul.jpg
De La Soul gives the crowd some love.

I don’t want a seat when I’m seeing hip-hop — I want to rush the goddamn stage! The cheaper seats were so far back that I needed a mini-Hubble to see what was happening on stage. Hell, even a $100 ticket couldn’t get me to the stage — thank god for press passes. Big ups for the Wu-Tang Clan. They told the crowd to rush the stage, knowing that without crowd energy, things just aren’t the same. But while one bar was raised, another was missing: the lack of alcohol for the 21-and-older crowd left a sour taste in my mouth. Actually, I should say a dry taste in my mouth, as I just wanted a beer or three.

swaydomino.jpg
Sway from the Wake-Up show talks with Domino from the Heiroglyphics Crew. Did I just hear that Heiro is workng with Prince Paul? Shhh!

supernatural.jpg
Supernatural, now the world record holder for longest freestyle (nine hours!), showed his skills by freestyling only from items handed to him by the crowd.

Redman.jpg
Redman proved once again that his presence can bring the crowd to their feet.

Blackstar.jpg
A Blackstar reunion of sorts: Talib Kweli (left) and the mighty Mos Def (right).

DaveTalib.jpg
Oh snap, is that Dave Chapelle? Yeeeah!

I don’t mean to complain about the show. I mean even at $100 you got your money’s worth of unbelievable hip-hop. I understand that Rock the Bells needed a bigger venue this year to get all of these artists together for the day. I just miss the intimacy of last year’s festival. Here’s hoping next year’s will be a little more crowd friendly while still bringing some hip-hop heat.

MursThizz.jpg
Murs of Living Legends shows everybody that he has much love for the Bay.

AsopLL.jpg
Grouch.jpg
LuckyiamScarub.jpg
SunspotBicaso.jpg
The Living Legends pulls no stops when performing as a group. Pictured: Asop, the Grouch, Luckyiam, Scarub, Sunspot Jonez, and Bicasso.

The Death of me

0

› kimberly@sfbg.com
SONIC REDUCER Wanna know the surest way to mortify me or send me skulking into the shadows? Bludgeon me with praise. Single me out with love. It just makes the misanthrope in me squirm like a worm at the end of hook. That was the sweet but unintentionally sinister sensation at the “Girls Just Wanna Have Chun” show at the Stork Club on Aug. 5 with Pillows, Liz Albee, and other all-girl bands, inspired by, I’m told, my recent cover story [“Where Did All the Girl Bands Go,” 7/19/06]. I feared some sort of roasting and de-ribbing until one of the organizers, Suki O’Kane, reassured me her intentions were honorable. “I hear you cluckin’, big chicken,” she helpfully e-mailed. Yup, fightin’ words got me to the club on time, but that didn’t stop an acute sense of self-consciousness from washing over my sorry PBR-swilling self.
You realize then that on some off-days you were just never psychologically prepared to leave home. Even indie rock pros like Ben Gibbard of Death Cab for Cutie and Postal Service know what I’m blathering on about. I spoke to the DCC guitarist-vocalist while he lounged in a bus outside the big ole barn he was scheduled to play at Penn State that night, and he fessed up to the struggle to deliver when he wasn’t feeling it. “I’ll be perfectly honest — there have been times when I can be a little bitch on stage,” he said. “I’m trying to always harness my inner Wayne Coyne. Y’know, WWWCD — what would Wayne Coyne do?”
The spunky Death Cabbies I first caught at the Bottom of Hill have truly made the leap from “shows” to “concerts,” as Gibbard put it, something he jokes about with his bandmates. “We started touring in ’98, playing to nobody and eating mustard sandwiches,” he explained. “You go out a year later, and there’s maybe 50 people there, and then the next time there’s 150 people there…. It’s been such a gradual kind of build that it doesn’t feel outlandish to me. I can’t imagine what a band like the Arctic Monkeys must feel like, and I’m glad this is happening to us five records in rather than one or two records in. I think we were one of the last generation of bands to develop pre-Pitchfork, pre–blog culture, and that’s fortunate.”
Chatty, thoughtful, and up for analyzing this crazy little thing called the music biz, Gibbard has obviously given quality thought time to blogatistas’ impact on his musical genre. “It’ll be interesting to see what happens, because I have this horrible premonition that blog culture will turn the United States into the UK,” he added. “You know how the NME is this awful, horrific publication that before a band even has a single out lauds them as the greatest thing since sliced bread and then as soon as their full-length comes out says they’re past their prime?
“I’m just so kind of over fashion rock and all its different forms. Coming out of the last three or four years of dance punk and bands that want to be Wire, it’s kind of exciting to see a band that’s just really rocking out in earnest ways.”
But what about Postal Service (which Gibbard said he plans to revisit sometime next year, before DCC begin work on their next album) — aren’t they dance punk? “I don’t think if I’m involved in it in any way that it can be in any way … punk, at all,” he said with a laugh.
FASHION LASHIN’ CSS (of Sao Paulo, Brazil), a.k.a. Cansei de Ser Sexy or Tired of Being Sexy, would know a wee bit about fashion, blog jams, ad nauseated. Gibbard’s Postal Service labelmates on Sub Pop have managed something nigh impossible to our Electroclash-crashed consciousnesses: they manage to reference Paris Hilton on their new self-titled album and not sound like shopping-damaged sluts whom you want to slap.
It helps that the mostly femme ensemble kicks off its new album with the self-explanatory chant “CSS Suxxx” and goes on to charm with überdanceable joints like “Artbitch” (“Lick lick lick my art-tit … suck suck suck my art-hole”). Vocalist Lovefoxxx is one earthy, superenthused, helpful mama to boot. CSS met through common friends and photo logs. “We had daily jobs, so we’d spend all day in front of the computer,” the 22-year-old ex–graphic designer rasped from Houston. She’s since moved on. “Silly teenagers started to join it.”
The lady has an endearingly visual way of describing the band: “It’s like if you have a dog and you get your golden retriever to go with a Labrador and then you get weird puppy sex.” So help me with this picture: what is an “art tit”? “Art tit was like artist, and art hole sounds like asshole,” she explained patiently. “It doesn’t get deeper than that, Kimberly.” SFBG
DEATH CAB FOR CUTIE
With Spoon and Mates of State
Fri/11, 7 p.m.
Greek Theatre
Gayley Road, UC Berkeley, Berk.
$35
www.ticketmaster.com
CSS
With Diplo and Bonde do Role
Thurs/10, 11 p.m.
Mezzanine
444 Jessie, SF
$15
(415) 625-8880
GET OUT
BLEEDING EDGE FESTIVAL
The Valley is alive with the sound of … art. In conjunction with the ZeroOne San Jose/ISEA gathering, the Bleeding Edge Fest presents Yo La Tengo, Black Dice, Brightblack Morning Light, the Avett Brothers, Skoltz Kogen, Sunroof!, the Chemistry Set, and others in tony Saratoga. Matmos and Zeena Parkins collaborate on an original work, as do Isis and Tim Hecker. Sun/13, noon–10 p.m., Montalvo Arts Center, 15400 Montalvo Rd., Saratoga. $50. (408) 961-5858, www.bleedingedgefestival.org.
FINAL FANTASY AND CURTAINS
Arcade Fire player Owen Pallett puts his love of D&D to song as Final Fantasy, while ex-Deerhoofer Chris Cohen collaborates with Nedelle Torrisi in Curtains. Fri/11, 10 p.m., Bottom of the Hill, 1233 17th St., SF. $8–$10. (415) 621-4455.
QUIET, QUIET OCEAN SPELL
Brightblack Morning Light dream up an un-air-conditioned dreamscape starring Lavender Diamond, Daniel Higgs, and a special Ramblin’ surprise. Fri/11, 4:20 p.m.–12:45 a.m., Henry Miller Library, Hwy 1, Big Sur. $25. www.henrymiller.org.
HOTEL UTAH SHOWCASE
Open-mic regs toast Playing Full Out! 2006 Hotel Utah Compilation Album. Thurs/10, 8 p.m., $3–$5. Amnesia, 853 Valencia, SF. (415) 970-0012.

Signs of the times

0

› steve@sfbg.com
The Mission has become a battleground between those trying to stop war and those trying to combat blight — a clash of values that is headed for a court battle that will determine whether San Francisco has gone too far in its campaign against the posting of handbills.
On one side are the Act Now to Stop War and End Racism (ANSWER) Coalition, World Can’t Wait, and other groups that stage the city’s biggest rallies against war and injustice. They’ve been hit by the city with tens of thousands of dollars in fines for their notices getting posted in violation of a city law cracking down on blight, and ANSWER has responded with a lawsuit.
On the other side is a 56-year-old activist named Gideon Kramer, who led the campaigns against graffiti and illegal signs and eventually became the eyes and ears of the city’s Department of Public Works and the Clean City Coalition. That nonprofit antiblight group gets hundreds of thousands of dollars in city money annually and in turn gave Kramer a full-time job pursuing his zealous fight against blight.
Kramer’s job is to cruise around in a city-provided motorized cart to document and remove illegal signs and submit that information to the DPW, which then issues citations and levies fines. Although Kramer maintains he doesn’t single out antiwar groups, he does admit that it was the blanketing of the Mission with ANSWER flyers and posters during the buildup to the invasion of Iraq that animated his animus toward sign posting.
“They hide behind the First Amendment, but this is not a free speech issue,” Kramer told the Guardian. “They completely obliterated this neighborhood for two years until I got them to stop…. This place looked like a war zone five years ago, when I finally took this area over.”
To Kramer, his efforts are simply about beautifying the Mission, which to him entails removing graffiti and flyers, particularly the ones affixed to any of the 88 historic lampposts along Mission Street, violations that draw a fine of $300 per notice rather than the $150 fine for most poles.
But to ANSWER’s West Coast coordinator Richard Becker, the city and Kramer are chipping away at fundamental rights of speech, assembly, and due process in their myopic effort to gentrify the Mission and other still-affordable neighborhoods.
“It is connected to a drive in San Francisco against working-class communities. This is being done in the name of fighting blight,” Becker said, “but it’s part of the transformation of San Francisco to a city that caters only to the middle class and above.”
The antihandbill measure — passed by the Board of Supervisors in 1999 — is part of a clean-city campaign that includes aggressive new measures aimed at removing graffiti and punishing those responsible, increased spending on street and sidewalk cleaning, crackdowns on the homeless, and most recently, the prohibition of campaign and other signs on utility poles.
State law already prohibits all handbills and signs from being on traffic poles. The local law extends that absolute prohibition to “historic or decorative streetlight poles,” such as those along Mission from 16th to 24th streets, along Market Street, around Union Square and Fisherman’s Wharf, and on a half dozen other strips around the city.
In addition, the measure sets strict guidelines for all other postings. Unless those posting handbills want to register with the DPW and pay permit fees, their signs must be no larger than 11 inches, “affixed with nonadhesive materials such as string or other nonmetal binding material (plastic wrapped around pole is OK),” and with a posting date in the lower right corner. Signs must be removed within 10 days if they’re for an event, otherwise within 70 days.
Any deviations from these conditions will trigger a fine of $150, payable by whatever entity is identifiable from the content of the handbill, regardless of whether the group actually did the posting or knew about it. That standard of guilt, known legally as the “rebuttable presumption” — wherein someone is considered guilty unless they request an administrative hearing and can prove otherwise — is one of the targets of the ANSWER lawsuit, which is scheduled for its first pretrial hearing next month.
“In San Francisco, the distribution of handbills and other such literature is a quintessentially protected First Amendment activity, as it is everywhere. But the moment someone posts a group’s literature on city property, the DPW is entitled to presume, under the rebuttable presumption, that the group itself is responsible — absent any evidence of a connection between the group and the person who did the posting,” wrote attorney Ben Rosenfeld, who is representing ANSWER and two other accused violators, in a brief to San Francisco Superior Court.
Furthermore, he argues that there are no evidence standards for contesting the fines, which themselves have a chilling effect on free speech, particularly for poorly funded social and political activists. And, as he told the Guardian, “most people believe that posting flyers, because it’s such a time-honored way of communicating, is legal.”
Yet the City Attorney’s Office argues that city law is defensible and that rebuttable presumption — which is a similar legal precept to how parking tickets are handled — has been validated by the courts.
“We are going to argue that it’s reasonable and fair and it mirrors a state law that has withstood challenges,” said city attorney spokesperson Matt Dorsey. “As a matter of principle, we don’t think the right of free speech allows defacing public property.”
It is that argument — that illegally posting signs is akin to vandalism or littering — that seems to be driving city policy.
“It happens very frequently, and the concern for the city is it costs a lot of money to remove,” the DPW’s Mohammed Nuru told the Guardian. “It adds to urban blight and makes the neighborhood look ugly.”
The view that handbills are blight has gotten a big boost from city hall in recent years — and so have those who advocate that point of view most fervently.
The nonprofit group San Francisco Clean City Coalition — whose board members include city director of protocol Charlotte Schultz and NorCal Waste executive John Legnitto — identifies its mission as keeping “San Francisco clean and green by building bridges between resources and the neighborhood groups, merchant associations, and residents that need them.”
A review of its federal nonprofit financial disclosure forms shows the organization has steadily received more public funds from at least three different city departments in recent years, totaling almost $300,000 in 2004, the last year for which the forms are available, plus another $170,000 in “direct public support.”
“Our organization has grown substantially,” said Clean City executive director Gia Grant, who is paid almost $70,000 per year and has been with the group for five years. “It has increased every year for the last five years.”
Most recently, the group won the $140,000 annual contract to manage the Tenderloin Community Benefit District, bringing to that low-income neighborhood the same kinds of blight abatement work they’ve been doing in the Mission, mostly through their contract with Kramer and his alter ego: SF Green Patrol.
“I believe all San Francisco residents have the right to live in a beautiful neighborhood, no matter where they live,” Grant told us.
Kramer has been applying that mantra to the Mission for several years now: tearing down signs, removing graffiti, painting and repainting the lampposts, and tending to the landscaping at Mission High and other spots. Kramer told us he volunteered his days to the cause even before he was paid for his efforts.
“Basically, the Green Team deals with the restoration of public property,” Kramer said. “I’m doing a lot of things in the community on behalf of the Mission District.”
Yet Kramer is hostile to the view that maybe the Mission was fine just the way it was, a point made by many residents interviewed by the Guardian — particularly activists with the Mission Anti-Displacement Coalition (MAC) — who are more concerned with gentrification than the proliferation of signs for war protests.
“Because their causes are so lofty, they feel like they’re above the law…. They think that because their cause is so important, the end justifies the means,” Kramer said of the many groups with which he’s battled, from ANSWER and MAC to New College and the Socialist Action and Anarchist bookstores. “Free speech is not unlimited and the war in Iraq has nothing to do with clean streets. They’re just lazy and would rather just wheat-paste posters everywhere.”
Kramer said he’s been paid a full-time salary for his efforts for the last year, although neither he nor Clean City — which contracts with him — would say how much he makes. But whatever it is, Grant said Kramer’s days as a fully funded antisign enforcer might be coming to an end.
“The Green Patrol is not being funded by DPW anymore,” Grant said, noting that the contract expires at the end of August. “At this time, there’s no plan to carry it past August.”
ANSWER’s Becker has had several confrontations with Kramer, although both men insist that their actions aren’t personally directed at the other. Kramer is just trying to remove what he sees as blight and Becker is just trying to keep the public aware that the United States is waging an illegal war on Iraq and supporting Israel’s aggressive militarism.
“The war, from our perspective, is really growing,” said Becker. “A considerable number of people are becoming more alarmed by what’s happening. The war has intensified and it’s a complete disaster.”
Set against that global imperative — and the role of US citizens in allowing it to continue — Kramer’s “sacred lampposts” are a little silly to Becker. “He’s got this attitude that ‘I’m preserving your community for you,’” Becker said. “It’s a crazy thing and it’s gotten completely out of control.”
But facing fines that could total $28,000 with penalties, ANSWER has been forced to take the sign laws seriously, pursue legal action for what it believes is an important constitutional right, and instruct volunteers on the rules (with only limited effectiveness, considering some unaffiliated antiwar activists simply print flyers from ANSWER’s Web site and post them).
“The most important issue to us and to other political organizations with limited income is being able to communicate with the public,” Becker said.
And the sign ordinance has made that more difficult. Nonetheless, ANSWER has remained aggressive in calling and publicizing its protests, including the antiwar rally Aug. 12, starting at 11 a.m. in Civic Center Plaza.
As Becker said, “Despite the threat of these massive fines, we’re going to keep moving forward.” SFBG

It’s (not) easy being Green Gartside pt. deux

0

Yes, I, Marke B., your friendly ghost club whore, am the Scritti Politti freak on the premises (see Johnny Ray’s post below), the kid who grew up with 1982’s vinyl Songs To Remember under his pillow right on top of Of Grammatology by the one and only Jacques Derrida.

bwgreen.gif

That was in high school when I first discovered Green; in middle school it was Finnegan’s Wake and the Lotus Eaters. It was like poet Elizabeth Bishop eating stinky cheeses at Vassar — somehow I thought having such things at night would cause my dreams to be realer, and then I wrote poems about the opposite process occurring: what happens if you dream something’s real and you vomit Runny Uncle? But I digress.

Green, I love you so, not least when your bleached hair was poofy and your late ’70s Marxist collective proto-rapped such lovelies as:

Rapacious, rapacious
You can never say she ain’t
But my desire was so voracious
I wanted to eat your nation/state

from “Jaques Derrida,” or hymned almost invisibly, most relevantly:

Learn to love the beats in the bar
Make me sick with repetition
Learn to love that one note sound, boy
No surprise or definition
I guess I can learn to love what I’m used to
You can get used to just getting used by
Rock-a-boy blues …

from Rock-a-Boy Blue, pretty much a summation of all my previous relationships.

It was so exciting seeing theory made pan-racial musical flesh, bopping around to the “Nazi shakedown” of “P.A.’s” (We don’t practice with P.A.’s/ We’ve got bills to pay) or puzzling out the lyrics of Bibbly-O-Tek. Then came the super-glossy, superstar Fairlight stage of Scritti Politti, and working with every cool musician alive; the Wood Beez that I remember first hearing in an ice cream shop of my hometown Rickmansworth in England in the 80s. It was astonishing: my prepubescent, queer body rose up from a melting cone.

I absolutely loved Anomie and Bonhomie, especially “Tinseltown to the Boogiedown” with Mos Def, the lyrics somehow predicting the coming apocalypse through a stardust metronome. The way Green can tuck a devastating poetical twist so far back in the spoken inanities of love that most people don’t ever get it. That’s why I love him: exclusivity. I’m a VIP bitch intellectually, and it’s a trip I like to take alone. I’m grooving to Green’s latest, “White Bread, Black Beer” and I’m still a charter member of Scritti Crush Connection, but now that Scritti Politti are being lionized a la Gang of Four, they’re no longer my dirty little secret. and that spells situationist subversive subcultural snob death. lalalala.

NOISE: I see dead people Pt. III – We LOVE you, Arthur Lee, RIP

0

Guardian intern K. Tighe remembers the great Love leader Arthur Lee:

After his struggle with acute myeloid leukemia, psych-rock pioneer and Love frontman Arthur Lee died peacefully at Methodist Hospital in Memphis, a little after 4 in the afternoon on August 3, 2006, with his wife Diane by his side. He was 61.

lee2.jpg

Lee’s manager and friend, Mark Linn released the following statement:

“His death comes as a shock to me because Arthur had the uncanny ability to bounce back from everything, and leukemia was no exception. He was confident that he would be back on stage by the fall.”

Arthur Taylor Porter, a Memphis native, relocated to Los Angeles in the early 1960s. Sinking his feet into the recording industry, he hired a young Jimi Hendrix to play as a studio musician on what was likely the guitarist’s first-ever studio session.

arthurlee1.jpg

In 1965, Lee formed the band Love, first called the Grass Roots. He changed the moniker after realizing another band had beaten them to the punch. The name Love was decided on after polling an audience. Soon after its rechristening, Love became the talk of the strip, becoming the first rock band to sign to the folk label Elektra.

Though their most famous song was certainly “7 and 7 Is” from 1967’s De Capo, it was the following album, 1968’s Forever Changes, that would seal Love’s place in musical history. The latter was named no. 41 on Rolling Stone’s list of the top 500 albums of all time.

foreverchanges.jpg

Several fundraising events were put together to help raise money for Lee’s treatment following his diagnosis. His friend Robert Plant headlined the Beacon Theatre in New York on June 23, supported by Ryan Adams, Yo La Tengo, and Flashy Python and the Body Snatchers (a side-project of Clap Your Hands Say Yeah frontperson Alec Ounsworth). A few days later Love co-founder, Johnny Echols played LA’s Whisky-a-Go-Go with Baby Lemonade in another benefit for Lee.

According to Linn, the ailing Lee was appreciative of the support. “When I visited with him recently, he was visibly moved by the stories and pictures from the NYC benefit concert,” Linn said in his statement. “He was truly grateful for the outpouring of love from friends and fans all over the world since news of his illness became public.”

The infamously eccentric songwriter has been named as a key influence to dozens of musicians, notably Plant, Jim Morrison, and the recently deceased Syd Barrett.

“Arthur always lived in the moment and said what he thought when he thought it. I’ll miss his phone calls, and his long voice messages, but most of all I’ll miss Arthur playing Arthur’s music,” said Linn.

So will we.

MONDAY

0

Aug 7

Performance

“Mortified”

Anyone who writes for a daily or weekly publication knows plenty about mortification. So it should be no surprise that newspapers and magazines are lining up to praise “Mortified,” the monthly stage show and shame game devoted to life’s most embarrassing moments. Misguided mash notes and diary stories about first kisses and worst hand jobs – in this show, all are ripped open like scabs on the psyche. Many cities get “Mortified,” but only San Francisco recently hosted a Bad Teen Poetry Slam. (Johnny Ray Huston)

8 p.m. (doors open at 7)
Make-Out Room
3225 22nd St, SF
$10-$12
(415) 647-2888
www.getmortified.com

Music

Editors

Get out your red pens and rock-out boots for this much-touted Brit band. Nice, down-to-earth blokes – look to the Noise, the Guardian’s music blog, soon for an interview conducted the last time the band was in town. (Kimberly Chun)

With Cold War Kids
9 p.m.
Fillmore
1805 Geary, SF
$17.50
(415) 346-6000

Voto por voto!

0

Act One: The Middle Class

MEXICO CITY (August 4th) — Jacinto Guzman, an 80 year-old retired oilworker from Veracruz state, plants himself in front of the headquarters of the Halliburton Corporation on the skyscraper-lined Paseo de Reforma here and recalls the great strikes of the 1930s that culminated in the expropriation and nationalization of Mexico’s petroleum reserves.

Dressed in a wrinkled suit and a hard hat, the old worker laments the creeping privatization of PEMEX, the national oil corporation, by non-Mexican subcontractors like Halliburton, which is installing natural gas infrastructure in Chiapas. But he is less agitated about the penetration of the transnationals in the Mexican oil industry, or even Halliburton’s craven role in the obscene Bush-Cheney Iraq war, than he is about the fraud-marred July 2nd presidential election here.

The sign he holds reads “No A Pinche Fraude” (No to Fucking Fraud!), referring to Halliburton’s membership in a business confederation that financed a vicious TV ad campaign against leftist Andres Manuel Lopez Obrador (AMLO), who insists that he won the July 2nd election from right-winger Felipe Calderon, to whom the nation’s tarnished electoral authority, the Federal Electoral Institute (IFE) awarded a razor-thin and much questioned “victory.”

Mr. Guzman’s appearance at Halliburton on a Friday at the end of last month was one of myriad acts of civil resistance invoked by Lopez Obrador at a July 16th Mexico City assembly that drew more than a million participants. The campaign is designed to pressure a seven-judge panel (the “TRIFE”), which must determine a winner by the first week in September, into opening up the ballot boxes and counting out the votes contained therein — “voto por voto.”

Zeroing in on U.S. transnationals that purportedly backed Calderon, AMLO’s people have invaded Wal-Mart, picketed Pepsico (its Sabritas snack brand was a big contributor to the right-winger’s campaign), rented rooms in big chain hotels (Fiesta Americana) and dropped banners from the windows decrying the “pinche fraude,” and blocking all eleven doors at the palatial headquarters of Banamex, once Mexico’s oldest bank and now a wholly owned subsidiary of Citygroup.

“Voto por Voto!” demonstrators chanted as the bankers smoked and fumed and threatened to call the police.

Demonstrators also blocked the doors at the Mexican stock exchange and surrounded the studios of Televisa, the major head of the nation’s two-headed television monopoly, both heads of which shamelessly tilted to Calderon before, during, and after the ballots were cast.

“!Voto por Voto! Casilla por Casilla!” (Vote by Vote, Precinct by Precinct.)

Seated on a tiny folding chair outside of Banamex, Elena Poniatowska, one of Mexico’s most luminous writers and the recent winner of Spain’s coveted Cervantes Prize, reflected on the civil resistance: “We have always seen the workers demonstrate here in the Zocalo, but this is all very new for our middle class. The middle class protests too, but in the privacy of their own homes. Now we are out of the closet.”

Ironically, the concept of peaceful civil resistance by the middle class was pioneered by Felipe Calderon’s own party, the PAN, after it had been cheated out of elections in the 1980s by the then-ruling PRI. The PANistas uncharacteristically blocked highways and went on hunger strikes, and even imported Philippine trainers, veterans of Corazon Aquino’s civil resistance campaign against Ferdinand Marcos, to teach their supporters new tricks.

Recently AMLO’s party, the Party of the Democratic Revolution or PRD, stole a page from the PANista bible by holding a rally at a Mexico City statue of the right-wingers’ father figure, Manuel Clouthier. During the stolen 1988 presidential election, Clouthier demanded a ballot-by-ballot recount and coined the now ubiquitous phrase “voto por voto.” The PRD gathering around the statue of “Saint Maquio” left Calderon and the PAN speechless for once.

The PRD crusade could be labeled “civil resistance lite.” Led by Poniatowska, opera singer Regina Orozco, and comic actress Jesusa Rodriguez, public demonstrations have been more showbiz than eruptions of mass outrage. Nonetheless, Televisa and TV Azteca, Calderon and the PAN relentlessly rag Lopez Obrador for “fomenting violence,” purposefully ignoring the real daily violence that grips Mexico’s cities as brutal narco gangs behead rivals and massacre their enemies in plain public view.

Act Two: Bad Gas

Hundreds of steaming AMLO supporters pack the cavernous Club de Periodistas in the old quarter of the capital, where computer gurus will diagnosis the complexities of the cybernetic fraud Lopez Obrador is positive was perpetrated by IFE technicians this past July 2nd and 5th during both the preliminary count (PREP) and the actual tally of 130,000 precincts in the nation’s 300 electoral districts.

The experts are as convinced as the audience that the vote was stolen on the IFE terminals, but have many theories as to how. They speak of arcane algorithms and corrupted software. Juan Gurria, a computer programmer who has dropped in on his lunch hour to audit the experts, recalls the 1988 election which was stolen from leftist Cuauhtemoc Cardenas by the long-ruling (71 years) PRI in the nation’s first cybernetic computer fraud. “In 1988, they had to shut down the computers and say the system had crashed to fix the vote – but in 2006, the IFE kept the system running and we watched them steal it right before our eyes” Gurria contends, “the difference is they have better computers now.”

18 years ago, with computer fraud still in its infancy, the PRI had to resort to hit men to carry out its larceny. Three nights before the election, Cardenas’s closest aide, Francisco Xavier Ovando, and his assistant, Ramon Gil, were executed blocks away from the Congress of the country after reportedly obtaining the password to the PRI computer system, upon which the results were being cooked in favor of its candidates, the now universally reviled Carlos Salinas de Gortari. So far, Computer Fraud 2006 has been less messy.

Although the subject is dry and technical – at one point excerpts of an abstruse Guardian of London analysis by University of Texas economist James Galbreath (son of John Kenneth) was read into the record in English – AMLO’s supporters mutter and grumble and nod their heads vigorously. “Asi es!” – that’s just the way it happened! “Voto por Voto” they rumble, “Casilla por Casilla!” after each expert scores a point. Whether or not the fix is in, they are convinced that they have been had.

The PRD is trying to keep a lid on the bad gas seeping from down below. A few days after July 2nd, Felipe Calderon, who AMLO’s people have derisively dubbed “Fe-Cal,” came to this same Club de Periodistas to receive the adulation of a gaggle of union bosses. When he tried to leave the club, he was assailed by street venders howling “Voto por Voto!”

Calderon was quickly hustled into a bullet-proof SUV by his military escort, but the angry crowd kept pounding on the tinted windows. One young man obscenely thrust his middle finger at the would-be president, The scene is replayed over and over again on Televisa and Azteca, sometimes five times in a single news broadcast, graphic footage of the kind of violence AMLO is supposed to be inciting.

Act Three: In Defense of the Voto

Lopez Obrador fervently believes he has won the presidency of the United States of Mexico. He says it often on television just to needle Calderon. The proof, he is convinced, is inside 130,000 ballot boxes that he wants recounted, voto por voto.

The ballot boxes are now stored in the Federal Electoral Institute’s 300 district offices under the protection of the Mexican army. Nonetheless, in Veracruz, Tabasco, and Jalisco among other states, IFE operators have broken into the ballot boxes under the pretext of recovering lost electoral documentation. AMLO is suspicious that the officials are monkeying with the ballots, adding and subtracting the number of votos to make them conform to the IFE’s incredible computer count. Hundreds of ballot boxes contain more votes than voters on the registration lists, and more ballots have been judged null and void than the 243,000 margin of Calderon’s as-yet unconfirmed victory.

To this end, Lopez Obrador has strengthened encampments of his supporters outside the 300 electoral districts. In Monterrey, a PANista stronghold, thugs attack the encampment, beating on AMLO’s people and tearing down their tent city. Rocks are thrown at his supporters in Sinaloa; drivers speed by hurling curses and spitting on them.

Outside the Mexico City headquarters of the TRIFE, the seven-judge panel that will have the ultimate word as to whether or not the votos are going to be counted out one by one, a hunger strike has been ongoing since the PRD submitted documentation of anomalies in 53,000 out of the nation’s 130,000 polling places. Each night a different show business personality joins the fasters, eschews dinner and camps out in the guest pup tent overnight.

From Carlos Fuentes and Elena Poniatowska to painters like Jose Luis Cuevas and master designer Vicente Rojo, the arts and entertainment world has lined up behind Lopez Obrador. An exhibition by Cuevas and 50 other top line graphic artists and writers has been installed on the Alameda green strip adjacent to the Palace of Fine Arts here. After midnight, Calderon supporters slash and savage the art work, leaving a broken jumble behind.

The next day brigades of AMLO’s people from the surrounding neighborhoods rescue what they can of the exhibit, reassemble the broken shards, sew the torn art back together, and prop up the display panels. This is what democracy looks like in Mexico in the summer of 2006.

Act Four: Se Busca Por Fraude Electoral

The integrity of the Federal Electoral Commission is in the eye of Hurricane AMLO. Lopez Obrador accuses the IFE of fixing the election for Felipe Calderon and then defending his false victory. The PRD has filed criminal charges against the nine members of the IFE’s ruling council, most prominently its chairman, the gray-faced bureaucrat Luis Carlos Ugalde, for grievous acts of bias against Lopez Obrador, including refusing to halt Calderon’s hate spots in the run-up to July 2nd.

The IFE is mortally offended by the allegations that it has committed fraud and is using its enormously extravagant budget (larger than all of the government’s anti-poverty programs combined) to run spots protesting the slurs on its integrity that are every bit as virulent and ubiquitous as Calderon’s toxic hit pieces. Actors have been hired to impersonate irate citizens who allegedly were chosen at random as polling place workers July 2nd. “The votes have already been counted” they scoff. “We did not commit fraud” they insist. The idea is preposterous, an insult to their patriotism and to one of the pillars of Mexican “democracy,” the IFE.

Luis Carlos Ugalde, the president of the IFE council, has not been seen in public for several weeks except in large Wanted posters pasted to the walls of the inner city – SE BUSCA POR FRAUDE ELECTORAL! Ugalde and two other IFE counselors are protégés of powerful teachers union czar Elba Esther Gordillo, who joined forces with the PAN to take revenge on failed PRI presidential candidate Roberto Madrazo, a mortal enemy. The nine-member council is composed entirely of PRI and PAN nominees – the PRD is, of course, excluded.

Despite rumors that he had fled the country, Ugalde shows up July 27th at the first IFE meeting since the district tallies three weeks previous where he is confronted by the PRD delegate to the Institute (each party has one delegate.) During an acrimonious seven-hour meeting, Horacio Duarte keeps waving 30 partially burnt ballots, most of them marked for AMLO, that he has just been handed by an anonymous source. Duarte wants to know where Ugalde lives so he can nail one of the ballots to his front door to expose the “shame” of the fraud-marred election. The gray-faced bureaucrat grows even grayer and threatens to suspend the session. OK, OK, Duarte concedes, I’ll just hang it on your office door.

Just then a score of protestors push their way past the IFE guards at the auditorium’s portals – the meeting is a public one. They are chanting “Voto por Voto” and carrying bouquets of yellow flowers, AMLO’s colors. A PRD deputy tries to hand one to Luis Carlos Ugalde who turns away in horror. A bodyguard snatches up the blossoms as if they were a terrorist bomb, and disposes of them post-haste.

Act Five: We Shall Not Be Moved

The clock is ticking. The TRIFE must declare a new president by September 5th. The seven judges, all in the final year of their ten-year terms (three will move up to the Supreme Court in the next administration) have just begun to dig their way into the slagheap of legal challenges that impugn the results in about half of the 130,000 polling places in the land, the ham-handed bias of the IFE prior to the election, and the strange behavior of the Federal Electoral Institute’s computers on election day and thereafter.

The TRIFE, which has sometimes struck down corrupted state and local elections and ordered recounts in a handful of electoral districts, can either determine that the legal challenges would not affect enough votes to overturn the IFE’s determination that Calderon won the election, annul the entire election if it adjudges that it was illegitimately conducted, or order a recount. If the judges determine that annulment is the only way to fix the inequities, a new election would be scheduled 18 months down the pike.

In the meantime, the Mexican Congress would name an interim president, an unprecedented resolution in modern political history here – just the fact it is being discussed is, in itself, unprecedented.

Among those mentioned for the post are National Autonomous University rector Juan Ramon de la Fuente, former IFE director Jose Woldenberg, and three-time presidential loser Cuauhtemoc Cardenas, son of beloved depression-era president Lazaro Cardenas. For Cuauhtemoc, who was defrauded out of the presidency in 1988 by the same kind of flimflam with which the PAN and the IFE seek to despoil Lopez Obrador of victory in 2006, an interim presidency would be a perfect solution. Fixated on fulfilling the destiny of following in his father’s footsteps, moving back into his boyhood home Los Pinos – the Mexican White House – would be sweet revenge against his former protégé and now bitter rival on the left, Andres Manuel Lopez Obrador.

But AMLO does not want the election annulled and an interim appointed. He is obsessed with proving his triumph at the polls and is not going to sit on his hands waiting for the TRIFE to reach its learned conclusions. A gifted leader of street protest, he has summoned his people to the capitol’s Tiananmens-sized Zocalo square three times since July 2nd, each time doubling the numbers of the masses who march through the city: 500,000 on July 8th, 1.1 million on July 16th, and 2.4 million this past Sunday, July 30th (police estimates) – Sunday’s gathering was the largest political demonstration in the nation’s history.

The “informative assemblies” as AMLO tags them, have been festive occasions but underneath there is palpable anger. Lopez Obrador’s people come in family, arm babies and grandpas, often in wheelchairs are on canes. Some come costumed as clowns and pirates. dangling grotesque marionettes, lopsided home-made heads of Fe-Cal, or pushing a replica of the Trojan Horse (“El Cabellito Trojanito.”) They look like they are having fun but their frustrations can well up to the surface in a flash, say when the hated Televisa and TV Azteca appear on the scene. “QUE SE MUERE TELEVISA!” (THAT TELEVISA SHOULD DIE!), the people the color of the earth snarl and scream, pounding fiercely on the television conglomerate’s vehicles.

At the July 30th “informative assembly,” Lopez Obrador ups the ante considerably in his high stakes poker game to pry open the ballot boxes. Now instead of calling for yet another monster gathering in the Zocalo (4.8 million?), he asks all those who had come from the provinces and the lost cities that line this megalopolis to stay where they sre in permanent assembly until the TRIFE renders a decision. 47 encampments will be convened extending from the great plaza, through the old quarter, all the way to the ring road that circles the capital, snarling Mexico City’s already impenetrable traffic, raising the level of greenhouse gases and urban tempers to the point of combustion.

When Lopez Obrador calls for a vote on his proposal, 2,000,000 or so “SI’s” soared from the throats of the gargantuan throng, followed by the now obligatory roars of “No Estas Solo” (“you are not alone”) and “Voto by Voto, Casilla by Casilla.” As if on cue, AMLO’s people began assembling the encampments state by state and Mexico City neighborhood by neighborhood.

For a correspondent who once wrote a novel fictionalizing the stealing of the 1988 election (“Tonatiuh’s People,” Cinco Puntos Press, El Paso, 1999), in which the people the color of the earth march on Mexico City and vote to stay in permanent assembly in the Zocalo, fantasy has turned into the actualities of daily reporting. I am not surprised by this startling turn of events.

When I first arrived here in the old quarter days after the 8.2 earthquake that devastated this capital, the “damnificados” (refugees) were encamped in the streets, demanding relief and replacement housing and liberation from the ruling PRI and their movement from the bottom reinvigorated a civil society that today infuses AMLO’s struggle for electoral democracy. This morning, the damnificados of the PAN and the IFE, Calderon and the fat cats, are again living on these same streets.

On the first evening of the taking of Mexico City, AMLO spoke to thousands crowded into the Zocalo in a driving downpour and invoked Gandhi: “first they ignore you, then they laugh at you, then they beat you, and then you win.” And then Gabino Palomares, a troublemaking troubadour who has been up there on the stage at every watershed event in recent Mexican history from the slaughter of striking students at Tlatelolco (1968) to the Zapatistas’ March of the Those the Color of the Earth (2001) took the mic to lead the mob in that old labor anthem, “We Shall Not Be Moved” and AMLO’s people thundered back in a roar that drowned out the weeping sky, “NO NOS MOVERAN!”

To be continued.

John Ross’s “ZAPATISTAS! Making Another World Possible – Chronicles 2000-2006” will be published by Nation Books this October and Ross is hunting possible venues for presentations. All suggestions will be cheerfully accepted at johnross@igc.org

NOISE: Manu Chao at the Greek

0

Guardian art director Mirissa Neff checked out Manu Chao and Kinky at the Greek Theater on Friday, July 28… here’s what she saw and heard:

IMG_1128_sm.jpg
All images by Mirissa Neff

After only playing LA and NYC when he’s made it to the states, Manu Chao finally played a Bay Area show last night. He didn’t disappoint…

A few of us did a Q+A with Manu before Kinky went on. One of the highlights was when the Chronicle’s Delfin Vigil asked Manu about the World Cup and whether he sided with France or Spain. Manu replied, “I am not a nationalist. I have a passport for both countries but I don’t understand this mentality of seeing that someone is from a different place than you and wanting them to die.”

I asked Manu if he had plans to release Siberie M’etait Contee [a French only release] here and he said, “No… maybe someday. But I have a new album that just needs to be mixed. Then it will be ready for release.” Hmmmm…

Kinky opened the night with their unique Norteno-flavored electronic funk. Ulises Lozano and Gil Cerezo got the crowd going:

IMG_1069_sm.jpg

People just lost their shit when Manu Chao’s Radio Bemba Sound System hit the stage. Here’s sexy guitarist Madjid Fahem:

IMG_1331_sm.jpg

Meanwhile bassist Gambeat held down stage right with lots and lots of reverb:

IMG_1241_sm.jpg

After about five encores the crowd was still screaming for more…

Close encounters

0

› a&eletters@sfbg.com
Love is more than metaphor in Orbit (notes from the edge of forever). Love is like the intractable need connected to the exploration of space — especially when the search is bent toward the hope of some ultimate encounter: that contact with somebody, out there, who knows who you are. It’s as if an inner wilderness were turned inside out and projected to infinity.
And so Orbit starts with the mutual seduction of two lovers onstage, and with flickering TV screens (the sets dangling from long vertical skewers loaded with books and the occasional table lamp) tapping classic sci-fi movies like Close Encounters of the Third Kind, Invasion of the Body Snatchers, and Alien, with their mix of rapture and terror. Here promise and betrayal collide with gravitational conviction, at the point where the yearning for communion meets the blind panic of a self dissolving; a body waylaid, violated, no longer your own (if it ever was). “That transmission? Mother’s deciphered it,” says Sigourney Weaver. “It doesn’t look like an SOS…. It looks like a warning.”
But Orbit itself is never warned off. Rather, as the title implies, it’s continually reapproaching. A new dance theater work from the Erika Shuch Performance Project — the brainchild of San Francisco–based choreographer, director, and performer Erika Chong Shuch, and the resident company at Intersection for the Arts — Orbit spirals around our obsession with UFOs, extraterrestrial life, alien abduction, and other moon-age daydreams. The piece pulls a variety of texts, media, and simulacra into its elliptical trajectory (including recorded interviews, pop music, original songs, and some wonderfully transporting interactive video segments designed by Ishan Vernalis and lll), and is a playfully eclectic, moody, and deeply romantic whirl, danced and acted by Shuch and cocreators Melanie Elms and Danny Wolohan. Joining them is an ensemble, dressed in street clothes and postal uniforms, composed of Kieran Chavez, Joseph Estlack, Daveen DiGiacomo (also responsible for the live music and sound design), Courtney Moreno, and Erin Mei-Ling Stuart.
Elms comes on as the extradimensional counterpart to Shuch’s and Wolohan’s young lovers — whom we’ve seen alternately drifting over the sensual ridges of the lunar surface projected behind them (luxuriating in the exploration of personal space), helping one another (with a touch of comic strain) to moonwalk off the walls, or defending favorite metaphors for their place in the cosmos and their search for ETs. Behind them Elms’s retro space alien glides around as if invisibly in mischievous blue gloves, the show’s intergalactic pixie, puppet mistress of hapless earthlings.
At times, moving about the stage in an idiosyncratic way coolly reminiscent of some ray gun–toting go-go dancer, Elms seems no more than a figment of the collective imagination. (In one eerily comic scene, the strange hands rooting around in a panicky Wolohan’s sweatshirt turn out not to be blue-gloved, but the hands of his lover.) From other angles, however, she becomes an active force of violently erratic potential, like a galactic succubus. The chorus, meanwhile, in alternately trancelike and frenetic motion, do everything from dance, sing, and play instruments to operate the ropes and pulleys that rearrange those TV-and-book kebabs around the stage. With Elms they circle the lovers as forces of nature both internal and external, mercurial ones too, capable of imparting a gentle caress one minute, a savage abuse the next.
One or two segments veering toward the madcap — like Wolohan’s admittedly hilarious puppet-show narration of his rescue by a friendly lighthouse (Shuch) — can be funny at the cost of some subtlety, and in truth the parts don’t contribute equally to the whole. But the surprises in store are several, and there’s a cumulative force to the loose but inspired patterning of movement, theme, and image. If part of that pattern is the idea of lives in eternal orbit around some elusive whole, always approaching and never landing, Shuch and company manage a not insignificant union all the same, joining the passion of the true believer with the wry alert eye of the perennial searcher. SFBG
ORBIT (NOTES FROM THE EDGE OF FOREVER)
Through Aug. 5
Thurs.–Sat., 8 p.m.
Intersection for the Arts
446 Valencia, SF
$9–$20 (Thurs., pay what you can)
(415) 626-3311
www.theintersection.org

TCB, baby

0

By Cheryl Eddy

Somehow I found myself in San Jose — where temperatures broke 100 degrees yesterday — bringing the average age way down at the San Jose Stage Company’s final performance of Idols of the King. The show, which featured a cast of three including a mostly plausible (if vigorously spray-tanned) Elvis impersonator named Scot Bruce, managed to mix songs from all three EP eras (1950s hillbilly cat, 1960s Hollywood, 1970s jumpsuit) with a series of atonal vignettes, one of which actually included references to the Paul Lynde era of Hollywood Squares.

easycomeeasygo.jpg

NOISE: Camera Obscura eyed

0

Guardian intern Michael Harkin went to the Camera Obscura show on July 20 and this is what he thought:

camobscur.jpg

Scottish delights Camera Obscura treated the Great American Music Hall to a tidy set o’ fey, pretty pop on Thursday night, putting their immense songwriting abilities on display in the most modest of manners.

Singer-guitarist Tracyanne Campbell led the group through a few slower tunes at the start before playing “I Love My Jean,” a fragile, fluttery pop number that they wrote as a tribute to John Peel, eventually opening up to louder, quicker new songs like “If Looks Could Kill” and “Lloyd, I’m Ready to Be Heartbroken.” The snappier bits prompted head-bobbing and sorta-dancing all around. That was a contrast to the back-and-forth sway that otherwise characterized the spectatorship’s movement.

The band seemed like the nicest gosh-darn people you could ever meet. Guitarist and backing vocalist Kenny McKeeve had a particularly friendly demeanor: he addressed the mezzanine sitters by asking if anyone up there could make out the insect bite on his scalp, and uttered the gently surprised reaction, “Thanks so much!” when the stage lights were turned up after his offhand observation of darkness in the room.

More humorous banter came from Campbell, who wouldn’t specify her understanding of the word “jock,” which apparently means something different “where [they] come from.”

Their two-song encore concluded an hour-long (and not overlong!) set with “Eighties Fan,” one of their finest tracks and a song originally produced by Stuart Murdoch of Belle and Sebastian, a companion of theirs in the British Isles’ pop canon.

Not to be overlooked are openers Georgie James, who provided the necessary proof that cheery indie-pop has its place in DC (the District of Columbia, not to be confused with Daly City).

Singer and guitarist John Davis was most recently the drummer for Prince-ified post-hardcore squadron Q and Not U. Here, he collaborated with singer-keyboardist Laura Burhenn, letting on no indication whatsoever of his prominent former project with the sheer tightness of their melodic structures and sentiments.

Burritos of the gods

0

› a&eletters@sfbg.com
SFBG So what inspires you?
MICHAEL SHOWALTER You do, you inspire me.
I think about you in the morning. I doodle little pictures of your face and think about you making me a burrito. Sometimes I doodle little pictures of you making me a burrito.
OK, so maybe that isn’t exactly how it goes. Although Showalter is a doodle enthusiast, he is only mildly turned on by baby-size burritos. Being the narcissistic Bay Area dweller that I am, I immediately ask Showalter, who’s on the phone from his home in New York City, about San Francisco.
“I like San Francisco. I like beat poetry. I like gay people…. I don’t like gay beat poets.”
So he doesn’t read Ginsberg?
“My favorite books are Everybody Poops and the Odyssey. They are actually very similar.”
Showalter is a smart guy. He’s one of those smart guys who scared the hell out of his parents by going into comedy. His dad, a Yale-educated French lit professor, and his mom, a literary critic, worried that their little brainiac (680 math, 620 verbal) was going down the wrong path. “It’s not like this is something you go to grad school for,” he says.
I remind him that his buddy Eugene Mirman did design his own comedy major and that he could have done the same.
“I would have designed a doodling major. My thesis would be on doodles.”
Instead, Showalter took the smart-guy route and studied semiotics at Brown. This is the mind fuck of all possible majors. Most people who spend their formative years steeped in the philosophy of language become literary theorists or filmmakers. People who spend this much time reading Umberto Eco and Roland Barthes take a long time to recover.
Showalter used sketch comedy as a catalyst for his recuperation. This might explain why his entire body of work is (a) fanatically devoured, quoted, and forever adored by viewers or (b) dismissed as ridiculous and forgotten promptly.
Personally, I can’t take anyone who didn’t like The State seriously, but Showalter takes it in stride. “I think people that don’t like it might not get it,” he says. “It’s metahumor — a lot of people aren’t into metahumor. A friend once told me that it is better to have nine people think your work is number one than a hundred think your work is number nine.”
After the Showalter- and David Wain–penned Wet Hot American Summer was released in 2001, some critics gave the boys a very hard time for the scene that involved someone slipping on a banana peel. “The joke was that we made a banana peel joke,” explains Showalter.
Still, one has to wonder, how the hell do these guys come up with this stuff? How does the absurdist sketch comedy show Stella get so far out there? Do Michael Ian Black, Wain, and Showalter just sit around a table bouncing ideas off each other?
“Yeah, exactly like that,” says Showalter. “It is that cliché situation with guys sitting in a room with a Nerf basketball. Only we don’t put it into the net. Ever.” All three members of Stella contribute equally to the creative process — “If we all think it’s funny, then it’s funny,” Showalter observes.
Last year’s film The Baxter marked a departure from sketch comedy. As the writer, director, and star of the romantic comedy, Showalter admits it wasn’t all tweed and roses on the set. “There were problems between the director and the star,” he says. “We just didn’t get along. I found it difficult to deal with myself.”
After his experience writing the film, Showalter joined the faculty of the Peoples Improv Theater. He currently teaches a course on writing comedic screenplays. Yeah, he’s a real teacher. He has a syllabus but doesn’t use textbooks. Instead, he shows movies to illustrate his points. “I show bad comedies like Annie Hall and good comedies like Porky’s.”
Showalter plans to continue teaching, possibly adding a sketch comedy class to his schedule. As far as acting goes, he says, “I’m working on a reality show for a major television network. That’s all I can say.”
The tour is also on his mind. Although stand-up is a pretty new thing for Showalter, he doesn’t worry much about people not laughing: “Pretty much everyone who comes to see me already thinks I’m funny, so I don’t really get heckled.”
Good thing. A heckler at a Showalter show would probably throw canned vegetables on stage. The Blue Collar Comedy tour made a movie. The Comedians of Comedy tour made a TV special. The idea of Showalter, Mirman, and Leo Allen traipsing up and down the West Coast in a van makes me nervous.
Will there be groupies? Drugs? Booze? “It will be like that part with the red snapper in the Led Zeppelin biography Hammer of the Gods,” he deadpans. “Very Zeppelin-esque. I have already said too much. Let’s just say it has a lot to do with sushi.”
Sure, Showalter gives a good interview, but I don’t think I’d let him near me with a fish. SFBG
MICHAEL SHOWALTER WITH EUGENE MIRMAN AND LEO ALLEN
Tues/25, 9 p.m.
Independent
628 Divisadero, SF
$15
(415) 771-1421
www.independentsf.com

Flame on

0

› kimberly@sfbg.com
SONIC REDUCER To the naked eye — and deep-fried, extra-crispy spirit — working fast food is a lot like what the Flaming Lips call the “sound of failure” on their latest album, At War with the Mystics (Warner Bros). It’s the worst of times … and the worst of times. And I can feel the pain — I once broke my back and suffered hypothermia of the right hand for Häagen-Dazs.
That’s probably why I found it so poignant when, in the recent Lips doc by SF filmmaker Bradley Beesley, The Fearless Freaks, Wayne Coyne went back to the Long John Silver, the spot where he’d donned a ludicrous pirate getup and tossed salted bits of seafood as a fry cook for more than a decade. And it was inspiring — because Coyne, now 45, is so shameless and proud about his contributions to our fast food nation. “I think that kind of mindless manual labor really does save the world in a way because you’re just busy doing stuff,” he told me over the phone from his Oklahoma City home in April. “Being busy keeps you out of trouble — keeps you away from too much existential doubt.”
Who’d’ve thunk that grease monkey in the plumed hat would become the blood-spattered, bubble-riding, balloon-shoving ringleader to a Flaming Lips nation? Certainly not me when I caught their brave but somewhat ineffective Walkman experiment at the Fillmore in ’99, during their Music Against Brain Degeneration/Soft Bulletin tour. Tuning into the selected radio channel, I could barely hear anything of the show through the flimsy headsets. But I guess word spread because the scene at this year’s Noise Pop opening show with the Lips was beyond standing room.
The opening moments of the show were worth it — the band tore into the stirring, trebly melody of “Race for the Prize,” Coyne whipped a lit-up sling around his head, smoke poured off the stage, and Santa-suited techs threw far too many balloons into the sold-out crowd. The punks had taken acid, to paraphrase the title of the 2002 Lips compilation, and it was a genuine spectacle, replete with darkness (in the form of Coyne’s monologues critiquing the Bush administration) and light (the cute animal costumes) and sing-alongs to Queen’s seemingly uncoverable “Bohemian Rhapsody.” The key to regime change lay with each individual, declared pop philosopher Coyne, suggesting that his audience make it “popular to be gay, smoke pot, and have abortions” throughout the country, not just in San Francisco.
“Maybe I’m a fool, maybe I’m embarrassing, maybe it’s humiliating, but at least it opens it up to say, ‘Well, you speak your mind,’” Coyne said later. “In San Francisco, you guys don’t grapple with the same problems that you would in Oklahoma City. Oklahoma City doesn’t have a tolerance of smoking pot, and gay people are on the verge of having all their rights taken away. You almost wonder, will people at some point try to reverse the civil rights movement.”
Speaking about the Lips’ 1983 inception, Coyne told Staring at Sound biographer Jim DeRogatis that “he’d like to be in a band like the Grateful Dead, throw big parties with people coming to them and having a great time.” DeRogatis said, “[Coyne] also said, ‘We’d like to be different; we’d like to still make records that don’t suck.’ They have elements of a jam band following, they have people from the indie rock ’80s. They have people who’ve discovered them in the alternative era. They have new Gen Y fans that downloaded The Soft Bulletin and think it’s incredible. Their audience is all over the map — they don’t fit into any demographic in terms of the way that corporations are slicing up the audience.”
The trick, said Coyne, is to never get too comfortable. “We always force ourselves to do something new, even if we’re not comfortable with it. I don’t think we really have any agenda other than to freak ourselves out.”
Ushered in with The Fearless Freaks; 20 Years of Weird: the Flaming Lips 1986–2006 (a collection of live recordings and oddities), their current tour, the DeRogatis book, the Fearless Freaks documentary, and next year with luck Christmas on Mars (Coyne’s feature film debut as a director), At War turns out to be, indeed, a war album, questioning uses and abuses of power with the opening track, “The Yeah Yeah Yeah Song.”
But that’s not to say Coyne shies away from the band’s evangelical tendencies. “We’re using drama and music and sort of heightening the whole experience to be somewhat of a religious experience,” he explains. “I think all good rock ’n’ roll has that. But hopefully the agenda is that you, as an individual, at the end of the day, decide what’s great about your life instead of looking to some rulebook or some invisible force up in space somewhere. Music is just one part of it, and at the end of the day, to me, it’s dumb entertainment.” Aye, aye, matey? SFBG
FLAMING LIPS
With Ween and the Go! Team
Sat/22, 6:30 p.m.
Greek Theatre, UC Berkeley, Berk.
$41.50
www.ticketmaster.com
SAY WHAT?
ROOTS OF OCHIS
Get down with these pulsating Northern Cali indie darlings. Just do it. No questions. Wed/19, 9:30 p.m., Hemlock Tavern, 1131 Polk, SF. $7. (415) 923-0923.
PAPERCUTS
The lovely Bay Area indie rockers’ album is coming out on Devendra Banhart and Andy Cabic’s label, Gnomensong. Thurs/20, 9 p.m., Café du Nord, 2170 Market, SF. $7. (415) 861-5016.
RACONTEURS AND KELLEY STOLTZ
Midwestern rock supergroupies meet the Detroit native–SF vinyl diehard (who was pals with Brendan Benson back in the day). Sat/22–Sun/23, 8 p.m., Warfield, 982 Market, SF. $29.50–$37.50. (415) 775-7722.
MINDERS
Enter It’s a Bright Guilty World (Future Farmer); then enter the dragon. The Kingdom and Junior Panthers also perform. Sun/23, 9 p.m., Bottom of the Hill, 1233 17th St., SF. $8–$10. (415) 621-4455.
MAVIS STAPLES
Legendary gospel-soul sister communes with the eucalyptus. Sun/23, 2 p.m., Stern Grove, SF. Free. sterngrove.org.

Pan stanzas

0

› le_chicken_farmer@yahoo.com
CHEAP EATS After three or four days of sleeping under stars, swimming in rivers, and staring into the fire, I have nothing in me but poetry — so don’t bother looking for any restaurants in this restaurant review.
Here’s one I caught while my brother and friends were fishing for fish. Let’s call it “Water Bug Poem.”
On the American River, in it, up to my gut, watching water bugs. Who said that corn and cows were beautiful to the extent that they were what they were? Water bugs disprove you, existing more fully in their river bottom shadows, perfect circle feet on slapstick-figure bodies, skitting over rocks, mud, rocks. Every now and then a dead one floats by and what’s the difference, under water? I don’t care where, I’ll say it again, in bubbles: You’re beautiful. I have a big straw hat and sunscreen, stand alone, shriveled and shivering, no longer feeling my big white feet beneath me. You know how it is? When all you can do to be warm is piss yourself.
That’s a poem, even though it might not look like one and has urine in it. Come to think of it, damn me, there was a psychiatrist on this camping trip with us, and I forgot to ask her why a chicken farmer in his or her forties would still be fascinated by scatology. Of course she was pretty much stoned the whole time almost, I think, so I don’t know how professional an opinion it would have been.
One e-mailer wonders if I secretly hate my readers. I don’t think so, but I’m willing to wonder anything in the world or even sometimes just outside of it. So…
No, I really don’t think so. Or if I do secretly hate my readers, I secretly love them too, so the two you would think would cancel each other out, right, rather than make me shit on their heads every week in July, year after year? My own uneducated guess, dear reader, is that if there is any secret hatred behind all this, it’s not about you. It’s between me and me — and I promise to try to work that out in therapy next week. Because your point is well-taken: “Life is hard enough on a bad day without getting besieged with the contents of [my] intestines.”
Another possibility is that “shit happens,” and maybe I personally have managed to make my peace with that fact. But that doesn’t mean I have to rub it in everyone else’s face. I could very easily flush, light a match, open a window, exit stage left in a cloud of shame and sheepishness, and find something more universally entertaining to be proud about in print.
Like pee! Just kidding. Farts? Farts are funny to everyone, right? And they always were and always will be? Right? Can we compromise and have a Toot-Toot Pride Month?
I’m still kidding. Sorry. And I do have another poem to tell you. Call it, um, “Someone in the Kitchen,” because someone’s been in mine. Can you tell?
I succeeded in not thinking about you sometimes, actually, in the mountains. Then, winding home on the nearly no-lane road, I started seeing blackberries. Already itchy and pinched, I pulled over and started picking, easily overflowing a tin bowl and cup before it hit me: Dude, you have my pie pan. I want it back.
That there is a true-story poem, and I ate all those blackberries before I got out to the main road, for the record. It’s that black teeth time of year again for me, hooray! Almost drove off the road several times, smiling at myself in the rearview mirror, for kicks. It would have been a very scenic death at least.
Well, once you get to 80 West, you have to drive past Ikeda’s twice, once just outside of Auburn and then again just inside of Davis. I made it past the first but could not resist the second, partly because I needed gas and to pee real bad anyway.
Take the Mace Boulevard exit. And never mind all the produce and other stuff. I think the Auburn one even has burgers. But the important thing about Ikeda’s, if you don’t already know, is the pie. They make the best homemade pies that weren’t made by anyone you know (because someone has his or her pie pan, ahem).
I found a day-old mini peach one for half price ($3.00). It’s like 6 inches across by 2 1/2 inches deep, which is a lot of wonderfulness for, say, two people, or one person twice, if you’re me.
But it’s not a restaurant. SFBG
IKEDA’S
Daily, 9 a.m.–7 p.m.
26295 Mace Blvd., Davis
(530) 750-3379
Takeout only
MC/V
Quiet

Fire…cool

0

By Scribe
Tis the season to burn bright, what with all the fire arts festivals and other events leading up to Burning Man’s 20th anniversary. And burners have definitely been stepping things up recently. A couple months ago, San Francisco and Black Rock LLC (the group that stages the event) teamed up to throw an amazing fire arts festival at Candlestick Park, going bigger than the Crucible in Oakland usually does for its annual Fire Arts Festival with a stage of great acts, cutting edge pyrotechnics, and, of course, amazing fire spewing contraptions. Well, Michael Sturtz and his Crucible crew accepted that challenge and blew up this weekend’s festival to crazy proportions. This place was just GOING OFF! San Francisco’s Flaming Lotus Girls showed why they’re still queen of the hill with the debut of their new project: Serpent Mother (OK, perhaps I’m a little biased). And the festival’s stage rocked with the Mutaytor, a fantastic entrance and performance by the Extra Action Marching Band, super fresh fire dancing by the San Francisco Fire Conclave, and Dr. Megavolt and friends rockin’ the Tesla coils. I was already excited about this year’s Burning Man — now, it’s all I can do to not want to flee to the desert immediately. The man burns in 48 days. How are your preparations going?

NOISE: Sonic on Sonic – Vice Cooler’s best 24th B-day ever and Sonic Youth Kim and Thurston’s drop-by

1

Whoa, did Vice Cooler of XBXRX, KIT, and Hawnay Troof have an awesome birthday or what at 21 Grand in Oakland July 15? The topper came around midnight: Mirror/Dash, Sonic Youth twosome Kim Gordon and Thurston Moore’s seldom-performed experimental side project.

sysml.JPG

Moore and Gordon arrived after finishing up their opening set for Pearl Jam at the Bill Graham Civic, sans entourage; set up and plugged in their own gear; and then played a short set of textural fragments with Kim Gordon on drums and then guitar. It was rad to see Gordon and Moore performing together outside of an SY context – a first for me. I dug the piece that featured Gordon playing a propulsive rhythm guitar.

sy2sml.JPG

I also like the way hundreds of people suddenly materialized when the SYers appeared (despite the sketchy sign at the door stating “Sonic Youth are NOT playing” – oh yeah, OK, technically, no). I guess folks got busy texting their pals when Vice, performing as Hawnay Troof, announced that Mirror/Dash was coming up soon.

After a few songs, Moore and Gordon warmly wished a happy birthday to Cooler, grinning from ear to ear up front after helping with setup. Is it too much to see them as Cooler’s spiritual parental units? Troof-ully, they seem to adore Vice. To drive the point home further, Moore jumped into the audience and tackled the birthday boy. Someone was in a hugging mood…

sy3sml.JPG

And on a complete side note, can we all agree that Gordon is probably the hottest (and coolest) 50-something lady in rock, resembling a downtown Charlotte Rampling? Madonna and her aerodynamic thighs have nothin’ on her. She also pulled a nice kid-like, twirly dance off at the previous night’s Fillmore performance.

dittysml.JPG

Get Hustle didn’t make the bash, and Friends Forever canceled due to the girl drummer’s back injury. I missed Sharon Cheslow’s improv set with Magik Marker’s Elisa Ambrogio, as well as Always. But I did catch the spunky Dinky Bits. Cute costumes, guys.

harrysml.JPG

Harry Merry was a maniac, playing a fairly long set of his looney, loveable bizarro tunes. This number was about a bus driver who refused to obey.

vicesml.JPG

The Vice, in his Hawnay Troof guise, got on stage, rocked the mic, and worked the crowd up to a lather.

vicesml2.JPG

Cooler continued sweating his heart out, as Thurston Moore peered over the top of heads from the sidelines. A cornucopia of local bands also represented in the audience, including sundry peeps from Comets on Fire, Erase Errata, Xiu Xiu, So So Many White White Tigers, Curtains, and Death Sentence! Panda.

vicesml3.JPG

At the end of Hawnay Troof’s set, three lovely ladies jumped on stage and led a “Happy Birthday” singalong. Awww, shucks.

Oh, well, my camera sighed and died before Quintron and Miss Pussycat got into the music, but let it be said, they were busy busting out some manic jams when I made my way out of the sweaty, steamy 21 Grand. Outside, venue honcho and bartender Sarah told me she ran out of booze and beer and that the worst drink she resorted to serving was a gin and coke in someone’s used beer bottle. Yum. Better luck with the beverages next year – but just try to top this party.

THURSDAY

0

JULY 13

MUSIC

Kid Beyond

If there was an Olympic gold medal awarded for beatboxing, Kid Beyond would win it. It’s not just his vocal flexibility that impresses, but the way he weaves these sounds into accomplished arrangements of complex tunes. (Nicole Gluckstern)

With Shotgun Wedding Quintet,
Zoe Keating, and Rondo Brothers
9 p.m.
Slim’s
333 11th St., SF
$11
(415) 255-0333
www.slims-sf.com

THEATER

Troijka

That bullet-domed voleur Jean Genet, always scheming. Whether it was inspired by French history or sprang forth in full filth and glory from the author’s mind, The Balcony counts as one of his best-known theatrical pieces about class and sex and power. Troijka is an adaptation of the play from No Nude Men Productions, which isn’t into pandering of the Falcon-video- star-as- stage-actor variety. (Johnny Ray Huston)

Through Sat/16
8 p.m.
Climate Theatre
285 Ninth St., SF
$15
(415) 621-1203
www.horrorunspeakable.com

WEDNESDAY

0

JULY 12

PERFORMANCE

“Flappers, Femmes Fatales, and Vitriol”
Does history get any better than this? From Eskimo women smoking cigarettes to Japanese women lopping off their hair, the Flapper movement of the 1920s had some serious legs. Learn all about Flapper culture and Weimar Berlin’s own “Priestess of Decadence,” Anita Berber. Berber was the quintessence of the femme fatale, and her behavior was scandalous even by today’s standards. UC Berkeley professor Mel Gordon has re-created two of Berber’s dances, Morphine and Shipwrecked, both banned in most European cities. This Bastille Day celebration intends to soak you in smut, so stick around for the Thrillpeddlers adaptation of Rene Breton’s 1930s opium thriller, The Drug. It takes place in Saigon, and a truly horrific Grand Guignol climax has been promised. (K. Tighe)

7 p.m.
San Francisco Performing Arts Library and Museum
401 Van Ness, fourth floor, SF
$10
(415) 255-4800
www.sfpalm.org

THEATER

The Legendary
and Fabulous Passion Play

Combining drag and messiah figures is an almost foolproof formula for success, so el Gato del Diablo Theatre Company are onto something with their latest production. The follow-up (but not sequel) to last year’s The Rise and Fall of the Monkey King, also by Shawn Ferreyra, The Legendary and Fabulous Passion Play is inspired by the ongoing battles over same-sex marriage in our oozing-with-talent United States. Throw Bertolt Brecht, Butoh dance, and Bard-style baddies into the mix, and the result promises to be bizarre. (Johnny Ray Huston)

8 p.m. (Fri.-Sat., through Aug. 19)
EXIT Stage Left
156 Eddy, SF
Previews, pay what you can;
$20 after Fri/15
1-800-838-3006
www.elgatotheatre.org

Polly wanna rob ya!

0

› johnny@sfbg.com
Hear ye! Hear ye! Step right up to the Castro Theatre. Behold a bizarre trio of crooks. One an expert ventriloquist in old lady drag. Another a Goliath whose fickle heart is bigger than his brain. The third a pint-size schemer, who thinks nothing of pretending to be a baby in a stroller in order to case a high-class joint for jewels. Witness these three sell counterfeit parrots — you heard right, counterfeit parrots! — to unsuspecting mugs in order to visit their homes and rob them blind. Watch 1925’s The Unholy Three, just one of director Tod Browning’s circus-influenced nightmares.
The treats at this year’s San Francisco Silent Film Festival include Frank Borzage’s Seventh Heaven and Madonna muse Dita Parlo in Au Bonheur des Dames with live music by the Hot Club. But all of this city’s imps of the perverse will be gathering for The Unholy Three (screening Sun/16 at 5 p.m.), if only to pay homage to Browning, “Man of a Thousand Faces” Lon Chaney, and mein liebchen, the one and only Harry Earles (real name: Kurt Schneider), who later approached Browning with the idea of turning the Tod Robbins story “Spurs” into what became 1932’s nightmarish and unforgettable Freaks. Also based on a Robbins story, The Unholy Three might contain Earles’ best performance, especially since, as Danny Peary notes in an entry within his book Cult Movie Stars, Earles’ high-pitched voice was often “unintelligible” when transmitted through the primitive sound technology of early talkies.
He may be a dead ringer for tear sprayer extraordinaire Ricky Schroder in The Champ, but don’t cross him: Peary incisively observes that Earles’ face “was doll-like and seemed harmless until you looked closely and saw it was hard and quite eerie.” The Unholy Three mines this effectively. Earles’ character, Tweedledee, is introduced performing on a sideshow stage. When the audience within the film mocks him, it doesn’t take long for him to lose his temper and kick a laughing little boy in the face. Soon afterward he’s in infant disguise, whether locked in a stroller and acting as if ruby necklaces are mere baby beads or half in and half out of masquerade, smoking a cigarette while wearing a jumper. According to Browning biographer David Skal’s Dark Carnival, this type of outrageousness reached its apex in a child-killing Christmas Eve scene by a tree that doubtless would have given Dawn Davenport at the start of Female Trouble a run for her murderous money — if it wasn’t censored.
Though Browning’s astute biographer verges on going too far in comparing it to The Cabinet of Dr. Caligari’s shadow play, The Unholy Three humorously and kinetically uses comic strip speech bubbles in a way that prefigures pop art and Batman on TV. Also, as writers such as Skal, David Thomson, and Carlos Clarens have observed, it exemplifies early-20th-century horror’s interest in reconfiguring common romantic and sexual aggravation into fantastic stories of vengeance. Himself forced to perform as an infant and a circus runaway who made an early living as “The Living Hypnotic Corpse,” Browning no doubt related to Earles and to Chaney (whose pantomime abilities stemmed partly from childhood communication with his deaf parents).
The Unholy Three’s titular characters form a perverse trinity of sorts, with Earles’ Tweedledee a modern child of mythical Leprechaun figures and a less lusty uncle of Cousin Lymon from Carson McCullers’ Sad Café. You don’t have to be Leslie Fiedler to recognize that both Earles and Chaney present an interested viewer with a mythic image of his or her secret self. SFBG
SAN FRANCISCO SILENT FILM FESTIVAL
Fri/14–Sun/16
Castro Theatre
429 Castro, SF
(925) 866-9530
www.silentfilm.org

One Lives to live

0

By Kimberly Chun
› kimberly@sfbg.com
SONIC REDUCER I fell in love with the recent Ray Davies solo album, Other People’s Lives (V2). Face it, I fall in love all the time — with records, of course — but I think I truly did love about three-fourths of the Kinks leader’s solo debut for the first four listens. Then I stopped listening and just coasted on the afterglow.
But you fall out of love. The fifth or sixth listen comes around and little things start to break down for you. The way those coveted hot pants always give you gnarly cameltoe.
In the case of Other People’s Lives, it was the song’s overblown arrangements — for which Davies completely takes the blame — complete with unintentionally cornball sax and a production sensibility that sounds like modern music really did stop with the last humongoid Kinks album, 1983’s State of Confusion (Velvel). When even the quirks annoy, like the half “yar,” half yawn that ushers in the record’s otherwise fine opener, “Things Are Gonna Change (The Morning After),” and the throwaway Ricky Martin–style Latin pop treatment given to the media-lashing title track, you know love’s a goner.
An American album, conceived mainly during Davies’ stay in New Orleans, Other People’s Lives resembles Morrissey’s You Are the Quarry (Attack), another disappointingly produced and arranged album of even better songs by a great wordsmith and sometime US transplant. Perhaps you’re so happy to hear those familiar voices again, at your doorstep, that you overlook the details — the tacky suit, wilting flowers, wrongheaded arrangements — the first five times around.
Still you have to hand it to Davies — whose recent travails, like being shot in January 2004 after chasing the thief who snatched his girlfriend’s purse, have been well documented — when he decides to make a bold gesture. That’s what inspired some to call the Kinks the first indie band. “I prefer that to being called the originators of heavy metal,” says a sincere and thoughtful Davies from London. “Yes, I like that. We have a very independent spirit…. We took chances, and we failed a lot. Really, other acts’ careers would’ve been ended by some of the bold and stupid things we did on record. I’ve got a 9-year-old daughter now, and she wants to hear my music when she visits me. I find it really hard to explain some of the weird diversions I’ve taken in my music over the years.”
Bold and stupid?
“The Bold and the Stupid. It sounds like…”
A soap opera?
“Yes, stuff like Preservation, Soap Opera,” he free-associates. “You know, at the time, when Rod Stewart and Elton John were doing conventional tours and, you know, big stage-entry things… and there we are. We go indoors with a musical farce onstage. You know, it was a rock Punch and Judy show. It was a totally wrong career move, but it worked brilliantly. I mean, sometimes those things pay off really well.”
Davies obviously still can write a song — that was why Other People initially seduced me. And he knows he’s really got me — and everyone else. “I think I’ve got a fairly good fix. I can hone in on detail with people all right. You know, it’s like little things people do, habits that people have, the way they walk. I have that sort of observation with my writing, which leads it to be sometimes a bit quirky. I think I know how far to take something when I’m writing a song, and I think that’s probably one of the sort of skills I’ve developed, although I wouldn’t say you ever learn how to write songs. I think that’s one of my skills — knowing that it’s always a new inner palette, a new landscape, every time I write a song, and I think experience has taught me to be aware of that fact, that I can’t just phone them in.”
Sounds like the archly self-aware narrator of “The Tourist,” which appears to center on New Orleans slumming, is a lot like the songwriter within Davies — and that songwriting and stepping into other people’s lives is a kind of imaginative tourism.
“It is,” replies Davies. “I’m somewhat of a tourist. I also write on different levels. Obviously with ‘The Tourist’ it’s not just somebody going for a holiday somewhere. It’s someone who’s in a sense a tourist, an emotional tourist… and is probably not such a good person because of it.”
“It’s a different kind of writing when you write a pop single,” he confesses. “Writing on this record — there’s a long span to it and it’s a slow burn…. So it’s going to have a certain amount of depth to it to hold my interest because maybe as a writer I need to be fired up by the subject matter…. Maybe I write for listeners who probably want to dig and delve into it and realize there’s a bigger picture there, bigger story there.”
And perhaps, being a creature of little faith, as the Other People song goes, I should keep listening for the bigger story and fall back in love.
NO TEARS Speaking of Nawlins’s musical dwellers, Quintron and Miss Pussycat have been firing on all pistons and Drum Buddies since Katrina flooded their Spellcaster Lodge. Phoning from Los Angeles, Quintron says the rebuilding is almost complete on the lodge but they’re going to wait for the hurricane season before finishing work because the city’s infrastructure isn’t quite together yet. “I don’t wanna do this shit twice,” he offers.
Since the pair lacked insurance, the rebuilding was funded by benefits around the country organized by other musicians. “All our fucking friends are rebuilding our house. It just blew my mind,” says Quintron. Their first show at the Lodge is scheduled for Sept. 15 with a promise from bounce king DJ Jubilee to perform — and don’t expect Quintron to get bogged down in blustery sentimentality. “I’ve already written a song called ‘Hurricane,’” he says. “At this point I can’t do a maudlin blues record, like ‘O Katrina.’ It would be so cliché and stupid. . . . That’s not what’s coming out — I’m making more and more happy songs now, musically.” SFBG
RAY DAVIES
Thurs/13, 8 p.m.
Warfield Theatre
928 Market, SF
$29.50–$35
(415) 775-7722
QUINTRON AND MISS PUSSYCAT
Fri/14, 9 p.m.
12 Galaxies
2565 Mission, SF
$10–$12
(415) 970-9777

Amalgamated health care

0

› sarah@sfbg.com
Mayor Gavin Newsom has taken credit and sought the national spotlight for a plan he touts as an innovative way to deliver universal health care access to the city’s uninsured. Yet Newsom has consistently ducked the vitriolic public debate over how to the pay for the plan, which a companion measure by Sup. Tom Ammiano would cover with a controversial employer mandate.
But as the measures were headed for the first of at least two hearings before the Board of Supervisors (on July 11 after Guardian press time), a board committee and Newsom’s public health director, Dr. Mitch Katz, finally made it clear that Newsom’s plan can’t stand alone, as much as the business community would like it to.
“The two pieces of legislation were created to and do fit together,” Katz said at a July 5 Board of Supervisors’ Budget and Finance Committee hearing. “One can’t successfully move forward without the other.”
Katz made the comments after budget analyst Harvey Rose said the mayor’s plan doesn’t contain a specific funding mechanism. Rose’s admission prompted Sup. Ross Mirkarimi to characterize the mayor’s proposal as “a one-winged aircraft that doesn’t fly.” Sup. Chris Daly added that “It’s time to be up front that [the San Francisco Health Access Plan] only works if it has significant contributions from outside sources, including Ammiano’s plan.”
Neither Newsom nor his spokesman Peter Ragone returned repeated calls for comment on the issue. The Mayor’s Office also has not fulfilled a June 22 request by the Guardian for public records associated with the plan in violation of deadlines set by the city’s Sunshine Ordinance.
“Celebrating one resolution while pooh-poohing the other is disingenuous, because if they don’t work together, nothing works,” Mirkarimi added at the hearing, shortly before he, Daly, and a mostly mute Sup. Bevan Dufty voted to combine both proposals into one health care plan: the San Francisco Health Care Security Ordinance.
“After today’s meeting,” Ammiano wrote in a follow-up press release, “I’m confident that the citizens of San Francisco and the media will understand that the Worker Health Care Security Ordinance and the Health Access Program are one comprehensive health care plan, and are now codified as such in a single bill.”
The decision to amalgamate left small business owners voicing fears over the economic impact of the employer spending mandate, which would raise an estimated $30 million to $49 million of the $200 million cost of providing health care access for San Francisco’s uninsured.
As the controller’s Office of Economic Analysis points out, most of the financial burden of the employer mandate “falls on businesses with 20 to 49 employees, since these firms currently are less likely to offer health care benefits to their workers.”
With the cost of covering 20 full-time employees’ health care estimated at $43,000 to $65,000, many business owners fear the mandate will result in layoffs, economic downturns, and the erosion of their already marginal profits.
Although the controller predicts a “nearly neutral impact” on the city’s economic picture — a loss of 60 to 590 jobs from staff cuts or business closures mitigated by 140 to 250 new health care–related positions — small businesses worry about the controller’s “moderately adverse impact” prediction for employers who currently aren’t offering health care benefits at mandated levels.
“It’s going to add another $50,000 to my already high health care costs,” John Low, who runs a small company in the Tenderloin, said at the hearing. San Francisco Soup Company owner Steve Sarver claimed the mandate could force him to abandon expansion and hiring plans: “Projects that I was borderline on, I’m now going to go toward eliminating those jobs.”
As written before the July 11 hearings, the mandate would kick in January 2007 for large businesses and the following January for small businesses. Mirkarimi says the board should be “extremely sensitive” to the small business community’s concerns.
“The business community knows best how to speak about profit margins. Right now, an employer spending mandate is the only option in orbit. If there are other options, great, but so far all we’re hearing is nothing but distortion,” Mirkarimi told the Guardian. He said the proposal by some downtown leaders to increase the sales tax by a half cent — an alternative to Ammiano’s mandate — comes from “the same community who would sabotage any attempt to enact a tax-based funding mechanism.”
Mirkarimi told us the mayor’s plan was “prematurely pitched through the media on a national stage,” while Ammiano’s legislation, “which is really the heart and soul of the plan, has struggled to get any notoriety locally.” Mirkarimi told us he hopes Newsom will directly address small business concerns — including the reality that his health access plan can’t work without Ammiano’s mandate.
“The mayor needs to make an effort to show small business that he intends to mitigate the negative financial side effects of his plan. But what is the mayor’s communication? And why is he relying on the Board of Supes to fill in the blanks? The mayor needs to exercise leadership, to admit that for his plan to work somebody has to pay, and decide who that somebody is going to be, then build confidence that he has adequate answers. But right now, he’s deflecting that responsibility onto the board.”
Dr. Katz, who was a member of the Universal Healthcare Council that created the plan to offer health access to all the city’s uninsured residents, said he neither hopes nor believes that all 82,000 of the city’s uninsured will enroll.
“We hope that large employers continue to chose commercial health insurance,” Katz said at the meeting, noting that 95 percent of businesses with more than 100 employees already have commercial health insurance.
“If people enroll in a commercial health insurance plan, the city doesn’t get the revenue, but we also don’t get costs,” said Katz, who believes the city can offer health access to all uninsured residents without building additional health centers.
“All existing clinics and facilities have shown a desire to join the program and accept people,” Katz said, noting that the $104 million the city already spends on San Francisco’s uninsured is on the lowest-income individuals, plus a minute subsidy to small- and medium-size business but no subsidy for large businesses.
“Most of SF’s 82,000 uninsured residents are getting care right now, but not in a rational way,” Katz explained. “I look at how much capacity could we add to health centers by only paying for additional providers, like nurses, doctors. And the answer is a lot. We’re not doing evenings or Saturdays, so we just need to open for more hours and hire more doctors, nurses.”
Acknowledging that the Department of Public Health already saw 49,000 uninsured residents last year, Katz said that doesn’t mean that people are getting what he calls “rational care.”
“So when we create a system, we’ll create a demand,” he said. “It’s not just the woman with a bad cough who comes in, but now she’ll also get a pap smear.” SFBG
For coverage of the July 11 hearing and other updates on the health plan, visit www.sfbg.com.