Video

To see or not to see

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› annalee@techsploitation.com

TECHSPLOITATION I did not know the screaming man, nor did I know what country he was in. My view of him was shaking — the video was probably taken with a cell phone or cheapo digital camera with limited vid capability. Suddenly another man came into the frame and cut out the first man’s throat, which didn’t stop the screaming but instead turned it into a horrible, high-pitched wheezing. Eventually he sawed off the rest of his victim’s head and threw it around a little bit just for good measure. I had to stop watching, so I killed the tab in my browser.

My first thought was: what the fuck? And then, as the nausea subsided: what the fuck are these people trying to prove by killing a man like this? I was hungry for context.

The next day, I found myself asking more questions, but not about the motives of the murderers. Instead, I wondered about the communications technologies that allowed me to see that video in the first place. A group of bloodthirsty guys had to have handheld video-capture devices, video editing software, and a high-speed Internet connection to upload the finished product. Then they had to host the video somewhere that anybody could see it. In this case, that somewhere was the Internet Archive, a nonprofit organization in San Francisco devoted to the preservation of history in digital form.

Most of the Internet Archive (www.archive.org) is organized as a physical-world archive would be: curators like film historian Rick Prelinger donate rare and antique collections of media that they’ve digitized, and the archive makes them available to the world. But archive founder Brewster Kahle has a populist streak. He believes the public should have a say in what gets preserved in the historical record, so he invites the public to contribute. That’s why the Internet Archive has a small area on its Web site called the Open Source Movie Collection, where anyone can archive his or her media.

Kahle wasn’t expecting to host raw war footage when he created the open source collection. But curator Alexis Rossi says the archive receives about 30 to 50 Arab-language videos per day that are related to the Iraq war. "About two or three per week are really violent," she adds. "They are taxing to watch." Kahle, for his part, wasn’t sure what to do about them. They are undeniably a legitimate part of the historical record of the war and other conflicts in the Middle East. Watching them provides people in the West with a rare opportunity to see what Iraqi groups, including terrorists, are saying about themselves.

These videos don’t threaten national security, and they aren’t illegal because obscenity laws apply only to sexual content. So Kahle’s worries are purely about social good. Though these videos form a crucial part of the historical record of the war, something about them seems just, well, wrong. Then again, who is to say what is wrong in this case? War is brutal and deadly — hiding that fact isn’t going to help us achieve peace.

After agonizing over how to deal with the archive’s growing collection of war videos and consulting with experts, Kahle has come up with a solution that satisfies both his archivist and populist sides. He’s planning to set up a system on the archive that will allow users to post warnings about violent footage. These warnings will show up before other people see the videos; this way, the community can warn its members not to watch unless they are prepared for extremely graphic content. Rossi also hopes that the Internet Archive community will get involved in other ways too. "I’d love somebody to translate some of these videos for us," she says. (You can find many of the Arab-language videos at www.archive.org/details/iraq_middleeast.)

That warning policy is similar to community-policing systems on the movie-sharing site YouTube. The difference is that the Internet Archive — unlike YouTube — will rarely remove a video. Kahle is committed to preserving history in all its forms, even the ugly ones. It’s a lesson he thinks the mainstream media, with its whitewashed coverage of the war, would do well to learn. If we don’t remember the past, we’re doomed to repeat it.

Annalee Newitz is a surly media nerd who always pays attention to what she’s told to forget.

The underground campaign

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Click here for the Guardian 2007 Election Center: interviews, profiles, commentary, and more

› news@sfbg.com

Elections usually create an important public discussion on the direction of the city. Unfortunately, that debate isn’t really happening this year, largely because of the essentially uncontested races for sheriff and district attorney and the perception that Mayor Gavin Newsom is certain to be reelected, which has led him to ignore his opponents and the mainstream media to give scant coverage to the mayoral race and the issues being raised.

To the casual observer, it might seem as if everyone is content with the status quo.

But the situation looks quite different from the conference room here at the Guardian, where this season’s endorsement interviews with candidates, elected officials, and other political leaders have revealed a deeply divided city and real frustration with its leadership and direction.

In fact, we were struck by the fact that nobody we talked to had much of anything positive to say about Newsom. Granted, most of the interviews were with his challengers — but we’ve also talked to Sheriff Mike Hennessey and District Attorney Kamala Harris, both of whom have endorsed the mayor, and to supporters and opponents of various ballot measures. And from across the board, we got the sense that Newsom’s popularity in the polls isn’t reflected in the people who work with him on a regular basis.

Newsom will be in to talk to us Oct. 1, and we’ll be running his interview on the Web and allowing him ample opportunity to present his views and his responses.

Readers can listen to the interviews online at www.sfbg.com and check out our endorsements and explanations in next week’s issue. In the meantime, we offer this look at some of the interesting themes, revelations, and ideas that are emerging from the hours and hours of discussions, because some are quite noteworthy.

Like the fact that mayoral candidates Quintin Mecke and Harold Hoogasian — respectively the most progressive and the most conservative candidate in the race — largely agree on what’s wrong with the Newsom administration, as well as many solutions to the city’s most vexing problems. Does that signal the possibility of new political alliances forming in San Francisco, or at least new opportunities for a wider and more inclusive debate?

Might Lonnie Holmes and Ahimsa Porter Sumchai — two African American candidates with impressive credentials and deep ties to the community — have something to offer a city struggling with high crime rates, lingering racism, environmental and social injustice, and a culture of economic hopelessness? And if we’re a city open to new ideas, how about considering Josh Wolf’s intriguing plan for improving civic engagement, Grasshopper Alec Kaplan’s "green for peace" initiative, or Chicken John Rinaldi’s call to recognize and encourage San Francisco as a city of art and innovation?

There’s a lot going on in the political world that isn’t making the front page of the San Francisco Chronicle. The interviews we’ve been conducting point to a street-level democracy San Francisco–style in all its messy and wonderful glory. And they paint a picture of possibilities that lie beyond the news releases.

THE RIGHT AND THE LEFT


As the owner of Hoogasian Flowers on Seventh Street and a vocal representative of the small-business community, mayoral candidate Hoogasian describes himself as a "sensitive Republican," "a law-and-order guy" who would embrace "zero-based budgeting" if elected. "The best kind of government is the least kind of government," Hoogasian told us.

Those are hardly your typical progressive sentiments.

Yet Hoogasian has also embraced the Guardian‘s call for limiting new construction of market-rate housing until the city develops a plan to encourage the building of more housing affordable to poor and working-class San Franciscans. He supports public power, greater transparency in government, a moratorium on the privatization of government services, and a more muscular environmentalism. And he thinks the mayor is out of touch.

"I’m a native of San Francisco, and I’m pissed off," said Hoogasian, whose father ran for mayor 40 years ago with a similar platform against Joe Alioto. "Newsom is an empty suit. When was the last time the mayor stood before a pool of reporters and held a press conference?"

Mecke, program director of the Safety Network, a citywide public safety program promoting community-driven responses to crime and violence, is equally acerbic when it comes to Newsom’s news-release style of governance.

"It’s great that he wants to focus on the rock star elements, but we have to demand public accountability," said Mecke, who as a member of the Shelter Monitoring Committee helps inspect the city’s homeless shelters to ensure that people are treated with dignity and respect. "Even Willie Brown had some modicum of engagement."

Mecke advocates for progressive solutions to the crime problem. "We need to get the police to change," he said. "At the moment we have 10 fiefdoms, and the often-touted idea of community policing doesn’t exist."

Hoogasian said he jumped into the mayor’s race after "this bozo took away 400 garbage cans and called it an antilitter program." Mecke leaped into the race the day after progressive heavyweight Sup. Chris Daly announced he wasn’t running, and he won the supervisor’s endorsement. Both Hoogasian and Mecke express disgust at Newsom’s ignoring the wishes of San Franciscans, who voted last fall in favor of the mayor attending Board of Supervisors meetings to have monthly policy discussions.

"Why is wi-fi on the ballot [Proposition J] if the mayor didn’t respect that process last year?" Mecke asked.

Hoogasian characterized Newsom’s ill-fated Google-EarthLink deal as "a pie-in-the-sky idea suited to getting young people thinking he’s the guns" while only giving access to "people sitting on the corner of Chestnut with laptops, drinking lattes."

In light of San Francisco’s housing crisis, Hoogasian said he favors a moratorium on market-rate housing until 25,000 affordable units are built, and Mecke supports placing a large affordable-housing bond on next year’s ballot, noting, "We haven’t had one in 10 years."

Hoogasian sees Newsom’s recent demand that all department heads give him their resignations as further proof that the mayor is "chickenshit." Mecke found it "embarrassing" that Sup. Ross Mirkarimi had to legislate police foot patrols twice in 2006, overcoming Newsom vetoes.

"San Francisco should give me a chance to make this city what it deserves to be, " Hoogasian said.

Mecke said, "I’m here to take a risk, take a chance, regardless of what I think the odds are."

ENDING THE VIOLENCE


Holmes and Sumchai have made the murder rate and the city’s treatment of African Americans the centerpieces of their campaigns. Both support increased foot patrols and more community policing, and they agree that the root of the problem is the need for more attention and resources.

"The plan is early intervention," Holmes said, likening violence prevention to health care. "We need to start looking at preventative measures."

In addition to mentoring, after-school programs, and education, Holmes specifically advocates comprehensive community resource centers — a kind of one-stop shopping for citizens in need of social services — "so individuals do not have to travel that far outside their neighborhoods. If we start putting city services out into the communities, then not only are we looking at a cost savings to city government, but we’re also looking at a reduction in crime."

Sumchai, a physician, has studied the cycles of violence that occur as victims become perpetrators and thinks more medical approaches should be applied to social problems. "I would like to see the medical community address violence as a public health problem," she said.

Holmes said he thinks the people who work on violence prevention need to be homegrown. "We also need to talk about bringing individuals to the table who understand what’s really going on in the streets," he said. "The answer is not bringing in some professional or some doctor from Boston or New York because they had some elements of success there.

"When you take a plant that’s not native to the soil and try to plant it, it dies…. If there’s no way for those program elements or various modalities within those programs to take root somewhere, it’s going to fail, and that’s what we’ve seen in the Newsom administration."

Holmes spoke highly of former mayor Art Agnos’s deployment of community workers to walk the streets and mitigate violence by talking to kids and brokering gang truces.

The fate of the southeast sector of the city concerns both locals. Sumchai grew up in Sunnydale, and Holmes lived in the Western Addition and now lives in Bernal Heights. Neither is pleased with the city’s redevelopment plan for the Hunters Point Shipyard. "I have never felt that residential development at the shipyard would be safe," said Sumchai, who favors leaving the most toxic sites as much-needed open space.

Despite some relatively progressive ideas — Holmes suggested a luxury tax to finance housing and services for homeless individuals, and Sumchai would like to see San Francisco tax fatty foods to pay for public health programs — both were somewhat averse to aligning too closely with progressives.

Sumchai doesn’t like the current makeup of the Board of Supervisors, and Holmes favors cutting management in government and turning services over to community-based organizations.

But both made it clear that Newsom isn’t doing much for the African American community.

ORIGINAL IDEAS


The mayor’s race does have several colorful characters, from the oft-arrested Kaplan to nudist activist George Davis to ever-acerbic columnist and gadfly H. Brown. Yet two of the more unconventional candidates are also offering some of the more original and thought-provoking platforms in the race.

Activist-blogger Wolf made a name for himself by refusing to turn over to a federal grand jury his video footage from an anarchist rally at which a police officer was injured, defying a judge’s order and serving 226 days in federal prison, the longest term ever for someone asserting well-established First Amendment rights.

The Guardian and others have criticized the San Francisco Police Department’s conduct in the case and Newsom’s lack of support. But Wolf isn’t running on a police-reform platform so much as a call for "a new democracy plan" based loosely on the Community Congress models of the 1970s, updated using the modern technologies in which Wolf is fluent.

"The basic principle can be applied more effectively today with the advent of the Internet and Web 2.0 than was at all possible to do in the 1970s," Wolf said, calling for more direct democracy and an end to the facade of public comment in today’s system, which he said is "like talking to a wall."

"It’s not a dialogue, it’s not a conversation, and it’s certainly not a conversation with other people in the city," Wolf said. "No matter who’s mayor or who’s on the Board of Supervisors, the solutions that they are able to come up with are never going to be able to match the collective wisdom of the city of San Francisco. So building an online organism that allows people to engage in discussions about every single issue that comes across City Hall, as well as to vote in a sort of straw-poll manner around every single issue and to have conversations where the solutions can rise to the surface, seems to be a good step toward building a true democracy instead of a representative government."

Also calling for greater populism in government is Chicken John Rinaldi (see "Chicken and the Pot," 9/12/07), who shared his unique political strategy with us in a truly entertaining interview.

"I’m here to ask for the Guardian‘s second-place endorsement," Rinaldi said, aware that we intend to make three recommendations in this election, the first mayor’s race to use the ranked-choice voting system.

Asked if his running to illustrate a mechanism is akin to a hamster running on a wheel, Rinaldi elaborated on the twin issues that he holds dear to his heart — art and innovation — by talking about innovative ways to streamline the current complexities that artists, performers, and others must face when trying to get a permit to put on an event in San Francisco.

"I’m running for the idea of San Francisco," Rinaldi said. He claimed to be painting a campaign logo in the style of a mural on the side of his warehouse in the Mission District: "It’s going to say, ‘Chicken, it’s what’s for mayor,’ or ‘Chicken, the other white mayor.’"

He repeatedly said that he doesn’t know what he’s talking about; when we asked him what he’d do if he won, he told us that he’ll hire Mecke, Holmes, Sumchai, and Wolf to run the city.

Yet his comedy has a serious underlying message: "I want to create an arts spark." And that’s something he’s undeniably good at.

THE LAW-ENFORCEMENT VIEW


Sheriff Hennessey and District Attorney Harris aren’t being seriously challenged for reelection, and both decided early (despite pleas from their supporters) not to take on Newsom for the top job. In fact, they’re both endorsing him.

But in interviews with us, they were far from universally laudatory toward the incumbent mayor, saying he needs to do much more to get a handle on crime and the social- and economic-justice issues that drive it.

Hennessey said San Francisco’s county jail system is beyond its capacity for inmates and half of them are behind bars on drug charges, even in a city supposedly opposed to the war on drugs.

"I had this conversation with the mayor probably a year ago," Hennessey said. "I took him down to the jail to show him there were people sleeping on the floor at that time. I needed additional staff to open up a new unit. He came down and looked at the jails and said, ‘Yeah, this is not right.’"

Asked how he would cut the jail population in half, Hennessey — in all seriousness — suggested firing the city’s narcotics officers. He readily acknowledged that the culture within the SFPD is a barrier to creating a real dialogue and partnership with the rest of the city. How would he fix it? Make the police chief an elected office.

"From about 1850 to 1895, the San Francisco police chief was elected," he said. "I think it’d be a very good idea for this city. It’s a small enough city that I think the elected politicians really try to be responsive to the public will."

Hennessey said that with $10 million or $15 million more, he could have an immediate impact on violence in the city by expanding a program he began last year called the No Violence Alliance, which combines into one community-based case-management system all of the types of services that perpetrators of violence are believed to be lacking: stable housing, education, decent jobs, and treatment for drug addiction.

Harris told us so-called quality-of-life crimes, including hand-to-hand drug sales no matter how small, deserve to be taken seriously. But it’s not a crime to be poor or homeless, she insisted and eagerly pointed to her own reentry program for offenders, Back on Track.

More than half of the felons paroled in San Francisco in 2003 returned to prison not long thereafter, reaffirming the continuing plague of recidivism in California. Harris said more than 90 percent of the people who participated in the pilot phase of Back on Track were holding down a job or attending school by the time they graduated from the program. "DAs around the country are listening to what we’re saying about how to achieve smart public safety," she said of the reentry philosophy.

But at the end of the day, Harris is a criminal prosecutor before she’s a nonprofit administrator. And her relationship with the SFPD at times has amounted to little more than a four-year stalemate. Harris and former district attorney Terrence Hallinan both endured accusations by cops that they were too easy on defendants and reluctant to prosecute.

To help us understand who’s right when it comes to the murder rate, Harris shared some telling statistics. She said the rate of police solving homicides in San Francisco is about 30 percent, compared with 60 percent nationwide. And she said she’s gotten convictions in 90 percent of the murder cases she’s filed. Nonetheless, cops consistently blame prosecutors for crimes going unpunished.

"I go to so many community meetings and hear the story," she said. "I cannot tell you how often I hear the story…. It’s a self-defeating thing to say, ‘I’m not going to work because the DA won’t prosecute.’ … If no report is taken, then you’re right: I’m not going to prosecute."

YES AND NO


In addition to the candidates, the Guardian also invites proponents and opponents of the most important ballot measures (which this year include the transportation reform Measure A and its procar rival, Measure H), as well as a range of elected officials and activists, including Sups. Aaron Peskin, Tom Ammiano, Jake McGoldrick, Mirkarimi, and Daly.

Although none of these people are running for office, the interviews have produced heated moments: Guardian editor and publisher Bruce B. Brugmann took Peskin and other supervisors to task for not supporting Proposition I, which would create a small-business support center. That, Brugmann said, would be an important gesture in a progressive city that has asked small businesses to provide health care, sick pay, and other benefits.

Taxi drivers have also raised concerns to us about a provision of Measure A — which Peskin wrote with input from labor and others and which enjoys widespread support, particularly among progressives — that could allow the Board of Supervisors to undermine the 29-year-old system that allows only active drivers to hold valuable city medallions. In response, Peskin told us that was not the intent and that he is already working with Newsom to address those concerns with a joint letter and possible legislation.

"If San Francisco is going to be a world-class city, it’s got to have a great transportation infrastructure," Peskin told us about the motivation behind Measure A. "This would make sure that San Francisco has a transit-first policy forever."

Measure A would place control of almost all aspects of the transportation system under the Metropolitan Transportation Commission and give that panel more money and administrative powers in the process, while letting the Board of Supervisors retain its power to reject the MTA’s budget, fare hikes, or route changes. He also inserted a provision in the measure that would negate approval of Measure H, the downtown-backed measure that would invalidate existing city parking policies.

Ironically, Peskin said his approach would help prevent the gridlock that would result if the city’s power brokers got their wish of being able to build 10,000 housing units downtown without restrictions on automobile use and a revitalization of public transit options. As he said, "I think we are in many ways aiding developers downtown because [current development plans are] predicated on having a New York–style transit system."

Asked about Newsom’s controversial decision to ask for the resignations of senior staff, Peskin was critical but said he had no intention of having the board intervene. McGoldrick was more animated, calling it a "gutless Gavin move," and said, "If you want to fire them, friggin’ fire them." But he said it was consistent with Newsom’s "conflict-averse and criticism-averse" style of governance.

McGoldrick also had lots to say about Newsom’s penchant for trying to privatize essential city services — "We need to say, ‘Folks, look at what’s happening to your public asset’" — and his own sponsorship of Proposition K, which seeks to restrict advertising in public spaces.

"Do we have to submit to the advertisers to get things done?" McGoldrick asked us in discussing Prop. K, which he authored to counter "the crass advertising blight that has spread across this city."*

Stopping the GOP’s dirty trick

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A ballot measure that would effectively guarantee that the next president is a Republican — and quite possible guarantee GOP control of the White House for years to come — is headed for the California ballot, and the Democratic party has been a bit slow to respond. Considering that this is a Very Big Deal — about as big a deal as you can imagine, with the future of the world literally at stake — the Democratic party needs to pull out all the stops to defeat this thing.

And the bloggers aren’t waiting around for that to happen.

Already, there’s a lively campaign underway at Nodirtytricks.com — and it features a stunning video from Bradly Whitford, better known as Josh on the West Wing. Check it out:

Witch, please

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› cheryl@sfbg.com

If you can end your Toronto International Film Festival experience with a movie that climaxes in a 10-minute fistfight (roofs collapse, cinder blocks are smashed, tables become splinters, ankle bones snap like twigs, and vengeance is won … but at what price?), that qualifies as a joyous note in my book. And fortunately, it’s my book we’re talking about — specifically, my TIFF screening list, which by the end of my festival stint was completely mangled by incoherent scribblings and intricate schemes involving cinematic scheduling and basic human needs (chief among them sleep, which was often totally disregarded).

There’s a fine art to festivalgoing. I’m not sure I’ve mastered it yet. But I managed to see 26 (and a half) movies, probably missing some that I should have seen and certainly digesting a few disappointments. Another critic could spend a week in Toronto and see none of the films that I saw; my tastes run toward horror, documentaries, Hollywood and accessible indie stuff by directors I admire, and Hong Kong cinema (like the ankle buster mentioned above, the Donnie Yen–<\d>starring Flash Point). Plus, you gotta work in at least a few totally random selections — otherwise, what’s the point of being surrounded by cinema 24-7?

The big bananas in the horror bunch were Dario Argento’s Mother of Tears, the long-awaited conclusion to his witch-happy Three Mothers trilogy, and George A. Romero’s Diary of the Dead, hyped as the legendary zombie king’s return to no-frills filmmaking. I also followed my thrill-sniffing snout to Spanish newcomer Juan Antonio Bayona’s The Orphanage and the French Frontier(s), directed by Xavier Gens (whose Hollywood debut, video game–<\d>based Hitman, is currently trailered on Death Sentence). I’m a huge fan of Argento’s gialli and flashy, trashy, blood-soaked horror epics — and while I’m aware of the argument that he hasn’t made a great film since 1985’s Phenomena, Mother of Tears offers vintage pleasures galore. You want a coherent story and subtle acting? Look elsewhere (perhaps to the ghostly, Guillermo del Toro–<\d>produced fable The Orphanage). Argento’s tale starts with a cursed urn and snowballs into mad hysteria, grabbing a gold-toothed witch, Argento ex (and Mother star Asia Argento’s real-life mother) Daria Nicolodi, a creepy monkey, and exorcist Udo Kier en route to a church-burningly ridiculous conclusion. In other words, I loved it.

I wasn’t as sold on Frontier(s), a well-made but derivative Texas Chainsaw Massacre descendent that squanders its interesting Paris riots context. And it’s my sad duty to report that Diary of the Dead is hardly essential Romero. Glowing reviews published elsewhere baffle me. Diary works an of-the-moment theme of kids subverting the mainstream media via user-controlled Internet sites — post–<\d>undead apocalypse, the only source of truth for the masses. But it becomes caught up in Making a Statement, and its narrative device — camera-wielding film student obsessively documents the undead uprising — is completely irritating. Sorry, but I’ll take the flawed-but-fun Land of the Dead any day.

Enfolded into my documentary diet were several music-themed entries, including Heavy Metal in Baghdad and Joy Division, and the doclike narratives Control and I’m Not There. We all know things are bad in Iraq, but Heavy Metal puts them on a regular-dude level that CNN reports don’t often facilitate. Metal outfit Acrassicauda love Slayer and Metallica, and they (and their fans) just wanna rock. At the start of the film (exec-produced by Spike Jonze and codirected by Suroosh Alvi, the cofounder of Vice magazine, and Eddy Moretti), the musicians claim they aren’t a political band. Attitudes change, thanks to Scud missiles (which destroy their practice space and all of their instruments), pressure from a culture that frowns on long hair and headbanging, and a post–<\d>Saddam Hussein environment of extreme danger (machine-gun fire is just part of the street noise). Less contemporary but no less absorbing is Joy Division, Grant Gee’s reverent and artful look at Manchester’s pioneering post-punkers. Lead singer Ian Curtis is the focus of Control, a black-and-white wonder by music-video vet Anton Corbijn that focuses mostly on the troubled Curtis’s rocky personal life. Meanwhile, Todd Haynes creatively interprets the music biopic — as he’s done before with Superstar and Velvet Goldmine — with I’m Not There, a freewheeling (yet carefully calibrated) look at Bob Dylan. An array of famous folks — the stunning Cate Blanchett among them — portrays an array of Dylanesque characters. Though I could feel the movie being deliberately arty at times, it worked for me. And I’m not even a huge Dylan fan.

I’m running out of space, and I haven’t even gotten to three of my favorite TIFF films, so I’ll just lump ’em in here. Son of Rambow got mad props at Sundance, and with good reason; you’d have to be completely heartless to not love this tale of two British boys who bond over the one thing they have in common: First Blood. You know you’re gonna see No Country for Old Men anyway, because seeing the new Coen brothers movie — well, that’s a no-brainer. Lucky for you, it’s their best film in years. If Oscar don’t bite, there’s no hope for Oscar. I know the gold guy will totally ignore Harmony Korine’s Mister Lonely, and that’s OK. I doubt the multiplex crowd will go for its sweetly bizarre tale of celebrity impersonators (Michael Jackson and Marilyn Monroe specifically, but other faux familiar faces, including Abe Lincoln and Buckwheat, make appearances) — and that’s not even mentioning Werner Herzog or the skydiving nuns. Amid all the witches, zombies, and actual movie stars, it was my favorite TIFF film.*

More treasures from the Island

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By Molly Freedenberg

Still a little fuzzy on what the Treasure Island Music Festival was like? Think blue skies, a slight breeze, and the scenes yours truly captured below.

zionidark.JPG
Not even the brief power blackout could ruin Zion I’s upbeat, playful mood. When the sound and video stopped working, the freestylin’ MCs just worked harder to keep the crowd going.

Record labels, quit playin’ games with my heart – hurry up and release these CDs over here already

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candiepayne.jpg
Sweet on unreleased-in-the-US Candie Payne.

By Todd Lavoie

Look, I know America is supposed to be the land of infinite choice and all – y’know, 287 types of toothpaste to choose from in the supermarket aisle, right next to the avalanche of deodorants eagerly waiting to cripple you with consumer-paralysis – but sometimes we really seem to let a lot of the good stuff slip clean out of our nets, don’t we? Take chocolate. Sure, we’ve got all sorts of lovely nibbles on offer in this country, but why, oh, why must it take a small miracle to track down a Crunchie Bar in Cheneyland? It shouldn’t be so hard for this young buck to snuff out a sticky-sweet choco-honeycomb yummable when he’s got the hankerin’ somewhere over yonder in the Heartland, should it? Say what you will about British cuisine, but they make some f-f-fine candybars – too bad you can’t find the damn things in Peoria. What did Mick and Keith say? “You can’t always get what you want.” Oh, yeah. So shut up and eat your Hershey Bar.

Now, if that’s not enough to wet my eyes, how about this sad state of affairs: here we are, with hundreds of record labels between our coasts, and yet some of the finest albums of the year come from artists who don’t even have American record deals! Or, in some cases, if they do have an American label, they still have to wait an eternity for its release. Case in point: my beloved Super Furry Animals, who I will get to later.

I could go on about the priorities of record companies, et cetera, but honestly, who cares? Economics bores me. Macro, micro – can I stifle this yawn? Me, I’ll take art, thanks. Too bad the music labels don’t always seem to feel the same way.

So, what I’ve done here is cobble up a humble list of noteworthy 2007 CDs that have yet to see the light of day here in the U. S. of A. It’s a low-down dirty shame that these little gems are import-only when the cut-out bins of every blue-polo-shirted, name-tag-requiring “music retailer” across the country are groaning with the latest round of Fall-Out Boy/Good Charlotte knockoffs that exited Hindenburg-style upon release. (Goading behavior, you say? Never!) And while I recognize that the Guardian may not move and shake in the same earth-shattering directions as the mighty-mighty Pitchfork.com in molding public taste – yet – here’s my bidding for making things right. Record execs, if you’re out there: take note. Folks need to hear this stuff. Record geeks, write these suckers down. They’re worth the extra cash.

1. Candie Payne, I Wish I Could Have Loved You More (Deltasonic) Do you swoon for Dusty Springfield and her bewitching white-girl soul confessions? Do Portishead’s spy-movie tearjerkers still give you the post-cocktail blues? Liverpool’s Candie Payne slinks and sashays somewhere in between the two, shimmying her simple – but elegant – see, pop can still be elegant! – blue party dress under a canopy of flute trills, soundtrack-worthy-string and brass arrangements, and some deliciously moody-ass organ. While she may not carry the same emotional devastation as Portishead’s Beth Gibbons – but who can, honestly? – Payne can be quite disarming with her sweetness, cooing away gently while sending an unequivocal kiss-off on the slow-shuffle of “Why Should I Settle For You?’ Another highlight, the Sandie Shaw/Petula Clark-informed “One More Chance,” is perhaps one of the most sweetly sincere baby-come-back songs I’ve ever heard. Or how about this video for the title track, in which you get every possible camera angle of Payne’s head? Oh, and she’s so tough on the eyes, too, poor thing:

Freddy Krueger: song-and-dance man

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Jason had a bigger knife, and Michael Myers got the trendy Rob Zombie treatment. But ol’ razor-hand had the best musical moments by far. The highlights:

Dokken, “Dream Warriors” – Is Patricia Arquette scared of Mr. Krueger — or Don Dokken’s fashion?

The Fat Boys, “Are You Ready for Freddy?” – Clad in striped sweaters, the Fat Boys are enticed to spend the night in “Uncle Frederick’s house.” Plus: Freddy raps!

There’s no YouTube video of DJ Jazzy Jeff and the Fresh Prince’s “A Nightmare on My Street.” So here’s a truly bizarre karaoke version. Some context for this performance might help … though it’s kind of more amazing without.

How soon is now?

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› johnny@sfbg.com

REVIEW Sixteen minutes with Lars Laumann? Well, I didn’t say no, and discovered that his video Morrissey Foretelling the Death of Diana is as uncanny as its title is ludicrous. This present-day conspiratorial artifact makes a Smiths devotee feel like Jim Garrison during a virgin viewing of the Zapruder film. Laumann weds a looped melody from the Smiths’ instrumental "Oscillate Wildly" to TV news footage, music-video clips, and visions from the ’60s kitchen sink cinema that have inspired (and provided) Morrissey lyrics, using all of the above as a backdrop to a voice-over lecture that links the 1986 album The Queen Is Dead to the Aug. 31, 1997, death of Princess Diana. Even if you have no interest in (or an aversion toward) the title’s pair of late 20th-century British cult figures, the result casts a comic yet eerie spell.

At this point, it’s fair to say that Smiths-inspired art has become a subgenre, a phenomenon flourishing to the degree that it deserves a book-length essay — ironic, since most of the video and visual art projects responding to Morrissey and company are far superior to the shelf of books that have been written off of his name.

Laumann’s video doesn’t pack the emotional wallop of the Istanbul-set karaoke in Phil Collins’s installation dünya dinlemiyor (The world won’t listen), which did time at the San Francisco Museum of Modern Art last fall. But the Oslo, Norway, artist is exploring something different than is Collins, whose update of Andy Warhol’s screen tests allows for compassionate views and expressions of fandom. Drawing heavily from David Alice’s site www.dianamystery.com, Laumann’s short work reaches for the extraterrestrial stars in presenting the organic quality of conspiracy theory during the Internet era. As in Lutz Dammbeck’s Unabomber documentary The Net, the final conclusion (if there is such a thing) matters less than the numerous revelatory or ludicrous destinations that are part of the narrative’s crazy maze.

Morrissey Foretelling the Death of Diana helps kick off a staggered series of videos showcased over the next two months in "There Is Always a Machine Between Us," at SF Camerawork. Curated by Kate Fowle, Karla Milosevich, Chuck Mobley, and Chuck Orendorff, the overall exhibition toys with Skype, mouse-triggered wall projections, and an orange-hued approximation of living-room DVD viewing. Some viewers might find it inherently problematic for lo-res video to receive bigger-screen treatment. Regardless, the varied combos of form and context here aren’t as provocative as the material gleaned by the select group of Web trolls whose research is on display.

Web trolling as gallery fodder — is this just one more ploy to destruct ye olde sacred art space so it can be mistaken for YouTube or an amusement park? If so, I’m happy that the likes of Cliff Hengst, Matthew Hughes Boyko, and Matt Wolf are doing the handiwork. More than one contributor to the exhibition’s DVD library includes the YouTube mainstay CPDRC Inmates Practice Thriller, yet Hengst’s, Boyko’s, and Wolf’s compilation DVDs also showcase distinctively deranged aesthetics. Hengst gives us Anna Nicole Smith outtakes, Barbra Streisand swearing at a heckler, and an industrial clip he aptly titles Clowns vs. Old People: The Final Battle. Beginning with another YouTube hit, Cobra vs. Baby, Boyko’s DVD moves on to revealing moments when onlookers seize control of imagery from stars, such as an unedited version of Tom Cruise getting sprayed in the face at a War of the Worlds premiere and the aftermath of Tara Reid inadvertently flashing a post-op nipple during her zillionth red carpet stroll.

Wolf’s DVD, featuring moments such as Kerri Strug Olympic Vault (singled out for its revealing masochism) and a clip of Ryan Phillippe playing the first gay teen in daytime soap history, offers only a taste of the imitations of Imitation of Life found on his site, mattwolf.info. More than the research DVDs provided by some of the show’s other videomakers, it adds to the richness of his work on display. In Smalltown Boy, Wolf — who is currently working on a documentary about the late musician Arthur Russell — picks up the baton left by Todd Haynes sometime at the cusp of the ’90s, combining TV-documentary motifs such as voice-over and interview to tease out a link between the late David Wojnarowicz and a teenage girl obsessed with My So-Called Life. The conspiratorial thread that runs through "There Is Always a Machine Between Us" resides within Smalltown Boy as well, in a manner that is all the more effective for being muted.

Fifteen minutes with Markus Linnenbrink? Well, I didn’t say no — and didn’t regret spending that amount of time and a bit more with his wall painting, epoxy resin paintings, and sculpture at Patricia Sweetow Gallery. Though slick on the surface, with a lively sense of color that exposes the rote and drab quality of some Bay Area work, on closer examination the German Linnenbrink’s paintings possess candy cane sickliness. The queasy factor is only magnified by the suspended drops of paint that hang from the bottom of some works, or, in the case of ALLESWIRDWEITERGEHNINEEINPAARSEKUNDEN, by hundreds of pockmarks. (Twisting things inside out once again, these pocks are gorgeous on closer examination, resembling the interiors of porcelain saucers or cups.) The muscularity of Linnenbrink’s process — Clement Greenberg and Jackson Pollock would approve — is counterbalanced by his fondness for bits of glitter and his droll flair. Though he’s understated in comparison with Douglas Gordon when it comes to temporal commentary, his titles sometimes question whether it is the paintings or their viewers who are loitering.

THERE IS ALWAYS A MACHINE BETWEEN US

Through Nov. 17

Tues.–Sat., noon–5 p.m., free

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org

FIFTEEN MINUTES WITH YOU

Through Oct. 20

Tues.–Sat., 10:30 a.m.–5:30 p.m., free

Patricia Sweetow Gallery

77 Geary, mezzanine, SF

(415) 788-5126

www.patriciasweetowgallery.com

Somewhere over the White Rainbow

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Adam Forkner’s creativity is now almost entirely unfettered. Performing and recording as White Rainbow, the onetime Yume Bitsu member today experiences few blockages between said creativity and the musical end product, and as a result he’s "finally understanding how to make music that [he’s] proud of." It’s a rather surprising sentiment considering his bang-up musical pedigree: ((((VVRSSNN)))), Dirty Projectors, Jackie-O Motherfucker — none of which are even slightly inhibited in the invention department.

This newfound creative clarity, which Forkner describes over the phone from his home in Portland, Ore., is thankfully not confined to the depths of the White Rainbow DAT machine. His music — a droney assemblage of syncopated rhythms and looped, tripped, and delayed instrumental layers — humbly offers the vibes of its healing ambience to all listeners.

Inspired chiefly by Terry Riley’s delayed keyboard pieces, White Rainbow’s music is mostly flat-out improvised. Live, Forkner employs a guitar, a microphone, a hand drum, and various looping devices and effects pedals to shape wispy, winding riffs and layered rhythmic patterns into wholly organic, psychedelic drone grooves. Earlier recordings, most of which are collected on 2006’s five-CD, single DVD Box (Marriage), reflect this purely improvisatory approach. His upcoming album for Kranky, Prism of Eternal Now, was constructed in a different fashion than before, as Forkner found himself using computers, with which he "deeply went in, sculpted, and added parts" to provide a more precise shape for his pieces.

This week’s beneficiaries of White Rainbow’s sonic balm will unfortunately not be treated to Forkner’s White Rainbow Full Spectrum Vibrational Healing Center, an occasional long-form live format that he cherishes: beneath a canopy, lights and video accompany his live instrumentation over several hours, during which listeners are free to come and go. "The motivation is to create a calming environment for me to be able to explore sound with people," he explains.

Yet isn’t this "healing center" business a bit hippieish for someone so indie rock? Forkner admits to "exploring his place in the New Age continuum," but his affinity for playing in odd outdoor or tented spaces shouldn’t be misconstrued as the sign of an impending Yanni career move à la Live at the Acropolis — dude just feeds off environments other than rock clubs, dig? With its music so deftly constructed and brilliantly serene, White Rainbow’s space is a place many might want to drop in on. (Michael Harkin)

WHITE RAINBOW

With Dirty Projectors, Yacht, and Sholi

Wed/12, 8 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Looks that kill

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› kimberly@sfbg.com

SONIC REDUCER When does music news boil down to a form of disaster reporting? Behold the universal slagging that accompanied the tepid Sept. 9 Video Music Awards performance by a sluggish, underwear-clad Britney Spears, postpreggers bulgy and freshly toasted from a supposed turn at Burning Man (yet another sign of the event’s apocalyptic death throes, scuttling my long-dreamed-of plans for a Playa Hater’s Camp at Black Rock?). OK, Brit is a mess — the nonstop media slam dance is starting to nauseate me, despite Spears’s unconvincing pleas to give her more.

But maybe in a microfragmented, nano-niched pop universe, we’re all just looking for a few things to agree on, like: Rihanna embodies class (is it the Posh Spice asymmetrical bob?), Justin Timberlake looks good next to his Mickey Mouse Club ex and his Sept. 12 Shark Tank opener Good Charlotte, and Spears needs a handler she can trust so we can cease critically burning her. There is such a thing as too much freedom — as several Mötley Crüe-dites have proved of late. San Jose native Nikki Sixx’s collection of ’80s journal entries The Heroin Diaries — out Sept. 18 — shows that it’s never too late to exploit one’s excesses, while Bret Michaels from Poison’s VH1 series Rock of Love takes The Bachelor‘s formula to a skanksome low, as his prospective mates — coldly self-promoting, sharky rock chicks all — manage to outshine the shameless star with their backbiting, bitchery, and oh so many looks that kill.

Yet it doesn’t have to be this way. Witness, a galaxy away, the communal, mammalian planet Animal Collective. Much has been made in the past five years or so of the collectivist spirit infusing art groups like Hamburger Eyes, Royal Art Lodge, and Space 1026. Music collectives have been overshadowed, although San Francisco’s Thread Productions collective seems to be finding its rhythm via Tartufi, Silian Rail, Low Red Land, Birds and Batteries, and Sky Pilots, and a few art ensembles like Forcefield persist via recordings.

Through it all, though, Animal Collective have continued to fly their fellow-feeling flag high, despite multiple solo outings, loudly thumping the drum for the notion of continual artistic exploration and Strawberry Jam (Domino), their latest, almost poppily upbeat album. All the members possess the freedom to leave anytime they want to — and to combust messily all over blogosphere gossip sites if they care to — but they choose to stay and play with their happily bent song structures.

Panda Bear, né Noah Lennox, has seen his share of success with this year’s solo Person Pitch (Paw Tracks) and has had to struggle with the tug of his Lisbon, Portugal, home, where he’s lived for more than three years with his wife and daughter, and touring with the loose collection of onetime Baltimore schoolmates now scattered between New York City and Washington, D.C. Stuck in traffic with Avey Tare (David Portner), Geologist (Brian Weitz), and Deakin (Josh Dibb) outside Toronto, where they have a show, the 29-year-old Lennox says earnestly, "I hope people show up. I get nervous about performing — it takes over from the worry about whether people are going to be there."

Strawberry Jam‘s title came to him during a dreamy airline encounter. "On the little tray of food was a packet of strawberry jam. I opened it up and looked at that stuff," he explains. "It was futuristic looking, gooey, but it also looked sharp in a way. I thought it would be cool if it we could get the music to sound like that."

The final recording, produced by longtime Sun City Girls producer Scott Colbourn, who also oversaw Feels (FatCat, 2005), drones and shimmers with fewer overdubs than they’ve used in the past, surging with the band’s trademark bell-shaking, ethereal gloss ("#1"), an almost Madchester bounce ("Peacebone"), and infectious, nearly melodic manifestos ("Winter Wonderland"). "I guess we wanted to do something different than anything we’d done before and hopefully different from anything we’d ever heard before," Lennox says. "That’s what we get psyched about overall."

Having only to dread the retread, Lennox even embraces that three-letter word — jam — in reference to the band. "Maybe there’s a bit of a crossover," he says sweetly. "That’s cool. There’s a lot of Grateful Dead fans in our band."

ANIMAL COLLECTIVE

Mon/17, 8 p.m., $25

Fillmore

1805 Geary, SF

www.ticketmaster.com

WHAT GOES AROUND

AD HAWK


Coalition of Aging Rockers just keeps on noisily aging: Charalambides’s Tom Carter and other acolytes pay tribute to the fab space rock fossils of Hawkwind. Wed/12, 6 p.m. $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

MASERATI


The Kindercore survivors play alongside Thread Records collectivists Silian Rail and Sky Pilots. Wed/12, 9 p.m., $8. 12 Galaxies, 2565 Mission, SF. www.12galaxies.com

YO MAJESTY


Sunshine State crunk-punkers promise to pick up where ESG left off. Wed/12, 9 p.m., free with RSVP at going.com. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

BONFIRE MADIGAN


Ex–<\d>SF riot grrrl cellist Madigan Shive joins the local Best Wishes. Thurs/13, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

TOMUTONTUU AND VODKA SOAP


Finland band generates eerie cryptonoise alongside Skaters spin-off project. Fri/14, 9 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

VHS OR BETA


The Southern dance rockers bring their comets. Fri/14, 9 p.m., $15. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

SPECTRUM


Spaceman 3 alum Sonic Boom helms one of the finest free street-fair experimento lineups ever at the Polk Street Fair. With Triclops!, TITS, Los Llamarada, and Lou Lou and the Guitarfish. Sat/15, noon–7 p.m., free. Polk and Post, SF. www.hemlocktavern.com

HANDSOME FURS


Wolf Parader Dan Boeckner breaks out his silky Sub Pop side project. Mon/17, 8 p.m., $10–$12. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

HIGH ON FIRE


Death be not proud, the Oakland metallists claim, waving a fierce new Relapse disc, Death Is This Communion. Tues/18, 7 p.m., free. Amoeba Music, 1855 Haight, SF.

LEAVE BRITNEY ALONE!

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I knew there had to be a silver lining to the predictable cavalcade of hate for B_____y S____a’ VMA performance: it’s providing Chris Crocker with his biggest crossover to date.

chris1.png

He brings it, too, seizing the moment to let us all know what the title “Gimme More” is about and to show why Perez Hilton is worse than Paris Hilton. What in tarnation has the 21st century answer to Jonathan Caouette’s boy-self wrought? Video diaries beyond his wildest dreams.

This may make you laugh, but remember, he’s crying for us all.

Britney vs. Petraeus

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Ah, a cozy Sunday night spent toggling between Britney Spears’s expectedly disappointing performance on MTV’s Video Music Awards and early word of Gen. David Petraeus’s expectedly disappointing – to those hoping for a rapid draw down of forces overseas, at least — “report on Iraq” that our dear “Austria, Australia, what’s the dif?” President will pretty much base all of his future expectedly disappointing decisions on.

Both of these media hotspots are shaping up in the mind as almost miraculously opaque; the twin poles of current American culture — celebrity and violent hubris — apexed in such highly anticipated but awkwardly non-eventful performances that the status quo can only feel impelled to continue (dribble, dribble): Ms. Spears giving us tottering, soulless blah-horridness that will provide more WTF grist for her rumor mill$ …

brit.jpg
Praying for coverage. Screen grab from mtv.com

….and General Petraeus giving us simply a slight blah torque on Bush’s “stay the course.” (Petraeus’s recommendations before Congress tomorrow, reportedly, will be to withdraw one surge battalion by December and four more by next August – a minutely faster timetable than Bush’s “experts” had been predicting.) Of couse, Britney’s decisions haven’t killed thousands — or have they?

Feast: 7 homey hearths

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Amber is my living room, and not just because I really like Pabst Blue Ribbon and smoking inside. It’s also because I live in a city where rents are high and living space is scarce, where community rooms are shared with multiple people (if there are community rooms at all), and backyards tend only to be big enough for the recycling bin. In suburban places, people share community and comfort around backyard barbecue pits and luxurious living-room couches. They have dinner parties and cocktail hours and invite friends over for tea. But here, we go to bars and restaurants and taverns and coffee shops. These are the places where we meet our neighbors, celebrate special occasions, while away idle hours, have intense conversations. And so, in many ways, these places — particularly those in our neighborhoods — become extensions of our homes and hearths. As the cold weather approaches (global warming willing), I’ve been thinking more about the literal interpretation of hearth; Amber serves me for late-night writing sessions and drunken postdate tell-alls, but where will I go when I want to curl up with a hot chocolate — or a hot toddy — and a long Russian novel? When I want to play Trivial Pursuit late into the cold night with a small group of good friends? When the weather outside is frightful and my date is so delightful? Where, by god, are the fireplaces? In this city of Edwardian apartments retrofitted with gas heaters (and roomies who have to get up early), here is a list of places with flickering flames and belly-warming booze.

BITTER END


I don’t think the Irish invented the fireplace, but they may have the patent on its best use. Wood paneling? A flaming heat source? Thick beer and hot soup? All Irish pubs seem to have ’em — and this Irish-style Richmond locale is no different. Stumbling into the Bitter End feels a bit like wandering into an O’Malley’s or a McSweeney’s in any country in the world — and with items like shepherd’s pie, Gaelic chicken with whiskey, and beer-battered appetizers on the menu, it’s almost like wandering into one in Ireland itself.

441 Clement, SF. (415) 221-9538

MCKENZIE’S


Sometimes you want cozy and kooky all in the same shot — and those are the times you end up at McKenzie’s. This small local favorite is half neighborhood bar in a mountain town (downstairs) and half cheap hostel (upstairs). Either way, it’s charming: small tables cluster around a fireplace over which a flat-screen television broadcasts sports, a jukebox blasts cheesy-but-lovable ’80s hits, and a live-feed video camera in the upstairs lounge, its images visible to every patron downstairs, lends itself to endless prank possibilities.

5320 Geary, SF. (415) 379-6814

ZEKI’S


Wanting no frills in Nob Hill? Try Zeki’s, which boasts two fireplaces — one by the pool table and one directly across from the leather-lined bar. With paraphernalia from old movies lining the walls and a good selection of European beers on tap, you’ll quickly see why this is a favorite spot for both old-school regulars and just-stumbled-in newbies.

1319 California, SF. (415) 928-0677, www.zekisbar.com

JOHN BARLEYCORN


If ever there were a place that personified hearth, it would be John Barleycorn, the little mountain lodge in the city that’s in danger of disappearing by November. This is the place to order strong whiskey from a salty but jovial bartender, to sip it while sitting on church pews in front of roaring flames, to break out a game of rummy or Scrabble (housed in a cozy room behind the chimney) long after you’d already planned to go home.

1415 Larkin, SF. (415) 771-1620

FIRESIDE


A cross between a dive bar and a swanky hipster joint, this Sunset watering hole embodies the schizophrenia of its up-and-coming neighborhood. Which seems to be fine with the down-to-earth drinkers who perch on leather couches around the neon-lit fireplace that anchors the room’s otherwise understated decor.

603 Irving, SF. (415) 731-6433

WILD SIDE WEST


A favorite of lesbians citywide and heteros in the know, this Bernal Heights beauty is most famous for its gorgeous garden patio. But a woodstove, a great jukebox, and strong, well-made drinks also make it perfect for those cold, foggy nights when all you want is a soft scarf, a smooth Scotch, and someone — boy, boi, or girl — to spoon with.

424 Cortland, SF. (415) 647-3099

HIDDEN VINE


OK. Including Hidden Vine may be cheating, as this secret hideaway doesn’t have a fireplace per se. But it’s sure got the atmosphere. Though this is a high-end drinkery, featuring a different wine region every month and offering an impressive selection of artisanal cheeses, the Vine is more comfy than chichi. And a display of white votive candles gives the impression — if not the heat — of a fireplace’s warmth.

620 Post, SF. (415) 674-3567, www.thehiddenvine.com*

Bedsit cinema of ’60s England

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The early ’60s French new wave gets imitations and retrospectives and books galore, but in terms of homage, the British new wave of roughly the same era hasn’t been gifted with much more than a number of Smiths 7- and 12-inch singles covers and some Morrissey lyrics. Such tributes are nothing to sniff at, but an orange Shelagh Delaney on the cover of Louder Than Bombs or a picture of a pouty Rita Tushingham on the packaging of Sandie Shaw’s version of "Hand in Glove" don’t amount to the unanimous praise and canonical status given to, say, Jean-Luc Godard.

The subject of the new Pacific Film Archive series "Look Back at England: The British New Wave," "bedsit" or "kitchen-sink" British film drama of the early ’60s has often been a target for critics. Pauline Kael sneered at its emotions. The films of Tony Richardson and the acting of Tushingham have met no greater naysayer than Manny Farber, who devoted an entire essay, titled "Pish-Tush," to attacking Tushingham as the foremost example of a "megalomaniac star who can make the simplest action have as many syllables as her name." No doubt about it, Tushingham is mannered. But more than 40 years on from Farber’s essay, many and much worse offenses have been committed to celluloid and video, and it’s easy to see the merits of a movie such as 1962’s A Taste if Honey, written and directed by Delaney, whose dialogue and lead-colored riverside scenario provided Morrissey with an entire song ("This Night Has Opened My Eyes," far more doleful than A Taste of Honey) as well as a number of lines to steal for other lyrics.

"Look Back at England," which looks at nearly a decade of filmmaking, kicks off this week with Richard Burton abusing a Claire Bloom much wimpier than his future real-lire and onscreen wife in Richardson’s 1958 adaptation of John Osborne’s Look Back in Anger and ends with the Stanley Kubrick–tinged Malcolm McDowell antics of Lindsay Anderson’s 1968 If… In between, you’ll find Tom Courtenay, madcap in 1963’s Billy Liar (sampled on Saint Etienne’s album So Tough) and haunted in 1962’s The Loneliness of the Long Distance Runner; and Albert Finney, loutish in 1960’s Saturday Night and Sunday Morning and Michael Caine posh loutish in 1966’s Alfie. Prototypical angry young men? Yes. But women had major roles as well — the period introduced us to the divine Julie Christie (in Billy Liar, her appeal later inspiring a song by Yo La Tengo, and in 1965’s Darling) as well as Tushingham, who meets her everything-and-the-kitchen-sink directorial match in Richard Lester in The Knack … and How to Get It, a 1965 film as narratively wild as Godard’s work of the era, if not wilder.

Yo La Tengo, Saint Etienne, the Smiths: funny how the seeming dreariness of British bedsit movies inspired maybe even more great pop acts than did the French new wave visions of and for the children of Marx and Coca-Cola. You can also find the seeds of the lurid extravaganzas of Derek Jarman in some of these pictures, if not the phallic frenzies (to borrow the title of Joseph Lanza’s new book) of Ken Russell and the hallucinations of Nicholas Roeg. The hyperextravagant Joseph Losey could find a home within the modest British new wave (his 1963 The Servant is a touchstone, thanks to Dirk Bogarde’s career peak performance). And while a contemporary director such as Kiyoshi Kurosawa loves his French new wave, he’s no stranger to the British corollary either. His Séance (2000) is based on Bryan Forbes’s 1964 Séance on a Wet Afternoon.

Speaking of Forbes, his excellent The L-Shaped Room (1962), starring a low-key Leslie Caron in a Tushingham-style unwed mother role, is one of the few links missing from "Look Back at England." But you can seek it out on video — and discover the source behind the opening moments of The Queen Is Dead. (Johnny Ray Huston)

LOOK BACK AT ENGLAND: THE BRITISH NEW WAVE

Sun/2 through Oct. 26

Pacific Film Archive

2575 Bancroft Way, Berk.

(510) 642-5249

www.bampfa.org

Class of 2007: J.Nash

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SUPERLATIVE Most Likely to Get Nasty

QUOTE "I’m about to eat your ass like soul food."

If you’re looking for the future of hyphy, vocalist J.Nash is already there. Never mind that his versatile vocals link the two hottest Bay Area rap albums this year: Mistah FAB’s Da Baydestrian (SMC) and Turf Talk’s West Coast Vaccine (Sic Wid It). His own album, Hyphy Love (Soul Boy/Urban Life), is a genre unto itself, a fusion of hyphy and R&B that Nash calls R&Bay. Hailing from East Oakland’s Murder Dubs — otherwise known as the 20s and home to Beeda Weeda, who appears on Hyphy Love — Nash used to rap, but, he points out, "Everyone was rappin’, so I switched," employing skills learned primarily at church. Nonetheless, apart from a brief stint as a member of vocal group Rewind, he says, "I always messed with rappers, like Laroo and Keak."

Nash’s date with destiny, however, was meeting up-and-coming rapper FAB, who appeared on Nash’s 2005 out-the-trunk album, Real Man (Soul Boy), shortly before blowing up with Son of a Pimp (Thizz Ent., 2005). "I thought I was doing him a favor," Nash says with a laugh, acknowledging how much the association with FAB boosted his career.

FAB protégé Rob E also produced half of Hyphy Love, letting his hair down even more than on Baydestrian. These tracks are fleshed out with productions by heavyweights like Droop-E and Sean T, whose beat on "Hyphy Dancin’" transforms the sound with a throwback ’80s paint job, resulting in one of the disc’s most unique songs.

Lest anyone think Hyphy Love is all hyphy and no love, Nash delivers a number of excellent, more conventional slow-jam-style ballads, with a flexible tenor that moves up to alto and down to baritone. As an artist who writes his own material, Nash never suffers from the lyrical banality typical of contemporary R&B. Like R. Kelly, whose work he admires, Nash brings out the nasty. There’s something hilarious about hearing the line "I’m sucking on those big ol’ boobs" delivered with the agonized passion of a slow jam. It’s a much more realistic thought in a sexual situation than the usual "Hold you in my arms" crap.

Nash has already started to generate buzz thanks to a lo-fi video for his advance single, "Cupcakin," with J-Stalin, which has scored more than 35,000 hits on YouTube and has been cross-posted all over the Net. A second, more professional video for the more hyphy "Show You Love" has just debuted. Expect live shows in clubs around the Bay.

"Once you see me perform," Nash says with a rapper’s swagger, "it’s over. I got you. You’re going to become a fan." (Garrett Caples)

Classic! Ching Chang’s other fall opera and classical music picks

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From upon high: Tallis Scholars.

As summer melts into fall, symphonies, singers, and fine classical music purveyors shift into high gear. Contributor Ching Chang delved into a few Philip Glass performances, and offered an array of classical and opera picks in his fall arts preview – here are a few more selections.

More Philip Glass Works

Music for Two Pianos

This benefit concert for the Other Minds festival highlights Dennis Russell Davies and Maki Namekawa in a recital of works for two pianos by Philip Glass and JS Bach, as well as new works by Balduin Sulzer, Chen Yi, and San Francisco composer Adam Fong.

Oct. 11, 8 p.m. (panel discussion 7 p.m.), $20-$50. Herbst Theatre, 401 Van Ness, SF. (415) 934-8134, www.otherminds.org

Synesthesia: Bridging the Senses

San Francisco Conservatory of Music’s BluePrint presents a performance of Philip Glass’s Facades, with projections by local video artist Elliot Anderson.

Oct. 13, 8 p.m. (discussion 7:15 pm.), $15-$20. Concert Hall, SF Conservatory of Music,
50 Oak, SF. (415) 503-6275, www.sfcm.edu

More Classical Music to Look Out For

Strauss’s Alpine Symphony

Young Swiss conductor Phillippe Jordan is quickly emerging in Europe as an exciting interpreter of Richard Strauss. For his SF Symphony debut, he leads the Alpine Symphony, a massive tone poem scored for an orchestra of 120 musicians, which the composer uses to capture the epic feel of a journey through the Alps.

Oct. 25, 8 p.m., at Flint Center for the Performing Arts, 21250 Stevens Creek, Cupertino. Oct. 26-27, 8 p.m., at Davies Symphony Hall, 201 Van Ness, SF. $25-$125. (415) 864-6000, www.sfsymphony.org

Tallis Scholars

The finest a cappella ensemble in the world, the Tallis Scholars pay a visit to the Bay Area in their latest US tour, performing renaissance motets by Palestrina, Mouton, and Josquin, and other 15th and 16th century works centered on the Virgin Mary.

Nov. 30, 8 p.m., at First Congregational Church, 2345 Channing, Berk. Dec. 1, 8 p.m., at Grace Cathedral, 1100 California, SF. $48. (510) 642-9988, www.calperfomances.net

Concierges on the cheap

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The concierge desk in the lobby of the Sir Francis Drake Hotel was doing a brisk business on a recent Sunday afternoon. Located a few strides north of Union Square, the Drake is best known for its colorful doormen, who work the curb out front in cartoonishly red costumes. But on this day the doormen seemed to be just killing time, while the concierge, a tall blond named Jill Schultze, was dealing with the long line inside.

"How can I help you?" Schultze asked the elderly couple at the front of the queue. They told her they were interested in taking a bus sightseeing tour. She looked pleased, recommended a specific tour of the Napa wine country, then picked up her phone to make the reservation.

"That was easy," the wife said once the transaction was complete.

For the next half hour, Schultze — whom I watched from a nearby chair without her knowing that I was a journalist — set up one bus tour after the next. In fact, that’s all she seemed to do — or, at least, all she did well. When a party asked for a recommendation for Indian food, she suggested the nearby Naan-N-Curry on Eddy Street, a restaurant that (apparently unknown to her) closed down last year.

One might expect better of a concierge at a place like the Drake, which boasts a AAA three-diamond rating. But the Drake is one of many hotels in San Francisco that have decided professional, in-house concierges are too expansive to bankroll. Instead, the hotels are starting to lease their concierge desks to outside companies, often charging $1,000 a month for a spot in their lobbies. The outside companies, most of which are established vendors in the tourism world, happily incur the cost — and the responsibility of the desk — in exchange for exclusive access to the hotels’ clientele.

Tower Tours, the bus sightseeing company affiliated with the Drake, is the largest player in the growing outsourced concierge business. The company has created a sister enterprise called Tour Links, which runs the concierge desks at five San Francisco hotels: the Drake, the Argonaut, the Best Western Tuscan Inn, the Hyatt Fisherman’s Wharf, and the Hotel Whitcomb. Tour Links concierges like Schultze can range from longtime professionals to summer interns. They’re rotated from one hotel to the next, depending on how well a particular hotel likes them and where the holes in the Tour Links rotation might be. According to one former employee, Tour Links concierges are required to book Tower Tours bus sightseeing trips. The employee told the Guardian the concierges are required to book a minimum number of tours per month, although higher-ups within Tour Links deny there are quotas.

"Our tour desk do provide information about Tower Tours," Hagen Choi, the president of Tour Links and Tower Tours, conceded, speaking in choppy English. "But our concierge also provide high-level service. As long as guests get good service, it doesn’t matter who operates the desk."

Laura Meith, the assistant general manager at the Tuscan Inn, had high praise for the service Tour Links provides. She said her concierges are well-informed, loyal, and outgoing. But Meith also admitted that she worked for Tower Tours as a concierge in 2004 (before the bus sightseeing company formalized Tour Links). She said she was thrown into the fray with little training — "I quickly discovered Zagat and Google and really just utilized those resources" — and said she was denied tips and commissions.

"Basically, concierges can make commissions on anything they sell," Meith said. "At an outsourced concierge desk, the concierges don’t make the money, the company does. The incentive is to drive the sales." She added, "From the guests’ perspective, they don’t know, nor do they care."

The Holiday Inn at Fisherman’s Wharf and the Radisson Wharf both currently lease their desks to Airport Express, the mom-and-pop shuttle company that competes with Lorrie’s Airport Service. Like Tower Tours, Airport Express has created a sister enterprise, Concierge of America, to handle that responsibility. Gil Sherabi, Concierge of America’s head concierge, told us his company allows its concierges to keep their tips and doesn’t mandate any sales quota. They do, however, exclusively book Airport Express tours; it wouldn’t make financial sense if they didn’t.

"We only care about serving the customers," Sherabi said. "We don’t have any quotas on anything. As long as the hotel is happy, we’re happy too."

The Hyatt Regency has handed over its concierge desk to Presentation Services, the company that manages the hotel’s event technologies, such as stage sets, projectors, and audio-video. Presentation Services runs the desk in exchange for the business the hotel provides it. The four-star Westin Market Street leased its concierge desk to Tour Links until last week. According to several inside sources, SuperShuttle, Lorrie’s, and Airport Express are in a bidding war to fill the vacancy.

And then there’s Shell Vacations, the nationwide time-share company that owns the Donatello Hotel, the Inn at the Opera, and the Suites at Fisherman’s Wharf. Concierges at each of these locations are required to cajole guests into taking time-share tours for Shell Vacations. Shell Vacations also runs the concierge desk at the Sheraton Wharf, where its concierges pull the same stunt.

"Our concierges do have quotas they have to meet," Yvonne Merzenich, the assistant general manager at the Donatello, said. The sales center "has negotiated packages with local restaurants, so that if guests want a nice meal, we’ll offer them $100 off that meal if they go to one of our time-share presentations."

Professional, in-house concierges are understandably concerned about the long-term viability of their jobs and the impact of outsourcing on their reputations. I met with one member of Les Clefs d’Or, the prestigious concierge association, who called this new wave of outsourced concierges "un-American and absurd." Another told us that hotel managers need to get their priorities straight.

"It’s a difficult situation because the concierges do not generate revenue," she said. (All the concierges quoted in this story requested to remain anonymous, as they’re prohibited from speaking to the media without the consent of their hotels.) "But the concierges provide the services that the guests come back for. You can’t put a dollar amount on all that we provide."

Whether guests feel that way is a different matter. I caught up with Sandra Curtis, a tourist from New Castle, Australia, who was staying at the Drake recently. When I told her that the concierge who had just helped arrange her bus tour worked for a bus tour company, Curtis was unfazed.

"The concierge was very helpful," Curtis said. "And that’s the way it’s happening now, isn’t it? We’re from Australia, and everything’s outsourced there too."

Susan McDonough, a fellow Drake guest from Cairo, Egypt, was less enthusiastic.

"I question [whether] if I ask the concierge anything else other than about bus tours, will she work just as hard?" McDonough said. "It’s a way for the hotel to cut corners. I don’t like it."

Last year the Wall Street Journal was the first mainstream media outlet to identify the outsourced concierge phenomenon. In a story headlined "The Concierge’s Secret Agenda," the Journal revealed that many of America’s top hotel chains are leasing their concierge desks to third-party employers. The chains include Hyatt, Marriott, Starwood, and Kimpton. Online travel giant Expedia.com had already acquired control of 38 concierge desks when the article hit the streets. Ticket vendor Vegas.com had obtained control of six desks, with plans to open up shop in several dozen more hotels in 2007. As many as 15 hotels in Manhattan had already caved in, and there were more in places like Chicago, Orlando, Las Vegas, and San Francisco.

Unmentioned in the Journal‘s exposé was just how unruly the outsourced concierge game is in San Francisco. The national trend in the hotel industry is toward large-scale outsourced concierge providers, companies like Travelocity, Expedia.com, and Vegas.com. It’s the providers who are expanding their services and courting new hotels. But in San Francisco, midtier hotels are the ones driving the murky business. Many have leased their concierge desks multiple times, unsatisfied with the service they were receiving but unwilling to pay for better.

The Westin Market Street has switched four times, transitioning from in-house concierges to Gray Line Bus Tours, back to in-house, then to Tour Links. Last week the hotel fired Tour Links and is looking for another company to take its place. The Drake has switched outside providers four times as well. In just the past few years, it has fired Tour Links, hired Lorrie’s Airport Service, fired it, and rehired Tour Links.

Ed Gunderson, the Drake’s general manager, said his hotel outsources its desk because concierges are "pretty cost prohibitive" and "if you can find a really good [outside] company and can keep some autonomy over the concierges they bring in, it’s the best of both worlds." When asked if fluctuating from one provider to another is really the best of both worlds, especially for the guests, he replied, "Tour Links is providing a service we’re very happy with."

Adding to the turmoil is Choi. Most professional concierges we spoke to don’t like Choi. "He’s terrible and very litigious" was how one Les Clefs d’Or concierge described the Tour Links and Tower Tours president. "He’s scared the shit out of me." Many concierges associate the outsourcing phenomenon that’s costing them their jobs with Choi and Tour Links more so than with the hotels.

The Northern California Concierge Association has urged its members to strike back by enacting an embargo on Tower Tours bus trips. (There are three primary bus tour providers in San Francisco — Tower Tours, Gray Line, and Super Sightseeing — and each offers comparable sightseeing tours around the city, to the Napa wine country, and to Muir Woods.) The NCCA also won’t let Tour Links concierges join its ranks. "He can drink my blood, and I can drink his," one NCCA member said of Choi. "I think that’s a mutual feeling there."

Earlier this summer, I headed to Tour Links headquarters for a chat with the controversial Choi. I wanted to gain some general insights into the outsourced concierge phenomenon and some deeper ones into the operations of the city’s largest provider. No surprise: Tour Links and Tower Tours share the same headquarters, an impressive office on Beach Street with an unobstructed view of the Hyde Street Pier. I found Choi holed up inside, in a small, cluttered workplace. His desk was strewn with papers, and his walls were festooned with pictures of his daughter (a former Tour Links concierge) and a framed copy of the Wall Street Journal "The Concierge’s Secret Agenda" report. Choi had even highlighted his company’s name in the article.

To my surprise, I liked Choi immediately. He was funny and personable, and he spoke about his company with disarming candor. He told me that in 2003, Expedia.com came to town and started cutting deals with hotels behind the scenes. Once contracts had been finalized, he said, it approached tourism vendors looking for hands to run its newly acquired desks. With more than 20 years of hotel experience — among other things, he used to sell used furniture from hotels undergoing renovation — Choi recognized concierge outsourcing as the newest trend and jumped on the bandwagon.

"The industry is evolving all the time," he told us. "We have to go along with it."

Choi said Expedia.com is still the puppet master at most of the hotels where Tour Links operates. (Expedia.com officials didn’t return numerous calls requesting an interview.) Choi also confided that it’s financially tough to get by in the outsourced concierge business, what with having to pay a hotel for a service it should be paying the lessee to provide. He added that most outside concierge services in the city don’t have the financial resources to expand and that he didn’t know if Tour Links would still be around in a few years.

"We’ll see," he said, his eyes twinkling and blinking in rapid succession. "But if not me, it’ll be somebody else."<\!s>*

Web Site of the Week

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www.current.tv/burningman

TV Free Burning Man is a project of Current TV, the user-generated video network launched by Al Gore in 2005, that will set up camp on the playa and send footage back to the default world. Last year’s effort was well received even by burners wary of corporations — largely because it had an authenticity created by filmmakers who understood the culture — and this year promises even more extensive coverage.

The curtain calls

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Theater is where you find it this fall. For instance, at a warehouse party where assembled guests — artists, authors, bons vivants, goatees, and rockers of all stripes — get so carried away that a play suddenly breaks out among them (it can happen). Or in the offices and cubbyholes where a group of Dutch actors retreat midperformance to mine universal truths about the minutiae of mundane alienation. Or hovering just above the stage, where astrocosmonautical new best friends, stranded like circus performers, orbit together after a space shuttle disaster. Or on a kitschy converted kid shuttler known as the Mexican Bus, which a trio of disembodied Chicanos use to cruise the Mission. Theater, in short, is going to be a ubiquitous presence, maybe even the stranger eyeing your canapé, so watch out.

Sweeney Todd Kicking off its national tour in San Francisco, John Doyle’s pared-down, blood-bespattered hit Broadway revival of Stephen Sondheim’s musical thriller also begins the American Conservatory Theater’s new season on a guaranteed high note.

Aug. 30–Sept. 30. Geary Theater, 415 Geary, SF. (415) 749-2ACT, www.act-sfbay.org

San Francisco Fringe Festival It’s the 16th annual array of 50-minute feats, under-an-hour undertakings, and terse tirades. Perennially fast, cheap, and out of control.

Sept. 5–16. Exit Theatre, 156 Eddy, SF. www.sffringe.org

Expedition 6 San Francisco hosts the world premiere of playwright-director (and well-known actor) Bill Pullman’s theatrically stylized, documentary-based take on the real-life encounter between Russian cosmonauts and American astronauts stranded in space after the 2003 Columbia shuttle disaster. Think of it as Apollo 13 with a trapeze.

Sept. 8–Oct. 7. Magic Theatre, Fort Mason Center, bldg. D, Marina at Laguna, SF. (415) 441-8822, www.magictheatre.org

The MagiCCal Mission Tour Albeit now in Los Angeles, the performers of Culture Clash (Richard Montoya, Ric Salinas, Herbert Siguenza) are forever local theater champs with deep roots in the Mission District. In a unique take on the guided tour, they climb (virtually) aboard the rolling fiesta known as the Mexican Bus to act as your (prerecorded) guides through their own private Mexico (del Norte).

Sept. 10–16. www.mexicanbus.com

Kommer This Yerba Buena Center for the Arts engagement marks the Bay Area debut for Kassys, the acclaimed Amsterdam-based Dutch theater company. A physically exact multimedia work, Kommer (Dutch for "sorrow") begins as a comical and poignant play about a group of friends gathered in mourning, then shifts gears to follow the individual actors out of the theater as each returns to a separate little workaday world, shedding light on "private and public moments of human frailty."

Sept. 14. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-ARTS, www.ybca.org

Lies You Can Dance To Flyaway Productions — known for athletic, risk-taking, society-critiquing, and female-empowered dance performances in venues from rooftops to industrial cranes — previews a work in progress at the Marsh: Lies You Can Dance To, an investigation of "how the human body responds to lies told over and over at the level of national policy," by artistic director and Bay Area dancer-choreographer Jo Kreiter, with music by Bay Area composer-musician Beth Custer.

Sept. 14–16. Marsh, 1062 Valencia, SF. 1-800-838-3006, www.themarsh.org

Continuous City This work in progress exploring postmodern interconnectivity and our changing sense of place in a global context is a tech-savvy performance piece that attempts to extend the reach of theater by, among other things, uploading video contributions from a social networking site. It’s a collaboration between Bay Area actors, UC Berkeley students, and New York’s the Builders Association (responsible for the visually stunning Super Vision at the YBCA in August 2006).

Oct. 5–14. Zellerbach Hall, UC Berkeley, Lower Sproul Plaza (near Bancroft at Telegraph), Berk. (510) 642-9988, theater.berkeley.edu

After the Quake As part of its 40th season, the Berkeley Repertory Theatre hosts the Steppenwolf Theatre Company’s production of a new play by renowned Japanese novelist Haruki Murakami (The Wind-up Bird Chronicle), helmed by Tony Award–winning director Frank Galati (The Grapes of Wrath, Ragtime). Adapted from Murakami’s 2000 collection of short stories, After the Quake is an intimate tale about a shy storyteller and registers the tremors of an unstable world while confronting the challenge of living with fear.

Oct. 12–Nov. 25. Berkeley Repertory Theatre, 2025 Addison, Berk. 1-888-4BRTTIX, www.berkeleyrep.org

Des Moines Campo Santo premieres Denis Johnson’s fast-paced, darkly poetic, hilarious, and fascinating multicharacter stream of confession and moral conflict. The brilliant author turned playwright’s past collaborations with the company include Psychos Never Dream and Soul of a Whore. In what Intersection for the Arts and Campo Santo are calling their take on dinner theater, the play will unfold amid a hip cocktail mixer in a warehouse not far from the company’s usual digs on Valencia.

Oct. 19–20. www.theintersection.org

Slouching Towards Disneyland Inimitable radio and stage personality Ian Shoales (a.k.a. Merle Kessler) and quick-fingered, ever-versatile musician-composer Joshua Raoul Brody team up for this wry, cranky song and rant, purportedly "a wild ride in words and music through world history from Genesis to George W."

Nov. 8–Dec. 1. Marsh, 1062 Valencia, SF. 1-800-838-3006, www.themarsh.org

Fall Arts: Sing or swim

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AUG. 28

Aesop Rock, None Shall Pass (Def Jux) We’ll see if ‘Sop has lost his edge livin’ in ol’ Frisky. Blockhead and Mountain Goats’ John Darnielle take a pass on the nervy rhymes.

Akon, Konvicted (Konvict/Upfront/SRC/Universal Motown) Konvinced? Or just plain a-korny?

Evelyn Champagne King, Open Book (RNB/Jaggo/Fontana) The disco queen who was discovered while cleaning the offices of Philly International brings “Shame” into the 21st century.

Ledisi, Lost and Found (Verve Forecast) The local singer’s debut for the true diva cathedral of all jazz labels has been three years in the making.

Liars, Liars (Mute) Work that skirt.

Noreaga, Noreality (Babygrande) Wake me up when Noreality TV has finished its broadcast day. Kanye West, Pharrell Williams, Jadakiss, Three 6 Mafia, David Banner, and a cast of thousands trade off on enabling duty.

Scorpions, Humanity Hour 1 (New Door/UME) Oh, the inhumanity; Billy Corgan scorps out new turf.

Yung Joc, Hustlenomics (Block/Bad Boy South) Joc’ed up on java with the first single, “Coffee Shop,” off this Neptunes-, Fixxers-, and Gorilla Zoe–produced disc.

 

SEPT. 4

Calvin Harris, I Created Disco (Almost Gold) The brazen Scot is irreverent enough to lay claim to inventing the big D, the buzzword of this year and the year before.

 

SEPT. 11

Animal Collective, Strawberry Jam (Domino) Helmed by frequent Sun City Girls producer Scott Colburn, their eighth album’s nine songs include one dedicated to Al Green.

B5, Don’t Talk, Just Listen (Bad Boy) Diddy’s answer to the Backstreet Boys unknowingly use the favorite phone phrase of the Weepy-Voiced Killer as the title for their album.

Dirty Projectors, Rise Above (Dead Oceans) Another punk machismo-reclamation project? Queerific art rockers team with Grizzly Bear playas to rewrite Black Flag’s Damaged — from memory and with a hearty helping of cracked experifolk whimsy.

50 Cent, Curtis (Shady/Aftermath/Interscope) The artist also known as a form of VitaminWater that tastes like grape Kool-Aid continues his marketing onslaught.

Go! Team, Proof of Youth (Sub Pop) Will their first single, “Grip Like a Vice,” hook till it hurts?

Jenny Hoyston, Isle Of (Southern) The Erase Errata guitarist finds paradise far from the dashboard blight.

Modeselektor, Happy Birthday! (BPitch Control) Genre-hopping Berlin duo go the celebrity cameo route, enlisting the vox of Thom Yorke and others.

Pinback, Autumn of the Seraphs (Touch and Go) Will this top Pinback’s last album, Summer in Abbadon, which sold more than 80,000 copies? Indie music sellers wanna know!

Qui, Love’s Miracle (Ipecac) Jesus Lizard David Yow’s quid pro quo — with covers of Pink Floyd’s “Echoes” and Frank Zappa’s “Willie the Pimp.”

Simian Mobile Disco, Attack Decay Sustain Release (Interscope) I got my pulverizing bass in your acid keyboard scrunchies!

Kanye West, Graduation (Roc-A-Fella) West’s mom has been caught saying that this is his best album ever. Making or breaking the case: West has said that Lil’ Wayne will rap over a song titled “Barry Bonds.”

 

SEPT. 18

Babyface, Playlist (Mercury) The onetime close, personal friend of Bill just wants do covers, like “Fire and Rain,” “Time in a Bottle,” and — hoo boy — “Knockin’ on Heaven’s Door.”

James Blunt, All the Lost Souls (Custard/Atlantic) U-g-l-y, this ain’t got no alibi.

Chamillionaire, Ultimate Victory (Chamillitary/Universal Motown) The H-town star’s long-delayed sophomore effort has a mammoth supporting cast even by commercial-rap standards; it kicks off with a single featuring Slick Rick.

The Donnas, Bitchin’ (Purple Feather/Redeye) Named after the fluffy puppies overrunning their studio?

Eve, Here I Am (Aftermath/Interscope) Had anyone been looking? Listening in are producers Dr. Dre, Timbaland, Swizz Beatz, and Pharrell Williams.

Rogue Wave, Asleep at Heaven’s Gate (Brushfire/Universal) Just don’t drift off around Marshall Applewhite while wearing black-and-white Nikes. A new bass player — Patrick Abernathy — and a new label for the locals.

Angie Stone, The Art of Love and War (Stax/Concord) The road back from VH1’s Celebrity Fit Club may yet be one to salvation, since it’s passing through the holy land of Stax.

 

SEPT. 25

Devendra Banhart, Smokey Rolls down Thunder Canyon (XL) Gael García Bernal sings on one track, and Vashti Bunyan sings on two; Noah Georgeson produces a collection that is supposed to flit from Gilberto Gil breezes to Jackson 5–style pop.

The Cave Singers, Invitation Songs (Matador) Pretty Girls Make Graves–Murder City Devils, Hint Hint, and Cobra High grads calcify in intriguing country-folk shapes.

Keyshia Cole, Just like You (A&M/Interscope) Two years on, it’s clear that Oakland girl Cole’s The Way It Is was the best R&B debut since What’s the 411? Through the sheer intense focus of her singing, she rescues overexposed Missy and Lil’ Kim on the first single here.

José González, In Our Nature (Mute) Yes way, José. The long wait for the follow-up to Veneer is over. González recorded this in his hometown over a three-week period after obsessing about today’s religion and (lack of) ethics.

PJ Harvey, White Chalk (Island) Peej draws in longtime collaborator Eric Drew Feldman and Jim White of the Dirty Three.

Iron and Wine, The Shepherd’s Dog (Sub Pop) Here’s hoping three’s the charm for Sam Beam.

Jagged Edge, Baby Makin’ Project (So So Def/Island) Yet another case for population control.

Mick Jagger, The Very Best of Mick Jagger (Rhino UK) It’s semiofficial: the best of Mick Jagger is worse than the worst of the Rolling Stones.

Bettye LaVette, The Scene of the Crime (Anti-) A singer who can bring out the black-and-blue tone of that title, especially because the scene of the crime is Muscle Shoals, Ala., where she returned to record this album. She’s backed by Drive-by Truckers.

Matt Pond PA, Last Light (Altitude) Neko Case and Kelly Hogan hold a candle.

Múm, Go Go Smear the Poison Ivy, Let Your Crooked Hands Be Holy (Fat Cat) Mum’s the word?

Meshell Ndegeocello, The World Has Made Me the Man of My Dreams (Decca) Connecting her MySpace page to the gender-bending edges of her cover of Bill Withers’s “Who Is He (and What Is He to You?),” you might say the man of her dreams is Miles Davis.

Robert Plant and Alison Krauss, Raising Sand (Rounder) Why does my mouth fill with sand when I think about this project?

Queen Latifah, Trav’lin’ Light (Verve) Latifah steps to a song that will always be owned by Billie Holiday — and sings some other songs as well — on her debut album for one of Lady Day’s main labels today.

Scott Walker, And Who Shall Go to the Ball? (4AD UK) The enigma returns more quickly than usual, albeit with a four-movement instrumental mini-LP composed for a dance piece.

Will.i.am, Songs about Girls (Interscope) The Black Eyed Pea with the lamest name loves the ladies, egged on by Snoop Dogg.

 

OCT. 2

Cassidy, B.A.R.S. (Full Surface/J) The Philly battle rapper rebounds from injury and lockup and leans on Bone Thugs, John Legend, and others for faith.

Annie Lennox, Songs of Mass Destruction (Arista) No doubt about it, “Why?” can be very irritating. But this title suggests she’s really amped up the damage inflicted by her tunes.

 

OCT. 9

Band of Horses, Cease to Begin (Sub Pop) Ben Bridwell expresses his love for YouTube video directors on this Phil Eks–produced second LP.

Dengue Fever, Untitled (M80 Music/NAIL/Allegro) On recordings, they’re sometimes glorious, sometimes not — will the third time be a charm for the group led by Chhom Nimol’s dynamic voice?

The Fiery Furnaces, Widow City (Thrill Jockey) The prolific sibs thrust forth their sixth full-length, emboldened by engineer John McEntire of Tortoise.

The Hives, The Black and White Album (Interscope) The ebullient Swedes will be donning black after a dozen or so shows opening for Maroon 5.

Jennifer Lopez, Brave (Epic) Are listeners courageous or is she?

Robert Pollard, Coast to Coast Carpet of Love and Standard Gargoyle Decisions (Merge) Two releases in one day — guided by bipolar voices?

She Wants Revenge, This Is Forever (Geffen) Let’s hope not.

Amy Winehouse, Frank (Island) Pre–US juggernaut album by the singer in rehab, for anyone who doesn’t think she’s overexposed or wouldn’t rather look at Ronnie Spector and listen to Ruth Brown.

 

OCT. 16

Nicole Scherzinger, Her Name Is Nicole …(Interscope) …and she’s the Pussycat Doll whom you can tell apart from the other Pussycat Dolls — I think. She falls in seconds-long love at first sight with prospective members of her group during auditions, if the trashiest TV show in recent memory is to be believed.

 

OCT. 23

Ashanti, The Declaration (The Inc.) I’ll flabbergast many by saying that Ashanti has served up more quality hit singles than the other R&B diva releasing an album this week.

Alicia Keys, As I Am (J) She can sing, she can play, she can sell Proactiv Solution like few others. But will she ever truly let that voice loose?

 

OCT. 30

Backstreet Boys, Unbreakable (Jive) Do we really want it that way again? Can they give it to us that way? One thing’s for sure — this should give Chelsea Handler months of comedy material.

Chris Brown, Exclusive (Jive) Yeah, he’s cuter than kitten posters. But his appearance in a tribute to the Godfather of Soul at last year’s Grammy Awards verged on sacrilege.

 

NOV. 13

Wu-Tang Clan, The 8 Diagrams (Street Recordings) Their first album in six years — thus their first post-ODB recording — takes its title from the Shaw brothers’ film Eight Diagram Pole Fighter; in tune with the George Harrison revival, it includes a cover of “While My Guitar Gently Weeps.”

 

NOV. 20

Six Organs of Admittance, Shelter from the Ash (Drag City) The Redwood Curtain’s guitar-wielding heir to John Fahey breaks out a new LP, said to be smokin’.<\!s>*

 

Fall Arts: I screen, you screen

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› johnny@sfbg.com

"Switching Schools Sucks" Jesse Hawthorne Ficks serves up a triple dose of teen alienation: Pump Up the Volume, Footloose, and the Andrew Stevens–starring, Heathers-influenced Massacre at Central High.

Aug. 31. Castro Theatre (info below)

"Rebels with a Cause: The Cinema of East Germany" Perhaps the most expansive retrospective of East German film in the United States, spanning from the early 1960s to 1990.

Sept. 1–Oct. 27. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

"Look Back at England: The British New Wave" Does kitchen-sink cinema deserve classic status? It would be great to witness Manny Farber (who wrote scathingly about Rita Tushingham and Tony Richardson) duke it out with Morrissey on the subject.

Sept. 2–Oct. 26. Pacific Film Archive (info below)

"Devotional Cinema: Films by Dorsky and Ozu" Nathaniel Dorsky shows two of his films and also talks about Late Spring, one of the Yasujiro Ozu films discussed in his insightful book that shares this program’s title.

Sept. 4. Pacific Film Archive

"Send Granny Back to Russia" The 1929 film My Grandmother is screened with Beth Custer’s score to raise funds for an upcoming trip on which Custer’s ensemble will perform the score in Russia and elsewhere.

Sept. 4. Jewish Community Center, 1414 Walnut, Berk. Also Sept. 5. Dolby Laboratories, 100 Potrero, SF. www.bethcuster.com

William Friedkin Series Someone I know who knows all the great actresses calls Ashley Judd’s performance in Bug a "tour de force." That film and others set the stage for more Friedkin freak-outs.

Sept. 4–6. Castro Theatre

"Helmut Käutner: Film Retrospective Part 2" The series continues with the post–World War II period of Käutner’s career, including a 1947 feature shot in Germany’s ruins and a 1954 film featuring a young Klaus Kinski (yes, he was young once).

Sept. 4–Oct. 9. Goethe-Institut, 530 Bush, SF. (415) 263-8760, www.goethe-sf.org

"Fearless Females: Three Films by Shyam Benegal" The director appears at screenings that highlight the feminist currents of his contributions to the Indian new wave of the ’70s.

Sept. 5–7. Pacific Film Archive

Morrissey Foretelling the Death of Diana Lars Laumann’s 16-minute video screens in a loop as part of the "There Is Always a Machine Between Us" exhibition.

Sept. 6–22. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

The Darwin Awards A new comedy by Finn Taylor focuses on death by stupidity.

Sept. 7. Roxie Film Center (info below)

"TILT" The Film Arts Foundation presents an evening of films from its media-education program, which works with schools.

Sept. 7. Yerba Buena Center for the Arts (info below)

Cruising The digital restoration of William Friedkin’s most controversial film finally hits the Castro Theatre, years after being revived from infamy at the Roxie Film Center.

Sept. 7–13. Castro Theatre

Imp of Satan Local queer horror midnight movie screens along with a live comedy drag show.

Sept. 8. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994, www.synchromiumfims.com

"Tomu Uchida: Japanese Genre Master" An extensive series devoted to the undersung Japanese director, whose movies spanned five decades and even more genres, including comedies, samurai films, theatrical adaptations, and police flicks.

Sept. 8–29. Pacific Film Archive

9/11 Truth Film Festival Two days of films and discussions.

Sept. 10–11. Grand Lake Theater, 3200 Grand, Oakl. (510) 452-3556, www.renaissancerialto.com

Madcat Women’s International Film Festival Turning 11 this year, Ariella Ben-Dov’s festival includes a tribute to the life and work of Helen Hill and culls 98 films — 76 of them premieres — into 11 programs.

Sept. 11–26. Various venues, SF. (415) 436-9523, www.madcatfilmfestival.org

Super Sleazy ’70s Go-go Grindhouse Show Will "the Thrill" Viharo brings together Pam Grier in Black Mama, White Mama and live dancing by the Twilight Vixen Revue.

Sept. 13. Parkway Speakeasy Theater, 1834 Park, Oakl. (510) 814-2400, www.thrillville.net

Honor of the Knights Along with recent works by José Luis Guerín, this idiosyncratic take on Don Quixote by Albert Serra is being heralded as a new highlight of Spanish cinema.

Sept. 13–16. Yerba Buena Center for the Arts

"Role Reversal" Midnites for Maniacs strikes again, with The Incredible Shrinking Woman, Yentl, and a film that can never be screened enough, The Legend of Billie Jean.

Sept. 14. Castro Theatre

The Warriors Walter Hill’s gang classic comes out to play.

Sept. 14–15. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994, www.redvicmoviehouse.com

Film Night in the Park: Rebel Without a Cause Sal Mineo makes eyes at James Dean, and Natalie Wood weeps about her dad rubbing off her lips.

Sept. 15. Union Square, SF. (415) 453-4333, www.filmnight.org

Xperimental Eros PornOrchestra accompanies stag movies in a celebration for OCD’s latest DVD release.

Sept. 15. Other Cinema (info below)

Eros and Massacre Film on Film Foundation presents Yoshishige Yoshida’s 1970 film about anarchist Sakae Osugi.

Sept. 16. Pacific Film Archive

"It’s a Funny, Mad, Sad World: The Movies of George Kuchar" The man appears in person for a screening of five Kuchar classics spanning 15 years, selected by Edith Kramer.

Sept. 18. Pacific Film Archive

Orphans of Delirium What is paratheatre? Antero Alli and a 2004 video provide the answer.

Sept. 18. Artists’ Television Access, 992 Valencia, SF. (415) 824-3890, www.atasite.org

Midnites for Maniacs in 70mm All hail Jesse Hawthorne Ficks for bringing Tobe Hooper’s bodacious nude space vampire classic Lifeforce — one of Kiyoshi Kurosawa’s favorite movies — back to the big screen. Even Planet of Blood‘s Florence Marly may have nothing on Mathilda May.

Sept. 21. Castro Theatre

Strange Culture The story of Steve Kurtz is discussed and reenacted in San Francisco filmmaker Lynn Hershman Leeson’s latest feature.

Sept. 21. Roxie Film Center

"Girls Will Be Boys" This series, curated by Kathy Geritz, includes Greta Garbo and Marlene Dietrich trouser classics, as well as Katherine Hepburn under the eye of Dorothy Arzner in Sylvia Scarlett.

Sept. 21–30. Pacific Film Archive

Amando a Maradona Soccer icon Diego Maradona gets the feature treatment.

Sept. 26. La Peña Cultural Center, 3105 Shattuck, Berk. (510)849-2568. www.utf8ofilmfestival.org

In Search of Mozart Phil Grabsky’s digiportrait of the composer works to counter the distortions of Amadeus and the elitism that sometimes hovers around Wolfgang Amadeus Mozart’s legacy.

Sept. 28–30. Yerba Buena Center for the Arts

"Legendary Composer: Jerry Goldsmith" The salt and pepper to John Williams’s Hollywood sucrose gets a cinematic tribute, with screenings of classics such as Seconds, Poltergeist, and the film with perhaps his best scoring work, Chinatown.

Sept. 28–Oct. 4. Castro Theatre

DocFest It turns five this year, offering more than 20 films and videos, including the Nick Drake profile A Skin Too Few.

Sept. 28–Oct. 10. Roxie Film Center

Film Night in the Fog The increasingly popular Creature from the Black Lagoon makes an appearance, this time at the Presidio.

Sept. 29. Main Post Theatre, 99 Moraga, SF. (415) 561-5500, www.sffs.org

"Red State Cinema" Joel Shepard curates a series devoted to rural visionaries, including Phil Chambliss and his folk-art videos set at a gravel pit and Spencer Williams and his 1941 Southern Baptist feature The Blood of Jesus.

October. Yerba Buena Center for the Arts

"Olivier Assayas in Residence: Cahiers du Cinema Week" The Pacific Film Archive has screened early Assayas movies that didn’t get distribution, such as the Virginie Ledoyen showcase Cold Water. Now the director visits to show Rainer Werner Fassbinder’s Beware of a Holy Whore (think of Assayas’s Irma Vep, also screening) and David Cronenberg’s Videodrome (think of his Demonlover), along with Assayas’s latest movie, Boarding Gate.

Oct. 4–11, Pacific Film Archive

Mill Valley Film Festival The biggest Bay Area film fest of the fall turns 30 this year, presenting more than 200 movies from more than 50 countries.

Oct. 4–14. Various venues. (415) 383-5256, www.mvff.org

Helvetica The typeface gets its very own movie.

Oct. 5–7. Yerba Buena Center for the Arts

"Shock It to Me: Classic Horror Film Festival" Joe Dante will appear at this fest, which promises a dozen pre-Halloween shockers.

Oct. 5–7, Castro Theatre

"Zombie-rama" Thrillville unleashes Creature with the Atom Brain and Zombies of Mora Tau.

Oct. 11. Parkway Speakeasy Theater, 1834 Park, Oakl. (510) 814-2400. www.thrillville.net

"Joseph Cornell: Films" Without a doubt, this multiprogram series — in conjunction with the San Francisco Museum of Modern Art’s Cornell exhibition — is one of the most important Bay Area film events of the year.

Oct. 12–Dec. 14. San Francisco Museum of Modern Art’s Wattis Theater, 151 Third St, SF. (415) 357-4000. www.sfmoma.org

"Expanded Cinema" Craig Baldwin, Kerry Laitala, Katherin McInnis, Stephen Parr, and Melinda Stone blast retinas with double-projector performance pieces.

Oct. 13. Other Cinema

"Celebrating Canyon: New Films" Under the SF Cimematheque rubric, Canyon Cinema’s Michelle Silva and Dominic Angerame put together a program of recent additions to the Canyon catalogue.

Oct. 14. Yerba Buena Center for the Arts

"Films by Bruce Conner" The long-awaited new Soul Stirrers short His Eye Is on the Sparrow kicks off an hour of Conner magic.

Oct. 16. Pacific Film Archive

Arab Film Festival The festival’s 11th year will bring 11 days and nights of movies, including a Tunisian doc about the making of Tarzan of the Arabs.

Oct. 18–28. Various venues, SF. (415) 564-1100, www.aff.org

"I Am Not a War Photographer" Brooklyn-based Lynn Sachs presents a night of short movies and spoken word.

Oct. 20. Other Cinema

"Experiments in High Definition" Voom HD works, including one by Jennifer Reeves, get an SF Cinematheque program.

Oct. 21. SF Art Institute, 800 Chestnut, SF. (415) 552-1990, www.sfcinematheque.org

"Walls of Sound: Projector Performances by Bruce McClure" Brooklyn artist McClure explores projection as performance in this kickoff event in SF Cinematheque’s "Live Cinema" series.

Oct. 24–25. Exploratorium, 3601 Lyon, SF. (415) 552-1990, www.sfcinematheque.org

Smalltown Boys Arthur Russell documentarian Matt Wolf’s semifictive historical look at David Wojnarowicz loops as part of the "There Is Always a Machine Between Us" series.

Oct. 30–Nov. 17. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

The Last Man on Earth Vincent Price fights zombies in this oft-pillaged 1964 US-Italian horror classic, soon to be re-created with Will Smith.

Oct. 31. Pacific Film Archive

"Día de los Muertos: Honorar las Almas de Cineastas de Avant-Garde Vanguarda" Canyon Cinema and SF Cinematheque founder Bruce Baillie shares some favorites from the Canyon vaults.

Nov. 1. Roxie Film Center. Also Nov. 2. Ninth Street Independent Film Center, 145 Ninth St., SF. (415) 552-1990, www.sfcinematheque.org

International Latino Film Festival One of three fests to turn 11 this fall.

Nov. 2–18. Various venues, SF. (415) 513-5308, www.utf8ofilmfestival.org.

"Science Is Fiction" Nope, not Jean Painléve — the histories of the Tesla coil, the blimp, and other phenomena hit the screen, thanks to cinematographer Lance Acord and others.

Nov. 3. Other Cinema

Shatfest Get your mind out of the toilet — it’s another Thrillville tribute to William Shatner, including a screening of Incubus.

Nov. 8. Parkway Speakeasy Theater, 1834 Park, Oakl. (510) 814-2400, www.thrillville.net

Strain Andromeda The and Cinepolis, the Film Capitol Anne McGuire’s reedit of The Andromeda Strain isn’t exactly backward, but — thanks to Ed Halter’s "Crazy Rays: Science Fiction and the Avant-Garde" series for SF Cinematheque — it is back. The series continues to beam as Ximena Cuevas’s metamontage attack on Hollywood shares a bill with Craig Baldwin’s Tribulation 99.

Nov. 8. Roxie Film Center

San Francisco International Animation Showcase A big premiere, some music vids, and a link to the famed Annecy animation fest are possibilities as the SF Film Society event turns two.

Nov. 8–11. Embarcadero Center Cinema, One Embarcadero Center (promenade), SF. (415) 561-5500. www.sffs.org

"Celebrating Canyon: Pioneers of Bay Area Filmmaking" Bruce Baillie unpacks some Bay Area experimental cinema treasures from the ’40s and ’50s.

Nov. 11. Yerba Buena Center for the Arts

My Favorite Things At last! Negativland premiere their first CD-DVD release.

Dec. 1. Other Cinema

"James Fotopoulos/Leah Gilliam" and "Victor Faccinto/James June Schneider" Fotopoulos has had some Bay Area attention before, but Gilliam’s Apeshit — a look at racial politics in Planet of the Apes — might be the highlight in this last evening of Ed Halter’s "Crazy Rays" series.

Dec. 13. Roxie Film Center *

CASTRO THEATRE

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

OTHER CINEMA

992 Valencia, SF

(415) 824-3890

www.othercinema.com

PACIFIC FILM ARCHIVE

2575 Bancroft Way, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

ROXIE FILM CENTER

3317 16th St., SF

(415) 863-1087

www.roxie.com

YERBA BUENA CENTER FOR THE ARTS

701 Mission, screening room, SF

(415) 978-2787

www.ybca.org

Visual raids

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Kimberly Chun


1. Billy Childish Who can fathom the mind of a Childish? The insanely productive garage rock legend carves out a space in yet another medium, exhibiting the woodcuts and paintings that inspired him to cofound the stuckism art movement, a figurative response to the Charles Saatchi–championed so-called Young British Artists.

Sept. 5–30. Reception Sept. 5. Needles and Pens, 3253 16th St., SF. (415) 255-1534, www.needles-pens.com

2. "American Cuisine" To serve man? Ramekon O’Arwisters riffs on the notion that people of color will be dished at America’s last supper, cooking up sculpture and other pieces that examine the cultural codes crammed into Oreos, watermelons, bananas, and other loaded comestibles.

Sept. 14–Oct. 14. Luggage Store Annex, 509 Ellis, SF. (415) 255-5971, www.luggagestoregallery.org

3. "Cliff Hengst and Scott Hewicker: S.A.N.E." The acronym may stand for the head-scratching "something, anything, nothing, everything," but we can all relate to the bad trips, group gropes, and ritualized get-downs of psychedelic flip-outs both yesterday and today. Those are the focus, filtered through ’60s exploitation flicks, of Hewicker’s paintings and videos, while Hengst relies on handmade signs and wall drawings to explore other unhinged hues. In conjunction with the exhibit, the duo have also put together Good Times: Bad Trips (Gallery 16 Editions), a volume of ill-fated acid-gobbling accounts.

Sept. 14–Nov. 3. Reception Sept. 14. Gallery 16, 501 Third St., SF. (415) 626-7495, urbandigitalcolor.com/gallery16/galleryframe.html

4. "John Slepian: Caged" Is it an alien hedgehog or some hairy displaced and dismembered body part? The onetime San Francisco Art Institute instructor’s interactive sculpture delves into what makes us feel human and how we identify with the, ugh, other.

Nov. 29, 2007–Jan. 5, 2008. Catharine Clark, 150 Minna, SF. (415) 399-1439, www.cclarkgallery.com

5. Maria Forde Keep your peepers peeled for this follow-up to the San Francisco artist’s 2006 solo show, "A Strange 31 Years," which comprised 32 oils based on each pop culture–dappled year of her life.

Dec. 1–22. Little Tree Gallery, 3412 22nd St., SF. (415) 643-4929, www.littletreegallery.com

ALEXIS GEORGOPOULOS


1. "Bruce Conner and James Rosen" Multimedia artist and filmmaker Conner will show a number of highly detailed drawings, contrasting with Rosen’s take on the often-religious paintings of old masters.

Oct. 31–Nov. 24. Gallery Paule Anglim, 14 Geary, SF. (415) 433-1501, www.gallerypauleanglim.com

2. "Something Was There: Early Work by Diane Arbus" An exhibition of more than 60 prints highlights the otherworldly, haunting world of Diane Arbus, capturing her early years, from 1956 to 1962.

Sept. 6–Oct. 27. Fraenkel Gallery, 49 Geary, SF. (415) 981-2661, www.fraenkelgallery.com

3. "Will Rogan" The artist’s photographs work an uncanny magic as deceptively everyday subjects are choreographed in a poignant, poetic way.

Oct. 4–Nov. 3. Jack Hanley Gallery, 395 Valencia, SF. (415) 522-1623, www.jackhanley.com

GLEN HELFAND


The contemporary art world tends to get all academic and serious on us, so it’s interesting to note that a good number of fall gallery and museum offerings mine colorful, dreamy realms of spectacle, luxury, and humor — a welcome respite from all the truly problematic shit going on out there.

1. "Libby Black: The Past Is Never Where You Think You Left It" This Goldie winner may have left San Francisco for her home state of Texas, but the move has served to sharpen her handmade take on the LVMH luxury empire. Black’s new work includes a Louis Vuitton disaster-center cot, complete with deluxe valise and accessories that stow perfectly underneath, and a series of paintings that exude the pansexual myths of the West — as found in high-fashion adverts. It’s the perfect prelude to the Union Square opening of the retail dream house, Barneys New York, this fall.

Sept. 6–Oct. 27. Reception Sept. 6. Heather Marx Gallery, 77 Geary, SF. (415) 627-9111, www.heathermarxgallery.com

2. "Take Your Time: Olafur Eliasson" and "Jeff Wall" Fitting factoid: Danish artist Eliasson, the subject of a San Francisco Museum of Modern Art–organized survey, was actually commissioned by Louis Vuitton to create its 2006 Christmas windows. The works that constitute this much-anticipated show are large scale and immersive and use water, light, and scent to generate natural phenomena and delightful shifts in perception. We’re looking forward to the tunnel that will wrap around the fifth-floor catwalk. A related exhibition is a showcase for Eliasson’s BMW-sponsored hydrogen-fueled race car enmeshed in a skin of stainless steel and ice. If you need something with a different kind of theory, check out SFMOMA’s other big fall exhibit, a major survey of Wall’s glamorously, cinematically politicized light box–mounted photographs, co-organized by SFMOMA director Neil Benezra.

"Take Your Time" runs Sept. 8, 2007–Feb. 24, 2008; "Jeff Wall" runs Oct. 27, 2007–<\d>Jan. 27, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Michael Arcega: Homing Pidgin" Bay Area artist Arcega’s stock in trade is a smooth fusion of easily accessible materials (his infamous manila folder galleon) and politically barbed pun (it was called Conquistadork). As part of the de Young’s Connections Gallery program, Arcega has been rooting around in the museum’s extensive Oceanic collections, creating new display contexts that highlight colonialization and the ensuing cross-cultural visual influences. Serious stuff, but Arcega’s sure to imbue it with incisive wit.

Oct. 6, 2007–Jan. 20, 2008. De Young Museum, Golden Gate Park, 50 Hagiwara Tea Garden Drive, SF. (415) 750-3614, www.thinker.org/deyoung

4. "© MURAKAMI" Los Angeles is not such a long haul to stop you from getting a look at this humongous homage to the Japanese artist, who arguably comes closest to carrying Andy Warhol’s torch. Takeshi Murakami’s got his own factory and corporate ID, KaiKai Kiki, and with it he’s produced a sprawling range of licensed characters, sexualized manga heroes, art business strategies, and a brand-new giant self-portrait as Buddha, all of which will be included in this show, organized by Paul Schimmel, the curating impresario who brought us the notorious art spectacles "Helter Skelter" and "Ecstasy."

Oct. 29, 2007–Feb. 11, 2008. Geffen Contemporary, Museum of Contemporary Art, 152 N. Central, LA. (213) 621-1741, www.moca-la.org/museum/moca_geffen.php?

JOHNNY RAY HUSTON


1. Open Studios Yes, the museums and even some smaller spaces have epic shows planned this fall. But are any of these blockbusters as truly expansive as Open Studios, an event that’s also closer to the everyday creation of art in the city than any other? Look for an interview in our Pixel Vision blog with ArtSpan executive director Therese Martin, whose vision includes activist elements and who is bringing new facets to Open Studios.

Oct. 6–Nov. 4. Throughout San Francisco. (415) 861-9838, www.artspan.org

2. "Joseph Cornell: Navigating the Imagination" and "Douglas Gordon: Pretty Much Every Film and Video Work from About 1992 until Now" These neighboring shows should illustrate waves in the flux between film and video and spark discord and discourse about their connections to museum space. Obviously, Cornell’s legacy is broader and richer than such concerns — as the rather opaque name of his exhibition hints, maybe? As for Gordon, 24 Hour Psycho is here.

"Joseph Cornell" runs Oct. 6, 2007–Jan. 6, 2008; "Douglas Gordon" runs Oct. 27, 2007–<\d>Feb. 24, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Capp Street Project: Mario Ybarra Jr." SoCal contemporary artist Ybarra has made a metamural for our city, the result of intensive research into the history of murals and the history of the Bay Area. I can’t wait to see it.

Sept. 6, 2007–Sept. 6, 2008. CCA Wattis Institute, Logan Galleries staircase, 1111 Eighth St., SF. (415) 551-9210, www.cca.edu, www.wattis.org

4. "The Fox Sisters Crack Their Toes" Paintings that use glitter and beauty products as main ingredients are a special San Francisco treat, thanks to the polish — nail polish, that is — flair, and talent of Rodney O’Neal Austin and the late Jerome Caja. Now Jamie Vasta adds ambiguity to the practice; you’d have to be looking beneath the sparkle to figure out she’s butch and, in some cases, to realize that she’s even using something other than traditional ingredients.

Nov. 1–Dec. 15. Patricia Sweetow Gallery, 77 Geary, mezzanine, SF. (415) 788-5126, www.patriciasweetowgallery.com

5. "James D. Phelan Art Award in Photography" This year’s winners include Walt Odets. As a teen, Odets had the guts to photograph family friend Jean Renoir and the observant instinct required to do an excellent job of it. Today he discovers surprising planes of vision, details, and passages within everyday settings.

Oct. 23–Nov. 17. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

STEVEN JENKINS


1. "There Is Always a Machine Between Us" Love your laptop more than your boyfriend? Logging on more than getting off? Salvage your relationship and sharpen your carpal-tunnel vision at this exhibition of interactive works inspired by and sourced from the Internet, where Chechen secessionists, mail-order brides, hand lickers, and Morrissey-mad conspiracy theorists meet the ghosts of David Wojnarowicz and Princess Di.

Sept. 6–Nov. 17. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

2. "Take Your Time: Olafur Eliasson" From some freezing fjord located in the dreamland between Vespertine and Volta comes Icelandic multimedia artist Eliasson, whose immersive installations play with temperature, moisture, and light to icy-hot effect. This ambitious retrospective — the artist’s first major US show — promises to transform SFMOMA’s pristine galleries into hallucinatory zones of global warming and feverish desire.

Sept. 8, 2007–Feb. 24, 2008. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

3. "Hiroshi Sugimoto: History of History" A welcome follow-up to this summer’s spectacular Sugimoto retrospective at the de Young, this savvy exhibition juxtaposes the Japanese artist’s deceptively minimalist photographs with prehistoric fossils and 15th-century religious artifacts from his personal collection. Will this be a history of progress, faith, or violence?

Oct. 12, 2007–Jan. 6, 2008. Asian Art Museum, 200 Larkin, SF. (415) 581-3500, www.asianart.org

4. "Biotechnique" Featuring a hothouse of hydroponic organisms, semiliving objects, mad-professor lab equipment, bacteria paintings, easy-being-green gizmos, and Silicon Valley inventions, the creepy-crawly conceptual "Biotechnique" digs beneath the topsoil of technology to unearth decidedly unnatural growths and cultures. Or, in the words of tennis racket–<\d>wielding arachnophobe Alvy Singer, "We’re talking major spider."

Oct. 26, 2007–Jan. 6, 2008. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2700, ybca.org

5. "Marie-Antoinette and the Petit Trianon at Versailles" Froufrou flourishes pile up like buttery petits fours in this frilly, silly, splendid re-creation of Kirsten Dunst’s shopaholic alter ego’s Versailles getaway. Queeny interior decorators, slip on your pretty pink pumps, eat cake, and prepare to swoon.

Nov. 17, 2007–Feb. 17, 2008. California Palace of the Legion of Honor, Lincoln Park (near 34th Ave. and Clement), SF. (415) 750-3600, www.thinker.org/legion

Trapped in R. Kelly’s “Closet”

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By Robert Bergin

OH SHIT.

Only four more days people. To talk too much about the joke is to ruin the joke, so if you’re not clued in, get your crusty, no-Trapped-havin’ ass down to the nearest video store and buy yourself a copy of Kells’ ruminations on love and infidelity. His message is clear and essential: The closet in which Sylvester initially takes refuge is nothing compared to the emotional closets we trap ourselves in every day.

We have all fucked and fought, loved and lost. Trapped in the Closet reflects that pain: Bridget’s tears are our tears. The midget’s dookie-stained pants are our dookie-stained pants. R. Kelly knows that life is but a revolving door of pleasure and pain. He just dressed it up with a bumpin’ beat and lyrics stuffed with metaphors that border on Shakespearean. (“A fish with titties”? Didn’t he crib that from Falstaff?)

And that’s art, man. To hold, as t’were, the mirror up to nature. Can the second installment possibly top the first? Out-heroding Herod never sounded so sweet.

(The next five chapters are already up at ifc.com. The site is releasing a new chapter each day, so if you simply can’t wait for Tuesday, pop on over there.)

Green City: The last hour

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› news@sfbg.com

GREEN CITY For sisters Leila Conners Petersen and Nadia Conners, the last possible moment to lessen humanity’s impact on the environment — the 11th hour, from which the new documentary they cowrote and codirected aptly takes its name — has come upon us. But unlike other doom-and-gloom envirodocs that engulf viewers with guilt about how we are tearing apart our only planet, this movie is supposed to demonstrate that it’s not too late to shift old habits.

The 11th Hour "really helps you understand what’s happening," Conners Petersen told the Guardian about the Warner Brothers Independent release, which opens in theaters Aug. 17. The movie places the often oxymoronic combination of pragmatism and idealism hand in hand: "You feel a better sense of control in that way," she says.

Conners Petersen and Conners spent three years conducting lengthy interviews with 71 top thinkers and activists, ranging from physicist Stephen Hawking to Paul Hawken, the Marin author of The Ecology of Commerce (Collins, 1994). In their film, they juxtapose 91 minutes of the ecoexperts’ wisest words with quick-paced, music video–<\d>style montages of both environmental destruction and at least partially counteracting ideas and innovations like biomimicry.

And unlike 2006’s An Inconvenient Truth, this film — narrated and produced by seasoned ecoactivist Leonardo DiCaprio — spends only about seven minutes covering global warming. "Our film contextualizes global warming as being part of a larger problem," Conners says.

The codirectors emphasize this holistic, all-part-of-a-larger-puzzle approach, which they say the mass media seldom takes when examining any environmental problem.

The environment "isn’t a single-article issue," Conners says. "When Leo’s on camera, he says it’s a convergence of crises. It’s all of it together that’s making it a tipping point. And all of it includes our behavior."

It’s our habits of "disconnect, denial, and laziness," she adds, that keep people from bothering to examine — or change — their impact on the Earth. "It’s like you’re sick with a disease with a known cure, and the medicine’s right there, and you look at it and say, ‘I’m not taking that.’<\!s>"

Environmental action, they say, does not necessarily have to extend to planting trees in Kenya, as Nobel Peace Prize winner and 11th Hour interview subject Wangari Maathai did through the Green Belt movement, or running a scientific radio series, as did interviewee David Suzuki. It’s about being aware of organic peaches that are shipped to the supermarket from Chile and drinking water that may not be from the finest geyser.

"Once you start connecting the detergent under your sink to a dead zone, you start seeing the world as a whole, and your relationship with this planet and life on it will deepen," Conners Petersen says.

The sisters created the Web site 11thhouraction.com to allow individuals and communities to discuss ways to bring the film’s broad-scale ideas and innovations to the local level, whether those efforts involve sharing the most energy-efficient household appliances (compact fluorescent light bulbs, anyone?) or putting solar panels on a high school.

Conners Petersen stresses her "Why wait for the federal government to take action?" mentality by pointing out that nearly 600 mayors in the United States have signed on to the Kyoto Protocol without permission from President George W. Bush.

"If you fight against these things that are so big and immovable, you’ll give up," Conners says. "So if you start locally, [ask] what’s the position of your city council person and the mayor?"

The sisters are no amateurs on the environmental-media scene. Conners Petersen is the founder and codirector of the Tree Media Group and executive editor of Global Viewpoint. They’ve produced two documentaries — Global Warming (2001) and Water Planet (2004) — for DiCaprio’s Web site, and Conners will soon be directing her first narrative feature, Earthquake Weather.

The 11th Hour used 150 hours of stock footage, more than any other documentary in history. The lofty quotes that didn’t make it into the film have found a home on YouTube and the movie’s official Web site, wip.warnerbros.com/11thhour.

"Even though there’s a lot of information, it’s an emotional film," Conners says. "Rather than just telling you information that you intellectually take into the world, I feel like the film is done in such a way that you feel the world in a different way."<\!s>*

Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.