Video

The inside angle

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rebeccab@sfbg.com

Josh Wolf’s second spell in the hot seat — and other penalties brought down against independent journalists documenting California’s defiant student movement — raise some important questions about the freedom of the press at civil disobedience protests.

Wolf, a student at UC Berkeley’s Graduate School of Journalism, faces a possible academic suspension for violating the student conduct code during a Nov. 20 student occupation of a campus lecture hall. But Wolf says he was there to document the moment as a reporter.

Brandon Jourdan, an independent journalist who was also inside the hall with Wolf, now faces his own set of misdemeanor charges after capturing footage of a March 4 student protest that broke onto a West Oakland freeway. And David Morse, a journalist and Indybay collective member who reported on a raucous Dec. 11 protest at the UC Berkeley chancellor’s residence, is now fighting the seizure of his camera and a search warrant issued by UC police for his unpublished photographs — something the First Amendment Project maintains is in violation of state law.

The footage that Wolf and Jourdan took on Nov. 20 and March 4 captured police use of physical force against protesters and documented the widely publicized actions from unique perspectives. The reports were broadcast on Democracy Now!, a popular independent news program that airs nationally on satellite television stations, public access channels, and online.

The gutsy camerapersons aren’t the first to face criminal charges. After nine reporters followed several hundred protesters seeking to block construction of the Black Fox Nuclear Power Plant onto private property in June 1979 and were arrested, an Oklahoma court of appeals ruled the First Amendment guaranteed them no immunity from prosecution for trespassing.

“That makes the position of a journalist very difficult, in areas where demonstrators are essentially exercising civil disobedience to make a point,” notes Terry Francke, executive director of Californians Aware, a watchdog organization focused on First Amendment issues. “There’s no free pass for journalists in the crowd recording what’s going on. Their principled position would presumably be yes, like [protesters] risk arrest and consequences for the greater good, they’d risk the same for the sake of giving the public … a close-up picture of what it’s like to be in those circumstances.”

Without that journalistic witness, “When you hear stories about what went on in the middle of a police and demonstrators’ confrontation … you’ll have two irreconcilable versions, from only directly interested parties,” Francke points out.

There’s been no shortage recently of civil disobedience on California college campuses, where operations have been ravaged by budget cuts. The Nov. 20 occupation was staged early in the morning at Wheeler Hall, when students barricaded themselves inside to protest a 32 percent fee hike imposed by the UC Board of Regents. While most reporters gathered outside the building or flew over in helicopters, Wolf was inside, and he’s the only student to claim being there in a journalistic capacity. He says he wore a police-issued press badge.

Wolf, a video journalist, enjoys a sort of celebrity status because he spent 226 days in jail after resisting a subpoena to testify before a federal grand jury. It started when he shot a film of a 2005 protest in San Francisco, which police tried to obtain because they believed it could help them pinpoint demonstrators who vandalized a police car and injured an officer. Since the case was pursued at the federal level, he was unable to invoke California’s shield law protecting journalists from being compelled to reveal unpublished material.

Democracy Now! aired a lengthy report of the Nov. 20 occupation featuring footage that the two embedded reporters had captured from the interior of Wheeler, coproduced by David Martinez. Show host Amy Goodman specifically named Wolf as a co-contributor when the report aired.

Now Wolf is facing a possible seven-month suspension by the campus Center for Student Conduct, which charges him with violating the student conduct code on multiple counts. “Their perspective is that I am a student and that I am a journalist,” Wolf explained. “My responsibility is no different from anyone else’s in there, and therein, my punishment should be reflective of that of everyone else.” Wolf said he had the backing of the journalism school, which confirmed to the Guardian that the dean wrote a letter of support for Wolf.

David Morse, 42, is a journalist who has covered hundreds of Bay Area protests on Indybay, an online news site that spotlights grassroots movements and protests. In a motion filed against UCPD, the First Amendment Project charges that Morse was arrested and had his camera seized Dec. 11 despite repeating six times that he was a journalist and displaying a press pass. “They told me, ‘You have a camera, we want your camera,'<0x2009>” Morse recounted. The next morning, as reports of angry, torch-wielding students storming the chancellor’s home and smashing windows made headlines, Morse was still sitting in jail in Santa Rita. “My voice as an eyewitness was completely silenced,” he said. His charges were dropped, but now he is challenging the search warrant to get his memory discs back.

When the police department sought a search warrant for Morse’s unpublished photos, they didn’t mention that he had identified as a journalist, the FAP charges. The legal nonprofit filed a motion to quash the warrant on grounds that it violates a provision in the penal code barring search warrants for journalistic work products, invoking the state shield law.

Jourdan, meanwhile, faces five misdemeanor charges after filming the March 4 freeway protest and subsequent police response, which many have characterized as excessive. (In one clip, an officer can be seen striking an individual who doesn’t appear to be resisting with a baton.) He was arrested along with two other videographers who also face criminal infractions. Footage Jourdan and Martinez captured from March 4 aired on Democracy Now!, and Jourdan’s report was also featured as a lead story on the Huffington Post. Jourdan says he wore press credentials.

“It’s unfair for them to file charges against me when they’ve dropped charges against others,” Jourdan said. The Oakland Police Department confirmed to the Guardian that Jourdan had been charged with crimes such as unlawful assembly and obstruction of a thoroughfare, but did not respond to a message asking what set him apart from other reporters.

Jourdan, who has also contributed to Reuters, The New York Times, and other outlets, has managed to capture a variety of similar events on film, including Amy Goodman’s arrest during protests outside the Republican National Convention in 2009. “Barely a month goes by that some lawyer isn’t calling me up trying to get footage of some one getting beat up,” he said. But he maintains that documenting these intense moments is crucial, not for resolving disputes, but to document these moments in history.

Reporters from mainstream television news programs toting bulky cameras were also filming on the freeway, but were allowed to leave. Guardian news intern Jobert Poblete and multimedia producer Cameron Burns with UC Berkeley’s Daily Californian were arrested on the freeway too, but their charges were later dropped after state Sen. Leland Yee intervened. “Journalists are generally provided greater access to cover news stories than other members of the public,” Yee wrote in a letter to the Alameda County District Attorney’s Office. “Unfortunately, law enforcement did not provide such leeway in this case.”

Adam Keigwin, Yee’s chief of staff, said the senator’s office got involved on behalf of the Guardian and the Daily Cal because he knew those publications. “We just need to know more about this,” Keigwin said. “Once credentialed media is present, it’s the senator’s perspective that journalists should have the right to cover these things and should not be charged.”

But when asked if there is a deficiency in state law since that right doesn’t technically exist, Keigwin responded, “This may be something we should consider.”

Jerry Brown rambles about Prop. 13

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Jerry Brown’s speech at the state Democratic convention was apparently well received, and his gimmicky call for a three-way debate got him a lot of good press. But if you want to see Brown’s essential problem — his inability to articulate a real vision for the future of the state, and his utter cluelessness on tax issues — check out this somewhat alarming video that Sweet Melissa captured at a NARAL event April 11. His answer to a Prop. 13 question was rambling, incoherent, and completely off point. Not good news.


I mean, Meg Whitman has already poured $60 million of her own money into the race, and now she’s getting ready to put in more. Why? Because despite spending more cash than the gross national product of some small countries, all she’s been able to do is pull even with Brown at about 42 percent. Nobody in California who has any access to media can have missed Whitman’s blitz; she’s got her name recognition up, and everyone knows what her message is. But so far, a majority of the state isn’t buying it.


So Brown has a chance here. He can tag Whtman as a friend of Goldman Sachs, as an example of everything that’s wrong with American politics and finance, as another Schwarzenegger (whose ratings are in the toilet) and as someone who doesn’t offer any credible solutions to the state’s problems.


But first Brown needs to offer some credible solutions himself. And he’s not doing it. 

Record Store Day spins right round this Saturday

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Digital music files are the Snuggie of the music industry; so comfy, so easy, but it’s fleece is cheap and one dimensional. Vinyl is a thick quilt, a layered labor of love Grandma crafted just for you– a product that brings about a whole new quality of life when you’re wrapped beneath it. Strange analogy, but if you’re unfamiliar with the loveliness and depth of vinyl’s sound possibilities, Record Store Day– this Sat/17 at locations across the Bay– is your day to give ’em a spin.

1234 GO!

Steve Stevenson, owner of Oakland’s 1-2-3-4 Go! Records understands why people chuck and trade their physical albums for digital– to simplify their lives and clear out some clutter. He says he did the same thing two years ago when he opened the store. 

“I ended up selling almost all of my records– it’s basically how the store started. And now I don’t have many…” he says, pauses, and looks around at the loaded shelves in his shop. “Or I guess I have more than I’ve ever had.” Exactly. Stevenson didn’t cut his collection– his passion for records blew up, the physical stacks of beats and sounds have become his livelihood. 

1234 GO!

Maybe you’re not into building a gigantic vinyl collection over the weekend, but a short celebratory stack for the holiday can make for a healthy collection. And what’s great about visiting a small, boutique shop like Stevenson’s, is what it’s lacking– no over abundance of records to sift and flip for hours on end.

“My shop is small, but it’s packed with almost all exclusively good things,” he smiles. “We have good turnover on everything in here. And customers often tell me it’s nice to come in here for a half-hour and leave with something. It’s not a six-hour process of digging to get to one album you care about.”

So what are some things Stevenson is currently caring about? He would love to share. 

1234 GO!

The self-titled debut of Vermont’s grunge-pop trio Happy Birthday [Sub Pop, 2010] is by far this record shop’s pride and joy right now. Stevenson claims it’s the best collection of music he’s heard in the past two years and while he has yet to confirm totals with the label, he’s pretty he has sold more copies than any store around. 

“It’s only been out a month and I’ve sold 35 copies. I tend to push it on people. It’s just so good.”

1234 GO!

1234 GO!

He’s also pretty proud of Seattle’s Cute Lepers‘ sophomore release, Smart Accessories, [1-2-3-4 GO! Records, 2009] put out on Stevenson’s very own label. Why he gleams and grins so big when it comes to this particular record? It glows in the dark! Trippy! 

“Perfect for dark listening,” he says. 

1234 GO!

Besides music, 1-2-3-4 GO! also showcases the work of local artists each month. Currently it’s Danny Neece’s totally awesome paintings that pair oh so perfectly with the store’s colors. Get introduced to new music, new people and new art: everybody wins. 

While these goodies and other rotating gems are available every day at local music shops, the grandiose appeal of Record Store Day is the limited edition, exclusive releases both labels, artists and shops put out each year in celebration of the under-appreciated music hubs. From in-store performances to mix tapes and snacks (maybe?), put down your iPod this Saturday and let a physical person give you an earful of inspiration. 

Check out www.RecordStoreDay.com to see the major list of nationwide events. 

Or browse this list of participating stores in the Bay Area: 

San Francisco:

Amoeba Music
Aquarius Records
Creative Music Emporium
Force of Habit Records
Medium Rare Music
Streetlight Records
The Music Store

East Bay:

Amoeba Music (Berkeley)
Down Home Music Fourth Street (Berkeley)
Rasputin Music (Berkeley)
Down Home Music (El Cerrito)
Mod Lang (El Cerrito)
1-2-3-4 Go! Records (Oakland)

North Bay:

Back Door Disc (Cotati)
Watts Music (Novato)
Vinyl Planet (Petaluma)
Bedrock Music & Video (San Rafael)
Red Devil Records (San Rafael)
Last Record Store (Santa Rosa)

San Jose:

Space Cat
Streetlight Records

Josh Wolf in the eye of the storm (again)

Josh Wolf has landed in hot water again — this time in connection with his reporting from inside the student occupation at Wheeler Hall on the University of California Berkeley campus to protest budget cuts.

The blogger and videographer was jailed in 2006 after resisting a subpoena to testify before a Federal grand jury because he had taken footage at a 2005 San Francisco protest against the G8 summit. His case was widely reported on, in part because he set a record for jail time served — 226 days — for refusing to give up newsgathering materials. Police believed Wolf possessed footage that could be used to press charges for vandalism of a police car and an assault on an officer. He didn’t.

Now the 27-year-old filmmaker, a student at the Graduate School of Journalism at UC Berkeley, faces a possible seven-month suspension in the wake of a student occupation of Wheeler Hall last November 20. Wolf was one of two reporters whose footage from inside Wheeler Hall was included in a Democracy Now! broadcast about the occupation — but he was the only UC Berkeley student who has said he was there documenting the event as a member of the press.

Wolf says he wore a police-issued press badge around his neck during the Wheeler Hall occupation. Press passes can serve to flag journalists as being in a separate category from civilians in situations involving law enforcement, but displaying one does not always provide a reporter immunity from arrest. The video he shot was integrated into a report produced with independent journalist Brandon Jourdan, who was also inside the building. Wolf and Jourdan were both arrested — but their footage was widely viewed on Democracy Now!, a national alternative news outlet.

In an “informal resolution” issued April 9, UC Berkeley’s Center for Student Conduct found that Wolf “participated in a disturbance of the peace,” charging him with multiple violations of the student conduct code. Wolf’s role as a journalist is not discussed in the list of charges, making it seem as if he’s being lumped in with the student protesters, despite being there as a reporter.

But the fact that he wears another hat as a journalist clearly hasn’t escaped the campus enforcers of the student conduct code. As part of the disciplinary measure, Wolf was also directed to write a 10-page essay reflecting on a list of questions, including: “How do you consider and reconcile the roles of being a student and being a journalist? At what points does either role become more important to you and why? What are your limits as a journalist? Where and how do you draw lines for yourself in terms of things you will or will not do to pursue professional goals?”

Wolf is being given the option of writing the paper and taking the seven-month suspension (a plea bargain of sorts), or moving on to a formal adjudication process that would entail going before a five-member hearing panel, like a court trial. His plan is to try and get an extension for the informal resolution process as a means of getting the charges dropped altogether.

Berkeley Associate Dean of Students Christina Gonzales, whose office oversees the Center of Student Conduct, was unable to discuss Wolf’s particular case because of a federal law prohibiting public disclosure on such matters. Nonetheless, she offered some general comments. “In the big picture, whenever you’re dealing with conduct, you do take into consideration circumstances,” Gonzales said. “If some one reported, ‘I have special credentials’ or whatever, then [the Center for Student Conduct] will go back as part of their research on any of the cases and try to find out as much information they can to determine if that was a known fact, whatever it is that the student’s telling us.” She stressed that the informal resolution was only a first step in the disciplinary process, and that no formal decision has been made at this point in time.

 “There’s always information that comes from others that’s taken into consideration with the whole picture,” Gonzales added.

Wolf says that when he asked Laura Bennett, Assistant Director at the Center for Student Conduct, whether it would impact the outcome of his case if he submitted a letter from Jourdan confirming that he was there as a reporter, he didn’t get a straightforward response. “Her response was, well, that kind of a letter would simply lead me to have more questions, such as, ‘how did you get into the building, who did what, what happened inside the building,’ a whole bunch of stuff that I’m not inclined to help with for any number of reasons,” Wolf said. “Some of this was given on a privileged basis. … And admittedly it’s like, wait, I went down this rabbit hole before, with the grand jury, and I’m not about to deviate from that path.”

Jourdan, who has contributed to the Huffington Post, Reuters, and the New York Times, among other outlets, told the Guardian that he wrote a letter supporting Wolf in this case. “To the best of his ability, he was there to capture a moment in history,” Jourdan said. Wolf is holding off on submitting the letter for now.

“I think what’s happening in the UC system is there’s a sort of crackdown,” added Jourdan, who faces his own charges after reporting on a March 4 demonstration against budget cuts to education that broke onto a West Oakland freeway. “When journalists are charged with criminal offenses … it’s impeding the work. The information is not free flowing. It’s imperative that journalists be given access to cover something … that in time will be seen as an historic movement.”

Pick up next week’s issue or visit us online for a more detailed report.

Can’t stay away

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arts@sfbg.com

MUSIC “What can you do at the age of 44 that’s relevant?” a philosophical Too Short asks over brunch at the Buttercup in Oakland. “It can’t be good; it’s gotta be critic-proof.”

Seldom can you trace an entire artistic milieu back to one person, yet with Bay Area rap, you can. And his name is Too Short, a.k.a. Todd Shaw. In 1980, when the 14-year-old Short moved from L.A. to Oakland, rap was still considered a New York City phenomenon, but this didn’t stop him from making tapes to sell on the bus and the block. Between 1983 and 1986, he cut three discs on local label 75 Girls before forming his own Dangerous Music, whose first album, Short’s Born to Mack (1987), was soon re-released by Jive Records.

But after 14 albums on Jive — three gold, five platinum, one double platinum — Short Dog has gone independent. His label, once named Short Records, then Up All Nite, has been rechristened Dangerous Music, which released his Internet-only pre-album, Still Blowin’, on April 7. The most exciting news is that he’s returned from Atlanta to make music in the Bay, as well as his native L.A.

“What brought me back West was just the love, period,” he says. “People love me other places, but the West Coast love is unconditional. Not only in the Bay. It’s the same in L.A.

“Even in Atlanta,” he continues, “a lot of what I wrote was Oakland music. Oakland gives me the inspiration to write songs.”

Beyond the Bay, Too Short is as seminal a figure as Ice-T, bringing two major innovations to rap: profanity and pimpin’. These days, when half an MC’s verse gets muted on the radio due to graphic content, it’s hard to imagine rap without dirty lyrics, but it was a teenage Short who opened this Pandora’s box, with hardcore classics like “Blow Job Betty.”

“It’s not about pimps so much as having game,” Too Short says, yet the dirty rhymes inevitably meshed with Oakland’s cult of the pimp, whose ur-text is the locally-shot blaxploitation film, The Mack (1973). His much-imitated signature word, “biatch,” once caused controversy, though America fell in love with it after Dave Chappelle’s Rick James skit. As Short raps on the hit title track of his 16th album, Blow the Whistle (Jive 2006), “He got it from me.” Having discovered and recorded with Lil Jon even makes Short a pivotal figure in crunk.

 

JIVE JIVE

Unlike Ice-T or other contemporaries, Short remains a viable hitmaker. Blow the Whistle reached No. 14 on Billboard (No. 7 on the rap chart) and spawned a second hit, “Keep Bouncin’,” featuring Snoop Dogg and will.i.am, who produced it. Yet Jive refused to promote it, or even make a video, despite Snoop and will’s offer to work on it for free — one symptom of a deteriorating relationship between artist and label, which changed focus in the late 1990s to concentrate on teen pop like Britney Spears. Despite its lack of support, Short says that Jive “wouldn’t bow out gracefully,” instead holding him up for months with talk of a major retrospective with four new tracks that never materialized.

“When it’s near the end of the contract,” he says. “No matter how much they made off you, they don’t want to settle it in a humane way. It was clear their only intent was, ‘You must leave here not famous.'<0x2009>”

“I’m a realist,” he says about Jive pursuing more lucrative pop while abandoning a flagship artist who made the label millions. “It leaves a bad taste in your mouth. But there are no regrets. There wouldn’t be the legendary rapper Too Short if I didn’t get in my early years at Jive.” Eventually Short turned in a new album, Get Off the Stage (2007) — which, without promotion by Short or Jive, still hit No. 21 on the rap chart — in exchange for freedom.

 

INDEPENDENCE DAY

Unlike E-40, who left Jive for Reprise, Short Dog opted to go independent. “I could have got a major label deal two weeks after I left Jive,” Short says. “But I’m not going to get 100,000 first-week scans, and that’d be it.”

Both statements are probably true; he’s high-profile and relevant enough to get signed. Yet given the state of the industry and the youth-bias of major label rap, he’s unlikely to go platinum. But platinum’s a scarce commodity nowadays. And much like the nearly 40-year-old Snoop, Short still reliably makes hits and sells records. And he doesn’t intend to stop.

“I was smart enough to realize when the support wasn’t there, I could support myself,” he states matter-of-factly, without a trace of bravado.

Still Blowin’, Short says, “is just an appetizer for the upcoming menu,” his full-blown 2011 disc whose title is “so fly” he won’t unveil it yet. “I can’t just throw another album out there in this market. I need to warm it up, and this Internet album’s to feel out which direction I want to go in.” One direction is mixing in songs with a little more food for thought, even flirting with the idea of falling in love on the standout “Playa Card.”

“This is all premeditated,” he says. “I’m talking lots of shit, but I pick subjects where I can give a little more depth.”

“My last and final goal in hip-hop is to shatter that age-limit myth,” he continues. “It’s totally against everything this hip-hop industry is about. I’ll be 45 in 2011, and I guarantee you, I’ll drop an album and it’ll be the shit.

“I see it like I’m a jazz or a blues musician,” he continues. “I should be a rapper when I can’t even get off the stool, just sit there, nod my head, and do the show. I should be in a Vegas show with showgirls and shit. I’m going to rap till the words don’t come out.”

Finger waggle

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superego@sfbg.com

SUPER EGO What? WHAT?!? This is still happening? Oh Miss Dang, you did not just try to pull off that move where you put your clawy hag-hand on the small of my back and push me aside so you and your train of screaming amigas can press up on the DJ. I don’t care what kind of 2-for-1 ladies night you think this is, but your gimme-gimme is NOT the reason I paid zero dollars to sneak into this club. It is crowded in here and don’t even attempt that Most High Holy Discount-Salon-Streaked Jennifer Anniston Circa 2003 Princess of the VIP shit on me. You reek of Shalimar farts and Pink sweats, ugh.

Seriously, though, some people are getting pushy in the club lately. And, believe me, I’m not going to the wrong parties. In case anyone thinks I’m turning misogynist, I’ve been clotheslined and sidelined in the past three weeks by stomping drag kings, pubic-bearded rockists, and asexual dubstep fans. Look, the only reasons you should be tapping me on the shoulder are to a) hand me the non-well drink you bought me or b) test the structural integrity of my aerodynamically enhanced shoulder pads. It should not be so that you can use me like a sliding door. Duck under or sneak around, people. We’re all in this to make a vibe together. Can we get a little politesse? Merci.

 

EROL ALKAN

Good ol’ electro. It’s still going gonzo with those big time breakdowns and hair-metal stagedives, but slowly — slowly — it’s progressing into something more cerebral and, well, less 00. London vet Alkan pours on the buzzsawing Waters of Nazareth like no other, but he’s tweaking into the future with wide-ranging flair.

Wed/14, 10 p.m., $15. Vessel, 85 Campton Place, SF. www.vesselsf.com

 

MACHINE

A number of dynamic local classic disco and house addicts — Sergio, Conor, Andre Lucero — have teamed up for this hyper new weekly gig, hopefully roughing up gleaming cocktail palace Sloane enough to make it comfortably gritty. They promise to “shoot lasers through speakers.” That oughta do it.

Wed/14, 10 p.m., free. Sloane, 1525 Mission, SF. www.sloanesf.com

 

AMBROSIA AND THE BEARNSTEINS

“I could tell you what we’re gonna do, baby, but isn’t it always better to be surprised?” acid-tongued local dragger Ambrosia Salad rasped into my ear about her “Fat Fame Monster Tour” coming to Art Attack, Supperclub’s eye-popping monthly video-projection-meets-performance night. She’ll be “faux-show air-banding” with her furry backup brood, the Bearnsteins, to arena-dazzling hits. (“The knobs turn on the fake guitars and everything!” she squealed.) Er, “Fame Monster,” though? “No Lady Gaga!” Ms. Salad promises. “Just me being fat!” Faux show.

Thur/15, 10 p.m., $5. Supperclub, 657 Harrison, SF. www.supperclub.com

 

AVANT_MUTEK

The producers of Montreal’s sprawling, techno-intelligent annual Mutek festival are taking their tubes and wires on the road, bringing the heady, yet freakable, sounds of digital creators Afukan, Stephen Beaupré, and Sutekh to the absolutely bonkers visionary Gray Area space. Hear the future in a parallel universe. One called Canada. (Cubed Quebec?)

Fri/16, 10 p.m., $20. Gray Area, 55 Taylor, SF. www.gaffta.org

 

MAD PROFESSOR AND DJ VADIM

Wonderfully deep dub madness (that’s dub, minus the step, but plus the wobble) from the legendary Mad Professor should set it off for heads into quality nods. Trip-hop — yes, I said trip-hop, no shame! — trailblazer DJ Vadim comes from Russia with a sonic palette to rival some hypothetical Timbaland Monet. Dip the brush and swirl.

Fri/16, 10 p.m.-4 a.m., $15. Mighty, 119 Utah, SF. www.mighty119.com

 

TEKANDHAUS

Fresh local, um, tech and house upstarts Bells and Whistles (of the excellent DRESSCODE parties), Nightlight Music’s Travis Dalton, and Zenith bring some twilight hustle to Anu. This should be the kind of low and bristly affair, flavored with a moody dusting of machine soul, that leads you onto other avenues.

Fri/16, 10 p.m., free. Anu, 43 Sixth St., SF. www.anu-bar.com

Rep Clock

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Schedules are for Wed/14–Tues/20 except where noted. Director and year are given when available. Double features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $5-7. "OpenScreening," Thurs, 8. For participation information, email ataopenscreening@atasite.org. The Life of the World to Come: The Mountain Goats in Solo and Duo Performances (Johnson, 2010), Fri, 7:30 and 9. "Other Cinema:" California is an Island (Cump, 2010), Sat, 8:30.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS Fellowship Hall, 1924 Cedar, Berk; www.bfuu.org. Donations accepted. "Palestine: Occupied Lives, Non-Violence, and Steadfastness:" Checkpoint (Shamir), Fri, 7.

CAFÉ OF THE DEAD 3208 Grand, Oakl; (510) 931-7945. Free. "Independent Filmmakers Screening Nite," Wed, 6:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. A Single Man (Ford, 2009), Wed-Thurs, 2:30, 4:35, 7, 9:05. "Epidemic Film Festival," works by Academy of Art students, Fri, 4-8. "Midnites for Maniacs:" •Willy Wonka and the Chocolate Factory (Stuart, 1971), Sat, 1:15, and The Witches (Roeg, 1990), Sat, 3. House (Obayashi, 1977), Sat, 7:30, 9:45. "’06 Quake Memorial Evening:" San Francisco (Van Dyke, 1936), Sun, 6. With a live performance by Blackie Norton’s Paradise Club Band.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10. Breath Made Visible (Gerber, 2009), call for dates and times. The Girl With the Dragon Tattoo (Oplev, 2009), call for dates and times. The Greatest (Feste, 2009), call for dates and times. Vincere (Bellocchio, 2009), call for dates and times. Exit Through the Gift Shop (Banksy, 2010), April 16-22, call for times. A Night at the Opera (Wood, 1935), Thurs, 7.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Grizzly Road, Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. "CinemaLit Film Series: Day and Noir:" The Accused (Dieterle, 1948), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. "Film 50: History of Cinema:" Eternal Sunshine of the Spotless Mind (Gondry, 2004), Wed, 3. "Private Lives: The Films of Alain Cavalier:" La recontre (1996), Wed, 7; Thérèse (1986), Fri, 7; •Lieux saints (2007) and Alain Cavalier, 7 Chapters, 5 Days, 2 Rooms w/Kitchen (Limosin, 1995), Tues, 7. "Cine/Spin:" Sherlock Jr. (Keaton, 1924), Thurs, 7:30. "Joseph Losey: Pictures of Provocation:" The Prowler (1951), Fri, 9:10. "Life, Death, and Technicolor: A Tribute to Jack Cardiff:" The Barefoot Contessa (Mankiewicz, 1954), Sat, 6:30. "Celebrating Chekhov:" Chekhov’s Motives (Muratova, 2002), Sat, 8:50; A Hunting Accident (Lotyanu, 1978), Sun, 5:15. "What’s It All Mean: Films by William T. Wiley and Friends:" "Wiley Selects" (1968-70), Sun, 3.

PIEDMONT 4186 Piedmont, Oakl; (510) 464-5980. $5-8. "Cult Classics Attack 5:" Howl’s Moving Castle (Miyazaki, 2004), Fri-Sat, midnight; Sun, 10am.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. "Dennis Nyback’s Forbidden Cinema:" "Terrorism Light and Dark," Wed-Thurs, 7; "I Know Why You’re Afraid," Wed-Thurs, 9:30. "The Hippie Temptation," Fri, 7:15, 9:15. The Big Lebowski (Coen, 1998), Sun-Tues, 4:20, 7, 9:25 (also Sun, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. It Came from Kuchar (Kroot, 2009), April 16-22, call for times.

SAN FRANCISCO CINEMATHEQUE California College of Arts, 1111 Eighth Street, SF; www.sfcinema.org. $10. "States of Belonging Program IV," Wed, 7:30. With filmmaker Lynne Sachs in person. Victoria Theatre, 296116th St, SF; www.sfcinema.org. $50. "Crossroads: A Festival of New and Rediscovered Film and Video," Fri, 8; Sat, 1, Sun, 2.

SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. "Canines on Camera:" Hound of the Baskervilles (Fisher, 1959), Thurs, noon.

VIZ CINEMA New People, 1746 Post, SF; www.newpeopleworld.com/films. $8-10. Eatrip (Nomura, 2009), Wed-Thurs, call for times. Gravity’s Clowns (Mori, 2009), April 16-29, call for times.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "The Word and the Image: Films by Marguerite Duras:" The Truck (1977), Thurs, 7:30. "Independent Inuit Film: The Fast Runner Trilogy:" The Journals of Knud Rasmussen (Kunuk and Cohn, 2006), Sat, 7:30. "Dennis Nyback Presents: So, You Wanna Fight!", Sun, 2.

Did Lennar hire an armed security guard from Andrews International?

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I didn’t attend the April 12 hearing of the Board’s city operations and neighborhood services committee about Lennar’s decision to send an armed ex-SFPD officer to a Feb. 18 community meeting at the Nation of Islam’s mosque on Third Street.

But video footage shows that it was a packed house, during which plenty of folks stated loud and clear that they thought it was a really bad and potentially dangerous idea to send an armed ex-officer into a community meeting in the Bayview.



“What next? Concealed weapons at City Hall?” a member of the public asked.

At meeting’s end, Sups. John Avalos, Carmen Chu, Sean Elsbernd voted to refer a resolution urging Lennar Corporation to issue a formal, written apology to members of the Stop Lennar Action Movement (SLAM.) to the full Board without recommendation, after Elsbernd voiced concern that the ex-officer may have been threatened and had racial epithets hurled his way.

“If the gentleman was threatened, if racial language was used, in that case it should not be one- sided,” Elsbernd said. “There should be apologies on the other side as well.”

Meanwhile, it’s worth shining light on another question: Who was the ex-officer actually working for?

During the meeting, much was made of the fact that the ex-officer, who told police his name was Bob Tarantino though apparently that is not his real name, gave as his work contact an address in Miami, Florida, where PR agency Sitrick and Company, has an office.

(Lennar once sent a Sitrick employee to talk to me and my editors at the Guardian, after we published the first in a series of reports that showed that the company failed to adequately enforce promised asbestos dust mitigation plans at its Shipyard site.)

But Sitrick managing director Glenn Bunting, who oversees the company’s San Francisco, Silicon Valley and Miami offices, told the Guardian that the ex-officer in question has never worked for or been an employee of Sitrick.

“We know who is on our pay roll and we don’t provide security services,” Bunting said.

He confirmed that Sitrick recently opened an office in Miami and sublets space from another firm in the same building. “We have a very small presence in Miami,” Bunting said.

So, who could Tarantino work for who  also has the same address in Miami, Florida, where Lennar Corporation is headquartered?

The building in question looks pretty big, lies across the street from the court house and is home to Andrews International, which is headquartered in Los Angeles, and bills itself as “a full service provider of security and risk mitigation services” and the “largest private, American-owned full-service security provider in the United States.”

In October 2009, Andrews International acquired Verasys LLC, a Miami-based consulting firm focused on global risk mitigation, investigations and security services.

“The acquisition added new offices in Miami, Tampa, Dallas, Atlanta and Bogotá, expanding service capabilities in all 50 states and Latin America” an Andrews International press release states.“ This followed the June 2009 acquisition of the U.S. and Mexico guarding operations of Garda World Security Corporation (TSX: GW), encompassing 14 offices across the U.S. and abroad. Most recently in January 2010, Andrews International acquired A&S Security, a California-based full service security company, expanding operations in its Western U.S. Region.”

So, it’s possible Bob Tarantino, or whatever his name is, works for these folks?
Lennar Urban’s Kofi Bonner has not replied to this question, as of this blog posting. But in a March 15 letter to Board President David Chiu and D. 10 supervisor Sophie Maxwell, Bonner said he was “working with our vendors to prevent such an episode from happening again.”


Bonner’s letter wasn’t entirely apologetic.

“Lennar has become increasingly concerned that some community meetings have devolved into hostility accompanied by intimidation of our supporters,” Bonner stated. “For that reason, I decided against sending any employees or consultants to the meeting in question.”

“I am truly disturbed by the ensuing physical and verbal abuse directed at the security firm employee,” Bonner continued. “Not surprisingly, he is independently considering his legal options.”

Just out of prison, Addis returns to SF with a message

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Paul Addis is a playwright and performance artist best known for prematurely igniting Burning Man‘s eponymous central effigy during a Monday night lunar eclipse at the event in 2007, a crime for which he served two years in a Nevada prison. He was recently released and returned to San Francisco, where his new one-man show debuts at The Dark Room on April 30.

Last week, Addis sat down for an extended interview with the Guardian to discuss that momentous night – when he grabbed the Holy Grail of burner malcontents, lighting the Man early, and paid a heavy price for it – and its aftermath, including developing his play, “Dystopian Veneer,” while in a prison work camp near Las Vegas.

“It’s a brand new life and I’ve got all this potential and I want to make the most out of it,” said Addis, an intense guy who exhibited a wide range of emotions during the three-hour interview, from easy laughter to frustrations with what he sees as the lack of risk-taking in San Francisco to excitement over his future to flashes of real menace when discussing those who have done him wrong.

Addis is a lightning rod whose torching of the Man still elicits strong reactions from those who attend Burning Man. Some angrily condemn an act they see as destructive and dangerous, while others appreciate the ultimate symbolic assault on an event that they think had become too orderly and calcified.  
Paul Addis's mug shot after burning The Man.

Addis’s post-burn mug shot.

“Everybody knew it needed to be done for lots of reasons,” Addis said of an action that was his sole purpose in attending Burning Man that year. “I felt like Burning Man as an event was starting to coddle people way too much.”

But the event’s leaders certainly didn’t coddle Addis, instead testifying at his 2008 sentencing hearing about the high cost of replacing the Man (high enough to bump the destruction of property charge up to a felony) and the early burn’s negative impact on the event. “They didn’t have to do this,” Addis said of Burning Man board member Will Roger’s testimony at the hearing. “Instead, they decided to deliberately take action they knew would send me to prison.”

Marian Goodell, the director of business and communications for Burning Man, declined to discuss the accusation, or Addis’ complaint that she and others have publicly misrepresented the role of Burning Man brass in sending him to prison, including statements in the film “Dust & Illusions” that the sentencing was beyond their control. “It doesn’t do us or him any good to open that wound again,” Goodell told the Guardian. “We’re not going to discuss it.”

Starting the fire wasn’t Addis’s only crime of that era. Within weeks of returning to Burning Man, he was arrested in Washington for carrying guns in public (he says they were props for the one-man play about Hunter S. Thompson he was doing at the time) and for possession of fireworks and an air gun near Grace Cathedral (which police said at the time was a plot to burn down the stone church, a notion that Addis calls preposterous). Addis has innocent narratives for each incident, blaming others for overreacting.

Yet Addis now says that he’s let go of his old grudges, describing a moment of clarity and peace that came over him while driving his motorcycle through the Nevada desert on his way back to San Francisco. He said that he feels most happy and alive when he’s on stage, a passion that he said sustained him while in prison, “so it’s imperative for me to get back to what I love doing.”

Addis posted a promotional video for his new show on Laughing Squid (whose owner, Scott Beale, Addis has known for many years). It opens with Addis looking up at the camera, his mouth covered in duct tape that he slowly rips off and begins speaking. “In a society whose foundation is free expression under the First Amendment and liberty under the Constitution, this is probably the most desperate, despicable and disgusting thing that can be done to an outspoken and risk-taking performance artist,” he says, indicating the tape in his fingers, before tossing it aside and saying, “Well, that’s over now.”

He goes on to criticize how sanitized San Francisco has become, singling out the police crackdown on SoMa parties and nightclubs that we’ve been covering in the Guardian and calling for people to join him in pushing the edge. But just how San Franciscans will greet this controversial figure is still an open question. 

I’ll have more from my interview with Addis, along with reactions from other figures in the Burning Man world, in the Guardian in coming weeks; and even more in my upcoming book, “The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture,” due out later this year from CCC Publishing.  

The Daily Blurgh: Bros before trolls

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Curiosities, quirks, oddites, and items from around the Bay and beyond

For the love of God, iPad, or printed matter, please read former Guardian culture editor, and current lead editor of science and sci-fi wonderblog io9, Annalee Newitz’s eye-opening summary of the 5 ways the Google Book settlement will change the future of reading (one plus: “pulp science fiction will make a comeback in ways you might not expect”).


 “It hurt the way your tongue hurts after you accidentally staple it to the wall.” 


Early master of photography actually insane cuckold killer: “This commission took [Edweard Muybridge] out of San Francisco at a convenient moment: He’d recently murdered his young wife’s lover, but squeaked by with an acquittal in court — one part of his defense had been that only someone already unbalanced would take the risks that Muybridge did in Yosemite, just to get a picture.”


Meanwhile, still-living photo-snapper The Tens got a peek inside the bowels of Kink.com (h/t Mission Mission)


The Awl preaches bros before trolls: “Instead of shaking your Internetty fist at all that angers you though, what if you ignored it and discussed things that do work, things that are wonderful, and encouraged others to do the same?”


 

These gorgeous creatures – children of video artist and endless font of inspiration Kalup Linzy — are hitting Berkeley Art Museum tonight with support from DJ Bus Station John, starting at 6pm. Get it!

 

 

Force is the weapon of the weak: decrying the right’s violent rhetoric

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American political discourse is being poisoned by some truly scary rhetoric from the right-wing, which is increasingly resorting to threats and condoning of violence, a trend that has played out in recent weeks right here on the Guardian’s Politics blog. Now is the time to recognize and stop it, just as a new coalition is calling for

San Francisco resident Greg Lee Giusti was arraigned in federal court this morning for making threatening phone calls to House Speaker Nancy Pelosi, one day after the arrest of Charles Alan Wilson for threatening to kill Sen. Patty Murray (D-Wash.). In both cases, the subject was the recent health care reform bill, the anger of the suspects stoked by misinformation and inflammatory rhetoric from top conservative politicians and media figures, as well as the Tea Party movement.

But these cases – along with the recent domestic terrorism plot by Christian fundamentalists and other incidents of overt and implied threats of violence – aren’t isolated examples; they are closer to the norm of rhetoric emanating from the right-wing these days, a trend not seen in this country since the months that led up to the bombing of the Oklahoma City federal building by right-wing radical Timothy McVeigh, the biggest act of domestic terrorism before 9/11.

Consider Giusti, who also wrote a scary letter to me and the Guardian in the midst of his threats against Pelosi, taking issue with our recent cover story that was critical of police crackdowns on SF nightlife. In additional to praising police violence and encouraging cops to “crack a few skulls open,” just like his NYPD cop uncle, who “knows how to inflect [sic] excruciating Paine [sic] on someone without leaving any signs of what happened.”

But Giusti was far from alone in promoting violence over the issues we’ve raised. SFPD Southern Station Capt. Daniel McDonough praised the sometimes-violent tactics of the two undercover cops who bust parties and nightclubs, strongly implying those tactics were justified to counter the unspecified threats of violence that nightclubs represent. “Because of their diligence and professionalism the amount of violence and disorder has been reduced,” McDonough wrote, echoing a troubling strain of right-wing political thought that condones violence to prevent even speculative threats of violence, a perspective that led us to invade Iraq.

And when I wrote about McDonough’s response yesterday, a commenter wrote that aggressive police tactics are justified because, “The unprecedented ascendancy of nightclubs and violation of the Constitutional rights of residents to peaceful use of their property calls for drastic measures.”

In a similar vein, our blog post this week on a newly released video of American soldiers in a helicopter opening fire on a crowd in Baghdad that included journalists and children while making disturbing comments that seemed to relish the opportunity to kill people also provoked some equally disturbing comments.

“So a couple of journalists embedded with terrorists killing Americans got wiped out…congrats to the shooters! A couple of terrorists in training got shot up in a terrorist rescue attempt…congrats to the shooters! Everyone on scene who died got what was coming to them,” one wrote, while another warned, “Raise a weapon against America or Americans and prepare to experience the worst day in the rest of your life. Hoowa!”

Even though the helicopter was miles away and the video showed no credible threats toward it or anyone else, supporters of the war seemed to think that quickly resorting to violence is acceptable. “This is the price we pay for are [sic] freedom. put yourself in that chopper and then put yourself on the ground they all no [sic] what can and will happen. It will happen at home again 911 just give it time. We will do are [sic] best to defend are [sic] country. GOD BLESS USA.”

And I will do my best to defend this country from right-wing extremists. That effort starts with challenging Sarah Palin’s winking exhortation for her followers to “lock and load,” and with letting commentators like Glenn Beck and Bill O’Reilly, on a nightly basis, cast liberals as enemies of the state to their well-armed listeners.

This is simply not OK, a point that’s being made by the prosecutors of Giusti and Wilson, as well as the new Stop Domestic Terrorism campaign by a coalition of organization concerns about the increasing violent rhetoric of the rights. 

“Law abiding Americans do not advocate violence against fellow Americans,” campaign spokesperson Brad Friedman said in a public statement. “As Americans, we all need to engage in a vigorous debate of the issues based on facts and reason rather than fear and prejudice.”

But even in San Francisco, it’s common for conservatives and so-called “moderates” to condone violence against the homeless, drug users, petty criminals, ravers, Critical Mass bicyclists, “illegal immigrants,” or others that they dismiss as “getting what’s coming to them” for daring to violate laws or social mores. I’ve personally had violence wished on me more times than I can count, in letters, phone messages, and to my face. 

As a full-time newspaper journalist for almost 20 years, I’ve dealt with right-wing crazies for a long time, but there are times when you can sense their indignation getting ratcheted up to dangerous levels. In 1994, I wrote stories for the Auburn Journal and Sacramento News & Review about right-wing “patriots” and “constitutionalists” that were part of the militia movement in Placer County.

They warned me that then-President Bill Clinton was an agent of the “New World Order” who was plotting a socialist takeover of the “real Americans,” and that violent resistance was necessary. They spun elaborate fantasies about the impending civil war, which they said the federal government had already started with their raids in Ruby Ridge and Waco. 

“You won’t be able to write an article like this anymore because the government will come and kick in your door and murder you and your children,” one militia member told me after my first article came out.

On April 19 of the next year, while I was working for the Santa Maria Times, I remember vividly when the federal building in Oklahoma City was bombed, killing 168 people. For the first 24 hours, most media outlets speculated that it was an attack by terrorists from the Middle East, but as soon as I heard it was the anniversary of the Waco incident, I knew exactly who was really responsible: the dangerous right wing extremism that pushed militia member Timothy McVeigh to attack his own country.

And now, it’s happening again. Overheated rhetoric on the right is casting Pelosi and fellow Democrats not just as political opponents, but as dangerous enemies of the “real Americans” that Palin claims to champion. They have, like Wilson said of Murray, “ a target on her back.”

When Sen. Leland Yee tried to find out how much Palin was being paid to speak at California State University-Stanislaus, he was aggressively attacked by her acolytes for trying to “take away her constitutional right to free speech,” according to an anonymous message left on his answering message yesterday, which his office shared with the Guardian. “Maybe we ought to have a homosexual with a long enough dick so he can stick it up his ass and fuck himself while he’s on stage giving a speech.”

Such crass, semi-literate, weirdly homophobic comments might be funny if they weren’t part of a larger, more dangerous trend in this country. Once again, a Democratic president is being actively accused of treasonous hostility to “real Americans” by major conservative figures with huge audiences, and once again, the lunatic fringe is being worked up into a frenzy.

The recently uncovered plot by Michigan militia members to murder police officers in the hopes of starting a holy war with the enemies of Christianity is just one indication for what this kind of rhetoric is leading to in isolated pockets around the country. Now is the time to put a stop to condoning violence in any of its forms, whether it’s cops cracking the skulls of clubbers or street denizens, soldiers firing on crowds of people, or citizens threatening our elected representatives.

“Force is the weapon of the weak,” said the radical pacifist-anarchist Ammon Hennacy, a quote that was often repeated by folk singer and progressive writer Utah Phillips, who I had the honor of covering at the same time I was covering the militia movement. It’s true, and at this difficult moment in our country’s history, let’s all try to stay strong.  

Kick the pixels outta ’em

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Director Patrick Jean’s pixellated destruction of NYC may be a bit “too soon” for some folks — but for us primitive video game addicts it takes us back to quarter-dropping bliss on a Transformers scale. (The more San Franciscan version of this, of course, has been done before)  

Recology can’t have it both ways

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Critics of San Francisco’s plan to award Recology the city’s trash disposal contract just alerted me to the curious fact that if you watch this video link (scroll down through the video clips to “Garbage 2”), you’ll hear Recology COO George McGrath say that rail haul in California isn’t economically viable.

The link features three excerpts of a August 2009 hearing in Humboldt County regarding rail hauling of Bay Area waste to Winnemucca, Nevada–a plan that got blocked this week.

And as critics of San Francisco’s plan note, that’s a curious thing for McGrath to say in Nevada given that Recology is proposing to haul San Francisco’s trash by rail to the Ostrom Road landfill in Yuba County, which is a 238-mile round trip.

Recology spokesperson Adam Alberti told me that while he hasn’t viewed the video in question, he believes folks are taking McGrath’s comments out of context, since McGrath wasn’t talking about the San Francisco proposal.

“In this particular case,” Alberti said, referring to the San Francisco contract, “rail works fine. Clearly pricing on rail was superior and allowed us the recommendation based on that grading criteria.”

“At the end of the day,” Alberti said, turning the focus back on Waste Management, Recology’s main competition for the San Francisco landfill disposal contract, “we are looking at a very monied competitor who wants the business. Our proposal is recommended by the City and County of San Francisco as the best cost alternative and, we believe, the most environmentally sustainable.”

 

Hey kids! It’s Panique time!

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CULT DVD Alejandro Jodorowsky and Fernando Arrabal have overlapped their whole lives. The Chilean Jodorowsky and Spanish Arrabal arrived in Paris is the mid-1950s, eventually cofounding (with late, lesser remembered artist French artist Roland Topor) the Mouvement Panique — a post-surreallist group named after the god Pan and dedicated to “terror, humor, simultaneity.” The two initially focused on theatrical performance and have in subsequent decades created massive bodies of plays, poetry, novels, visual art (paintings for Arrabal, comic books for Jodorowsky), and more. Internationally, they’ve been most widely experienced as filmmakers of some notoriety whose sporadic work in that medium was busiest during the wide-open late 1960s and early ’70s.

Jodorowsky, of course, rates high on any cineaste’s list of cult idols for the blood-soaked spaghetti western Christ parable El Topo (1970) and mystical-baroque colossus The Holy Mountain (1973), both recently freed from decades of legal trouble for legitimate DVD release. Arrabal’s films have been even harder to see and have fallen into comparative obscurity, partly because they’re less “fun” despite sharing much in the way of striking, shocking, and frequently blasphemous imagery.

In 2005 Cult Epics brought out a collection comprising his first three features: Viva la muerte (1970) and The Guernica Tree (1975), two violently grotesque fantasias about the Spanish Civil War whose dead included his own assassinated painter father, a loyal Republican; plus I Will Walk Like a Crazy Horse (1972), a no-less surreal yet strangely touching love story of sorts between an urban playboy on the run and the three-foot-tall male desert hermit.

Given their penchant for full-frontal nudity, antifascist politics, desecration of religious iconography, and other MPAA-unratable themes, perhaps the weirdest overlap between the two most famous “Panique” insurrectionists is that each once strayed into the alien realm of family entertainment. (They no doubt seized this inapt moment as a respite from perpetual funding woes, which famously scuttled Jodorowsky’s ready-to-go Dune and his El Topo sequel.)

Unsurprisingly, the results did not send Disney into a market-dominance panique. In fact, Jodorowsky’s 1978 for-hire project Tusk was, at least until recently. one of the most infamously unseen movies ever made, a literally and figuratively elephantine India adventure deemed unwatchable for any audience. Check out the cruddy French-language dupe with Spanish subtitles on YouTube and see how far curiosity gets you.

Arrabal’s kid flick wasn’t quite so fully buried, but it too has remained an obscure object of completist desire. Fortunately his second and final DVD collection from Cult Epics just arrived to fill that need. Nominally released in 1982, French-Canadian coproduction The Emperor of Peru stars Mickey Rooney — there goes the scenery in one big chew — as a wuvvable wheelchair-bound eccentric found living in the forest by three children on summer holiday. A former steam train engineer, he teaches them to run an abandoned locomotive so they can take their Cambodian-refugee friend back home to his parents. Never mind that there’s probably not much rail linking the South of France and Phnom Penh, let alone that in 1982 the Khmer Rouge remained very active.

How many children’s films would have dialogue like “Father’s in a concentration camp”? Emperor‘s real raison d’être, in any case, is its myriad fantasy sequences, sprung from the childish imagination of Toby (Jonathan Starr). In his daydreams he’s a firefighter or astronaut whose heroic deeds are applauded by such bystanders as Napoleon Bonaparte. Amid the goofy, mostly innocuous proceedings are stray moments of unmistakable Arrabal — as when Rooney, in full Arabian Nights regalia, is surrounded at imperial court by dwarf attendants. (Arrabal has a thing for little people.)

The new collection also includes Car Cemetery, a 1983 New Wave “punk” pose fest with Gallic pop king Alain Bashing as a postapocalyptic rock star Christ (ouch indeed). Among other rarities are Arrabal’s delightful hour-long 1992 video Farewell, Babylon!, a collage of past works, impish narrative, and sampled New Yorkers including Spike Lee and Melvin Van Peebles.

Rep Clock

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Schedules are for Wed/7–Tues/13 except where noted. Director and year are given when available. Double features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. "Films by Lukas Lukasik," short films, Fri, 8pm. "Other Cinema:" With the Wind in Our Hair (Sachs, 2010), Sat, 8:30. Co-presented with San Francisco Cinematheque as part of its "States of Belonging" series. "Brunch," live electronics and 4D phantasmagoria by Craig Baldwin and others, Sun, 11-6.

CAFÉ OF THE DEAD 3208 Grand, Oakl; (510) 931-7945. Free. "Independent Filmmakers Screening Nite," Wed, 6:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. "Legendary Composers: Lalo Schifrin:" •The President’s Analyst (Flicker, 1967), Wed, 2:15, 7, and Kelly’s Heroes (Hutton, 1970), Wed, 4:15, 9:05; •Enter the Dragon (Clouse, 1973), Thurs, 7, and Hell in the Pacific (Boorman, 1968), Thurs, 9. "Midnites for Maniacs: In-One-End-And-Out-The-Other Triple Feature:" •The Gate (Takács, 1987), Fri, 7:30; Hackers (Softley, 1995), Fri, 9:30; and Prince of Darkness (Carpenter, 1987), Fri, 11:45. $10 for one or all three films. Sunrise (Murnau, 1927), Sun, 1:30, 4, 7:30. Theater closed Mon-Tues.

CERRITO 10070 San Pablo, El Cerrito; www.rialtocinemas.com. $7. "Cerrito Classics:" Diva (Beineix, 1982), Thurs, 7:15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10. Breath Made Visible (Gerber, 2009), call for dates and times. The Girl With the Dragon Tattoo (Oplev, 2009), call for dates and times. The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (Ehrlich and Goldsmith, 2009), call for dates and times. A Prophet (Audiard, 2009), call for dates and times. Vincere (Bellocchio, 2009), call for dates and times. The Greatest (Feste, 2009), April 9-15, call for times.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. If Only I Were an Indian (Paskievich, 1996), Wed, 7:30.

LUMIERE 1572 California, SF; (415) 267-4893. $8-10.50. 2012: Time for Change (Amorim, 2010), Fri-Sun, 7.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. "CinemaLit Film Series: Day and Noir:" Born to Kill (Wise, 1947), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. "Film 50: The History of Cinema:" Annie Hall (Allen, 1977), Wed, 3. "What’s a Matta U?": Somersault (Shortland, 2004), Wed, 7. "Joseph Losey: Pictures of Provocation:" King and Country (1966), Thurs, 7:30; Boom! (1968), Fri, 9; Mr. Klein (1976), Sat, 8:20. "Celebrating Chekhov:" An Unfinished Piece for Player Piano (Mikhalkov, 1977), Fri, 7; The Lady with the Dog (Heifitz, 1960), Sat, 6:30. "What’s It All Mean: Films by William T. Wiley and Friends:" "Films by Wiley and Robert Nelson," Sun, 3. "Life, Death, and Technicolor: A Tribute to Jack Cardiff:" Pandora and the Flying Dutchman (1951), Sun, 5:15. "Dotted Lines: Women Filmmakers Connect the Past and the Present:" "Stages of Belonging: Films by Lynne Sachs (1994-2009)," Tues, 7:30. Co-presented by the San Francisco Cinematheque.

PIEDMONT 4186 Piedmont, Oakl; (510) 464-5980. $5-8. "Cult Classics Attack 5:" City of Lost Children (Jeunet and Caro, 1995), Fri-Sat, midnight.

PLAYLAND-NOT-AT-THE-BEACH 10979 San Pablo, El Cerrito; (510) 592-3002, www.playland-not-at-the-beach.org. Free with museum admission ($10-15). Playland Remembered! (Wyrsch, 2010), Sat-Sun, every half hour starting at 10:30.

PRESENTATION THEATER USF School of Education Building, 2350 Turk, SF; (415) 422-6525. Free. Speaking in Tongues (Jarmel and Schneider, 2009), Thurs, 7.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. My Son, My Son, What Have Ye Done (Herzog, 2009), Wed, 2, 7:15, 9:20. Crazy Heart (Cooper, 2009), Thurs-Sat, 7:15, 9:35 (also Sat, 2, 4:20). The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (Ehrlich and Goldsmith, 2009), Sun-Tues, 7:15, 9:20 (also Sun, 2, 4).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Breath Made Visible (Gerber, 2009), Wed-Thurs, 6:45, 8:30. "San Francisco International Women’s Film Festival," Wed, 7, 9:15. "Out in Israel Film Series," Thurs, 7, 9:15. Call for Fri-Tues shows and times.

SAN FRANCISCO CINEMATHEQUE Oddball Film + Video, 3225 22nd St, SF; www.sfcinema.org. $10. "States of Belonging Program II," Sun, 8. With filmmaker Lynne Sachs in person.

SAN FRANCISCO INTERNATIONAL WOMEN’S FILM FESTIVAL Various Bay Area locations; www.sfwff.com. Ticket prices vary. The Women’s Film Institute presents their sixth annual festival of women filmmakers and films. Wed-Sun.

VIZ CINEMA New People, 1746 Post, SF; www.newpeopleworld.com/films. $8-10. Sakuran (Ninagawa, 2007), Wed-Thurs, call for times. Eatrip (Nomura, 2009), April 10-15, call for times.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "The Word and the Image: Films by Marguerite Duras:" Destroy, She Said (1969), Thurs, 7:30. "Independent Inuit Film: The Fast Runner Trilogy:" Before Tomorrow (Cousineau and Ivalu, 2008), Fri, 7:30; Atanarjuat, the Fast Runner (Kunuk, 2001), Sun, 2.

Music listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com.

WEDNESDAY 7

ROCK/BLUES/HIP-HOP

Boy in the Bubble, Actors, Catholic Radio, DJ Dudehouse El Rio. 9pm, $6.

*Faith and the Muse, Jill Tracy, Tell Tale Heartbreakers, Sunshine Blind DNA Lounge. 9pm, $15.

Gram Rabbit, Spindrift, Foxtail Somersault Red Devil Lounge. 8pm, $8.

Adam Green, Dead Trees Café du Nord. 9:30pm, $15.

*Patty Griffin, Buddy Miller Fillmore. 8pm, $35.

Moira Scar, Attic Ted, Slow Poisoner Hemlock Tavern. 9pm, $5.

Moldover, Nonagon, Celeste Lear Hotel Utah. 8pm.

Curtis Salgado Biscuits and Blues. 8pm, $18.

Sherwood, Seabird, Black Gold, Reece Rickshaw Stop. 7pm, $15.

DANCE CLUBS

Afreaka! Attic, 3336 24th St, SF; souljazz45@gmail.com. 10pm, free. Psychedelic beats from Brazil, Turkey, India, Africa, and across the globe with MAKossa.

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.

Machine Sloane, 1525 Mission, SF; (415) 621-7007. 10pm, free. Warm beats for happy feet with DJs Sergio, Conor, and André Lucero.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

Yoruba Dance Sessions Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. With resident DJ Carlos Mena and guests spinning afro-deep-global-soulful-broken-techhouse.

THURSDAY 8

ROCK/BLUES/HIP-HOP

Growlers, Sandwitches Rickshaw Stop. 8pm, $10.

Miles Kurosky, Pancho-san, Lia Rose Bottom of the Hill. 8:30pm, $12.

Late Young, Jaws Knockout. 9:30pm, $7.

Light This City, Comadre, Funeral Pyre, Early Graves Thee Parkside. 9:30pm, $12.

Montana 1948, DownDownDown, Beta State, Brooks Was Here Café du Nord. 8:30pm, $10.

Murder By Death, Ha Ha Tonka, Linfinity Slim’s. 9pm, $16.

*Ty Segall, Numerators, Bridez Hemlock Tavern. 9pm, $6.

"Stevie Ray Vaughn Tribute with Alan Iglesias" Biscuits and Blues. 8pm, $16.

White Buffalo, Joey Ryan Hotel Utah. 9pm, $12.

JAZZ/NEW MUSIC

Graham Connah Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

FOLK/WORLD/COUNTRY

Valerie Orth Band Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-7. DJs Pleasuremaker and Señor Oz spin Afrobeat, Tropicália, electro, samba, and funk.

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.

Good Foot Yoruba Dance Sessions Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. A James Brown tribute with resident DJs Haylow, A-Ron, and Prince Aries spinning R&B, Hip hop, funk, and soul.

Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.

Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.

Kissing Booth Make-Out Room. 9pm, free. DJs Jory, Commodore 69, and more spinning indie dance, disco, 80’s, and electro.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Motion Sickness Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Genre-bending dance party with DJs Sneaky P, Public Frenemy, and D_Ro Cyclist.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest.

FRIDAY 9

ROCK/BLUES/HIP-HOP

Citizen Cope Fillmore. 8pm, $25.

*Fear Factory, Amon Amarth, Eluveitie, Dirge Within Regency Ballroom. 7pm, $27.

Roy Gaines Biscuits and Blues. 8 and 10pm, $22.

John n Jesse, Ziggy King and the Jokers Epicenter Café, 764 Harrison, SF; (415) 543-5436. 7pm.

Karl Denson’s Tiny Universe, DJ Logic Independent. 9pm, $25.

Love of Diagrams, Weekend, Fever Dream Hemlock Tavern. 9:30pm, $7.

Miko Marks, Andre Thierry Slim’s. 9pm, $16.

Noodles, All Ages, Golda and the Gunz, El Nino Red Devil Lounge. 8pm, $12.

Retribution Gospel Choir, Carta, Sarah June Hotel Utah. 9pm, $10.

7 Walkers featuring Bill Kreutzmann and Papi Mali with George Porter Jr. Great American Music Hall. 9pm, $25.

Rube Waddell, Sweet Bones, Cheetahs on the Moon, Unpopable Bottom of the Hill. 9:30pm, $9.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Sounds of Blackness Yoshi’s San Francisco. 8 and 10pm, $24-34.

Thorny Brocky Red Poppy Art House. 8pm, $10-15.

FOLK/WORLD/COUNTRY

Jackie Rago and the Venezuelan Music Project El Rio. 4pm, $10-25 sliding scale. With DJ La Rumorosa.

Jonathan Shue Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

"That Night in Rio" Café du Nord. 9pm, $15. Samba party with Grupo Samba Rio and Dj Fausto Sousa.

Matt Turk Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

DANCE CLUBS

Activate! Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.

Blow Up Rickshaw Stop. 10pm, $10. With rotating DJs.

Evil Breaks DNA Lounge. 9:30pm, $20. Breaks with Fine Cut Bodies, Left/Right, Aaron Jae, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

Fo’ Sho! Fridays Madrone Art Bar. 10pm, $5. DJs Kung Fu Chris, Makossa, and Quickie Mart spin rare grooves, soul, funk, and hip-hop classics.

Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Gui Boratto Mighty. 10pm, $15. With Nikola Baytala and more spinning techno.

Gymnasium Stud. 10pm, $5. With DJs Violent Vickie and guests spinning electro, disco, rap, and 90s dance and featuring performers, gymnastics, jump rope, drink specials, and more.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

Menage a Birthday Party Rickshaw Stop. 9pm, $10. Benefit for Northern California Youth Leadership Seminar with DJs spinning music celebrating famous threesomes (like TLC!)

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa "Samoa Boy" spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Sensitive Thug Club Six. 9pm, $7. With DJs Whooligan and J. Boogie spinning hip hop, soul, funk, dancehall, and breaks.

Strictly Video 111 Minna. 9pm, $10. With VDJs Shortkut, Swift Rock, GoldenChyld, and Satva spinning rap, 80s, R&B, and Dancehall.

Treat Em Right Elbo Room. 10pm, $5. Hip-hop, funk, and more with DJs Vinnie Esparza, B. Cause, and guest Joe Quixx.

SATURDAY 10

ROCK/BLUES/HIP-HOP

*Exene Cervenka Rasputin Music, 67 Powell, SF; www.rasputinmusic.com. 4pm.

Citizen Cope Fillmore. 8pm, $25.

"Fifth Annual Funk Out with R.O.C.K." Café du Nord. 9pm, $15-25. With Stymie and the Pimp Jones Luv Orchestra.

*Grannies, Fast Takers, Blank Stares El Rio. 10pm, $7.

Karl Denson’s Tiny Universe, DJ Logic Independent. 9pm, $25.

*Kowloon Walled City, Hollow Mirrors, Across Tundras, Lost Machine Thee Parkside. 9pm, $7.

*McCabe and Mrs. Miller, Orange Peels, Ralph Carney’s Serious Jass Project Hemlock Tavern. 9:30pm, $7.

Society Dog, Hot Farm, Empireslum Thee Parkside. 3pm, free.

Tender Mercies, Naked Barbies, Yard Sale Hotel Utah. 9pm, $8.

Tornado Rider, Stomacher, 3rd Rail, I the Mighty Great American Music Hall. 8pm, $14.

Phillip Walker Biscuits and Blues. 8pm, $20.

We Are Wolves, Parlovr, Off Campus Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Bobby McFerrin’s VOCAbuLarieS Nob Hill Masonic Center, 1111 California, SF; www.sfjazz.org. 8pm, $25-85.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Ricardo Scales Top of the Mark. 9pm, $15.

Sounds of Blackness Yoshi’s San Francisco. 8 and 10pm, $34.

FOLK/WORLD/COUNTRY

Bryan Byrnes Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Derek Lassiter Red Poppy Art House. 8pm, $15.

DANCE CLUBS

Audio Alchemy Yoshi’s San Francisco. 10:30pm, $15-25. With Mix Master Mike, DJ Shortkut, and Jazz Mafia All-Stars.

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.

Blowoff Slim’s. 10pm, $15. With DJs Bob Mould and Rich Morel.

Bootie DNA Lounge. 9pm, $6-12. DJ Earworm headlines this mash-up party.

Cockblock Rickshaw Stop. 10pm, $7. DJ Nuxx and guests spin at this queer-friendly dance party.

Dead After Dark Knockout. 6pm, free. With DJ Touchy Feely.

Electricity Knockout. 10pm, $4. A decade of 80s with DJs Omar, Deadbeat, and Yule Be Sorry.

Frolic Stud. 9pm, $3-7. DJs Dragn’Fly, NeonBunny, and Ikkuma spin at this celebration of anthropomorphic costume and dance. Animal outfits encouraged.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Mini Non-Stop Bhangra Rickshaw Stop. Noon-3pm, $5-10. Family-friendly Bollywood dance party.

No Way Back 222 Hyde, 222 Hyde, SF; (415) 345-8222. 10pm, $10. With DJs Trevor Jackson, Solar, and Conor.

Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Social Club Lookout, 3600 16th St, SF; (415) 431-0306. 9pm. Shake your money maker with DJs Lee Decker and Luke Fry.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Spotlight Siberia, 314 11th St, SF; (415) 552-2100. 10pm. With DJs Slowpoke, Double Impact, and Moe1.

Tormenta Tropical Elbo Room. 10pm, $5-10. Electro cumbia with Ghosts on Tape, Disco Shawn, Oro11, and more.

SUNDAY 11

ROCK/BLUES/HIP-HOP

"Battle of the Bands" DNA Lounge. 5:30pm, $12. With Amalgrama, Ten Days New, Wheels Have Eyes, and more.

Edie Sedgwick, Pozor, Leslie Q Hemlock Tavern. 9pm, $6.

Ordstro, Tigon, Former Thieves, Benoit, Caulfield, Deadman, Versions Submission Art Space, 2183 Mission, SF; (415) 503-1425. 7pm, $6.

P.K. 14, Carsick Cars, AV Okubo Bottom of the Hill. 9pm, $10.

Michael Rose, R2D2, Reggae City Slim’s. 9pm, $30.

Serena Ryder, Ryan Star Café du Nord. 8pm, $12.

*Slough Feg, Bible of the Devil, Orchid Thee Parkside. 8pm, $10.

JAZZ/NEW MUSIC

Lua Hadar, Jason Martineau Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

Noertker’s Moxie Musicians Union Hall, 116 Ninth St, SF; www.noertker.com. 7:30pm, $10.

Sounds of Blackness Yoshi’s San Francisco. 2 and 7pm, $5-34.

Tomasz Stanko Quintet Florence Gould Theatre, Legion of Honor, 100 Legion of Honor Dr, SF; www.sfjazz.org. 2pm, $25-40.

FOLK/WORLD/COUNTRY

Country Casanovas Thee Parkside. 3pm, free.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with J Boogie and Vinnie Esparza.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lonely Teardrops Rock n’ Roll Night Knockout. 9pm, $4. With DJs dX the Funky Granpaw and Sergio Iglesias.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Movement Temple. 9pm, $15. A benefit for CommuniTree and after party for the Green Festival featuring a live performance by Abstract Rude with DJ Drez, and DJs Ana Sia, David Satori, Aima the Dreamer, Sake One, and Abai.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

MONDAY 12

ROCK/BLUES/HIP-HOP

Buxter Hoot’n, Mark Matos and Os Beaches, Nick Jaina Elbo Room. 8:30pm, $5.

MGMT Fillmore. 7pm, $30.

Ruby Suns, Toro y Moi, Dreamdate Bottom of the Hill. 9pm, $10.

DANCE CLUBS

Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. With resident DJs El Kool Kyle and Santero spinning Latin music.

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.
Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest Djs.
Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.
TUESDAY 13
ROCK/BLUES/HIP-HOP
Taina Asili y la Banda Rebelde, Lila Rose, Genie Café du Nord. 9:30pm, $10.
Blue Scholars, Bambu Slim’s. 9pm, $13.
Fat Tuesday Band Biscuits and Blues. 8pm, $15.
Jen Grady, Kevin Florence, Ploughman Club Waziema, 543 Divisadero, SF; (415) 346-6641. 8pm, free.
Jel, Serengeti, Odd Nosdam Bottom of the Hill. 9pm, $20. Benefit for Haitian relief by Sustainable Organic Integrated Livelihoods (SOIL).
Little Dragon, VV Brown, Hottub Independent. 9pm, $20.
MGMT Fillmore. 7pm, $30.
Neighbors, Lazer Zeppelin, Ghost to Falco Hemlock Tavern. 9pm, $6.
Robot Bombshelter, Marrow, Girls N Boomboxes Elbo Room. 9pm.
DANCE CLUBS
Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ What’s His Fuck and DJ Crystal Meth.
Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.
La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton.
Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.
Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.
Womanizer Bar on Church. 9pm. With DJ Nuxx.

Chilling footage of journalists getting shot in Iraq

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By Nima Maghame and Rebecca Bowe

On July 12th, 2007 two apache helicopters attacked the small suburb of Al-Amin, Iraq. More than two dozen people were killed, including two Reuters journalists, driver assistant Saeed Chmagh and war photographer Namir Noor-Eldeen.

And the entire incident was recorded on video — from the helicopters.

Reuters demanded an investigation in the summer of 2007, and asked for copies of the video the choppers took. The government refused. But after three years, a copy of the video has finally been released — through Wikileaks. The chilling footage shows the helicopters firing on seemingly unsuspecting Iraqi civilians — and includes the helicopter crews’s comment, which are even more chilling.

It’s as if the gunners were playing a video game, as if they didn’t consider the people on the ground to be living human beings. “Oh, look at those dead bastards,” one crewman says. At another point, the gunners — who aren’t allowed to fire at unarmed targets — practically beg a wounded man to pick up a weapon so they can finish him off. And when the man gets into a van that arrives to help him, they ask for permission to open fire: “Come on, let us shoot!”

The U.S. Military released a memo explaining that the actions taken by the soldiers were in accordance with its own Rules of Engagement.

 

The 17-minute video was posted online at Wikileaks.org, an investigative Web site that publicizes sensitive documents and
information leaked by anonymous sources in order to expose corruption and wrongdoing. Wikileaks obtained the footage “from a number of military whistleblowers,” according to a description accompanying the footage on the Web site CollateralMurder.com. Wikileaks editors had to decode the encrypted version of the leaked video in order to view its contents and air it.

In the video, when shooters inside the helicopter start to zero in on the pedestrians below, they can be heard identifying the objects they are carrying as an AK-47 and an RPG. But according to an Associated Press article quoting an unnamed U.S. military official, “a military investigation later concluded that what was thought to be an RPG was really a long-range photography lens; likewise, the camera looked like an AK-47.”

Reuters stopped short — way, way short — of making a big issue of the killings. “The deaths of Namir Noor-Eldeen and Saeed Chmagh three years ago were tragic and emblematic of the extreme dangers that exist in covering war zones,” said David Schlesinger, editor-in-chief of Reuters news We continue to work for journalist safety and call on all involved parties to recognise the important work that journalists do and the extreme danger that photographers and video journalists face in particular.”

David Finkle wrote about the incident in his 2009 book The Good Soldiers. Finkle, who was following military personnel in charge of training Iraqi national forces, had only been a few streets away when the attack took place. The author had also been friends with Noor-Eldeen and Chmang.

Finkle wrote that both Reuters staff were working independently — that is, they weren’t officially embedded with the U.S. forces — and he claims that’s is why the military didn’t know of their existence. “There had been reports of sniper rifle, rooftop chases, and rocket-propelled grenades being fired at Bravo Company, and as the fighting continued, it attracted the attention of Namir Noor-Eldeen, a 22-year-old photographer for Reuters news agency who lived in Baghdad, and Saeed Chmangh, 40, his driver and assistant,” wrote Finkle, who was close to where the Apaches attacked but not an eyewitness.

“There was a one-second pause and then came the fourth burst. In the cloud, NE could be seen trying to stand, and then he simply seemed to explode,” wrote Finkle. Chmang tried to stand up and run away before falling down again. The video’s audio picked up two of the drivers urging Chmang to arm himself so they can kill him.

“Come on, buddy” says one driver. “All you gotta do is pick up a weapon,” says the other driver.

A Kia passenger van stopped by Chmang and attempted to rescue him. The helicopters radioed for permission to fire on the van and received confirmation just as Chmang was being helped into the van. The soldiers blasted the van just as it started to roll away.

Two children were wounded in the attack as well, and were evacuated by US. Military personnel.

Big Wheel + Big Hill = Big Fun

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After barely surviving a brush with city bureaucracy last year, Bring Your Own Big Wheel yesterday returned to the steep streets of San Francisco for its 10th year in a row, once again proving that incredible stupidity can be incredibly fun.

Hundreds of costumed participants riding Big Wheels and other plastic-wheeled kids toys braved driving rain to race in packs down steep and curvy Vermont Street on Potrero Hill, offering colorful crashes and zaniness galore and eliciting big dumb grins from both participants and spectators, who were there in roughly equal numbers.

And for such a crazy event with throngs of people, it was remarkably problem-free and required almost no police presence. Last year, after the SFPD threatened to cancel the event and arrest anyone riding Big Wheels, a citizens’ group (including many from the Burning Man world) stepped up to manage an event that has gotten exponentially larger since its early days on Lombard Street.

City officials including Neighborhood Services Director Mike Farrah brokered last year’s compromise and helped facilitate this year’s event, for which volunteers made all riders fill out waiver forms and get wrist bands to minimize the city’s liability. With minimal official involvement, this was crazy fun by the people, for the people, with what costs there were (such as Porta-potties) covered by passing the hat.

It was a great day to live in San Francisco.   

Unfortunately, print and still photography just don’t do this race justice, so check out this video from VidSF and the folks over at Mission Mission (but pay no attention to that first guy that correspondent Sunny Angulo interviews because he’s clearly insane) to get a sense of the action.

The Daily Blurgh: Splinters of the cross

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Curiosities, quirks, oddites, and items from around the Bay and beyond

An unbelievably hermetically sealed spherical inalienable maze of light and sound seeing imagery expand in every direction.”

I was reminded of the words of visionary architect and late SF resident Achilles Rizzoli – who spent his life drafting gorgeous symbolic portraits of friends, family, and loved ones as fantastic buildings, the cornerstones of which would never be laid – when I saw this Wired video that Boing Boing posted about Rohnert Park artist Scott Weaver’s enormous sculpture of San Francisco done entirely in toothpicks.

Weaver has been at work on his creation for nearly three decades, having turned down multiple offers last year from Ripley’s Believe It or Not! Museum to buy what he views as an example of, as he told KGO at the time, “what can be done in life if you create and use your imagination.”

“But is toothpick art woodworking?” asks Fine Woodworking Senior Editor, Tom McKenna, in an article from last August about artist Steven J. Backman, who he describes as, “perhaps the preeminent toothpick sculptor in the country.” If Weaver’s accomplishment evokes Bosch’s Garden of Earthly Delights by its fantastic condensation, Backman’s pieces – many of which are based on local landmarks and attractions, such as the Golden Gate Bridge or a trolley car – go the route of Picasso’s early still life paintings, their forms connoted through pared down lines and simple, pronounced shapes. Even SF Mayor Gavin Newsom gave his seal of approval back in 2005, proclaiming January 11th of that year to be Steven J. Backman Day.

Backman’s art is a wonder of engineering. But Weaver’s is simply wondrous.

 


But what wonders of mental engineering also lurk in the virtual-pet analogue world?

 


And now, again, just in time for Easter, we turn to an Andy Rooney-inspired feature I’d like to call: “You got my goat!”

Do you Want Men Dressed as Women Teaching Your Kids?”

Hell yes!

But listen up, Traditional Values Coalition. We need to talk about your look. It’s busted. Don’t you know ominous, dark clouds went out of fashion after everyone and their mother mocked the National Organization for Marriage’s “Gathering Storm” ad? Weak. Sauce.

What you need is some drag queen valkyries or some shit like that thundering out of the heavenly maw, ready to swoop down and piss on the souls of those studious young folk, whose preciousness is so inviolate as to make Justin Bieber look like the next jailbait-hungry mark to get punked on To Catch a Predator (just give him time).

If you want fierce, bitch, you gotta go Wagner.

And if you’re following the latest Vatican scandal …

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… and you’re reading about the Pope and his ol’ chum from San Francisco, and how the Catholic League blames homosexuals for the pedophilia scandal, and how the Vatican now equates bad press to the Holocaust, you might enjoy this nice little video. It’s funny, but it’s not funny — when I was a kid in Catholic school, we all knew you didn’t want to be chosen to be an altar boy. We could have used some of this fine product back then.

Newsom wants more authority for party-crashing cops

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At a time of rising concern about police crackdowns on San Francisco nightlife – including the use of unprovoked brutality, selective harassment, and punitive property seizures – it would seem a strange time to call for abolishing the Entertainment Commission and returning its authority to the San Francisco Police Department. But Mayor Gavin Newsom has now called for doing just that.

Newsom last week refused calls to get involved with mediating a nasty dispute between the SFPD and nightlife workers and advocates, who have filed claims and lawsuits against the city alleging improper police behavior, including a racketeering lawsuit and another lawsuit alleging police retribution against promoter Arash Ghanadan for complaining about mistreatment, for which Police Chief George Gascon is scheduled for a video deposition on April 8 (other depositions involving Gascon and the undercover partners Officer Larry Bertrand and ABC agent Michelle Ott will follow in coming weeks).

The police crackdown, the subject of recent cover stories in both the Guardian and the SF Weekly, has been underway for more than a year and nightlife advocates say it is reminiscent of the arbitrary police enforcement against disfavored clubs and parties in the late 1990s that led to the creation of the Entertainment Commission in the first place.

Making Newsom’s new stance even more puzzling, the commission has been responsive to the overhyped criticism of the commission by nightlife critics, some politicians, and the San Francisco Chronicle and Examimer. The commission voted last night to suspend Suede for shooting out front, a decision that Board of Supervisors President David Chiu (whose North Beach constituents have put pressure on him to rein in problem clubs) cast as a litmus test for the commission, and one it apparently passed. In addition, Commissioner Terrance Alan, who had been criticized for his conflicts of interest, last week announced that he will be stepping down from the commission when his term expires in June. 

“Isn’t anyone paying attention? It’s really got me baffled,” Alan said of the continuing calls to kill the commission. “I don’t know what this is about.”

He isn’t the only one. Commissioner Jim Meko, who had been critical of the commission’s industry-heavy makeup and reluctance to take aggressive action against problem clubs, told the Chronicle that turning permitting and enforcement over to the cops would be much worse.

Sen. Mark Leno, who as a supervisor created the commission back in 2002, agrees. He told us that he opposes the change proposed by Newsom.

“I strongly believe the original reasons for the creation of the commission, an inherent conflict in having the same body that enforces licensing to also issue those licenses, remains,” Leno told us.

Leno also noted that it was only in November that the Board of Supervisors voted to give the commission more authority to suspend the licenses of problem clubs, which they used with Suede, delivering the maximum penalty possible: a 30-day suspension.  

“If they just gave them additional authority, let’s give it a little time to work out before we talk about disbanding them,” Leno said. He also noted that it’s strange to see the mayor and supervisors criticizing the industry-heavy makeup of the commission considering that they’re the one who make those appointments: “That’s in the hands of the board and the mayor.”

Neither Chiu nor Newsom have returned our calls seeking comment, but several Guardian sources with long involvement in the conflict between the SFPD and the nightlife community say the cops – particularly hardasses like Commander James Dudley, who has often made comments critical of nightlife and its promoters — have long sought to have more power over nightclub, private parties, and the citizens who attend them.

But until there is a fair airing of and resolution to the trend of overzealous and belligerent enforcement actions by the SFPD, any move to give that agency more authority to kill the fun in San Francisco is likely to be met with heavy opposition.

 

UPDATE: David Chiu just got back to me, saying Newsom hadn’t consulted him before taking his stand and telling us, “I don’t agree that we need to abolish the commission.”

But as the supervisor from a sometimes-rowdy district that includes a couple of clubs where violence has occurred, Chiu does want to make some changes in how nightlife is governed in San Francisco, seeing a conflict between the Entertainment Commission’s role promoting nightlife and regulating it: “The Entertainment Commission has conflicting missions.”

Chiu said he would like to see nightclub permitting turned over to a body like the Interdepartmental Staff Committee on Traffic and Transportation (ISCOTT), which handles street closure permits and has representatives from several city agencies. It would exist alongside the Entertainment Commission, whose work Chiu said has become “overly politicized” in recent months.

At the same time, Chiu said, “I generally agree with” the Guardian’s coverage of the War of Fun, and said that he’s helped facilitate meetings with SFPD to deal with issues like the inappropriate police seizures of DJ’s laptops: “From my perspective, I want to make sure people’s civil rights aren’t being violated.”

But Chiu said the problem seems to lie more with the California Department of Alcoholic Beverage Control than the SFPD: “It appears the ABC has been inappropriately cracking down on the mainstream venues that are trying to do the right thing.”

Chiu said there isn’t a pressing need to act quickly on the Entertainment Commission issue and said that he would work with Leno on the solution, something Leno confirmed, telling us, “I have had some conversations with David Chiu and I’m going to get more involved.”

Foals ride a cold Saharan wave

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It’s sunny at the moment in SF, but Guardian faves Foals bring a glowing, dark Nordic vibe in their latest video “Spanish Sahara” — hirsute cutie singer Yannis Philippakis’ tears and all. Second album Total Life Forever comes out May 11.