Video

Palin’s veto power

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By Sarah Phelan

-palin.jpg
So, maybe the pen IS mightier, after all? Palin’s budget vetoes.

Forget about using Wikipedia to find out the truth about GOP VP nominee Sarah Palin.

As online reports have noted, a sockpuppet called “Young Trigg” scrubbed the entry for Alaska’s first female governor the day before McCain publicly announced his VP pick.

That story should be a wakeup call for those tempted to rely on doctored or poorly researched online articles, in trying to find out who Gov. Sarah Palin really is.

The good news? There are plenty of other online resources that provide valid insights into Palin’s political priorities.

Consider, for instance, Governor Palin’s vetoes of Alaska’s FY 08 and 09 capital budget.

This shows that Palin vetoed a $350,000 statewide school substance abuse education and prevention program.

She also vetoed funding for wireless access and laptops in Alaskan community schools, including those in the North Pole district. (Guess Santa can spring for those, right?.)

And she eliminated funding for several native community projects, including the Kluti Kaah community recreation and learning center in the Interior Villages, the Jilkaat Kwaan cultural heritage center and Bald Eagle observatory in the Southeast Islands, and the Ilisagvik College Workforce Development program in the Artic.

Palin also vetoed a snow fence in the Bering Straits, a Zamboni blade sharpener for the Homer Hockey Association, statewide boy scout camp upgrades.

Oh, and she vetoed the Anchorage Police Department’s $17. 5 million request to expand its headquarters, for the second year in a row, along with a number of fire department’s requests for emergency safety equipment.

This summer, Alaskan lawmakers argued for a robust capital budget, which they said would help build the state and boost its economy. But Palin disagreed, saying she wanted to limit spending to public safety, health and infrastructure, and angering some representatives, by not giving them a chance to defend programs which either fell entirely victim to, or were halved, as Palin made $268 million worth of cuts, leaving Alaska with a $3.6 capital budget.

Here are Palin’s views on the line-item veto, taken from KTUU’s site.

“Well, you know, that’s the beauty of our system here — is checks and balances, provide for that tool to be used, if they deem that necessary, those who hold the purse strings and that’s the lawmakers if they want to override,” Palin said.

In addition to vetoing a $100,000 KTOO Government Transparency Project, Palin also axed a $50,000 community development center’s video project that was to have been called, “Alaska Teen Talk Show.”

The project aimed to produce pilot talk shows written and produced by the students, with students advised to audition several prospective hosts, rating each one on poise, intelligence, personality and looks.

“You should ultimately base your choice on a host’s familiarity with your show’s theme,” states the application.” If you hire the most attractive but vapid interviewer to host a political talk show and they don’t know anything about the presidential race, viewers will know it and change the channel.”

Sadly, I’m not at all convinced that viewers do change channel, just because a good-looking host is vapid. And while I don’t know why this particular project didn’t get funded, I can’t help imaging that whoever wrote this grant application must be wishing that they’d chosen some other example, when applying for this grant.

50,000 letters demand St. Paul drop charges

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By Bruce B. Brugmann

This is the kind of press release I like to get. This is from the Free Press, a national media reform organization, which circulated a petition demanding that St. Paul authorities drop all charges against Amy Goodman and her Pacifica radio crew and all journalists arrested at the Republican convention in St. Paul.

The petitions were gathered in two days. They will be delivered at 10 a.m. on Friday morning to St. Paul City Hall.

September 4, 2008

For Immediate Release

Contact:
Nancy Doyle Brown, Twin Cities Media Alliance, (612) 374-9380
Jen Howard, Free Press, (202) 265-1490, x22 or (703) 517-6273

FRIDAY: Delivery of 50,000 Letters Demanding St. Paul Drop Charges Against Journalists

ST. PAUL, Minn. — On Friday morning, local advocates and independent journalists will deliver more that 50,000 petitions to St. Paul City Hall calling on Mayor Chris Coleman and local law enforcement officials to drop all charges against journalists arrested while covering protests outside the Republican National Convention.

WHAT: Delivery of 50,000 letters demanding charges against journalists be dropped
WHEN: Sept. 5, 10 a.m. CT
WHERE: St. Paul City Hall, 15 Kellogg Blvd.
WHO: Local advocates and independent journalists from KFAI Community Radio, National Lawyers Guild, Twin Cities Daily Planet, Twin Cities IndyMedia, Twin Cities Media Alliance and The Uptake.

On Monday, local law enforcement officials arrested Democracy Now! host Amy Goodman and two producers from her show, Associated Press photographer Matt Rourke and several independent videographers while they were covering protests outside the Republican National Convention. Other independent journalists have also been pepper-sprayed and even held at gunpoint during “pre-emptive” raids aimed at disrupting protesters.

“The targeting and harassment of journalists that we’ve seen during the RNC sends the message that the Twin Cities don’t value the essential role that journalists play in a democracy,” said Nancy Doyle Brown of Twin Cities Media Alliance. “From the pre-convention raids to the ongoing harassment and arrests of journalists, these have been dark days for press freedom in the United States. We’re bringing Mayor Coleman more than 50,000 letters from people across the nation demanding that all charges pending against these journalists be dropped.”

Following the arrests, Free Press, the national media reform organization, circulated a petition demanding that Mayor Coleman and local authorities immediately “free all detained journalists and drop all charges against them” — garnering more than 50,000 signatures nationwide in less than two days. Their call has been echoed by groups including the Society for Professional Journalists, the Reporters Committee for Freedom of the Press, Reporters Without Borders and the National Association of Hispanic Journalists.

Watch the video of Goodman’s arrest: http://www.youtube.com/watch?v=oYjyvkR0bGQ

Watch other journalists being arrested, as recorded by The UpTake: http://theuptake.org/

“Trouble the Water”

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REVIEW Anyone impressed by Cloverfield‘s camcorder frenzy needs to see the remarkable video diary Kimberly Roberts made in New Orleans’ Ninth Ward while Katrina wailed and the government balked. Trouble the Water directors Tia Lessin and Carl Deal initially came to the city in hopes of investigating the way in which National Guard support was waylaid by an America being stretched thin in Iraq. The film opens with the directors talking to a bureaucrat, but within moments Roberts and her husband Scott bum rush the side of the frame and never let go. The New York–based Fahrenheit 9/11 producers thankfully let Roberts’ eyewitness footage run for long segments, underscoring its The Hague–worthy indictment with periodic cutaways to the naysayers (George W. Bush, FEMA’s Michael Brown, and so on). When we return to her shot of a neighborhood drunk who died in the storm, it feels as significant a victory for the documentary process as the stabbing in Gimme Shelter (1970). The storm interrupts Roberts’ camerawork the first time; months later, back in the Ninth Ward, it’s the police telling her to stop rolling. Even when Trouble the Water moves into more conventional over-the-shoulder filmmaking, Kimberly and Scott Roberts remain enthralling subjects. It’s doubtful festival-goers saw anything as breathtaking as Kimberly Roberts’ autobiographical rap "Amazing" at this past snooze of a Sundance, where Trouble the Water claimed the Grand Jury Prize. Rappers, it turns out, make the best reporters.

TROUBLE THE WATER opens Fri/5 at the Sundance Kabuki.

Locking up the press

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› sarah@sfbg.com

On Aug. 20 the San Francisco Chronicle reported that video blogger Josh Wolf, who spent 226 days in federal prison in 2006 for refusing to testify before a grand jury and hand over his video of a protest turned violent, had begun working as a reporter with the Palo Alto Daily Post.

"Video blogger gets job as ‘real journalist,’<0x2009>" crowed the headline.

The article noted that some critics believe Wolf was a protest participant and not an impartial news gatherer, and accurately observed that his case fueled the debates over what defines a reporter and who deserves to be protected by the reporter’s privilege to protect confidential sources.

But it failed to mention that one of Wolf’s harshest critics was Chronicle columnist Debra Saunders, nor did it clarify that in recent years several federal courts have found that reporters — all reporters, even from major newspapers — can be forced to testify before grand juries.

California doesn’t allow its courts to compel journalists to reveal unpublished information, but the federal government has no such shield law. That’s why prosecutors could jail New York Times reporter Judith Miller, charge Chronicle reporters Lance Williams and Mark Fainaru-Wada with contempt, and slap USA Today‘s Toni Locy with hefty fines — all for refusing to disclose confidential sources and materials.

And as reporters continue to face contempt charges in federal court cases nationwide, Congress has been considering two very different versions of a federal shield bill.

These two versions take widely varying approaches toward who and what is protected. And thanks to Senate Republicans, who blocked all business not related to energy legislation before Congress’ August recess, a vote on the Senate bill did not occur at the end of July.

As a result, if the Senate doesn’t act by the end of September, both versions of the federal shield will likely die. And, depending on whom you talk to, that may or may not be a good thing.

The Free Flow of Information Act of 2007 (HR 2102), which the House of Representatives passed in October of that year, only protects journalists if their work is done for a substantial portion of the person’s livelihood or for substantial financial gain. In other words, no protection for Wolf, for most bloggers, or for many freelancers.

The good news is that the House bill extends protections to any documents or information obtained during the newsgathering process.

By comparison, the Senate bill (S 2035) only protects the identity of confidential sources, and any records, data, documents, or information obtained under a promise of confidentiality.

The Senate shield would cover any journalist who "engages in the regular gathering, preparing, collecting, photographing, recording, writing, editing, reporting, or publishing of news or information that concerns local, national, or international events or other matters of public interest for dissemination to the public."

But it no longer requires the government to prove by preponderance of evidence that the information it seeks is essential, or that it has exhausted all other methods. And it makes more difficult any challenge by the reporter, based on whether the information involved is "properly classified" or whether its disclosure would harm national security.

It also expands the list of exceptions for which protection would be precluded: if disclosure could prevent criminal activities, terrorism, kidnapping, or imminent death or bodily harm; identify a person who has released some categories of private business and medical information; and where reporters witness criminal or tortuous conduct.

"I can’t overstate how much better the House bill is," Lucy Dalglish, executive director of the Reporters Committee for Freedom of the Press, told the Guardian.

Although Dalglish is hopeful Senate Majority Leader Harry Reid (D-Nev.) will schedule the bill for a vote, she fears there won’t be enough time for a conference committee to iron out the differences between the two bills before the end of September, which means that only one version will have a chance of passing into law.

"My guess is that it will be the Senate bill, because the House will pass the Senate bill in a heartbeat, but the Senate will never pass the House bill," Dalglish observed.

Reached on break from his reporter gig, Wolf voiced his opposition to the Senate bill. "A shield law riddled with holes is no shield at all," Wolf said.

"It boggles my mind that any journalist could support the bill the way it is written," said Wolf, who would like to see a common law reporter privilege similar to the one for psychiatrists and therapists. "This is a shield law, in which, as best as I can tell, every single federal contempt case is carved out as an exception," Wolf opined.

While Dalglish acknowledges that the Senate shield only addresses subpoenas that seek to identify confidential sources (about 20 percent of subpoenas), she believes the Chronicle‘s Williams and Fainaru-Wada would have been protected, as would Locy.

"But Josh [Wolf] would not have been covered because he was not protecting confidential sources, and Judith Miller would have had a shot, though her case would have a more difficult time because of national security implications," Dalglish said. "And while by far the most subpoenas don’t have to do with confidential sources, they are the holy grail of journalism ethics, and you certainly have to, at a minimum, protect them — and the Senate bill is minimal."

Dalglish believes that both the Senate and House bills would allow the truthful, accurate, and independent gathering of information to go public, so the public could use this information at ballot boxes and in city halls, and ensure that people who have information to share could share it with reporters and the public.

"It’s not about protecting reporters," Dalglish added. "Reporters are not that special, in any shape or form. It’s about protecting the right of reporters to freely work on the public’s behalf, without being viewed as agents of the US Attorney."

Noting that the law in the Senate is not going to change what happened to Wolf in that instance because he was not protecting a confidential source, Dalglish’s message for reporters facing subpoenas, first and foremost, is: "Resist, tell them you don’t have it.

"Your obligation is to be independent, not an agent of the government," he continued. "So take your video, put it on a Web site, and make sure the public gets to see it at same time as the US Attorney."

RNC: Protest Amy Goodman/Journalist arrests

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By Bruce B. Brugmann

Coming to work this morning, I listened with outrage to the Thom Hartmann radio program on Air America (960AM) and his chilling interview with Amy Goodman, who detailed her arrest with her Democracy Now/Pacifica Radio/KPFA crew at the Republican National Convention in St. Paul.

Here are the details of this important story the mainstream media is paying scant attention to. And what you can do about it. Watch for protests from the Society of Professional Journalists and other journalism and free press organizations.


Free Press Action Alert:

Yesterday, police in St. Paul arrested several journalists, including Democracy Now! host Amy Goodman and an AP photographer as they were covering protests of the Republican National Convention.

Stand Up for Independent Journalism

Amy Goodman and others were released last night, but the story is not over.

We need you to cosign our public letter demanding that press intimidation cease immediately, and that all charges be dropped. It will be delivered immediately to St. Paul Mayor Chris Coleman, the RNC Host Committee and the local prosecuting attorneys. We need 10,000 signatures in the next 24 hours, so please take action now:

Sign the Letter: Drop All Charges Against Journalists

In addition to these arrests, police with firearms drawn raided a meeting of the video journalists’ group I-Witness and arrested independent media, bloggers and videomakers. We’re also receiving late-breaking reports of other arrests.

By signing this letter, you’re sending a powerful message: Officials must rein in aggressive and violent tactics by local law enforcement, stop the targeting of journalists and immediately drop all charges against them.

Reporting by independent journalists is vital to a functioning democracy. Americans must have access to diverse sources of information to hold their leaders accountable. Journalists must be free to do their jobs without intimidation.

Please Take Action by Signing this Letter

Don’t wait. We need a free press now more than ever. Tell your friends and take action now!

Thank you,

Josh Silver
Executive Director
Free Press
www.freepress.net

1. Watch the video of Goodman’s arrest.

2. See other journalists being arrested as reported by UpTake.

3. News of the AP arrest.

4. Learn more about the arrest of an ABC News producer during the Democratic Convention in Denver.

5. Watch the video of the police raid of I-Witness journalists (Caution: strong language).

Clubs: Sweet majik tunes for summer’s end

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By Marke B.

But first, a bonus! — the ecstatical, fantastical, local maniac DJ Richie Panic at Dance, LA last week — good lord, did half of hipster-perf SF go down there for this? Hilarious moment @ 2:47 = dancefloor opera, go Richie!

CLUB DANCE (RICHIE PANIC)

And now the meat. In this week’s Fall Arts Preview, I thumb out a gaggle of rad parties happening in the near future, and sound off about a few of the lovely club jams I’d like to see hit the floor for fall. Here’s some extra-poppy ones I bounce to right now that have interesting video accompaniment: for the ipod of your mind. Nothing too edgy or new — we’ll all fall softly and boppily into autumn’s orange arms

Plug: Look out for our next stylish Scene nightlife and glamour supplement to drop on Sept. 17 for more club goodies.

I said you’d be “so over” this next track by last Wednesday — but I was K.I.D.D.I.N.G. I love Cazwell, the gay rap dream from NYC, and in this one LA megafag Jonny Makeup, gives us the hooks and cell phone heebie-jeebies. It’s 1989 in clubland and all’s well again.

Cazwell w/ Johnny Makeup, “I Seen Beyonce at Burger King” (click here for hi-q)

Olympic disc toss

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› a&eletters@sfbg.com

 

SEPT. 2

Theresa Andersson, Hummingbird, Go! (Basin Street) Could this be the latest hair — or rather, heir — to Dusty Springfield’s not-so-dusty blue-eyed soul diva throne, aided by Allen Toussaint, Ane Brun, and Sweden’s Tobias Froberg?

Apollo Sunshine, Shall Noise Upon (World’s Fair) Bad album titles happen to even imaginative psych-poppers.

Lila Downs, Shake Away (EMI/Manhattan) New York-Oaxaca singer-songwriter doffs the Frida drag and bares some Shakira-style midriff along with a lively pop sound.

Donnie Klang, Just a Rolling Stone (Bad Boy) Making the Band 4′s broom-topped answer to Jon B and Justin T paraphrases Bobby D for the TRL set.

New Kids on the Block, The Block (Interscope) Old manager Lou Pearlman is going to prison, Donnie is headed for divorce court, and there are even rumors that one member is — gasp — nonheterosexual.

Underoath, Lost in the Sound of Separation (Tooth & Nail/Solid State) Rock me, sexy screamo Jesus-freaks.

UNKLE, End Titles … Stories for Film (Surrender All) Say “UNKLE” like Black Mountain and Josh Homme want you to.

Brian Wilson, That Lucky Old Sun (Capitol) He reunites with Van Dyke Parks and takes a trip down memory’s drag strip, covering Louis Armstrong and paying homage to SoCal.

Young Jeezy, The Recession (Def Jam) True dat. Producers like Eminem and Jazze Pha and contributors such as Kanye West and T-Pain feel Jeezy’s, erm, pain.

 

SEPT. 9

Calexico, Carried to Dust (Touch and Go) Dusted but darn pretty. Whispery. Poppy.

Cornelius, Sensurround (Everloving) Keigo Oyamada, 3-D sound specialist, returns with a video-and-remix DVD/CD, aptly titled after a quake-imitating movie gimmick.

Kimya Dawson, Alphabutt (K) Everyone poops.

Michael Franti and Spearhead, All Rebel Rockers (Anti-/Epitaph) The SF activist stalwart spit-shines a spunky-fresh blend of dub and funk.

Fujiya and Miyagi, Lightbulbs (Deaf, Dumb & Blind) Fresh from car and Miller Lite commercials, the English kraut-rockers with the Japanese name(s).

Gym Class Heroes, The Quilt (Decaydance/Fueled by Ramen/Atlantic) I hate gym.

Hatchback, Colours of the Sun (Lo) Dfa- and Prins Thomas–approved Sorcerer-buddy Sam Grawe sets the controls beyond cosmic into hypnotic with epic instrumental jams such as “White Diamond” and “Horizon.”

Okkervil River, The Stand Ins (Jagjaguwar) The sweet sequel to last year’s novelistic The Stage Names.

Kardinal Offishall, Not 4 Sale (Geffen) The Clipse dispenses financial advice on “Set It Off.”

Jessica Simpson, Do You Know? (Columbia Nashville) Huh?

The Sound of Animals Fighting, The Ocean and the Sun (Epitaph) A dreamy Animal Collective meets a mathier-than-thou Dillinger Escape Plan?

Emiliana Torrini, Me and Armini (Rough Trade) In The Two Towers (2002), the Icelandic songbird serenaded the gruesome-cute ring-a-ding-dinger with “Gollum’s Song.”

Tricky, Knowle West Boy (Domino) The 40-year-old boy sings the body eclectic.

 

SEPT. 12

Metallica, Death Magnetic (Warner Bros.) When they weren’t pissing off neighbors, the music biz titans and longtime friends of Bugs Bunny were recording — with Rick Rubin — outside of SF for the first time in a dozen years.

 

SEPT. 16

George Clinton, George Clinton and Some Gangsters of Love (Shanachie) The gang — Carlos Santana, Sly Stone, the Red Hot Chili Peppers, and RZA — is all here, maggot brains.

Faith Hill, Joy to the World (Warner Bros.) The initial single off the C&W-pop vocalist’s first Xmas album: “A Baby Changes Everything.”

Ill Bill, The Hour of Reprisal (Uncle Howie/Fat Beats) Bad Brains and Raekwon the Chef cook up mischief with “La Coka Nostra.”

Musiq Soulchild, On My Radio (Atlantic) The spirit of Philadelphia, from behind soulful shades.

Nelly, Brass Knuckles (Derrty/Universal) Fergie, Ciara, and Lil Wayne get derrty right herre.

Ne-Yo, Year of the Gentleman (Def Jam) We’re waiting for “Year of the Ice Road Trucker.”

Raphael Saadiq, The Way I See It (Columbia) Oakland will come out for its boy.

Alexander Tucker, Portal (ATP Recordings) Acclaimed UK fingerpicking maestro of murk-folk returns with a dissonant, symphonic mix of vibes, cello, and electric mandolin on his third album.

The Veronicas, Hook Me Up (Sire) The Aussie twins hope to hook up the Jonas Brothers’ tweeny audience with their sassy pop.

 

SEPT. 23

Blitzen Trapper, Furr (Sub Pop) The wild-eyed Northwesterners focus on a janky old piano found outside their studio.

Cold War Kids, Loyalty to Loyalty (Downtown/Atlantic) Chilly times call for tunes with titles like “Golden Gate Jumpers.”

Common, Invincible Summer (Geffen) Last sighted orbiting will.i.am’s Obama ad and now rotating with the Neptunes.

Charlie Haden Family and Friends, Rambling Boy (Decca) The jazz genius gets back to his Iowa-bound country-music roots with help from offspring Petra and Josh, Elvis Costello, Rosanne Cash, and Pat Metheny.

Kings of Leon, Only By the Night (RCA) Brothers by day.

Jenny Lewis, Acid Tongue (Warner Bros.) Elvis Costello really does get around, guesting here alongside She and Him and Lewis manfriend Johnathan Rice.

Mogwai, The Hawk Is Howling (PIAS/Wall of Sound) The Scottish instrumentalists move on from making music for Zinedine Zidane. Song titles include “I’m Jim Morrison, I’m Dead,” and “I Love You, I’m Going to Blow Up Your School.”

Peter Bjorn and John, Seaside Rock (Almost Gold/Star Time International) The trio from Sweden veer away from lyrical pop to lyric-free — and whistle-free, one hopes — compositions inspired by childhood.

TV on the Radio, Dear Science (Interscope) Shining with radioactive adorableness.

 

SEPT. 29

Marianne Faithfull, Easy Come, Easy Go (Naive, UK) The queen of the nicotine rasp reunites with Hal Wilner to cover Dolly Parton, Neko Case, Judee Sill, Randy Newman, and Morrissey.

 

SEPT. 30

Miles Davis, Kind of Blue: 50th Anniv. (Columbia/Legacy) In marriage, the 50th anniversary is golden. In the music industry, the 50th anniversary is a two-CD plus DVD plus LP plus book plus poster.

Dungen, 4 (Sublimininal Sounds) The fourth studio album by Swedish foursome is divided into two sounds: raw guitar rock and jazz-inflected cinematic orchestration\

El Guincho, Alegranza! (Young Turks/XL) Born with the zestful zing! of an Esquivel sample, Pablo Diaz-Reixa’s irresistible 10-track burst of Barcelona beach boy 21st-century Tropicalia finally gets a US release — and, one hopes, a tour to go with it.

Jennifer Hudson, Jennifer Hudson (Arista) After an Oscar, various red carpet misfires, and the Sex and the City movie, her debut arrives, taking the s, the o, the l, and the o out of “solo via guest appearances or production by Diane Warren, Timbaland, Ne-Yo, T-Pain, Cee-lo, Pharrell, Ludacris, Akon, John Legend, and duet partner R. Kelly.

Mercury Rev, Snowflake Midnight (Yep Roc) Melting the heels of the band’s seventh studio album is Strange Attractor, a companion collection of 11 free downloadable tracks.

Barbara Morgenstern, BM (Monika Enterprise) The operator behind effervescent bursts of multilayered electronic pop presents her fifth album and — attention SF club promoters! — hopes to the tour the states.

Nina Simone, To Be Free (Sony Legacy) A three-CD, one-DVD retrospective that spans more than four decades, from Dr. Simone’s earliest recordings with Bethlehem to her final recordings for Elektra.

Taj Mahal, Maestro (Heads Up) Forty years after his recording debut and five years after his last US release, he covers Otis Redding and works with Ziggy Marley.

T.I., Paper Trail (Grand Hustle/Atlantic) His house arrest album, narrowed down from 50 songs, includes production by all the usual big names, and cameos by Rihanna, Justin Timberlake, John Legend, Usher, and the dreaded Fall Out Boy.

XX Teens, Welcome to Goon Island (Mute) I see Paris, I see Toulouse, I see someone’s green and blue boobs.

 

OCT. 7

Black Sabbath, Paranoid (Deluxe) (Universal) The band’s biggest-selling album gets a quadraphonic update, along with instrumental versions of six songs.

Deerhoof, Offend Maggie (Kill Rock Stars) A pencil drawing by Tomoo Gokita of a half-naked mystery man graces the cover, and the first single has been released in the form of sheet music.

Jolie Holland, The Living and the Dead (Anti-/Epitaph) Norman Mailer wouldn’t be able to attract guests like M. Ward and Marc Ribot.

Morgan Geist, Double Night Time (Environ) In the wake of contributing cellist Kelley Polar’s second album, one member of Metro Area presents his own new romantic bouquet of Detroit techno-tinged disco pop, with guest crooning by Jeremy Greenspan of Junior Boys.

Gregory and the Hawk, Moenie and Kitchi (FatCat) Sweetly twee indie-folk prepares its latest world-domination campaign.

Lambchop, OH (ohio) (Merge) Chop, chop — Nashville rocks.

MSTRKRFT, title to be announced (Dim Mak) Isis brings the “Bounce.”

Of Montreal, Skeletal Lamping (Polyvinyl) Do be a drag — with plenty of confetti.

Rise Against, Appeal to Reason (Geffen) Tried to reason with them about playing up the pirate metal.

Senses Fail, Life Is Not a Waiting Room (Vagrant) So why are we waiting for our hearing to fail?

Michele Williams, Unexpected (Columbia) The Destiny’s Child vocalist, not the actress, stops going gospel in favor of pop.

Women, Women (Jagjaguwar) Hope they get to hang out with Lesbians.

 

OCT. 14

The Alps, III (Type) Local music heads Scott Hewicker, Jefre-Cantu Ledesma, and Alexis Georgopoulos makes the leap from CD-R to “proper” album release, paying homage to the hallucinatory sides of Serge Gainsbourg, Ennio Morricone, and Terry Riley along the way.

I’m From Barcelona, Who Killed Harry Houdini (Mute) The Swedish — not Spanish — mega-band returns with 10 new songs, including at least one by the ill-fated famous illusionist.

Ray LaMontagne, Gossip in the Grain (RCA) And buzz in the barn.

Queen and Paul Rodgers, The Cosmos Rocks (Hollywood) We know guitarist and astrophysicist Brian May finally completed his doctorate, but that title will have Freddy Mercury’s ghost hitching it to the next galaxy.

T. Pain, Thr33 Ringz (Jive) After producing most of Ciara’s upcoming full-length, Faheem Najm recruits Chris Brown, Lil Wayne, and Kanye West for his own — if it doesn’t go putf8um, I’m gonna buy you a drank and fall in love with a stripper.

 

OCT. 21

Hank III, Damn Right, Rebel Proud (Curb/Bruc) The disc has been described as a “Jekyll and Hyde mix of disturbingly dark stuff and good ol’ country.”

Labelle, Back to Now (Verve) Their first full-length in 33 years brings Gamble and Huff, Lenny Kravitz, and Wyclef Jean out of the woodwork.

Lee Ann Womack, Call Me Crazy (MCA Nashville) She sang at the 2004 Republican National Convention, but redeemed herself as much as possible a year later with the “20 Years and Two Husbands Ago.” Now, unfortunately, she’s borrowing titles from Anne Heche.

 

OCT. 28

Cradle of Filth, Godspeed on the Devil’s Thunder (Roadrunner) The grimy tots say they were inspired by Joan of Arc’s aristocratic compatriot.

Cynic, Traced in Air (Season of Mist) The proggish metal outfit issues its first studio album since 1993.

Warren G, The G Files (Hawino) Quick, regulate before G notices.

It’s a Musical, The Music Makes Me Sick (Morr) Guitar-free Berlin duo craft harmonic pop in the key of Bacharach, with trumpets, vibraphones, and canonical choirs.

Grace Jones, Hurricane (Wall of Sound, UK) The most anticipated comeback of the season, since Glass Candy, the Chromatics and every other nu-disco act offering pale versions of her fabulous robot chick chic — includes contributions by Brian Eno and Sly and Robbie and a song called “Corporate Cannibal.”

John Legend, Evolver (G.O.O.D Music/Columbia) Kanye West, Andre 3000, and Estelle join the high-minded proceedings.

Pink, title TBA (LaFace/Zomba) She attempts to get the party started — yet again.

 

NOV. 4

Big Boi, Sir Luscious Leftfoot … Son of Chico Dusty (LaFace) Ouch, don’t hurt yourself on that title. The OutKast insider finds support in Andre 3000, Mary J. Blige, and Too $hort.

Dido, title TBA (Arista). “Thank You,” multi-instrumental wiz and producer Jon Brion for overseeing this long-time-coming album.

 

NOV. 11

Missy Elliott, Block Party (Atlantic) Was it really over a decade ago that the late Babygirl gave her a boost to fame? Keyshia Cole is a likely guest, and Timbaland is just one of many co-producers.

 

NOV. 18

Kelly Clarkson, title TBA (RCA) Everybody loves the Rachael Ray of American Idol pop! Don’t they?

>>More Fall Arts Preview

Fall Arts Preview 2008

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> johnny@sfbg.com

I don’t know about you, but I hear something is happening in early November. Since I can’t quite identify exactly what it is, let’s focus on all the events around it this fall — especially the spaces on stages and screens and pages and in museum and gallery rooms.

A little birdie tells me this fall will be propagandized, rather than purely politicized, into infinity. In times like these, it helps to have art that finds a realm outside the false promises, a place from which to look back at our society — including the politicians who try to rule it — and say: you better perform!

That’s the case this week’s fab four cover stars, Guillermo Gómez Peña, Mattilda Bernstein Sycamore, JoAnn Selisker, and Tim Sullivan. This quartet of singular creative forces is united in using imaginative performance to reject inhibiting norms.

Gómez Peña and his group La Pocha Nostra are bringing Mapa/Corpo 3 — an interactive ritual involving "political acupuncture" that was banned in the United States for three years — to Theater Artaud as part of Litquake and the Living Word Festival. At SF Camerawork, they’ll also be trying out what they call performance karaoke, which is sort of an aesthetic, political, and ethical update on the popular game Twister. There, they are part of "I Feel That I Am Free But I Know I Am Not," an extended exhibition (curated by Chuck Mobley) that also includes some live video by Sullivan, whose photographic and video work looks at everyday imagery and familiar pop iconography from new and sometimes hilarious angles.

New views of everyday pop banality are also JoAnn Selisker’s forte. Presented by Litquake and ODC, her latest piece, Off Leash: Who’s a Good Girl? uses text and dance to explore the relationship between dogs and their best frenemy, humans. Everything goes full circle with Mattilda Bernstein Sycamore — you can see some of Gómez Peña’s flair for radical sexual and political performance in his past activism with Gay Shame, and like Sullivan and Selisker, his image doesn’t come from Macy’s. In his new novel, So Many Ways to Sleep Badly (City Lights, 256 pages, $15.95), he shows readers a San Francisco that Frommer’s doesn’t know about.
This fall, Gómez Peña, Bernstein Sycamore, Selisker, and Sullivan are just part of a blitz that’s bringing everything from multiple Chinese art exhibitions and film programs to the premiere of Gus Van Sant’s Milk. Fasten your seatbelts, it’s going to be a bumpy season.


>>Connect four
Cover stars: A quartet of our favorite artists and performers sounds off


>>Diverse moments
Dance: Highlights run from modern to the Bard
By Rita Felciano


>>Curtain calls
Stage: Theater gets political, playful, potent
By Robert Avila


>>Vizzy with the possibilities
Visual Art: We scope out the promising shows
By Katie Kurtz, Kimberly Chun, and Johnny Ray Huston


>>Sino the times
Visual Art: Bay Area museums and galleries home in on Asia
By Glen Helfand


>>Olympic disc toss
Music: Will these new music releases go far or fall flat?
By Kimberly Chun and Johnny Ray Huston


>>Stage names
Concerts: Got live if you want it — and you do
Johnny Ray Huston and Kimberly Chun


>>“Daughter” goes to the opera
Classical: Amy Tan revamps her bestseller. Plus, more classical picks
By Ching Chang


>>Forecast: blackout
Clubs: The season’s prime parties offer plenty to fall down about
By Marke B.


>>Autumn reels
Film: 10 big-screen release dates to remember — for better and worse
By Cheryl Eddy


>>Cinemania
Film: 50 ways to rep film this fall
By Johnny Ray Huston


>>Notes of a dirty old man
Lit: Or, a portion from a wine-stained notebook
By Charles Bukowski

>>FALL FAIRS AND FESTIVAL GUIDE
More festive events than you can shake a bare tree at
By Duncan Scott Davidson, Kat Renz, and Ian Ferguson

Vamp camp

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STRAIGHT-TO-DVD REVIEW These are dark and bloody times for vampires. The Mormon-made young adult series Twilight goes multiplex in December. Next month brings the premiere of True Blood, an HBO drama about our fanged frenemies, created by Six Feet Under‘s Alan Ball. And at the vanguard of the iron-deficient-creatures-of-the-night revival is Lost Boys: The Tribe (Warner Premiere), a long-delayed sequel to 1987 teen vampire classic The Lost Boys.

Twenty years have passed since the Emerson family moved to Santa "Santa Cruz" Carla, when young Sam (Corey Haim) tacked up that sexy poster of Rob Lowe and met the Frog brothers (Haim ex-BFF Corey Feldman and Jamison Newlander); older bro Michael (Jason Patric) partied down and pounded blood with overbite sufferer David (Kiefer Sutherland); and the mulleted, steroidalicious dude from Tina Turner’s band with the oily slip ‘n’ slide torso hoisted his sax aloft, sang "I Still Believe," and forever ruined the good name of Santa Cruz’s music scene. The back cover of The Tribe refers to the sequel as a "modern remagining" of the original. Does she mean to imply an imagined TV show or film name? Given how far downhill the national culture has slid over the past two decades (think, oh … The Two Coreys), it should come as no surprise that the straight-to-DVD sequel is figuratively as well as literally a suckfest.

A new pair of Emerson siblings, orphaned brother and sister Chris and Nicole (progeny of Michael? Sam?), move to a beachside town called Luna Bay and soon begin knocking heads and other body parts with a gang of meathead surfer vamps (the Poison look: definitely out). Having left behind his parents’ comic book shop, mysteriously solo vampire slayer Edgar Frog (Feldman) has taken up residence in a creepy trailer. A talentless half-brother to Kiefer Sutherland named Angus has been dredged up to play head bloodsucker Shane, who takes a shine to Nicole and slips blood in her drink, roofie-style, at a party.

Saddled with a mind-boggling script and actors of ill or no repute, the filmmakers attempt to distract us by upping the trash quotient. Picture a Dumpster after a six-week Sunset Scavenger strike. Or rather, picture a crapstorm of severed heads, entrails, impalements, fountains of blood, tits, alcoholic beverages poured on tits, ass, not one but two girl-on-girl makeout scenes, and many, many money shots of vampires mid–feeding frenzy. Suffer through the closing credits for The Two Coreys reunion as painful as anything you’ve seen on the A&E Television Network or YouTube. Suffer through the extras for a pair of equally Corey-tastic alternate endings, an Edgar Frog featurette on the tools of the trade (carbon fiber stakes, holy water balloons), and a depressing video in which a "Cry Little Sister" remix is performed for an audience of downmarket extras taking a stab at vampire chic.

Collage boys

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› a&eletters@sfbg.com

As we enter the intoxicatingly rich world of Zona, we encounter a deceptively simple melodrama. It unfolds in shadow play on a gold-hued screen fronting a kind of rectangular tent at the back of the stage. We see the silhouette of a mother cradling her newborn infant, swaddled in a blanket, as an old recording of an Italian operatic duet comes seeping through. The woman sets the baby down and briefly retires from the scene, giving opportunity to a snarling beast which promptly swoops in and snatches up the child. Returning to find the babe gone, she collapses in a fit of grief and anguish as the music swells to its climax, her gently unduutf8g hand rising from her swooning body in a kind of unconscious farewell.

This same gesture, delicate and precise, returns later as another woman, played by the same male actor (a deft Stephen Lawson, now out in front of the curtain in another of several consecutive female guises), finally greets the beast that has been pursuing her — a naked male figure with the head of a bear — with a frightened reflex that suddenly transforms into a come hither call.

In its straightforwardness, the shadow play at the start of Zona is anything but straight. It sets up a number of complex tensions that will wend their way through a layered 55-minute multimedia collage of drag performance, lip-synch, camp iconography, and dark revelry presented by Montreal cabaret performance duo 2boys.tv (Lawson and Aaron Pollard). These tensions include the art form itself, as Zona recycles the tropes of queer cabaret in a focused reclamation of an intensely dark strain in midcentury American film and theater brooding on madness, desire, and loss.

Not that Zona isn’t also immediately rewarding and funny. A scene in which Lawson repeatedly mimes a looped sample of Elizabeth Taylor’s screams in Suddenly, Last Summer (1959) is as hysterical as it is, frankly, hysterical. But it’s less an excuse for knowing camp humor than part of an attempt to push the queer cabaret form in a more dramatically serious direction, while allowing it more self-reflexivity than ever. Enveloped in an often breathtaking series of video-based images and a haunting soundscape, Zona traces a somber, troubled mood throughout, while eschewing any easy resolution of its themes.

Although originally created for a 2006 theater festival in Calgary, Canada, rather than a bar or cabaret, Zona‘s design stays true to its roots in underground queer theater, and is so intimate and compact it almost makes the modest stage at New Conservatory Theatre Center look overly roomy. At the same time, Pollard’s video and audio direction add greatly to the show’s ingenious layering of textures, cultural references, and associations. In one achingly lovely movement, a reclining Lawson, as the actress whose love has led her to the brink of madness, opens a large book toward the audience from the lip of the stage. On its blank pages appear two small video projections: one of the naked beast with bear’s head, and the other of the actress’ character herself, both dynamic images subtitled in halting phrases of pain, regret, and remembered passion. Lawson’s mesmerizing performance, meanwhile, strikes an eerie balance between human emotion and jagged masquerade.

Zona marks the West Coast debut for the Canadian duo, with thanks due to NCTC’s artistic director Ed Decker for bringing the denizens of Montreal’s vibrant scene out to the Bay Area. Here’s looking forward to the next time the boys are back in town.

ZONA

Wed–Sat, 8 p.m.; Sun, 2 p.m., $22–$34

New Conservatory Theatre Center

25 Van Ness, SF

(415) 861-8972

www.nctcsf.org

Rabbit Research Collective

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PREVIEW The cultural map has changed, and Paris is no longer its center. Still, how does a small, unknown company from Chambery — a city best known as a jumping off place for some of the most spectacular boating and skiing in France — all of a sudden pop up in San Francisco? As with a lot of gigs, networking helps. In July ODC/Dance performed in Chambery, and voilà, here comes Rabbit Research Collective, a three-year-old multimedia art group that, rather unusually, includes a semiologist. Company founder, ballet-trained Emilie Camacho and American-born Corine Englander first participate in ODC Theater’s House Special, the culmination of a two-week collaboration with other selected dancers and choreographers. Joining local artists Monique Jenkinson and the trio of Charya Burt, Vishnu Tattva, and Melody Tanaka, they’ll present a workshop performance of a new piece created during their ODC residency. Then the duo moves over to the Alliance Française, where they’ll showcase Vertige (Vertigo), choreographed in 2006 around the concept of falling. The evening includes rehearsal footage and a discussion about the work’s generation. A glimpse at the video suggests that these women perform with souls, bodies — and brains.

HOUSE SPECIAL Wed/20, 8 p.m. Project Artaud Theater, 450 Florida, SF. $15. (415) 863-9834, www.odctheater.org

VERTIGE (VERTIGO) Sat/23 and Tues/26, 8 p.m. Alliance Française de San Francisco, 1345 Bush, SF. $15. www.afsf.com, www.brownpapertickets.com

The circle game

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Say "Kumbaya," somebody. Despite vast differences in sound, intent, and commercial appeal, a thin yet unseverable bloodline connects the big, bold, Brill Building, pop-factory-perfect songcraft of Carole King, last heard coursing off the AM radio, and the stripped-raw, close-to-bare-bones rasp and moan of Tiny Vipers’ Jesy Fortino, delivered to a small clutch of listeners at the Elbo Room last year. Eyes squeezed shut, plucking her acoustic guitar beside just one other guitarist, Ben Cissner, she was a small dark star, poured fully concentrated into the sparse minor key chords of "Swastika," and, as gutsy as the loudest reaches of the underground, she sang as if her life depended on it: "If I would let you into my heart / Would you thank the Lord / Would you tear it apart?"

Superficially, so far away — doesn’t anybody stay in one place anymore? — from King’s monumental oeuvre, which seems almost incidental amid the gushy, gossipy tidbits propelling Sheila Weller’s bio, Girls Like Us: Carole King, Joni Mitchell, Carly Simon and the Journey of a Generation (Atria), concerning King’s beleaguered marriage to her first husband and songwriting partner, Gerry Goffin, with whom she wrote such songs as "Will You Still Love Me Tomorrow" and "(You Make Me Feel Like) A Natural Woman," among many other classic pop numbers, even after he fathered a child with one of the pair’s vocalists. Likewise Weller makes much of Mitchell’s out-of-wedlock daughter and penchant for using her songs to seduce paramours like Leonard Cohen, Graham Nash, and James Taylor — the last often credited with spurring the singer-songwriter movement and acting as a unifying thread between Mitchell, King, and Simon — and Simon’s uninhibited, proto-pro-sex feminist "eroticism"; read: sex in a cab was "no problem." Yet as remote as the early-’70s phenomenon of the singer-songwriter seems, the form appears to have returned: could this be the revival of core values of craft and voice, the intimacy and immediacy of a writer on a single instrument, during a tumultuous time for the music industry, post-Auto-Tuned disasters and Ashlee Simpson lip-synch blowouts — the adult flip-side to the bubblegum remnants of High School Musical, Miley Cyrus, and the Jonas Brothers?

The initial energy of so many turn-of-the-millennium garage rock bands may have petered and innumerable hip-hop artists may have turned toward dully materialistic navel-gazing, so hail the return of the soft-spoken singer-songwriter who can break down a tunes to its bare, unadorned components. The stars are aligned; the signs, apparent: from Outside Lands headliner Jack Johnson landing at the top of the Billboard 200 chart with his latest album, Sleeping Through the Static (Brushfire/Universal), earlier this year, to ex–Castro Theatre ticket-taker, proudly folkie Devendra Banhart being adopted by Parisian couturiers and glitterati, from the MySpace-inspired success of Colbie Caillat and Kate Nash to the iTunes-buttressed popularity of Eureka native Sara Bareilles — hell, not to mention everyone and their dog documenting their solo acoustic version of "Bubbly" and posting the video on YouTube. This quiet flurry of activity undoubtedly whetted someone’s appetite for all things unplugged.

Those with eyes trained on pop cycles might point to the rise of antiwar sentiments throughout the country, coupling it with the renewed attention given to the softer, sincere sounds of singer-songwriters — a worthy theory, though apart from the many unfortunate CD-Rs of anti-Bush agit-pop that crossed my desk during the last two presidential elections, the generally apolitical vibe of the music from this crop of singer-songwriters seems to belie that notion: championing green issues are as didactic as these writers get. Instead this current wave of earnest songsmiths has more to do with both a reaction against the insincere, canned, possibly un-nutritious mainstream boy-band and Britney-centric breed of pop from the recent past — the likes of which could only be enjoyed with a semi-size dose of irony — and a response to an easy access of technology, which allows just about anyone and their mutt to make their own music at home, bypassing Brill Building–style hit-factories.

This time, the slew of sensitive men — solo fliers ranging from Iron and Wine, Conor Oberst, and Adam Green to Josh Ritter, Jonathan Rice, and Ray LaMontagne — sequestered behind acoustic guitars or pianos, working freak-folk, soft-rock, commercial pop, and Grey’s Anatomy–friendly veins, are being almost eclipsed by the multitude of womanly singer-songwriters. Natural women all, including Feist, Kimya Dawson, JayMay, Brandi Shearer, Yael Naim, and Ingrid Michaelson, among others. As much as King, Mitchell, and Simon are considered mothers of these singer-songwriters — along with predecessors like Woodside resident Joan Baez and ’60s folk hit mistress Judy Collins and successors like the many estrogen-laden ladies of the ’90s Lilith Fair outings — so too are indie sisters Liz Phair, Sarah Dougher, and Cat Power, a holy trinity to homemade, once-bedroom-bound DIY divas who make their own clothes, hope to carve out their own path, and find their own vox.

Of course, one can’t discount the release of resurrections and reissues of neglected and forgotten femme singer-songwriters such as Vashti Bunyan and Ruthann Friedmann and late greats Judee Sill and Karen Dalton, whose latest private recordings were unearthed via Green Rocky Road (Delmore) in June. And Mitchell’s unique guitar tunings, experimental mindset, and maidenlike purity of sound has made her one of the most oft-referenced artists of the last few years, thanks to such explicit shout-outs as Wayfaring Strangers’ Ladies from the Canyon (Numero, 2006). But no less influential is Phair, whose classic Exile in Guyville (Matador) got the royal reissue treatment this summer: her pro-sex, third-wave feminist, Midwestern rejoinder to riot grrrl writ large, with a gatefold sleeve and a slip of naughty nipple peeking through. At the same time, Dougher — cover girl in Johnny Ray Huston’s take on the last, more-riot grrrl-centered singer-songwriter movement in the Guardian about a decade ago — took a more polemical tack on the Northwest coast with her K Records releases, while working tangibly for greater female rock visibility by organizing the Rock ‘n’ Roll Camp for Girls and teaching courses on the history of women in rock at Portland State University.

But Chan Marshall, a.k.a. Cat Power, appears set to be the Joni Mitchell of this generation — even as Marshall has largely turned her back on originals with her latest Jukebox (Matador). The Seattle-based Fortino’s almost gothic melodrama seems to draw more than a little inspiration from Marshall’s What Would the Community Think (Matador, 1996), while San Francisco transplant Thao Nguyen of Thao and the Get Down Stay Down borrows Marshall’s clarion-call, half-sung, half-spoken phrasing for her far more fancy-free, loose-limbed, and shambling songs. Nguyen sounds positively, happily tipsy on the old-timey bounce, finger clicks, and sandpapery soft-shoe shuffle on We Brave Bee Stings and All (Kill Rock Stars).

Yet Marshall’s most indebted sib might be Emily Jane White, 27, whose Dark Undercoat (Double Negative) evokes the former’s haunted and haunting, hollowed-out sensuality as well as her songwriting savvy and way with a hook. "Everybody’s got a little hole in the middle / Everybody does a little dance with the devil," the Oakland singer-songwriter croons on her "Hole in the Middle," sliding around the curves of this verb or the other and letting her voice drift off into the meaningful silences between the words.

The surprise is that this intensely eerie, closely miked singer-songwriter also turns out to be one of the more deliberately political-minded. Of "Hole," she said recently while breaking from the recording her second album with Greg Ashley, "I originally wrote that in response to the war in Iraq when that first started. Yeah, it’s about American imperialism."

And perhaps that’s the key to why the music by this former member of an all-girl band, the Diamond Star Halos — much like those seemingly apolitical numbers by other singer-songwriters — has increasingly relevance today: White and other crooners are foregrounding the everyday loves as well as the overseas skirmishes in a way that transcends the desensitizing glut and so-called objectivity of news headlines, sound-bites, and bloggable blurbs — and acutely personalizes it all. Call it the resensitizing of pop.

"I’ve always believed that your personal experience is political," says White, echoing the first wave feminist tenets, "and everyone has a story to tell, about how they’ve lived their lives and what has happened to them, and the experiences they’ve gone through. Not that what I think I do is revolutionary or anything, but one positive thing about being a singer-songwriter is people have contacted me and said they’ve felt a strong sense of encouragement or inspiration, so I think putting myself out there says something."

Emily Jane White plays Aug. 22, 8 p.m., $8, at the Uptown, 1928 Telegraph, Oakl. www.uptownnightclub.com

Singing softly, carrying big ideas

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NICOLE ATKINS AND THE SEA


Atkins would probably do well on American Idol. Her big, bellowing voice sounds tailor-made for balladeering, and breathy, heartbroken pixie girls have edged talent like hers out of the indie market. But Atkins refuses to cover "Bridge Over Troubled Water," and has instead crafted a huge power-pop sound all on her own. (Laura Mojonnier)

1:40 p.m. Sun/24, Presidio stage, Lindley Meadow

DEVENDRA BANHART


Is the Venezuelan-bred naturalismo god a freak-gypsy poet-prophet, or just a rambling, acid-damaged ghost of San Francisco past? You decide, long-haired child. (Mojonnier)

2:15 p.m. Sat/23, Sutro stage, Lindley Meadow

BON IVER


Which one’s Bon? And is this really a … singer-songwriter? Regardless, Justin Vernon has made a gorg album — multitracked vocals and all — with For Emma, Forever Ago (Jagjaguwar). (Kimberly Chun)

3:10 p.m. Sun/24, Presidio stage, Lindley Meadow

BECK


Known as much for his musical range as his idiosyncratic artistic sense, Beck’s songs veer from dadaist dance tunes —à la Guero (Interscope, 2005) — to melancholy blues ballads like those on Sea Change (Geffen, 2002). He’s come a long way from 1994’s single "Loser" with his latest album, Modern Guilt (Interscope), a collaboration with coproducer Danger Mouse and guest Cat Power, proving that he’s no one-hit wonder, but rather a truly multidimensional songwriter. (Molly Freedenberg)

6:40 p.m. Fri/22, Sutro stage, Lindley Meadow

ANDREW BIRD


It isn’t easy to overshadow Ani DiFranco — especially in a concert hall filled with her fans. But that’s exactly what Bird did when he opened for the quintessential singer-songwriter on her 2005 tour. Bird’s spectacular vocal and musical abilities — particularly his trademark whistling and violin playing — are mesmerizing. But even more so is his ability to weave beautiful, emotionally honest songs from so many kinds of lyrical and musical threads. The combination has brought him not only acclaim, including a position blogging about his songwriting process for the New York Times, but status as an indie heartthrob. (Freedenberg)

3:35 p.m. Sun/24, Twin Peaks stage, Speedway Meadow

JACKIE GREEN


Polished Versatility is the SF singer-songwriter’s middle name, his first is Jackie, but fans call him their own personal Roots Savant. (Chun)

1 p.m. Sun/24, Lands End stage, Polo Fields

SEAN HAYES


Don’t you know you gotta water sunshine? The fiercely independent SF singer-songwriter has worked with all manner of great artists round town, including Ches Smith, Ara Anderson, Etienne de Rocher, and Jolie Holland. (Chun)

3 p.m. Sat/23, Presidio stage, Lindley Meadow

NELLIE MCKAY


So get off McKay’s back and take your ape-ish size 12 shoes off her madcap persona because, as the New York City singer-songwriter drawls on "Identity Theft," "I’m tired of maturity, airport and security, running from the thought police, fighting with the go-betweens." Yes, I hear Bob Dylan in those wildly loopy lines, but you gotta love the musical theater-inspired, wittily whittled wordsmith’s divine verbosity — via songs that leave ’em crying, with glee, at the disco. (Chun)

4:20 p.m. Sat/23, Panhandle stage, Speedway Meadow

REGINA SPEKTOR


Is it Spektor’s old world beauty or postmodern songwriting — both evident in her breakthrough video "Fidelity" — that charms audiences so much? We think it’s probably both, though her distinctive vocal style, songs that read more like short stories, creativity with instrumentation, and magnetism onstage are surely what have brought the Russian-born chanteuse so much success. (Freedenberg)

5:15 p.m. Sat/23, Sutro stage, Lindley Meadow

M. WARD


Sometimes Ward’s friends let him play on their records (Bright Eyes, Cat Power, Jenny Lewis). Sometimes Ward gets his friends to play on his records (My Morning Jacket’s Jim James, Neko Case). Sometimes Ward’s gently rollicking guitar flirts with Zooey Deschanel’s sweet country honey (She and Him). And sometimes Ward plays a big outdoor festival all by himself. (Mojonnier)

3:40 p.m. Sat/23, Sutro stage, Lindley Meadow

Money for nothing

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› gwschulz@sfbg.com

Speaker of the House Nancy Pelosi seems to be feeling pretty confident in her reelection prospects this November, despite an independent challenge by high-profile peace mom Cindy Sheehan.

But that hasn’t stopped the San Francisco Democrat from raising big bucks from scores of interest groups who are contributing to her campaign committee and to the political action committee she controls, known as PAC to the Future.

Most of the money she’s raising is going toward assuring her continued power in Washington by giving it to the campaigns of other Democratic members of Congress, particularly those facing tough election battles that could threaten the party’s House majority.

Pelosi’s reelection committee has raised $2.36 million over the past two years, hundreds of thousands more than the average House member, according to federal campaign disclosure records and data maintained by the Center for Responsive Politics.

Her PAC raised an additional $585,000 during the current election cycle and spent $769,000, much of which has also gone to other candidate committees in payments of $5,000 and $10,000.

Many newly elected Democrats in the House represent conservative constituencies, and with her blessing they sometimes vote with Republicans to distance themselves from the party’s perceived liberal leaders like Pelosi, according to a new book published this month, Money in the House: Campaign Funds and Congressional Party Politics (Perseus, 2008). Democratic leaders in the meantime have continued a phenomenal fundraising spree to help protect those House members.

"Speaker Pelosi’s extraordinary financial commitment to her party, and especially to her party’s vulnerable members, illustrates the overriding emphasis congressional parties and members place on money," writes author Marian Currinder, a senior fellow at Georgetown University’s Government Affairs Institute. "And her encouragement of selective ‘opposition votes’ demonstrates the complexity of governing in a highly partisan and highly competitive political environment."

Even the day-to-day reelection expenses of Washington’s unrivaled leading lady are outsize, as Pelosi’s spending records show. In June 2007, she celebrated her 20th year in Congress with a glitzy fundraiser held in the capital’s Union Station that cost at least $92,000 and featured a performance by soul singer Patti LaBelle.

The bill included $25,393 for a slick video production; $61,105 on catering, rentals, and securing the site; $2,000 for hairstyling and wardrobe assistance insisted on by LaBelle; $2,824 on flower arrangements; and $1,396 for chocolates from a Pennsylvania-based confection maker.

Pelosi spent at least $650 from her campaign on makeup for the steady string of appearances she made after being sworn in as House speaker in January 2007. An annual fundraiser held this year at the Westin St. Francis in San Francisco cost $23,454 for catering and other expenses.

As for the top contributors to Pelosi’s reelection committee, they include several members of the Gallo family, proprietors of the E&J Gallo Winery, who gave a total of $23,000 through maximum individual donations of $4,600. The Modesto-based company has long made contributions to both parties, particularly enriching candidates who show a willingness to scale back or even throw out the federal estate tax, which affects the inheritances of the wealthiest American families.

The Corrections Corporation of America gave $2,300 to Pelosi and $2,700 to her PAC. CCA is part of a storied group of for-profit privatization companies in Nashville, Tenn. that are closely tied to former Republican Senate majority leader Bill Frist and includes the Hospital Corporation of America and Ardent Health Services.

Just this year, the state of California hired CCA to house 8,000 inmates at six of the company’s facilities; a significant portion will go to a new $205 million CCA complex under construction in Arizona.

The nation’s largest private jail company suffered bad publicity during the 1990s due to a series of high-profile escapes and inmate killings inside its prisons. It teetered on the edge of bankruptcy after overbuilding jails without having enough inmates available to fill them, but the George W. Bush administration helped save the company with a new homeland security agenda that called for confining rather than releasing undocumented immigrants while they awaited deportation or asylum-request proceedings. The company’s revenue jumped nearly a half-billion dollars over the last five years and its lobbying activities in Washington, DC have increased similarly.

The entertainment industry has ponied up its share to Pelosi as well. The maximum $4,600 donation came from Aaron Sorkin, powerhouse writer behind the long-running TV series The West Wing and the 2007 film Charlie Wilson’s War. Christie Hefner, a regular donor to Democrats and heiress to Playboy Enterprises, contributed $1,000.

Steven Bing, a Hollywood producer who inherited a real estate fortune, and billionaire Las Vegas developer Kirk Kerkorian gave thousands to Pelosi over the last two years. Kerkorian has given to both parties, but he and Bing share a special relationship after having fought a nasty tabloid war.

Kerkorian allegedly hired private investigators to sift through Bing’s trash in search of DNA evidence that would link him to a child borne by Kerkorian’s ex-wife, whom he was divorcing, according to a lawsuit filed by Bing. Vanity Fair in July described Bing as part of a skirt-chasing entourage that ran with Bill Clinton and threatened to tarnish Hillary Clinton’s presidential bid with its freewheeling bachelor reputation.

The wealthy Herbert and Marion Sandler, major supporters of MoveOn.org and other social justice causes, gave Pelosi a combined $9,200. The couple presided over the meteoric rise of Oakland mortgage lender Golden West Financial, which sold to Wachovia for $24 billion in 2006. The housing crisis led Wachovia to post staggering multibillion-dollar losses this summer, and some business writers have attributed its declining fortunes to the Golden West purchase.

In June, George Zimmer of Fremont, founder of the Men’s Warehouse, gave $2,300. Notable husband and wife political team Clint and Janet Reilly, both active as candidates and donors, contributed a total of $19,200 to Pelosi’s campaign and PAC.

"Essentially, raising money for the party and its candidates is required of leaders," Money in the House author Currinder told the Guardian. "Pelosi wouldn’t have been elected speaker if she wasn’t a stellar fundraiser."

So where is Pelosi’s money going if not to television ads for her own campaign? She divided $250,000 among the campaigns of approximately 70 congressional candidates, and disbursed about $532,000 more to them through PAC to the Future. The beneficiaries included $14,000 to Democrat Chet Edwards of Texas, whose district includes President George W. Bush’s Crawford ranch. Pelosi has publicly recommended him to Barack Obama as a possible running mate.

In addition, about half of the money Pelosi has raised since the beginning of 2007, slightly more than $1 million, went to the Democratic Congressional Campaign Committee in Washington, DC. She also gave to the Democratic parties of key battleground states including Indiana, Mississippi, Louisiana, and Ohio. She singled out Democrat Travis Childers of Mississippi for extra cash totaling $21,000. In May, Childers stunned observers by defeating a Republican in a special election held when a representative vacated his House seat to take over for conservative icon Sen. Trent Lott.

"She has had prodigious success raising funds for individual Democratic candidates, for the DCCC, and for her own campaign and PAC," Thomas Mann, a congressional scholar at the Brookings Institute, told us. "Most party leaders represent safe seats but nonetheless try to set a high standard for raising money to advance their party’s broader objectives."

Pelosi’s Capitol Hill and San Francisco offices directed our questions to her fundraising operations at the DCCC. Her political director there, Brian Wolff, called the war chest "another vehicle for her to communicate with constituents in California." But he conceded that the pressure is on, "especially now that we have so many candidates and incumbents that need help. It definitely falls on her to be able to have a very aggressive fundraising campaign."

Wolff insists, too, that the Democrats revolutionized fundraising by seeking out smaller donations from large numbers of people instead of returning to the same short list of affluent contributors they had in the past.

In general, top donations to Pelosi still have come from lobbyists and lawyers, the real estate industry, insurance companies, banking and securities firms, and Amgen, a major biotech researcher based in Thousand Oaks. Officials from the labor movement’s biggest new power broker, the Service Employees International Union, also gave substantial sums, as did other major unions. But they fell far behind the contributions of large business interests.

Art Torres, chair of the California Democratic Party, told us that health care reform failed in 1990s at least partly because of political spending by drug companies. But he said that Democrats winning the White House and expanding their majorities in Congress would create a greater mandate to overhaul the health care system.

"It’s always been about issues" rather than fundraising, Torres said. "When I’ve talked to her, it’s always been about ‘How can we get this or that legislation through?’<0x2009>"

It’s worth pointing out, however, that the nation’s largest drug wholesaler, McKesson Corp., is based in San Francisco, and donors from pharmaceutical companies gave Pelosi more than $85,000 this cycle. Drug companies have given freely to Democrats in the past, but Democratic officeholders "still voted against their interests every time," Torres said.

Pelosi’s campaign spending on everything but her own reelection shows she doesn’t regard Sheehan as much of a threat. But the antiwar candidate did make it onto the ballot Aug. 8 and the Sheehan campaign has raised approximately $350,000 since December in small contributions after refusing to accept money from PACs and corporations.

"We didn’t have the party infrastructure going into this," said Sheehan campaign manager Tiffany Burns, adding that Pelosi’s campaign expenditures are "just another example of how Pelosi believes she is entitled to this seat."

Oberst, Wilco, Wrens rock for net neutrality

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rockthenet.jpg

VARIOUS ARTISTS
Rock the Net: Musicians for Network Neutrality
(Thirsty Ear)

By Ian Ferguson

Although Al Gore considered naming the Internet “Magic,” and it seems that way to some (black magic for John McCain), an actual energy- and bandwidth-consuming infrastructure supports our browsing habits. Once the Net broadened beyond ARPA, private companies (namely service providers like AT&T and Comcast) assumed control of its traffic lights. Service providers are huge corporations: profit machines compelled to consider little else. These companies want to charge content providers (Web sites ranging from Google to your favorite blog) a fee for more bandwith: more bandwith means the Net works faster for a given site.

The FCC hasn’t yet stepped in to regulate the practice, but is currently evaluating the available options. In a show of support for net neutrality – the principle that demands service providers keep the Net free and open and by extension an indie band’s site as fast as any multiplatinum act’s – a coalition of musicians and labels have united to make an album intent on persuading Congress and the FCC to come around to their point of view. After all, as labels suffer, the Net offers itself as an inevitable platform for whatever distribution model to come – take OK Go’s YouTube music video-fueled fame, Clap Your Hands Say Yeah’s blog-buzzed status, or Radiohead’s acclaimed In Rainbows digital release.

Though none of these bands appear as part of the collective of musicians supporting network neutrality on Rock the Net, the album more than makes up for their absence. Everyone knows that one of the most promising potentials the Internet offers audiophiles is ease of discovery. No longer must one buy countless so-so albums to find one gem: simply peruse Imeem, Muxtape, or MySpace for revelations. This disc provides a microcosm of that in tangible form: 15 artists – some familiar, some not so well-known – present tracks as varied as infinite cyberspace.

Pennies from heaven

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› a&eletters@sfbg.com

Growing up gay in a military family of evangelical Christians in the Reagan-era South sounds like a tight squeeze for anyone. But as Kirk Read affirms, however claustrophobic one’s environment, there’s always room for a good fantasy. Besides, Read likes tight squeezes. His active dream life (which includes having a very large man lie on top of him and expel all the air from his lungs) percolated early with the image of his young gay Christian self leaving home for school each morning past an angry throng of fellow evangelicals in protest formation, waving signs expressing God’s vehement opposition to little backpack-wearing Kirk Read, holding up the obligatory jars of fetuses, shaking fists, and lobbing Bibles. Well, Read is here to testify that dreams can come true.

The story of that, um, miraculous moment (which took place recently as Read toured his home state of Virginia with the Sex Workers’ Art Show) makes up just one part of the Bay Area writer-performer’s lively, gleefully offbeat, and largely autobiographical concatenation of multimedia performance pieces, This Is the Thing, now being reprised at Shotwell Studios after its sold-out Queer Arts Festival debut at the Garage in June. But it comes, along with a raucous striptease, as the apt climax of an evening driven by a kind of fervor and sensibility clearly (if inadvertently) inspired by Read’s "hardcore" Southern Christian upbringing (recounted in detail in his 2001 memoir, How I Learned to Snap [Hill Street Press]).

Thus the evening begins with a prayer. Stepping onto the stage looking like a young Osmond-esque televangelist in a white polyester suit and gold sequin tee, Read (ably accompanied through many a mood by composer and multi-instrumentalist Jeffrey Alphonsus Mooney, and backed by the smooth, evocative video collage work of Liz Singer) leads those assembled in a celebration of all those things disappearing — the cassette mixtape, the bottle rocket, the sonnet — before segueing into a paean to the penny and a loose, carefree set of associations that promptly lead to Abe Lincoln as well-hung gay icon. Pennies, those "shiny whores," are a sort of leitmotif here, though I can’t exactly say I understood why. Still, in terms of theme and execution, Read’s deceptively laid-back intensity, wit, and bold and personable self-exposure tend to make up for the evening’s slighter or more muddled aspects.

At its best moments This Is the Thing melds carefully honed physical and thematic juxtapositions with Read’s loose and natural but wholly committed performance style. The effects are often simultaneously hilarious, haunting, and gently moving. In a segment titled "The Conductor," Read recounts his first encounter with his very favorite sex client, a 450-pound man with a penchant for the classics, acting out the surprisingly romantic business affair with the aid of a large Winnie the Pooh–headed bear of a mannequin — a luxurious pileup of stuffed animal pelts constructed by Doug Hansen. In another pas de deux, a quietly strange and graceful piece called "Computer Face," Read is paired with a man-size figure set on wheels, wrapped in white bandages with clumps of wires for hands, and a glowing, hollowed-out Apple computer monitor for a head. As a looped recording plays a speech by Harvey Milk, Read pulls a series of objects from the figure’s head and dances with it in tight circles across the stage. In "The Nu Handbell Choir," the show reaches a kind of peak of starkness and delicacy as Read, calmly micturating into a set of crystal goblets, describes his furtive childhood adoration for his father — a veteran of three wars — and his Army brass buddies as they assembled in his parents’ living room to drink, talk, and console one another.

Other vignettes are less complex but still compelling in their energy and frank humor. "Hotel Hooker Haiku" is a sassy phenomenology of an Atlanta prostitute’s working world, set to banjo accompaniment and jovial footage of some dingy, dreary motel grounds. And the more traditionally outrageous if still amusing "Missing Mike Brady" posits Florence Henderson as a clothesline post airing her sex life on a well-worn marriage sheet. The Bradys may seem a little far afield here, but then, like the best of preachers, Read is nothing if not ecumenical.

THIS IS THE THING

Thurs/14–Sat/16, 8 p.m. (also Sat, 10 p.m.), $12–$20

Shotwell Studios

3252 Shotwell, SF

1-800-838-3006, www.brownpapertickets.com/event/38121

Punk’s latest clubhouse

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› a&eletters@sfbg.com

A fire-breathing dinosaur graces the sign above the entrance to Thrillhouse Records, a Bernal Heights hole-in-the-wall wonder of a record shop. Duck in the door and you’ll find several shelves of punk, garage-rock, and metal LPs; cassettes and seven-inch singles; a zine library and a sizeable rack of DIY publications for sale; a mixtape trading bin (make one, leave it, and take one); and an awe-inducing black and white Iron Maiden tapestry that hangs above a colorful array of flyers for local shows past and upcoming. Add to this the impassioned music wafting from the turntable in the corner, and you’re fully enveloped in a warm, curious niche of the Bay Area music scene.

The San Francisco underground punk-rock community has found much to celebrate in Thrillhouse, which evolved from a few friends’ drunken pipe dreams to a wood, wax, and plastic reality under the benevolent oversight of Fred Schrunk. He’s a lanky, meek 26-year-old who wore a black hoodie and a big grin when we met at a coffee shop in SoMa last week. Schrunk was excited about the package slated to show up at the shop that afternoon: a box containing vinyls of the new Black Rainbow single, the label’s 11th and newest release, which would hopefully be ready to be folded into seven-inch sleeves upon arrival. Just as exciting was talk of the upcoming Thrillfest, a store-sanctioned live music extravaganza in the dying days of August.

As Schrunk told it, Thrillhouse opened in January 2007 as a not-for-profit record store at 3422 Mission Street: all its proceeds go toward improving the shop and its contents, and it’s operated daily by local volunteers in the spirit of the late punk HQ Epicenter on Valencia Street. The label was conjured up mid-2007 by Schrunk and Shawn Mehrens, the vocalist for Thrillfest act Yankee Kamikaze, and store sales have funded the label’s new releases and reissues, which include a single by Onion Flavored Rings and a re-ish of Fleshies’ Baby LP. The Simpsons buffs will know the origins of the store’s name — it’s Milhouse’s desired user name for the Bart-coveted video game Bonestorm — and the handle speaks considerably to the enthusiasm of the volunteers who pop in and out of the storefront.

Radek Lecyk, a quiet, friendly young man from Poland who moved to San Francisco four years ago, was staffing a four-hour shift at the store one recent Tuesday afternoon. After selecting Fugazi’s terrific Margin Walker EP (Dischord, 1989) for play on the shop turntable, he explained how he "waited and waited" with anticipation for Thrillhouse’s opening after reading about its plans in a 2006 issue of Maximumrocknroll. For Lecyk and many others, the store has been a great meeting place for bands and show-goers of all ilks and ages. The shelves reflect the community’s generation-spanning nature: new label releases from Shotwell and the Reaction sit comfortably alongside releases from old-schoolers like Hickey, Sharp Knife, and Bobby Joe Ebola and the Children MacNuggits.

Idyllic as all this is, the ultimate get-together is still on the way. "Shitloads of people were in need of shows for summer," explained Schrunk, who earlier this year pleaded with his friends in San Pedro’s Toys That Kill and San Diego’s Tiltwheel to play SF, where the groups hadn’t been in some time. He came up with an incentive: if they made the trip, these outfits could play a super-rad, end-of-summer festival rather than the typical bar gig. Both bands thankfully agreed, although this meant actually having to deliver on the event. It was an intimidating prospect, but one that proved possible with the assistance of local venue bookers and the store’s newsletter, which reeled in enough performers to fill five nights.

Anybody wanting in on the bill needn’t worry about booking: there’ll be a free-for-all show at a secret city location Aug. 21. "Anybody that shows up with guitars and cymbals can play three songs," exclaimed Schrunk, who also highlighted the Aug. 24, Nor Cal vs. So Cal baseball game at Jackson Park across the street from Thee Parkside, which hosts the festival’s final show that night.

Thankfully, the fun won’t stop there: attendees can look forward to more label action this year with the release of the new LP by locals Surrender. Schrunk asked if I’ve ever seen them live before. I hadn’t, but it was nothing to be embarrassed about: he smiled and, in the sharing spirit of his label and store, sang their praises: "You should see them sometime — they’re really great."

THRILLFEST

With Fucking Buckaroos, Tiltwheel, Nothington, and more

Aug. 20–24

Knockout, Parkside, Kimo’s, and other SF locations

www.myspace.com/thrillfest

www.thrillhouserecords.com

Editor’s Notes

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I didn’t expect much from NBC’s prime-time Olympics coverage, but Jesus, it’s bad.

Forget the all-America, all the time, which is only to be expected. Forget the fact that only the sports that have prominent American contenders get much attention. It’s the reporting and commentary that’s making me sick.

I don’t watch the Olympics on TV to hear for the 12th time about Michael Phelps growing up with a single mother and a driven coach. I buy trashy magazines to learn that kind of stuff. I want to see the games. (I don’t watch football on TV to learn about Brett Favre’s emotional unretirement; I want to see him throw the ball. And if they interrupted the game to give me an "NFL moment" I’d stop watching altogether.)

There are hundreds of events going on, and with the tape delay, we could see all kinds of stuff. The network could be switching from swimming to gymnastics to boxing to swimming … but no: more than half the prime-time show is devoted to truly awful little video clips about the lives of the players, or the age of the Chinese gymnasts (now there’s a hot new story) or someone’s personal tragedy.

Folks: I don’t care. Like most of us, I want to watch sports. Save your trashy specials for 60 Minutes.

And the comments, overall, are just horrifying. Did you know that the Romanian women’s gymnastics team just isn’t the same now that they don’t brutally abuse the children? I mean, look at those errors, that sloppy attitude! The athletes were actually smiling and talking to each other before they took the balance beam, and when one woman fell, she still got a hug from her coach. Back in the days of Nadia Comaneci, that would never have happened. Tragedy what’s happened to that team.

(I’ll give Bob Costas a break — if you get an interview with the president of the United States, you break away from the gym to air it. And he actually asked some professional questions. But watching Bush there, grinning like some kind of nervous idiot with a caffeine twitch, was so creepy it was almost unbearable.)

IN OTHER NEWS: Police Commission member David Campos is making a big stink about Mayor Gavin Newsom’s willingness to violate the Sanctuary City law. His point: if immigrants won’t contact the police for fear of getting deported, the cops can’t do their jobs. That, by the way, was one of the reasons San Francisco became a sanctuary city. He’s asking for a special hearing on this, and I hope it leads the commission to stand up to the mayor and say that it’s more important for SF cops to be able to work with immigrant communities than for Newsom to look tough on immigrants in his campaign for governor.

The Democratic County Central Committee is preparing to endorse candidates for supervisor, but so far, there’s little indication the panel will adopt ranked-choice voting recommendations. In District 9, that seems a shame — there are three good candidates (Campos, Mark Sanchez and Eric Quezada), and two (Quezada and Campos) are Democrats. Voters can choose up to three candidates in ranked order; the DCCC ought to consider doing the same.

Dirty secrets under the big top

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› steve@sfbg.com

The circus has come to town. Ringling Brothers and Barnum & Bailey Circus, the largest and most profitable show of its kind in history, is in Oakland this week, and will be headed to San Jose next week. Spectators will see trapeze acts, clowns — and animals, particularly elephants, performing the trademark stunts that are considered the highlight of the event.

But the show may soon be over.

Ringling Bros. has been battling with animal welfare advocates for a generation or more, and a landmark federal lawsuit headed to trial in October could finally answer the question of whether rough, regular treatment of endangered Asian elephants by circus handlers constitutes illegal animal abuse.

At stake is the future of performing animals in circuses, particularly this 138-year-old global institution. Circus officials say that if the court prohibits the use of tools like leg chains and the ankus (an elephant training tool that activists call a bull hook and handlers call a guide), they’ll stop touring with elephants — a feature that they admit is their biggest draw.

The case, originally filed eight years ago by three national animal welfare groups and former Ringling Bros. elephant handler Tom Rider, has unearthed a treasure trove of damning inside documents from both Ringling Bros. and the US Department of Agriculture, the agency that regulates circuses and ensures their compliance with the Endangered Species and Animal Welfare acts.

Among the allegations are claims of repeated injuries to elephants by ankus-wielding handlers, efforts to conceal animal abuse from the public and government regulators, the preventable deaths of three baby elephants, prevalence of tuberculosis (the same strain contracted by humans) in elephants and handlers, and a pattern of high USDA officials overriding the enforcement recommendations of agency investigators and ignoring evidence of abuse.

"Ringling Bros. engages in these unlawful activities by routinely beating elephants to ‘train’ them, ‘discipline’ them, and keep them under control; chaining them for long periods of time; hitting them with sharp bull hooks; ‘breaking’ baby elephants with force to make them submissive; and forcibly removing nursing baby elephants from their mothers before they are weaned, with the use of ropes and chains," reads the federal lawsuit filed by American Society for the Prevention of Cruelty to Animals, Animal Welfare Institute, the Fund for Animals, and Rider. It will be heard in US District Court in Washington, DC, starting Oct. 7.

Despite its major implications, the case has drawn surprisingly little media attention. But it’s a remarkable story, full of juicy documents, an abundance of YouTube video footage that appears to show Ringling Bros. animal abuse — along with Ringling Bros.’ role in derailing the career of a prominent Bay Area television news anchor and the intriguing involvement of shadowy CIA operatives.

Critics say Ringling Bros.’ extensive advertising makes media outlets pull punches, but another reason the circus has avoided bad press may lie with other Ringling lawsuits that contain some astounding revelations of how the circus — or more specifically, circus owner Kenneth Feld and his Feld Entertainment, the world’s largest live entertainment company — treats those who seek to expose its secrets.

DIRTY CIRCUS TRICKS


Power and illusion have always been mainstays of the circus, ever since P.T. Barnum reportedly said, "There’s a sucker born every minute." Elephants and other exotic animals have always been important features of the show as well, going back to the 1860s when James Anthony Bailey displayed Little Columbia, the first elephant ever born in a circus.

The nation’s three largest circuses — Barnum’s, Bailey’s, and the Ringling Brothers — gradually merged into one by 1919 and enjoyed growing popularity until entering into a period of decline during the Great Depression. That decline continued through the Hartford Circus Fire of 1944, when more than 100 people died inside a Ringling Bros. tent, and into the 1950s, when television became popular.

But music promoter Irvin Feld began to turn the circus around in the late ’50s, bringing in new acts and increasing the circus’s profitability. In 1967 he bought the company and later passed control of the circus to his only son, Kenneth, who has prospered along with the show.

Kenneth Feld made Forbes magazine’s list of the 400 richest Americans in 2004, with a reported net worth of $775 million. Feld Entertainment made the Forbes list of the nation’s top companies in 2000, ranking 404th with a reported annual revenue of $675 million and profits of $100 million.

Feld also owns and operates such shows as Disney on Ice, Disney Live, High School: The Musical, and the Siegfried and Roy tiger-taming act.

But all is not well in the Feld empire.

When Feld had a falling out with his top lieutenant, Charles Smith, in 1998, Smith filed a wrongful termination lawsuit that exposed the nefarious inner dealings of "The Greatest Show on Earth," including alleged animal abuse, public health threats, and the use of a top former CIA official to spy on, infiltrate, and sabotage animal welfare activists and journalists.

Among other things, the case brought to light charges that some of the elephants have been exposed to or have contracted tuberculosis.

Joel Kaplan, a former private investigator who worked for Feld, alleged in a deposition in the Smith case that TB was a serious problem among the pachyderms. "I think it’s immoral to have elephants traveling in every arena in the country with tuberculosis," noted Kaplan, who filed his own lawsuit and settled for $250,000. He stated that he had been told by a Ringling Bros. veterinarian that "about half of the elephants in each of the shows had tuberculosis and that the tuberculosis was an easily transmitted disease to individuals, to human beings."

Also included in the case was a deposition by Clair George, the No. 3 person in the CIA until 1987, when he was convicted of lying to Congress about the Iran-contra scandal (he was pardoned by President George H.W. Bush on Christmas Eve 1992). George admitted to working for Feld and conveyed chilling tales of sabotage, including the case of freelance journalist Jan Pottker, who wrote a 1990 magazine profile of the Feld family which included allegations that Irvin Feld maintained a longstanding homosexual relationship outside his marriage.

To deter her from writing a book about the Feld family, George outlined a scheme to have one agent befriend her and another seduce her, spy on her progress, feed her conflicting information, and even get her a book deal on another project to divert her, with a $25,000 advance allegedly paid by Feld.

"I undertook a series of efforts to find out what Pottker was doing and reported on the results of my work to Mr. Feld," George wrote in a sworn affidavit. "I was paid for this work by Feld Entertainment or its affiliates. I prepared my reports in writing and presented them to Mr. Feld in personal meetings."

Amy McWethy, a spokesperson for Feld Entertainment, refused to discuss the cases or their implications.

The statements of George and Kaplan describe secret bugging and phone tapping, bribes and clandestine cash settlements to silence critics (including Smith, who settled his lawsuit for $6 million), and infiltration of groups such as People for the Ethical Treatment of Animals.

"As part of my work for Feld Entertainment," George wrote in his affidavit, "I was also asked to review reports from [Feld executive vice president] Richard Froemming and his organizations based on their surveillance of, and efforts to counter, the activities of various animal rights groups."

National security reporter Jeff Stein (now with Congressional Quarterly) wrote the definitive account of Feld’s alleged black ops for Salon.com ("The Greatest Vendetta on Earth," 8/30/01), and was also allegedly targeted for surveillance and retribution, according to a story in the May/June 2002 issue of Columbia Journalism Review ("Investigations: The scary circus," by Jay Cheshes).

Stein’s original stories were followed up by 60 Minutes in May 2003, which essentially repeated the allegations.

The next year, KTVU anchor Leslie Griffith got onto the circus story, doing lengthy, investigative reports on the animal abuse lawsuit revelations for KTVU in 2004 and 2005, just as Ringling Bros. was coming to town.

Then Griffith left the station — at least in part because of the backlash she says she felt from both her corporate bosses and Ringling Bros., whose internal documents reveal an aggressive strategy to counter negative media coverage.

A training manual made public as part of the lawsuit outlines how the circus responds to reporters:

"Immediately upon learning about negative stories about Ringling Bros., the Animal Issues Department will put in place the [Rapid Deployment Force]," it states. "The Animal Issues Department will directly contact the editor/news director…. Armed with videos, literature and other information, the Animal Issues Department Head will demand a retraction or equal time and will work in concert with the grass roots campaign…. If the editor/news director refuses the request, Legal will be informed to determine what recourses exist."

Griffith says it was after KTVU was targeted by this effort that she was barred from doing any more circus stories and her relationship with the station began to deteriorate. "All of a sudden my hair wasn’t good enough, my makeup wasn’t good enough — after 25 years of doing the news."

Officially Griffith and KTVU parted on good terms with mutual statements of respect. Even today, KTVU general manager Tim McKay (who was station manager when Griffith left) speaks highly of Griffith, telling the Guardian, "Leslie worked here for a number of years and did a fantastic job."

McKay said he didn’t know about any contact from Ringling Bros. or Griffith being told to back off the circus stories (he said he would check and get back to us, but didn’t as of press time), saying only, "We stand behind the stories as they aired. There was a whole lot of attention given to their accuracy."

But it’s clear that Ringling Bros. was aware of and upset by Griffith’s work. In 2005 Ringling Bros. attorneys argued in court against efforts by the ASPCA and the other lawsuit plaintiffs to obtain financial records and veterinary records on the Ringling elephants, telling the judge: "To shovel this stuff into the public record and try to draw inferences from it, or put it in out of context, lends itself to all sorts of abuse, the very kind of abuse that we contend took place on the San Francisco television station last week."

Judge Emmet G. Sullivan ordered Ringling to turn over the documents, but kept many (mostly the financial documents) under protective seal, keeping their contents hidden from the public.

Griffith, who won dozens of major journalism awards over her 25-year career, says the public suffers when journalists are muzzled. "If they took anything from me," she said, "it was my bully pulpit."

ELEPHANTS AND TB


If Griffith still had that bully pulpit and the ability to freely use it, she told us she’d be talking about mycobacterium tuberculosis in elephants. After doing extensive research into the issue — interviewing top experts and traveling across the country to review voluminous court files — Griffith has come to believe Ringling Bros. Circus poses a serious threat to public health.

"You can talk about the [animal] abuse, but with a worldwide epidemic brewing, I’d say the story is the tuberculosis," Griffith told us. She has been writing periodically on elephants and TB on her blog (lesliegriffithproductions.com), the Huffington Post, and prominent news sites such as Truthout, which published her piece, "The Elephant in the Room," a year ago.

"There are several alarming issues for epidemiologists: drug resistance, inability to diagnose if an elephant has been cured, and disease spreading to handlers who work with them and to the public who attend circus performances," Griffith wrote in the article, relying on public documents and experts on both the circus and infectious disease.

Griffith’s star source has been San Francisco–based epidemiologist Don Francis, who helped discover the HIV virus and became the first director for the Center for Disease Control’s AIDS Laboratory. The Guardian talked to Francis, who has reviewed Ringling documents and concluded that the elephants do indeed pose a threat to public health. He told us he’s particularly troubled by records that appear to show elephants being treated with multiple drugs, meaning they could have multidrug-resistant TB (MDR TB), "which really scares me." Ringling denies that any elephants have MDR TB, for which there is essentially no cure.

But Francis remains concerned. "A trumpeting elephant could definitely aerosolize this stuff," Francis told the Guardian — and that would keep small particles of the virus airborne long enough for them to be inhaled by handlers or circus crowds. Children and those with weak immune systems, such as people with HIV, would be especially susceptible to contracting TB from these particles.

Although Francis said he couldn’t say whether any circus attendees have been infected with TB from elephants — and we’ve been shown no evidence that anyone’s ever contracted TB from attending a circus — he sees no basis for Ringling’s claims that the elephants are safe. "I don’t know that anyone has asked the question. I’m not sure anyone has ever tied it together," Francis said.

Both Griffith and Rider maintain that all of Ringling’s elephants have been exposed to TB at one time or another and that the standard annual process used to test for infection — trunk washing — is inadequate to determine if they are carrying and transmitting the virus.

"Every elephant traveling with Ringling has been exposed to TB, and many of them have TB," Rider, a former Ringling elephant handler, told us.

In fact, Kaplan testified in court that he was asked "to find a physician who would test the people in the circus to see if they had tuberculosis but who would destroy the records and not turn them in to the Centers for Disease Control," as the law requires.

Ringling and USDA documents unearthed by the lawsuits and Freedom of Information Act requests show that at least eight elephants tested positive for TB and that many others have been exposed to them. Ringling veterinarian Danny Graham told the Guardian that two non-traveling elephants are currently being treated for TB, but couldn’t say how many have tested positive in the past.

Yet Ringling officials maintain that active tuberculosis is not a problem in the circus, that their diagnosis and treatment regimens are adequate to protect the health of the elephants, circus employees, and the public, and that no elephants that tested positive for TB have then performed in front of the public.

Graham said the trunk wash, which detects when a TB infection has shed out of the lungs and can be transmitted, is an effective indicator of whether an animal is contagious. "Shedding is when it can be passed to other elephants," she told us. "What our trunk washes look for is a shedding of the bacteria."

Yet Ringling records show at least one case in which the necropsy on a dead elephant, Dolly, showed TB in the lungs even though the trunk wash results were negative.

A Ringling FAQ sheet on "Tuberculosis in Elephants," by Dr. Dennis Schmitt, chair of veterinary services for Ringling’s Center for Elephant Conservation, admits that humans and elephants get the same kind of TB. "However there has been no proven case of tuberculosis bacterium being transmitted from elephants to humans," he writes.

He uses a similarly legalistic, underlined approach on questions of whether humans can contract TB from elephants and whether there have been studies indicating so, saying neither has been "proven." And he flatly denies that any elephants have MDR TB.

Two Ringling officials interviewed by the Guardian — Graham and Janice Aria, director of animal stewardship training — went further than Schmitt and flatly denied that any elephants that tested positive for TB ever performed.

"None of the elephants in our traveling unit have ever tested positive for TB," Aria told the Guardian. "No, none of our traveling elephants have ever tested positive for TB," Graham said in a separate interview.

THE USDA INVESTIGATES


But Ringling veterinary records unearthed in the latest lawsuit cast some doubt on the claims of circus officials. Three of the seven elephants that traveled with Ringling Bros. Blue Unit to Oakland — Juliet, Bonnie, and Kelly Ann — appeared in one redacted veterinary document, marked as exhibit "FELD 0021843."

Kelly Ann’s entry includes this notation: "Moved from CEC to Blue Unit. Just finished TB treatment." Juliet was listed as "currently being treated for presumptive TB" and Bonnie had "blood drawn for Tb Elisa," an expensive TB test that often follows a positive reading in the trunk wash test. Documents connected to a 1999 USDA inspection also list Kelly Ann and "Juliette" among 10 elephants administered drugs for treating TB.

Asked whether Kelly Ann has ever undergone TB treatment and informed of the document, Aria told the Guardian, "From my knowledge, that is not true."

McWethy, the Feld corporate communications manager who arranged and monitored our interviews with Aria and Graham, initially said she was not familiar with the document, and even if she was, "the court requested that the parties not discuss the specifics of the suit." In actuality, the judge has not issued a gag order in the case, and plaintiffs spoke freely about details of the case.

Later, after she reviewed the document at our request, McWethy confirmed that Kelly Ann had been exposed to TB in 1999 and that the circus decided to treat her for the disease. "But she’s never tested positive," McWethy said.

In June 2001, the tuberculosis issue was enough of a concern to the USDA that the agency initiated what one official document called an "investigation regarding allegations that Ringling was using known TB-infected animals in circus performances." But information on the results of that investigation was redacted by the USDA from later documents.

In a 2003 report written by the three plaintiff groups in the latest lawsuit, "Government Sanctioned Abuse: How the United States Department of Agriculture Allows Ringling Bros. Circus to Systematically Mistreat Elephants," they conclude: "Although tuberculosis is an extremely contagious disease, and Ringling’s elephants are publicly exhibited throughout the country, including elephants that go in and out of both the breeding and retirement facilities, the public has been kept completely in the dark about this investigation, the agency’s decision to ‘override’ the conclusions of its own inspectors and investigators, and the reasons this investigation was closed with no further action."

WATCHING THE CIRCUS


Feld — the man and his company — are big contributors to top elected officials of both major parties. Campaign finance records show that since 1999, Feld has given at least $104,900 to Republicans and $35,150 to Democrats on the federal level and in his home state of Maryland.

Benefiting disproportionately from Feld’s largesse are members of the House Agriculture Committee (which oversees the USDA). The contributions include almost $10,000 to former Rep. Richard Pombo (R-Tracy), $6,500 to the campaign and committees of Rep. Bob Goodlatte of Virginia (the committee’s ranking Republican), and $6,500 to Rep. Robin Hayes (R-N.C.). Representatives from the two states where Ringling Bros. bases its animals off-season, Texas and Florida, also took in $13,300 and $28,000 respectively, more than those from other states. Animal welfare advocates say Feld’s wealth, power, and political connections have caused the USDA to go easy on Ringling Bros.

"This cozy relationship between the USDA and Ringling Bros. is going to be exposed during the trial," Tracy Silverman, the attorney for Animal Welfare Institute, told the Guardian.

Plaintiffs will make an example of the death of a four-year-old elephant named Benjamin, who drowned in a Huntsville, Texas, pond July 26, 1999 after refusing to heed trainer Pat Harned’s commands to get out. That death came a year after another baby elephant, two-year-old Kenny, died after being used in three circus performances in one day, despite warnings from veterinarians that he was severely ill.

"The United States Department of Agriculture’s final ‘Report of Investigation’ concerning the incident concluded that Benjamin’s trainer’s use of an ‘ankus’ on Benjamin ‘created behavioral stress and trauma which precipitated in the physical harm and ultimate death of the animal.’ On information and belief, the routine beatings of Benjamin were a contributing factor to his death," the animal welfare groups wrote in the lawsuit.

The USDA investigator recommended Ringling Bros. be charged with vioutf8g the Animal Welfare Act, yet the USDA’s General Counsel’s Office overrode those conclusions and issued its own: "Suddenly, and without any signs of distress or struggle, Benjamin became unconscious and drowned." Ringling and USDA officials say the animal died of a previously undetected cardiac arrhythmia, and the final report omitted any mention of the ankus or behavioral stress.

Animal welfare activists and lawyers say this is just one of many examples of senior USDA officials overriding recommendations of front-line investigators and veterinarians, then blocking access to reports and other evidence that might support or disprove the final conclusions. Indeed, the lawsuit identifies more than a dozen such examples.

USDA spokesperson Jessica Milteer told the Guardian she couldn’t comment on specific examples, but said supervisors are ultimately responsible for interpreting field reports. "Things are pretty much done on a case-by-case basis. We try to work with a facility to come into compliance."

But she said that it’s not true the USDA goes easy on Ringling Bros. because of its power or political connections. She said there are currently two open investigations into Ringling Bros. (she would not provide details) and that facilities like Ringling get annual inspections unless they’re found to have problems or risk factors.

"Since 2005 Ringling has been inspected 52 times," Milteer said, indicating the USDA is indeed concerned about some of the things it has observed at Ringling Bros.

USE OR ABUSE?


Aria, the Ringling trainer, said banning the use of the ankus "would not allow elephants to travel anymore." Feld and other top officials have made similar public statements. She bristled when hearing the ankus referred to as a bull hook. "We call them guides," she told the Guardian. "It is used to reinforce a verbal cue."

Aria and McWethy dismissed videos that appear to show handlers inflicting violent blows on elephants, saying they are often selectively edited and spliced in with footage of non-Ringling elephants and handlers. Activists insist this isn’t true and that much of the footage clearly shows abuse at Ringling Bros. For example, one video shows a person identified as a Ringling Bros. elephant handler striking violently at an elephant after saying on camera that he never does so. Another shows Ringling elephants being paraded through a town and one slow elephant being sometimes pulled along by an ankus behind the ear, with a closeup then showing a bloody puncture wound in the spot.

"From the videos I have seen, so much of it is repackaged and old stuff that doesn’t apply to us at all, not at all," Aria told us.

Graham, who worked for Ringling for the two years she has been a veterinarian and who interned with the circus before that, said she visits the elephants at least once a week and "I have never seen a trainer use an ankus inappropriately." Further, she said, she has never seen an injury she thinks was caused by the ankus: "If I see anything, it’s generally superficial abrasions."

Rider and animal welfare activists say the hook on the ankus is used to inflict pain on the sensitive parts of an elephant, mostly behind their ears or on the backs of their legs, as a negative stimulus to encourage the animals to perform tricks or obey commends. If it was simply a "guide," they say, it wouldn’t need a hook.

But Aria said the ankus is akin to a leash, a means of keeping the elephants near them. "It’s a ‘come-to-me’ cue," she told us. "This comes from decades and decades of use."

Sorting out whether such traditions are actually a form of animal abuse is the purpose of the fall trial.

"The circus is really good at creating the illusion of the happy performing elephants," Kathy Meyer, an ASPCA attorney who has been handling the case from the beginning eight years ago, told us. But she said that it’s clear from the documents, videos, testimony, and common sense that the ankus is often used to inflict pain, which is prohibited under federal animal welfare rules, particularly those governing endangered species, which allow Ringling to have elephants only for conservation reasons.

"So we’re asking the judge to enjoin them to stop them from using these practices," she said.

Many veterinarians and wildlife experts agree that it’s not possible for elephants performing in circuses to be treated humanely. The Amboseli Trust for Elephants last year released a letter signed by 14 leading elephant researchers, with almost 300 years of combined experience working with elephants in the wild, arguing for an end to the practice.

"It is our considered opinion that elephants should not be used in circuses. Elephants in the wild roam over large areas and move considerable distances each day. They are intelligent, highly social animals with a complex system of communication…. Elephants in circuses are bought and sold, separated from companions, confined, chained, and forced to stand for hours and frequently moved about in small compartments on trains or trucks. They are required to perform behaviors never seen in nature," they wrote.

Aria said she didn’t agree with those conclusions, saying she looks out her office window every day: "I see elephants and get to see them all day doing the most amazingly athletic things." And she said only those with a propensity to perform are taken on the road, which is about one-third of their 53 elephants. "You can separate the ones who want to do it from the ones who don’t want to do it," said Aria, who joined Ringling Bros. as a clown in 1972. Later, she earned a bachelor’s degree in special education and worked as a teacher during the ’90s. She was named to her current post in 2006.

"All the elephants here are happy and thriving," Aria said, noting there are only about 35,000 Asian elephants still alive and that many, in places like Sri Lanka where she has visited, are regularly abused and killed. "Good for the Feld family that they support elephants from their births to their deaths."

PRESERVATION OR EXPLOITATION?


The path to the courthouse has been long and difficult, with Feld getting a similar earlier case dismissed and this one moving to trial only after threats and stern warnings by Judge Sullivan against any more stall tactics by the defendants.

"It’s been very difficult to get to this point," Meyer, the ASPCA lawyer, said, adding that that just being able to have their day in court is already a huge victory. "To have this issue aired in a public forum will be helpful for educating the public."

Silverman said she was most shocked by documents obtained by the plaintiffs — and introduced as part of the case — showing elephants chained up to 100 hours at a time, for an average of 26 hours when traveling between shows. "In no way did I imagine the bulk of the evidence that would support our claims," Silverman said. "These animals live their lives in chains."

In addition, many members of the public might not be aware that Ringling Bros. obtains its elephants under the Endangered Species Act for the purpose of protecting and propagating an endangered species, and the ESA contains strict rules against physical abuse of those animals.

"There’s no humane way to have a circus with elephants because it has to travel year-round," Rider told the Guardian. "If you take away the chains and the bull hooks, an elephant isn’t going to do anything."

Rider, who worked with Ringling elephants for more than two years, "saw several of the other elephant handlers and ‘trainers’ routinely beat the elephants, including baby elephants, and he saw then routinely hit and wound the elephants with sharp bull hooks," according to the lawsuit.

Ringling officials such a trainer Aria contend the elephants are well-cared for. Yet she also admits that the elephants are the key to the Felds’ lucrative business empire.

"They are our flagship animal," Aria said. "People come to the circus to see the elephants."

As such, a ruling that goes against Ringling could financially cripple the company, which is why animal welfare advocates say Feld has taken such an aggressive stance with his critics, harassing, threatening, and sabotaging them. As Silverman said, "You see that with Leslie Griffith, and it’s that kind of thing that they do all over the country."

Olbermann

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Click here to read MSNBC story: MSNBC shifts Matthews, Olbermann: White House correspondent Gregory to anchor network’s political coverage.

Click here
to see the “RNC 9/11 Tribute” video along with Olbermann’s response to it from Fark.com.

Exposer

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REVIEW Some early Bay Area figurative painting, wrote Peter Selz in 2002, encountered "the human figure by means of the physicality and the gestural performance of abstract expressionism." More explicit figures later emerged from this abstract cauldron. Ana Teresa Fernández, however, would rather start with the explicit body and work backward. Fernández, who grew up in Mexico, isn’t a figurative painter, performance artist, videographer, feminist, or Latina artist — although she assumes all of these roles from time to time. The best work at her 2008 Headlands Center for the Arts Tournesol Award exhibition, "Tela Araña Tela" (a mirroring of the Spanish for spider web), is so powerful, the movements in her work so difficult to look away from, that she acts as a detective, an intuitive investigator of the emotions embedded in human muscle tone and media complacence an exposer of the skin-tight, commonplace untruths of so-called manual labor.

By meticulously documenting stills from her own performance work — which uncovers, overstimulates, and ironically decapitates familiar images of femininity and the female worker — Fernández manages to blend forcefulness and stillness into her brand of revelation. The two large, untitled paintings depicting her body in muscular heels, beset — I don’t know how else to say it — by laundry on a clothesline, show no human face. The face has been smothered, disappearing into a wavering white sheet. The even larger painting shown here between those two, Untitled, a documentation of Jennifer Locke’s 2007 Artists’ Television Access performance in which she covered her body in glue, reveals a lattice or an amorphous web around Locke’s face, making it hard to tell if it’s the skin or the glue that’s melting. The works on paper displayed here — also performance documentations — lack the forcefulness of the paintings. But don’t miss the video installation, where balloons are popped like they’ve never been popped before.

TELA ARAÑA TELA Through Aug. 9. Wed.–Sat., noon–5 p.m., and by appointment. Luggage Store Gallery, 1007 Market, SF. (415) 255-5971, www.luggagestoregallery.org

Local Heroes/ Big Picture Week 2

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PREVIEW In the second of ODC Theater’s Local Heroes summer series, Yannis Adoniou, Manuelito Biag, and Alex Ketley are taking over Theater Artaud. Over the past decade or so, each has developed a profile of making dances that leave impressive individual footprints. Choreographically speaking, Biag is the youngest. His work is emotionally and physically boiling with the dark, complex currents that swirl inside relationships, yet he manages to create an odd beauty out of these struggles. Ballast, created for SHIFT Physical Theater, is his newest excursion into that thorny territory called home. A former ballet dancer and a cofounder of the Foundry (with Christian Burns), Ketley often works with a small number of dancers. But for the 2006 WestWave Dance Festival, he set Careless on 10 advanced ballet students from the San Francisco Conservatory of Dance. With the premiere of Monument, performed by 14 dancers, he continues his interest in larger-scale ensemble choreography. He also demonstrates his penchant for juxtaposing live and virtual dance. This memorial for a friend incorporates video, movement, and music. In the 2005 Less-Sylphides, Adoniou (a former ballet dancer as well) pays tribute to Michel Fokine’s 1909 pointe-shoes-and-white-tulle Les Sylphides, which is considered the first abstract ballet. It’s a highly creative take and radical in both senses of the term — deeply rooted while still a complete departure from the original.

LOCAL HEROES/BIG PICTURE WEEK 2 Thurs/17–Sat/19, 8 p.m. Theater Artaud, 450 Florida, SF. $18–$25. (415) 863-9834, www.odctheater.org

Guilt to the hilt

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› kimberly@sfbg.com

SONIC REDUCER Watching the chopped and cropped black-and-white promo vid for Beck’s new album, Modern Guilt (DGC) — a study in cut-rate Super 8 ways to make static images of the reedy rocker and cohorts look exciting and fresh — I can’t help but think of Velvet Underground hanger-on/documenter Andy Warhol and his bricolage brethren and kindred experimentalist Bruce Conner, who sadly passed July 7. Memories of the toothpick-thin, turtlenecked Bay Area beat-gen grandpappy shaking and shimmying beside breakdance troupe Sisterz of the Underground on an impromptu dance floor at the Guardian‘s 2005 Goldies bash are burned forever in my olde retina, for sure — right alongside indelible images from Conner’s Ray Charles–driven Cosmic Ray (1962) and his Toni Basil-go-go-happy Breakaway (1966). Where’s the joy in contemputf8g Conner’s fierce life force — one that happily, darkly captured the pure products of America gone mad — finally breaking away and making a run for the ether? And likewise — in an era of diminished expectations, recession-inspired belt-tightening, and exploding oil prices — who cares to question why Beck has got the 21st-century blues but bad?

Readings of Modern Guilt‘s songs as covert Scientology tracts can wait: the overt critical prognosis is that Beck’s latest disc is terminally bummed. "Modern Guilt sounds like an obligation," writes Amy O’Brien of Vancouver Sun. "It sounds like Beck has disengaged from his music." Meanwhile, Greg Kot of Chicago Tribune theorizes that the songwriter and producer Danger Mouse’s collaboration "sounds like it was dashed off between appointments on Danger Mouse’s increasingly stocked calendar." All grouse about the overall darkness of Beck’s mood: there are ruminations on bones, abandonment, and corrosive rain on the gluey exotica-bop "Orphans" and on melting ice caps, hurricanes, and heat waves amid the blissfully brisk, purring pop "Gamma Ray." "Replica" takes on a drum ‘n’ bass face, bright chimes tolling with dread at the age of mechanical reproduction, whereas "Profanity Prayers" invokes a spanking Devo rhythm and inverts "Mr. Soul" motifs to encapsulate soulless urban drift. "You couldn’t help but stare like a creature with the laws of a brothel and the fireproof bones of a preacher with your lingo coined from the sacrament of a casino … ," Beck breathes. "You stare into space trying to discern what to say now and you wait at the light and watch for a sign that you’re breathing." We’ve heard such expressions of ennui before from Beck, but can the weariness of age — he made 38 on July 8, the date of Modern Guilt‘s release — lie at the heart of the album, behind the minimalist bass bumps of "Youthless"? Or is Beck simply saving such crowd-pleasers as last year’s Grammy-nominated digital-only single "Timebomb" — just check the homemade video tributes on YouTube — for some Gallic-inspired megarelease to come?

I doubt it. Modern Guilt is far from giddily upbeat. It’s no Midnite Vultures (DGC, 1999), the larkiest Beck has ever skewed, nor is it as self-consciously crafted as The Information (DGC, 2006). Instead it reads like the man who is in touch, as usual, with the moment — one that would make Philip K. Dick’s skin crawl. My favorite songs emerge when Beck plunges into a Mutations-ish darkness and Sea Change–like doom. Downed jet passengers drown amid viewer paranoia in the dreamy, Gainsbourgian "Chemtrails," which roils in a gorgeous funk, and the fatalistic "Volcano" turns out be one of the most beautiful, beautifully imperfect songs Beck’s ever written. Its trudging beats dissolve like a heavy heart into his weary "I’m tired of evil / And all that it feeds." He continues, "I’m tired of people who only want to be pleased / But I still want to please you / And I heard of that Japanese girl who jumped into the volcano / Was she trying to make it back / Back to the womb of the world," and the melody resolves, ever so briefly, before returning to its sorrowful grind. "I’ve been drinking all these tears so long / All I’ve got left is the taste of salt in my mouth. I don’t know where I’ve been / But know where I’m going / To that volcano." Beck’s protagonist doesn’t want to fall in — nirvana has not been achieved, nor has the promise of Beck and his generation been completely fulfilled — but those uncredited violins make the brief journey out, into silence, a guilty pleasure. *

BECK

Aug. 22, 5 p.m., $85–<\d>$225.50

Outside Lands Festival

Golden Gate Park, SF

www.sfoutsidelands.com

MINE EARS HAVE HEARD THE GLORY

THE REAL TUESDAY WELD


Really, for reals. Wed/16, 7 p.m., $12. Café Du Nord, 2170 Market, SF. www.cafedunord.com

JASON ANDERSON


The K artist and ex–Wolf Colonel joins the aerobics and sock-puppet fun of the Unlimited Enthusiasm Expo ’08. With Harry and the Potters; Math, the Band; and Uncle Monsterface. Fri/18, 9 p.m., $12, and Sat/19, 1 p.m., $14. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

COLDPLAY


Chris Martin et al. were recently jumped by Lil Wayne at the top of the US pops, where they were perched with Viva la Vida or Death and All His Friends (Capitol). Fri/18, 7:30 p.m., $49.50–<\d>$89.50. HP Pavilion, 525 W. Santa Clara, San Jose. www.ticketmaster.com

NOBUNNY


Bouncing with witchy hooks. With Gravy Train!!!!, the Floating Corpses, and Bridez. Sat/19, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

CHRIS SCHLARB


The Sounds Are Active label head lets loose his Twilight and Ghost Stories (Asthmatic Kitty). Sat/19, 10 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

A HAWK AND A HACKSAW


Feeling horn-y? The Albuquerque, N.M., band recently hacked out a score for a documentary about cultural critic Slavoj Zizek. Mon/21, 8 p.m., $13. Independent, 628 Divisadero, SF. www.theindependentsf.com

Nailing it

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Queens Nails Annex has long had its street-level glam talons on the pulse of the Mission District art scene — one that so often melds visual art, music, film and video, and performance — so it’s fitting that unexpected connections are emerging from its curatorial contribution to "BAN 5": "Estacion Odesia," a four-parter named for a metro stop that will present visual works by artists and musicians at QNA and their audio pieces at YBCA listening stations; produce a limited-edition box set of music and visual artifacts; and throw a music club with downloadable playlists, an opportunity to share tracks, and monthly meetings. One surprise at the QNA show has to be the video piece by Renee Green, the dean of graduate programs at the San Francisco Art Institute, which QNA cofounder Julio César Morales describes as an extremely media-ted portrait of Green’s brother Derrick, the vocalist-guitarist of Sepultura, painted with magazine stories and radio interviews without using any of the metal giants’ actual music. "It’s an interesting mix of documentary and her personal connection to her brother," Morales muses.

ESTACION ODESIA Sat/19–Nov. 16, YBCA, first floor galleries. Also July 25–Aug. 30, Queens Nails Annex, 3191 Mission, SF. (415) 648-4564, www.queensnailsannex.com. Music club happens Aug. 15, Sept. 15, and Oct. 17, 7 p.m.