Video

Tech art 2.0

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› a&eletters@sfbg.com

REVIEW Does anyone still truly abide by the hope that technology is the benevolent force that can deliver a luminous future? Sure, we’ve got biotech, greentech, and Web 2.0 to tackle disease, our environmental sins, social alienation, and economic downturn. But at the same time, who isn’t aware of the corporate capitalist machinery and toxic waste that will accompany the next Apple marvel or Monsanto-engineered miracle crop? Can a Silicon Valley researcher really find a way to reverse global warming?

We all hope for, and perhaps believe in, that miracle cure. It’s a way to generate optimism, however slight. This is the cultural condition that serves as the thematic starting point of "Superlight," the San Jose Museum of Art exhibition component of the second biennial 01SJ Global Festival of Art on the Edge, a technology-focused series of live events, most held June 4-8. The show, curated by Steve Dietz, and the festival are rooted historically in what may be called electronic and digital art, but "Superlight" finds thematic inspiration in the more generally pervasive, free-floating anxieties of our greenhouse gas–warmed psychic atmosphere: environmental and economic meltdowns, food shortages, personal disappointments, and the like. Recognizing that most of these conditions are brought about by the same technological advancements that are looked to for ways of stabilizing if not rectifying those conditions, Dietz presents a couple dozen solo and collaborative artists not as saviors, but as people who can "aerate and illuminate" our contemporary concerns.

It’s no accident that the show presents a range of media, not all of it plugged in, and much of it formed with hybridized materials and approaches. If the digital art genre was not so long ago equated with computer screens and chirping electronic soundtracks — don’t worry, you’ll find some of that here, and in Second Life corollaries to some pieces — the atmosphere of the galleries suggests analog objects and psychological positions that aerate some of that virtual space.

It happens in a delightfully literal manner in Taiwanese artist Shih Chieh Huang’s perversely adorable robotic creatures made from plastic bags, water bottles, and electric fans. The sculptures gracefully appear to breathe as the bags fill and evacuate, and they have light components that glow in the heightened colors of late model car dashboards. The vibe is more troubling in psychologically tinted — and somewhat glitchy — interactive works such as Lynn Hershman Leeson’s Global Mind Radar/Reader (an Emotional Barometer), which takes a cultural pulse as a female figure, projected inside a glass dome "blogosphere," goes through a series of emotional gestures responding to live blog input concerning current events. That position is echoed in Bruce Charlesworth’s installation Love Disorder, which is tartly described in exhibition text: "A huge projected video character has ambivalent feelings about you." And he’s not shy about expressing them. These works use anthropomorphism to generate identification with the machinery, though the latter two tout complex, glitch-friendly technology that dare us to believe, or at least question, if they actually work.

Mixed emotions also infuse Daniel Faust’s elegantly composed and slightly wistful color photographs of now-historic Silicon Valley corporate architecture and outmoded data archives, depicting them as stately yet oddly humble. The images are visually skewed toward a modernist history via research facility. That kind of past idealism is perhaps behind the utopian-themed collaborative projects by Free Soil and Red 76, which tap into a pervasive yearning for utopian endeavors, both on earth and Second Life sediment. These works, however, find their most vital components outside the museum — in tours and social gatherings — and their diagrams and historical artifacts are more confusing than illuminating.

More insistent is the video documentation of projects by HeHe (Helen Evans and Hieko Hansen), a pair of Paris designers who harness carbon-filled industrial pollution, second-hand smoke, and various light sources to urge us to look at the world, and the amazing possibilities in available hardware and software, with an uneasy sense of wonder. From a literal standpoint, their pieces fit this exhibition’s premise best: their use of illumination resembles a technologically fortified nature that manages to inspire as it metaphorically sticks our noses in holes in the ozone. If that’s not superlight, what is?

SUPERLIGHT

Through Aug. 30

Tues.–Sun., 11 a.m.–5 p.m.

San Jose Museum of Art

110 S. Market, San Jose

$5–$8, free to members and children under 6

(408) 271-6840, www.sjmusart.org

The house that Hiero built

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› a&eletters@sfbg.com

**Update: The Paid Dues Independent Hip Hop Festival has been cancelled. See below for more details.

I’m not accustomed to receiving rappers at my home at 8 a.m. — an hour most rappers have only heard of — but I made an exception for Tajai Massey, member of Souls of Mischief and Hieroglyphics. A self-confessed early riser and the first MC to ever accept my offer of a cup of coffee, Massey is a busy man.

While gearing up for the Hieroglyphics’ Freshly Dipped tour, which kicks off June 14 with the Paid Dues Festival at the Berkeley Community Theatre, the lanky 33-year-old head of the group’s Hiero Imperium label was about to head to Seattle for a spot date with his new rock outfit, Crudo, with Dan the Automator and ex-Faith No More frontman Mike Patton. Meanwhile Massey’s been juggling two upcoming projects, one of which he hopes to release in the fall: a new, self-produced Hieroglyphics disc and the fourth studio release by Souls of Mischief, produced by legend Prince Paul. In the interim, he’s prepping fellow Souls-member Opio’s second solo album, Vulture’s Wisdom, Vol. 1 (Hiero Imperium), for July.

Yet none of this accounts for our meeting. Our conversation instead focused on Massey’s other job: overseeing his own imprint within Hiero, Clear Label. Though begun in 1999 to release his SupremeEx trip-hop collaboration with Hiero Web designer StinkE, Projecto: 2501, Clear Label really established itself circa 2005 with two artists of a very different sort: Shake Da Mayor of "Stunna Shades" fame and Beeda Weeda, whose 2006 full-length, Turfology 101, yielded the hit "Turf’s Up."

While Shake has since departed, Beeda has cemented his Clear Label connection, moving his whole camp, Pushin’ the Beat (PTB), into Hiero’s two-story East Oakland compound, which was purchased by the veteran collective in 2004. Known within Hiero as "the Building," though designated "Hiero" by everyone else, the space houses nine rooms, five studios, and a small warehouse of T-shirts, CDs, and other goods. Soon Beeda’s friend and collaborator, J-Stalin — himself signed to one of the Bay’s biggest rap independent labels, SMC — began bringing his own Livewire crew by, including Shady Nate, Clear Label’s next signee.

Bulging with the usual conglomeration of computers, mixing boards, rough-hewn vocal booths, and a fine layer of empty 1800 bottles and Swisher Sweet ashes, PTB’s two ground floor studios contrast with the Building’s general tidiness, like a kids’ playspace in an otherwise adult house. Yet they also exhibit an atmosphere of dedication. Dropping by on any given day, among the crowd of just-past-high-school aspiring MCs, you might see Beeda and Stalin studiously hunched over spiral notebooks with Mistah FAB, working on their NEW (North-East-West) Oakland project.

And FAB isn’t the only high profile visitor: everyone from San Quinn to the Federation comes through. Too $hort stops by regularly, and even national acts like Dem Franchize Boyz and Cease of Junior Mafia have found their way here. Given that Beeda and Stalin are two of the hottest young Oakland rappers and attract such elite company, Hiero suddenly finds itself at the center of what might be called the Bay’s post-hyphy moment, one embodied in a tougher, less dance-oriented sound, combined with classic Bay slap and tempered by R&B overtones.

"I wasn’t after a bunch of streeter-than-street dudes," Massey said, laughing. "But I sure ended up with some."

THE OTHER BAY BRIDGE


Intentional or not, the current emphasis on street rappers is consistent with Clear Label’s overall mission.

"Our fans aren’t that forgiving. Even bringing up other acts like Knobody or Musab, who are on the same tip as Hiero — our fans want Hiero music," Massey said, in reference to Hiero Imperium artists and the group’s demanding backpacker following. "So we’ll give it to them, and let Clear Label be the outlet for other acts, especially my relationship with PTB/Livewire."

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Oakland hip-hop converges on the Hiero HQ. Photos by Alexander Warnow

It helps, Massey continued, that J-Moe, the CEO of PTB, has a vision. "That dude is a genius," the Clear Label honcho said. "He’s called the Machine, because he’s always working." With an uncanny ability to spot new talent — like 17-year-old phenom Yung Moses, who J-Moe dubs "the future face of the franchise" — the Machine is a crucial part of the evolution of Clear Label.

But Clear isn’t just a "street label," Massey continued. He’s working with a "rock ‘n’ roll" dude, Chris Maarsol, as well as League 510, which he describes as working in "really a new genre." Hailing from East Oakland, 510 blends lyrical, positive rap and house-influenced grooves in a mix the group calls "Town Techno." "It’s like bridging the hyphy movement and the alternative crowd," Massey said. "I know they’ll do well in cities like Miami, Chicago — where they have a house scene — and in Europe."

Interestingly, according to Massey, European fans have been more receptive to Hiero’s new connections than the domestic audience. "It’s crazy," he said with a laugh. Among other acts, Massey also scooped up Baby Jaymes, digitally re-releasing his 2005 debut, The Baby Jaymes Record (Ghetto Retro), and dropping a new single, "The Bizness," including Turf Talk. "Baby Jaymes is huge in Germany and Belgium, even Australia," Massey added. "I’m in Amsterdam and people are like, ‘Where’s Beeda Weeda?’ Out there people understand the association, whereas in Oakland, they have no idea. It’s odd how Europeans look deeper into it, and it’s a whole different language."

‘WE ALL FROM OAKLAND’


Perhaps it isn’t so odd. The language barrier may even facilitate European acceptance, because despite the differences between Hiero’s conscious lyricism and PTB/Livewire’s grimy topics, the musical bond is already there.

"There are more similarities than differences," Opio told me. "We all from Oakland. Hiero looked to Too $hort and E-40 when we began our independent hustle."

Though he admittedly can’t keep track of the crews’ ever-expanding rosters, former Hiero Imperium head Domino — who, after helming the organization from its mid-’90s inception, stepped down in 2006 to concentrate on production — also welcomes the influx of young talent. "As you get older," he said, "there’s not the same excitement as an artist. You can’t totally get it back, but you can feed off their new energy."

Beyond their shared approval, members of Hiero have already begun to collaborate with PTB/Livewire. Souls member A-Plus, for example, produced the dancehall-inspired opener, "Da Town," on Beeda’s new all-original mixtape, Talk Shit Swallow Spit possibly the hottest Bay Area disc this year — while Casual appears on Beeda’s forthcoming album, tentatively titled Turf Radio. PTB, moreover, has added a more conscious lyricist, Tre Styles, upsetting what Opio describes as "the boxes the corporate market puts people in."

Massey agrees. "Look at Beeda or Shady. Their mentality isn’t ‘go dumb, go stupid,’<0x2009>" he noted. "Their lyrics are militant, and these guys are growing." Massey was also quick to point out the multidimensional side of J-Stalin, whose crime-ridden raps are infused with melancholy ambivalence about street life. "Stalin could be big like 2Pac," he opined. "He’s not trying to look hard. He’s a little dude, but he’s got all this heart and emotion."

Stalin himself is more modest, albeit slightly, at least concerning his upcoming SMC disc, The Pre-Nuptial Agreement. "Pre-Nup is going to be one of the greatest Bay Area albums ever," he said. "I ain’t saying I’m the best rapper. I’m saying I put together a great album." Judging by the songs he played for me that day — including the radio-ready "Get Me Off" with E-40 — he’s right. SMC’s Will Bronson is sufficiently confident in Stalin — and Beeda — to partner with Thizz Entertainment this summer to bring out the former’s Gas Nation as well as the latter’s The Thizzness, both pre-albums designed to tide fans over before their full-lengths in the fall.

"Stalin and Beeda are the only two new artists really buzzin’," Bronson said. "I couldn’t go a week without hearing about them."

As a result, Stalin and SMC plan to collaborate on future Livewire projects, including a group disc showcasing up-and-comers Shady and J Jonah, longtime members such as ROB, Lil Blood, and Ronald Mack, and newer recruits like Philthy Rich and 17-year-old Lil Ruger, whose wild, almost Keak-esque flow foretells fame.

The connection to SMC and Vallejo’s Thizz, moreover, suggests a serious new coalition which, given the waning of hyphy, threatens to become the next major force in Bay Area rap. "We’re just trying to keep the unity," Stalin concluded. "Because we’re all from different places, we wouldn’t be able to do this in the street."

UNITED FRONT


Such unity, always in short supply in the Bay, is one of the most intriguing aspects of the Hiero/PTB/Livewire situation. "We’ve got a movement, but it’s not a movement," said Jamon Dru, who, along with DJ Fresh, Tower, and others, formed the Whole Shabang, an autonomous production squad linked to both PTB and Livewire. "We’re trying to make music everyone will feel, not just the Bay. That’s put a hurt on us because we do have a ‘fuck everyone else’ attitude, like, ‘I don’t care if anyone else likes this shit.’ But we got families, friends, people in jail we gotta feed. We can’t be half-steppin’ like that."

Like Traxamillion, and unlike many local producers, Dru is candid about the influence of the radio on his sound. "It’s a little Southern-influenced," he said, "a little East Coast with Fresh chopping up samples, but with the 808s and a West Coast bassline. Every beat we make with samples, we gotta put an 808 knock in it." While it’s difficult to generalize, given the work of so many producers, Dru’s statement is a good sketch of the PTB/Livewire sound: it looks to the Bay’s older mob music through the modern lens of hyphy, even as it sheds the more gimmicky excesses of the latter.

Beginning his career under Beeda Weeda’s wing, Dru is already a mogul of his own, currently developing 19-year-old Gully, whose work can sampled on his mixtape Hustla Movement. Like Yung Moses, the saltier-voiced, vowel-stretching Gully is considered one of the most promising rappers in the camp, and the two are already slated for a collaboration. A song like Gully’s "Bush," imagining the life of a ghetto youth who suddenly finds himself a soldier in Iraq, even suggests that Hiero’s more politically progressive themes are creeping into the youngster’s work.

At present, however, Beeda remains the "face of the franchise" for PTB and Clear Label.

"Beeda’s got the biggest buzz," Massey said, "so it makes sense to lead off with him. I just want to set him up properly." Proper set-up in the Bay generally involves a "pre-album," and Beeda’s got three. Besides the all-original Talk Shit mixtape and The Thizzness, Beeda’s collaboration with DJ Fresh, Base Rock Baby an ’80s-themed disc referring to Beeda’s generation as the first to be born after the crack epidemic began — appears in July.

"We’re going to push that online," Massey said, though there will be hard copies for sale. "Right now, if Beeda’s record sales matched his popularity, I’d be ready to retire." Still, he confessed, "everyone has Turfology, but only a few people bought it," citing the difficulties of selling albums in the era of burnt CDs and file-sharing, not to mention ongoing recession under the George W. Bush administration.

Another problem was the lag between Beeda’s video for "Turf’s Up" becoming popular on YouTube and the actual release of Turfology, confusing consumers who assumed the CD was already out. "This time we got the timing down," Beeda said. "We’ll build that buzz first, and everything will be ready to go." Nonetheless, as falling numbers of mainstream releases attest, selling albums has grown increasingly difficult regardless of timing.

"That’s not how we eat anymore," Dru said. "You put out an album to get shows and verse features [guest appearances on other artists’ songs]. So we gotta look at these songs as bait." Massey, meanwhile, is seeking other income streams to support his label and artists, like soundtracks and licensing.

As Massey confirms, street rap comes with headaches not usually associated with Hiero. A few weeks ago, as Clear Label began preparing Shady Nate’s debut, Son of the Hood, for release, Shady was arrested on an alleged weapons violation and remains incarcerated pending trial.

"They’re trying to throw the book at him," Massey said. "I’m hoping we can work it out because Shady’s a good dude, and his album is great." Even if Shady has to do a stretch in prison, Son of the Hood will probably see the light of day sometime later this year.

Ultimately the big question for PTB/Livewire is whether the coalition can achieve the mainstream success that eluded the hyphy movement. Beeda and Stalin think so, and with the support and mentorship of the Hiero camp, they have as good a chance as any in the Bay — and maybe even the best.

With the long view of a rapper 15 years into his career, Massey is philosophical about the prospects of his Clear Label empire. "If we break even it’s cool," he said. "If we make money, even better. But if I break even, I’m happy, because it wasn’t a loss for me to put out great music."

PAID DUES FESTIVAL***

With Hieroglyphics and others

Sat/14, 5 p.m., $40

Berkeley Community Theatre

1900 Allston, Berk.

www.ticketmaster.com

***This show has been cancelled. From the promoters: Guerilla Union and MURS 3:16 regret to announce that the PAID DUES INDEPENDENT HIP HOP FESTIVAL scheduled for Saturday, June 14 at the Berkeley Community Theatre in Berkeley, CA, has been cancelled due to matters beyond our control.

For fans that have purchased tickets to the show, we apologize for any inconvenience this may have caused. Refunds are available for ticketholders at the point-of-purchase.

Where Tecktonik hair comes from

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A couple of weeks ago, I wrote about that crazy Tecktonik dance phenomenon sweeping Europe — and especially Paris — into its robotically flailing arms, and usually set to electro banger tunes. The craze has been getting a lot of mainstream attention of late, and fab online network Current TV video reporter/hottie Philipp Mayrhofer has put together this entertaining and very informative look at the scene, along with some interesting background. Yes, Tecktonik even has its own official haircut — and this video actually takes you into the official Tecktonik salon. Them’s good marketing! Plus: mimes.

Local Artist of the Week: Ryan Alexiev

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LOCAL ARTIST Ryan Alexiev
TITLE Postcard invite for “The Land of a Million Cereals”
THE STORY Cereal is the most popular breakfast food, and the third most popular product in American supermarkets. Currently there are more than 400 cereals, primarily distinguished by their ad campaigns. The substance of cereal is, in this light, ideology. Through prints, sculpture, video, and drawings, “The Land of a Million Cereals” explores cereal’s history and importance as a paradigmatic consumer product. In the role of a Bulgarian peasant, Alexiev does battle with Frankenberry, who wields a powerful golden spoon — free in every box!
BIO Ryan Alexiev was born in Los Angeles and raised in Alaska by Bulgarian immigrants. He received a BFA in history from the University of California, Berkeley in 2004 and an MFA from California College of the Arts in 2007. He currently lives and works in San Francisco.
SHOW “The Land of a Million Cereals,” Fri/6 through July 12. Wed.–Sat., 1–6 p.m. or by appointment. Opening reception Fri/6, 6–9 p.m. Mission 17, 2111 Mission (Suite 401), SF. (415) 861-3144, www.mission17.org.
WEB SITE www.ryanalexiev.com

BMX Battles: Ian Schwartz — rough trannies, vibed out, lines backwards

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By Duncan Scott Davidson. Read the BMX Battles article here.

Ian Schwartz is a 27 year-old-pro bike rider from Ohio. He’s sponsored by Sunday bikes and Lotek shoes, and was recently in San Francisco filming for the upcoming Lotek video. He’s a “still waters run deep” type of guy–quiet, unassuming, and never one to pop off random bullshit–he thinks about things before he opens his mouth and his outlook on the age-old skate vs. bikes battle seems right on target. On his bike, he’s one of the most creative guys out there, he rides what’s called a freecoaster rear hub, which means, in the final analysis, does better lines backwards than most people do forwards.

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Work of art: Schwartz 180 lauches the stage at the De Young Museum. Photo by Brad Lovell

SFBG: Did you guys start filming yet?

Ian Schwartz: Not today, no.

SFBG: But you started already–for the Lotek video–right.

IAN: Yeah. We actually got a lot of stuff. Do you know Jesse Whaley? He was in town for a couple days. So we filmed some stuff yesterday–it was a lot of fun. Did a bunch of bombing hills and stuff like that. It was a real fun day.

SFBG: Did you hit any specific spots, or were you just cruising around looking for shit?

IAN: We did. I can’t even think of the any of the spots of we actually hit. We hit a couple. We rode the Federal Building. Around the library area.

SFBG: Did you get hassled?

IAN: No, not over there.

SFBG: I’ve heard of people getting tackled and their bikes confiscated there. Never seen it, though. I hit it myself sometimes.

IAN: Yeah. We didn’t stay there for very long, because we definitely felt like we were pusing it. It sucks, too, because that places is so cool.

SFBG: I figured you’d be into it, because it has those rough trannies, you know?

IAN: Yeah, that shit is so fun. It’s a bummer you can’t ride there. It was fun though.

SFBG: I think that since they started remodeling it, they don’t pay as much attention.

IAN: Really? I know that a couple weeks ago, Jackson and Marco and I and a few people rode the top area, which I’d never rode before. Have you ever ridden that?

SFBG: You mean the other side?

IAN: You know the biggest wall? On the top side of that wall. Like if you climbed up the wall there’s a little area up there. It’s like these weird little sheet metal pyramids. Super mellow, but little pyramid things, and banks with benches sticking out of them. Yeah, I didn’t even know that was up there. I think we actually did get kicked out, but it was a very friendly kick out. We got asked to leave, but that was after being there for a half an hour, 45 minutes.

Lotek Web video: “A Day with Ian Schwartz”

SFBG: Cool. Well, hopefully it’s a little more mellow than it used to be. I read on the Sunday site–I think this is before you went to Barcelona–you said that San Francisco is your favorite city to ride in. Why is that?

Sealed with a fest

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› kimberly@sfbg.com

SONIC REDUCER "Obviously I wanted to be part of this wealthy cause … whoops, I mean, worthy cause — a Freudian slip!" blurted Seal to amassed gowns and tuxes at a packed Davies Symphony Hall May 31. Well, it was pretty B&W at this, the Black and White Ball 2008. He went on to explain that he was more than glad to play the benefit bash for the San Francisco Symphony’s Adventures in Music education program, until he realized that night’s event was just a day before wife Heidi "And sometimes you’re out … in the doghouse" Klum’s birthday. "Even though it was written almost 20 years ago, I never knew what this song was about till four or five years ago," he drawled graciously, before easing into a swooningly romantic "Kiss from a Rose." The coiffed and painted debs swayed in the seats behind the stage like tropical palms, the gray-tressed oldsters in tuxes yawned as if their jaws would dislocate, and all the right — and leftie — blondes flitted to the front as if drawn to a gyrating, white-scarfed flame. The irony that Seal was putting in a high-energy set and working in an establishment-jabbing anthem titled "System" — "but you won’t get to hear it here because record companies aren’t what they used to be, but this isn’t that kind of show," according to the UK crooner — was not altogether lost on the assembled partygoers at this very establishment affair.

Still, the Grey Goose quaffing, shrimp chomping, and dance-it-up musical offerings lining the closed-off swath of Van Ness added up to a surprisingly solid good time — not to mention further confirmation of the latest urban SF curiosity: packs of underdressed, strapless-clad or micro-miniskirted, microclimate-besieged fashion victims who insist on braving hypothermia sans outerwear. Is it really that toasty over the bridge and through the tunnel?

Nonetheless I got a kick out of Extra Action Marching Band, its flag girls drooling faux-blood while chilling, kicking it iceberg-style beneath the polka-dot-lit, fireworks-bedecked City Hall. Pete Escovedo still had what it took to pull me to the dance floor and get the salsa out. Hot on the heels of Harriet Tubman (Noir), Marcus Shelby riled up Strictly Ballroom wannabes in the bowels of the War Memorial Opera House, and upstairs DJ Afrika Bambaataa turned in an unforgettable old-school hip-hop and rock-pop set, sweetly warbling, "I just want your extra time … " to Prince’s "Kiss," as a mob of gorgeous freaks mobbed the stage. Be it ever so old-fashioned and ever so obligatorily glammy, the B&WB was such a ball that I was inspired to use it as the barometer of sorts for a few other music-fest contenders.

B&W BALL BY THE NUMBERS Kilts: two. Turbans: three. Closeted waltz-heads eager to make the Metronome Ballroom lessons pay off: more than a dozen. Misguided ladies who looked like they tried to repurpose their wedding gowns as white formalwear: two. Gavin Newsom look-alikes: a toothy handful. Jennifer Siebel look-alikes: hundreds. Former hippies in formalwear: six. Men in all-white who looked like they stepped out of an alternate "Rapture" video: two. Burning Man references as City Hall was bookended by pillars of fire at midnight: two. Screeching highlights-victims upon seeing their girlfriends: more than two ears can handle. Sneaky types who looked like they’ve probably worn the same thing to B&WB every year since 1983: more than designers and luxury goods manufacturers would care to know.

HARMONY FESTIVAL (June 6–8, Santa Rosa, harmonyfestival.com, including Damian "Jr. Gong" Marley, George Clinton and Parliament Funkadelic, Arrested Development, and Mickey Hart Band) Expected Gavin look-alikes: zip unless you count the Cali boys who look early Gavin — with dreadlocks. Rich hippies with perfect hair and lavishly embroidered coats: three.

BERKELEY WORLD MUSIC FESTIVAL (June 7, Berkeley, www.berkeleyworldmusic.org, with Dengue Fever, and Sila and the AfroFunk Experience) Expected turbans: the Sufi trance music guarantees at least a couple. Kilts: zero. Swirlie dancers: a dozen-plus.

OUTSIDE LANDS (Aug. 22–24, SF, www.sfoutsidelands.com, including Radiohead, Tom Petty and the Heartbreakers, Jack Johnson, Wilco, Beck, and the Black Keys) Expected bikes piled in the racks: a thou. Concert-goers overcome by heat: C’mon, this is San Francisco.

TREASURE ISLAND MUSIC FESTIVAL (Sept. 20–21, Treasure Island, treasureislandfestival.com, with Justice, the Raconteurs, TV on the Radio, and Tegan and Sara) Projected number of great views of SF: innumerable. Gold-trimmed "ironic" sunglasses: a gazillion. Concertgoers who discover far too late that shorts are only ideal for an hour a day: 135.

LOVEFEST (Oct. 4, SF, www2.sflovefest.org) Ever-recyclable ’70s-style bells: a couple-dozen. Fabulous-faux hairpieces: Wigstock is forever. Swirlie dancers: you got ’em.

YOU BREAK IT — YOU BOUGHT IT

FROG EYES, LITTLE TEETH, AND CHET


Eke out a few tears of valedictorianism: it’s an Absolutely Kosher explosion of untrammeled, happily eccentric talent. Fri/6, 9:30 p.m., $10–<\d>$12 Café Du Nord, 2170 Market, SF. www.cafedunord.com

FOOT FOOT AND FOX PAUSE


Lo-fi dust-ups coupled with folkie meanders are a–Foot Foot, flanked by the solo musings of ex-Guardian-ite Sarah Han. With Casiotone for the Painfully Alone. Sat/7, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

RADIO SLAVE


Taking a break from the sweltering, disco-imbued exotica of Quiet Village and its Silent Movie (K7), producer Matt Edwards dons his dark techno persona, Radio Slave. Sat/7, call for time and price. Endup, 401 Sixth St., SF. (415) 646-0999, www.theendup.com *

Slamdance elegance

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"Ever get the feeling you’ve been cheated?" Rock critic Simon Reynolds opens his recent survey Rip It Up and Start Again: Postpunk 1978-1984 (Penguin, 432 pages, $16) with that famous piece of invective, courtesy of Johnny Rotten from the stage of San Francisco’s Winterland. Rotten sneered those words during a Sex Pistols show. Tellingly, they arrived at the end of an American tour that contained both a zeitgeist and its own annihilation — or so it seems from Lech Kowalski’s documentary D.O.A. (1980), one of four features comprising the Pacific Film Archive’s "Louder, Faster: Punk in Performance" series.

Even before the blowup, Rotten’s question had already been answered — first by the art school oddballs and city poets who pre-dated then capitalized on punk’s groundswell, and later by the younger acolytes who reclaimed the false prophets’ call for "louder, faster" with their authenticity-obsessed rebel yells. Punk was made to be photographed — Sex Pistols guru Malcolm McLaren ensured that much — but the spirit of the frame depended on who was doing the shooting. The same three-chord assaults could make for social documents (1978-’88’s Target Video) or hipster scrawls (1976’s Blank Generation). They might inspire science experiments (Bruce Conner’s 1978 Mongoloid; Graeme Whifler’s 1978 Hello Skinny), or lyrical love streams (1979’s Deaf/Punk).

Blank Generation is the earliest punk film essay, a given since its New York milieu was already codified and oozing latent celebrity before punk moved to the provinces. Directed by Patti Smith bassist Ivan Kral and future No Wave saint Amos Poe, the film’s chapbook portraiture is heightened via a Hollis Frampton-like use of non-synched sound. Grainy black-and-white 8mm footage floats over the skips and starts of the soundtrack’s mix, creating a jilted effect perfectly suited to the push-pull of Television and the Talking Heads, as well as the tense erotics of Smith and Blondie.

Crappy audio and video smears aside, Joe Rees’s Target Video compilation reveals Bay Area post-punk in full bloom as it moves between Black Flag’s pummeling hardcore and Flipper’s art-damaged sludge to Devo’s proto-Teletubbies weirdness. The austere, one-camera setups anticipate a billion YouTube transmissions. I’ve driven by San Quentin Prison dozens of times wondering how Johnny Cash scored his famous gig there, but that was before I saw Rees’ footage of Crime at the same site — thrashing away in mock police uniforms under the harsh glare of the afternoon sun.

Before it is art or communion, punk is permission. For a zenith-like picture of this freedom flight, one should look no further than John Gaikowski’s modest short Deaf/Punk. Gaikowski’s film uncorks a long-forgotten performance at San Francisco’s Deaf Club, using slow motion to revel in punk’s limitless potential energy. This music wasn’t designed to be elegant, but I can think of no better word for Gaikowski’s shocked vision of a singer standing in repose among a small crowd of daydreaming slamdancers.

"LOUDER, FASTER: PUNK IN PERFORMANCE"

Thurs/5 through June 26

Pacific Film Archive Theater

2575 Bancroft Way, Berk.

(510) 642-1124

Yuks galore

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FILM FESTIVAL Sometimes the best thing a movie has going for it is its title, especially if that title happens to be Mutant Vampire Zombies from the ‘Hood!. Far and away the most expressively named selection at this year’s Another Hole in the Head Film Festival, Zombies imagines what would happen if a couple of rival gangbangers, a weary cop, and assorted other ragtag types emerged as the only humans unaffected by a mysterious solar flare. Zombie-movie conventions are followed (the obligatory lesson about shooting ’em in the head, etc.), self-referential jokes are cracked (Shaun of the Dead gets a shout-out). The most distinctive features here — casting erstwhile soul man C. Thomas Howell as the cop, an eye-rollingly dated Snakes on a Plane joke, and a truly disturbing twist that renders the zombies brain eaters and sex freaks — aren’t quite enough to elevate Zombies to the realm of must-see undeadness. To be fair, though, even Troma would have a hard time fulfilling the promise of something called Mutant Vampire Zombies from the ‘Hood!.

A better bargain for your gross-out buck is 2007’s Jack Brooks: Monster Slayer, a film I seized on after noting the top billing of Robert "Freddy Krueger" Englund. With higher production values than Zombie and a clever script (cowritten by John Ainslie and director Jon Knautz), Monster follows the titular hero (Trevor Matthews), a slacker dude plumber who’s been toting around some serious anger issues since childhood — when he witnessed a monster gobble up his entire family. Jack’s princess-bitch girlfriend (Rachel Skarsten) convinces him to enroll in a night-school class taught by the bumbling Professor Crowley, who ropes Jack into taking a look at the rusty pipes beneath his creepy old house. Cue: the unearthing of an ancient evil, and Crowley’s transformation from science geek to chicken-wing-gobbling, Jabba the Hutt–like menace.

Naturally this turn of events unleashes the inner warrior in Jack; the film is bookended by flash-forwards that suggest he becomes something of a Buffy for the monster population. But the main reason to see Monster is Englund, who’s having something of a mini-comeback between this film and the recent Zombie Strippers. Always a limber, engaging performer, Englund further proves there’s more to him than vivisecting Elm Street teens — though that’d be enough for me, really.

But back to the zombies. One of HoleHead’s programming edicts is apparently "never enough zombies," to the extent of capitalizing the Zed-word in their programming notes. Along with those mutant hood-rats, the fest also includes Wasting Away (2007), Trailer Park of Terror (question: when did zombies and white trash become so synonymous?), and Brain Dead (2007), the latter containing nearly as many gratuitous female nudes (full-frontal, in most cases) as it does alien-parasite-spawned undead beasties. Whatever, dude — you want class, look elsewhere. These HoleHead selections embrace crass with pride.

Other notable picks in this year’s festival include the locally made Home World, an uneven if ambitious sci-fi tale that owes a debt to Battlestar Galactica; a revival of Roger Vadim’s 1968 Barbarella, Queen of the Galaxy (free entry for Jane Fonda look-alikes and other costumed attendees); The Machine Girl, about a one-handed Japanese schoolgirl who exacts tasty, gory revenge on the baddies who offed her family; and, just ’cause it’s Uwe Boll, ‘Nam drama The Tunnel Rats, potentially the first film he’ll direct that spawns a video game instead of vice versa. HoleHead kicks off with the Bai Ling-starring The Gene Generation (2007), followed by a party headlined by all-girl psychobilly quartet Thee Merry Widows.

ANOTHER HOLE IN THE HEAD

June 5–21, most shows $10.50

Roxie Film Center

3117 16th St, SF

www.sfindie.com

Opening night party with Thee Merry Widows, the Zooby Show, and the Undertaker and His Pals

Thurs/5, 9 p.m., $5 (free with HoleHead pass or ticket stub)

Annie’s Social Club

917 Folsom, SF

www.anniessocialclub.com

Faith-based initiative

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› a&eletters@sfbg.com

REVIEW The Contemporary Jewish Museum was founded in 1984 as the Jewish Museum San Francisco, and "starchitect" Daniel Libeskind’s building design, which seemingly bursts out of an 1881 vintage brick facade opposite Yerba Buena Gardens, began taking shape nearly a decade ago. But for all intents and purposes, the CJM’s opening this week marks the launch of a new art space that must affirm its brand identity on our cultural landscape. The folks behind this identity-based museum aim to instill a sense of belief in the place as a meaningful institution and to lure repeat visitors — Jews and non-Jews alike. With a prominent public location — and what could be a decent café — the odds are in its favor.

Other factors might continue that momentum. The building itself is a bold yet restrained move by an architect whose Jewish Museum in Berlin tends to overshadow its contents. The CJM, however, succeeds in feeling both formidable and intimate. The spaces balance form and function: they look good and seem like they can accommodate and contextualize the works within. Still, the programming itself should be the primary element in attracting viewers.

The opening offerings include a delightful survey of work by the New Yorker cartoonist William Steig, organized by the Jewish Museum, New York, and a sound series selected by John Zorn. But the centerpiece exhibition, "In the Beginning: Artists Respond to Genesis" — an ambitious, CJM-organized conglomeration of newly commissioned installations and historical and contemporary artworks and artifacts — is a clear sign the admin is taking the museum’s challenge seriously and thinking big.

The show is designed to offer entry points to a range of viewers, its biblical foundation rooted in the Old Testament volume of Genesis, which speaks to Christians and Jews and allows the concept of creation to relate to art, religion, and science. The curators — museum director Connie Wolf, deputy director Fred Wasserman, and assistant curator Dara Solomon — abide by an imperative not to restrict exhibited works to pieces by Jewish makers. "In the Beginning" unfolds in a hallway antechamber with a flat-screen monitor displaying a grainy video of images of the Earth and the moon as seen from Apollo 8, television footage widely seen on Christmas Eve 1968, with audio of the astronauts reading the opening verses of Genesis. The inclusion points to a curatorial openness to pop-cultural artifacts as part of a contemporary art dialogue.

The seven commissioned installations are the headliners in the expansive temporary exhibition space, and they’re by a deliberately diverse group of artists. There are pieces by Matthew Ritchie and Trenton Doyle Hancock, artists who set down complex personalized cosmologies that essentially are their own elaborate creation myths, and both manage to create works with visual appeal. For a piece titled Day One, Ritchie uses a couple of gently angled walls for a graphically ornate mural that accommodates orb-shaped projections of roiling, animated landscapes, sun flares, flocks of ambiguous black shapes, and a soundtrack of the artist pondering existence and creation. A more rambunctious spirit pervades Hancock’s In the Beginning There Was the End, in the End There Was the Beginning, which is set against dizzying cartoonlike wallpaper and depicts a mythological narrative involving characters called Mounds and lowly Vegans.

The exhibit’s inspiration is literary, and text appears frequently, as in the somewhat vertigo-inducing animated work by Shirley Shor, an ex-Bay Area resident who swirls projections, in English and Hebrew, of Web-gathered references to Genesis down a wishing-well structure. Ben Rubin contributes God’s Breath Hovering over the Waters (His Master’s Voice), a sound sculpture inspired by an antenna developed by Bell Labs physicists in the 1960s that, according to the artist, led to audible evidence of the Big Bang. A Kabbalistic-inspired work by Mierle Laderman Ukeles is the show’s most spiritual, and involves layered audience participation including forging a personal covenant with the artist, the public, and the self.

Filmmaker Alan Berliner adds a more crowd-pleasing form of participation with Playing God, a satisfying interactive, seven-channel video — one for each day of creation — installation that emulates a slot machine as it generates phrases with words from Genesis. Audio-visual jackpots can be had, and pushing the glowing buttons quickly becomes addictive.

The show’s inclusion of historical and archival material is a riskier gambit. While designed to enrich the exhibition themes, adding objects such as a 15th-century biblical manuscript page, a Tiepolo drawing, Tom Marioni’s shadowbox assemblages, and Barnett Newman’s 1948 painting Onement II starts to seem cluttered, or, as they say in Yiddish, ungehpotchkeyed. Still, the "something for everyone" approach clearly stems from a gracious perspective or brand, not an obfuscating one. And that’s a curatorial position worth a return visit.

CONTEMPORARY JEWISH MUSEUM

Opening exhibits include "In the Beginning: Artists Respond to Genesis," Sun/8–Jan. 4, 2009; opening events include "Dawn 2008," Sat/7, 8 p.m., $10-$15 with Dengue Fever and Jonathan Safran Foer; grand opening Sun/8, 10 a.m. ribbon-cutting, 11 a.m. doors, free.

Contemporary Jewish Museum

736 Mission, SF

(415) 655-7800

www.thecjm.org, www.dawn2008.org

Rise above

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Also in this issue:
>>An interview with outlaw biker Ian Schwartz
>>An interview with SJBMX.com’s Chris McMahon
>>Sit the fuck down: The Sean Parker story

› duncan@sfbg.com

I push off and head down a makeshift plywood runway, compressing as I roll over the edge and into the Technicolor graffiti of the drainage ditch. The transition between the banked wall and the flatbottom has an abrupt kink in it, enough to send you to your face if you’re caught sleeping. I take some weight off the front end and try to maintain my speed as I pump into the opposite corner and carve the far end of the ditch where there’s an over-45-degree wall that runs behind what my friends and I call the "death pit" — a gaping cutaway in the bottom of the culvert, five feet deep, filled with broken glass, and frequently used as a urinal. Since I’m at the apex of my backside carve, up a wall 10 feet above last week’s Miller Time, I’m jolted by the crackle of a loudspeaker:

"You are trespassing. Leave the area at once or you will be arrested."

My concentration shot by the sheriff’s announcement, I jump off my deck and over the chasm at the base of the bank, barely clearing the skater’s version of a Vietnam tiger pit, and land on the rough concrete beyond the edge. My board bullets straight in, though, so I’ve got to lower myself — gingerly — into the mostly dry detritus and rescue it before my friends and I jet out of the spot and into the manicured back nine of Pleasanton’s Castlewood golf course. We get to the car, throw the boards in the trunk — mine has a "Skateboarding Is Not a Crime" sticker on the bottom — and head to the next spot, a ditch called the Rat Trap.

The year is 1987. I’m 16, in high school, and living with my parents in Fremont. The scene plays out over and over in much the same way: a drainage ditch, a nicely painted curb or ledge at a shopping center, the occasional backyard pool, and night sessions at the Tar Banks, a set of embankments around a loading dock with curbs at the top. It’s an underground railroad of repurposed architecture, none of it designed with a skateboard in mind but all of it highly skateable.

Taking the $4.7mil Cunningham skatepark. Video by Jarrod Allen, www.jarrodallen.com

Every weekend my crew hits as many spots as we can, and the constants shape up like this: urethane, aluminum, Canadian hard rock maple, concrete, and asphalt. Maybe blood, maybe beer — we’re teenagers after all — but nearly always: cops.

Skateboarding may not be a crime, but it sure as hell feels like one.

Flash forward 20 years. I’m with a different crew as I pull onto a street in suburban Redwood City, and I’m no longer rollin’ in my mom’s Plymouth Sundance, but my own truck. The other thing that’s changed is the number of wheels per head. There are four heads to eight wheels, and we’re here to ride the Phil Shao Memorial Skatepark. On bikes.

The park does not disappoint. There are a million kids trying tech ollie flip tricks around the perimeter of the park, but the bowl is what I’m about. Big and shapely with almost burlesque hips poured into her concrete, I’m in love as soon as I roll in. There are a few local bikers who have the place dialed, nonchalantly airing a few feet out and throwing the bars before heading back down the tranny. The only two skaters riding the bowl are a tall skinny teenager and his little sister, who looks to be about 10, and they have it on lockdown: lipslides on the spine, grinds, rock and rolls — everything smooth and fast. "Yeah!" I yell as they take their runs, stoked on their skills.

I know the times have changed when I see the little girl come up out of the bowl in the $450,000 public piece of silky-smooth concrete perfection, walk over to her mother, who’s posted up on a ledge, get a cell phone and make a call. Not five minutes later there are seven (I counted) Redwood City police officers converging on the bench where my friends and I are sitting. They randomly collar my buddy Scott — though I was the last one to drop in — and write him a ticket for $100. I have to admit, I’m flabbergasted.

Guess what: skateboarding isn’t a crime anymore — it’s gone mainstream. Successful companies hire lobbyists to promote the sport, and communities spend big bucks building new facilities for skaters. And now some skaters, many of them kids who never had to live in the underground world that I did, are using their legitimacy to push out the new outlaws — people who ride BMX bikes.

It’s crazy — two cultures that share so much, fighting over how many wheels they ride.

"Is that your daughter’s bike?"

The question comes from one of my coworkers, and, believe it or not, it’s not intended to be snarky. I can’t ride in public without someone saying "cute little bike," while giggling to themselves — or laughing and pointing. Seeing a six-foot-tall, 200-pound, bald-headed, tattooed white dude on a "kid’s bike" is like being passed on the sidewalk by a bear on a unicycle. At one point reactions like these would’ve rubbed me the wrong way, but nowadays, I nod and smile. Sometimes, I try to explain what constitutes a "full grown" BMX bike. While it’s got small wheels — 20 inches in diameter — the top tube, from the seat to the stem, measures 21 inches, and the handlebars are considered pro-sized at eight inches high by 28 inches wide.

Bicycle motocross, or BMX, is purported to have started in 1963 when the Schwinn corporation of Chicago unveiled the Stingray, which was basically a downsized version of the company’s balloon-tired cruiser-type bikes. Kids pretended to be grown-ups by aping Roger DeCoster and other moto heroes — launching their bikes off jumps, racing in empty fields and abandoned lots, and cranking wheelies down the sidewalks of Anytown, USA.

"It all began the way most individual sports start," motorcycle customizer Jesse James says in a voiceover at the beginning of the 2005 BMX nativity story/documentary Joe Kid on a Stingray, "kids pretending to be grown-ups, but acting like big kids."

I have been riding since I was seven. After three decades, one truism remains, and I can’t candy-coat it. I’ve got to speak it like a true BMXer: BMX is rad. It is and always has been an entity unto itself, progressing from wheelies, skids, and bombing hills to encompass myriad styles and surfaces, from streets to pools to dirt jumps to ramps to the balletic grace of flatland freestyle.

This summer, big kids on little bikes will be jumping 30-foot gaps at as many miles per hour as BMX pays homage to its racing roots at the 2008 Olympic Games in Beijing. On June 12 in New York’s Central Park, Kevin Robinson will try to break the legendary Mat Hoffman’s record for the highest quarter-pipe air on a bike — 26 feet, 6 inches.

It doesn’t take death-defying world records, the X Games, the Olympics, or the stupefaction of squares with cameras to make BMX legit. That feeling of overcoming fear and doubt by jumping a little farther, a little higher, the rush of nailing a trick, or carving a bowl, hasn’t changed in half a century. The legitimacy lies in that feeling, behind your breastbone, and it doesn’t change as you get older. Your wrists hurt, your ankles hurt, and your back hurts, but the feeling is the same. Kid’s bike? Hell yeah, it’s a kid’s bike.

It’s not as though I was blissfully unaware of a beef between bikers and skaters that day in Redwood City. Ask any BMXer to tell you a story of friction between the two and four-wheeled sets, and it’s not going to take them long to come up with something.

"When I was 12 years old, a skateboarder threw my bike out of the bowl at Ripon skatepark," says Jackson Ratima, now 19, a Daly City rider sponsored by Fit Bikes. "He was, like, 20 years old or something."

Tim "Wolfman" Harvey, 21, another up-and-coming pro, tells a similar story about a visit to the Bay Area from his native Massachusetts, when a local skater hassled him at the Novato skatepark. "I didn’t even know anything about California. It was my first time out bike riding, period. The guy was giving me all kinds of crap, yelling at me."

Ironically, Harvey, as friendly and easygoing a guy as you could hope to meet, almost turned pro for skateboarding before an ankle injury made it nearly impossible to ollie, an essential trick in street skating. He now lives in Petaluma and is a member of the painter’s union in San Francisco, where he’s a familiar face at street spots, but now on a bike. Back then, though, he "thought California was a scary place."

The Bay Area — and SF in particular — may be the worst place for bikers seeking a vibe-free session. "I’ve never experienced hostility like it is out here," Ratima says.

Smoldering after the Redwood City incident, I began to fixate on the "Skateboarding Is Not a Crime" slogan from my youth. Originally a bumper sticker made by Transworld Skateboarding magazine in the mid ’80s, Santa Cruz Skateboards currently makes a deck with that written on it, so the skate community has gotten a lot of mileage out of being oppressed.

"Skateboarding isn’t a crime?" I’d ask myself. You’re damned straight skateboarding isn’t a crime: it’s the law. BMX is a crime. There isn’t a biker alive who rides transition who hasn’t rolled into a taxpayer-funded park and had a knee-high grommet point to the sign and say, "Bikes aren’t allowed."

Not allowed, huh? Son, I skated my first pool when you were doing the backstroke in your papa’s ball bag.

Look: I love skateboarding and always will. Both skaters and bikers are doing the same thing, copping that same feeling rolling over the same terrain. The war makes no sense.

"We have religion and race and class dividing us. I refuse to be divided by what type of wheel size I have," says Jon Paul Bail, a local at Alameda’s Cityview skatepark.

Bail, 40, is the artist and pundit behind politicalgridlock.com. Through the Home Project, a program run through the Alameda Unified School District, Bail helped raise $150,000 to build the park, $8,000 of which came directly from his company’s coffers. He helped design the park, and he helped pour the concrete in the park, which opened in 1999. Mixed sessions of bikers and skaters were going down for six months with minor tensions but no major incidents when then–City Attorney Carol Korade advised City Hall that mixed use was too dangerous, and shut the bikers out.

My call to Corinne Centeno, Redwood City’s Director of Parks, Recreation, and Community Services, got off to a rough start: "I understand [the Phil Shao Skatepark] is not bike-legal, right?"

"Right. It was built as a skatepark," she replied, subtly italicizing the first syllable with her tone of voice.

"It wasn’t designed for bikes," she repeated, before adding, "but their having been prohibited from the start hasn’t necessarily kept people out." In an effort to do just that, the city is building a fence around the park, with bids currently ranging from $23,000 to $60,000.

The semantic argument — "it’s called a ‘skatepark,’ not a ‘bike park’<0x2009>" — is usually reserved for laypeople who don’t know enough about skateboarding or bike riding to see its inherent lack of logic.

Drainage ditches are not called a "skating ditches," nor were they designed for skating. Swimming pools are not called "skating pools." Yet, therein lie the roots of the modern skatepark, along with full pipes, which are based on industrial-size drainage systems also not intended for wheels. Every day skateboarders and bikers transcend these limits through creative repurposing.

Collision, and the fear of collision, is the main thing public officials cite when shutting bikers out of parks. "It’s unnerving," Vancouver pro skater Alex Chalmers wrote in a 2004 Thrasher manifesto, "BMX Jihad: Keep It in the Dirt."

"BMXers cover so much ground so quickly, especially when they’re pedaling frantically to blast a transfer, that it’s particularly hard to gauge these collisions," he wrote.

But the fact is that in any given park BMXers and skaters take different lines, and the best way to acclimate each group to the other is through exposure. If bike riders are banned, it increases the risk of collisions when a few bikers decide to chance the ticket or brave the vibe-out and ride anyway. A lot of bikers hit parks early in the morning because they don’t want to deal with hassles. During the overlap in "shifts," this leads to bewildered skaters who aren’t used to the lines a biker takes, and vice versa.

And the head-on menace is greatly overstated, largely disappearing when a park is integrated, if only unofficially. At Cityview, the police have displayed somewhat less zeal in ticketing bikers during the past few years. "They treat us like gays in the military," says Bail. "Don’t ask, don’t tell." And yet everyone manages to coexist.

At the new $850,000 skatepark in Benicia, which opened in October, integration isn’t a big deal. "From its conception, we designed it to be a skateboard park and also for bikes," says Mike Dotson, assistant director of parks and recreation. Technically, the park has designated bike hours, but since it’s largely unsupervised, there’s a mildly laissez-faire approach to enforcement. "In the very beginning there was a lot of concern about the use of both bikes and skateboards," Dotson says, stating that the park was packed the first few months. "Initially we had one or two calls on it. Since then I can say I haven’t had any calls on it — in relation to bikes and skateboards being in it at the same time or other complaints."

And there are mixed-use parks all over the world, as far away as Thailand and as nearby as Oregon: "You go to Oregon, and you can ride wherever you want," says a stunned Maurice Meyer, 41, lifelong San Francisco resident and founding member of legendary bike and skate trick team the Curb Dogs. Long Beach, Las Vegas, Phoenix, even Alex Chalmers’ hometown of Vancouver — all have parks where bikes and skates legally ride at the same time. What’s up with the Bay?

Lawyers, insurance underwriters, and city hall types may never understand how a park works. "It’s out of ignorance," Bail says. "To them it looks like chaos. To anyone who has skate etiquette — which is everyone — we all take turns."

Besides, let’s face facts: a skatepark is a dangerous place — to different degrees at different times, and for different reasons. "I swear to God, every time I go to the skatepark I see a hundred boards flying all over the place," Ratima says, "and I’ve never seen a bike go flying and land on a guy’s head." It’s not an inflatable jumpy house — it’s fun, but it’s not made out of cotton balls and your mother isn’t here. Usually.

Rose Dennis, press liaison for the San Francisco Recreation and Park Department, seemed baffled that someone would want to ride a bicycle inside the skatepark part of the new Potrero del Sol. Perhaps as a way of distracting me from my damn-fool idea, she kept hyping the park’s "other amenities."

I live three blocks from Golden Gate Park — if I want to play Frisbee, I’m not going to drive across town. I want to ride. When I brought up the possibility of scheduling bike-only sessions in the yet-to-be opened park, she suggested I draft a letter to general manager Yomi Agunbiade, before adding that "the facility wasn’t designed for that type of recreation."

When I (graciously, I thought) let her know that it would be not only possible to ride a bike there, but highly gratifying, she got a little heated: "At the end of the day, the buck stops with us. If one of you guys breaks your skull open and you’re bleeding all over the place, believe me, no one’s going to have any sympathy for Rec and Park if they make really nonjudicious decisions."

In other words, like a lot of city officials, she’s worried about getting sued.

But you know what? There’s actually less chance a BMXer will successfully sue the city. I give you California Government Code Section 831.7, which states the following: "Neither a public entity nor a public employee is liable to any person who participates in a hazardous recreational activity … who knew or reasonably should have known that the hazardous recreational activity created a substantial risk of injury to himself or herself and was voluntarily in the place of risk."

The law lists "bicycle racing or jumping" as being a "hazardous recreational activity." It’s on a fairly extensive list, along with diving boards, horseback riding, and the ever-popular rocketeering, skydiving, and spelunking, which, as I’m sure you’ve heard, are all the rage with the kids these days — much more popular than BMX.

But the words "skateboarding," "skateboarder," and "skateboard" are not listed anywhere in the text of the Hazardous Recreational Activities law, commonly called the HRA law. In fact, the International Association of Skateboard Companies has been lobbying to get the bill amended to specifically include "skateboarding" since 1995, when Assemblymember Bill Morrow (R-San Diego) took up the issue. Morrow’s bill was rejected by the state Senate Judiciary Committee in 1996. In 1997, Morrow and skateboard association lobbyist Jim Fitzpatrick gave up on amending the HRA and instead pushed Assembly Bill 1296, which added Provision 115800 to the state’s Health and Safety Code, which states, in part and in much less forceful language — without using the word "liable," for instance — that owners or operators of local skateparks that are not supervised must require skaters to wear helmets, elbow pads, and knee pads, and that they must post a sign stating said requirement.

It doesn’t say anything about "if one of you guys breaks your skull open and you’re bleeding all over the place" while wearing a helmet, then you can’t hold the operator liable.

When I asked San Francisco Deputy City Attorney Virginia Dario-Elizando how the law might apply to the city’s skateparks, she told me, "This question has never come up. I must tell you, I’ve never even seen the rules for the skateparks — no one’s ever asked me to look at them."

BMXers are willing to compromise if that’s what it takes. In May, San Jose opened the 68,000-square-foot Lake Cunningham skatepark, built by the same design firm (Wormhoudt) as the Benicia park at a price of $4.7 million, and the place has bike hours. Like any park, there are rules. Like some parks, there’s supervision, so the rules are enforced: separate bike sessions; helmet, elbow, and knee pads required at all times; brakes required on bikes; no smoking; no songs with swear words over the park soundsystem; no bikes in the three bowls with pool coping even though they only allow plastic pegs, which are undoubtedly softer on coping than metal skateboard trucks … it’s a long list of restrictions. It’s inconvenient for guys who don’t like pads or don’t run brakes, and there’s some griping, but we’ve got our eyes on the prize: the place is amazing, with a huge full pipe, massive vert bowls, and a decent street course.

I would like skaters to realize a couple of things: skating and BMX aren’t so different from each other, at least in the feeling each gives you, right there, behind your sternum, where your heart beats.

Bikers are going to ride no matter what, just like skaters are going to skate. Legal or not, we’re not going to go away. "I got arrested for riding there when I was 14," Ratima says of the Daly City skatepark. "They took my bike and threw it in the back of the car. I just kept going every day, and finally they just gave up."

"I’ve ridden bikes on vert," Thrasher editor Jake Phelps tells me during a phone conversation. "I can ride a bike in a pool, I can do that. I’m stoked when I ride a bike in a pool. Feels hella fun to me. Catching air on a bike is awesome, no doubt about that."

This, from the longtime editor of the bible of the "fuck BMX" set. It’s either baffling or heartening. I can’t decide which. "I don’t mind people that are just regular," he says. "If they’re skateboard people or they’re bike people too, I’ll respect anybody that respects me."

That’s what it comes down to: respect. I respect the fact that skateboarders did not come into this age of skateparks easily. I faded out when there was nothing, and I came back when they were in small towns across America, and I missed all the politicos and dreary meetings. It’s time for bikers to stop feeling like second-class citizens and demand a seat at the table. In the words of Black Flag, it’s time to rise above.

Cold wind in the Bayview

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NOonF.jpg

When the chill wind of early returns showed Prop. G leading Prop. F in the polls, (67 percent to 33 percent ) the folks at the Prop. F campaign HQ put it down to all the money that Lennar spent to influence the election.

Inside the Prop. F party at 5030 Third Street, supporters munched on pizza, listening to the Nation of Islam’s Minister Christopher Muhammad expounding on “the $4 million of known money that Lennar has spent, not to mention the unknown slush funds.”

“I’m encouraged just by the fact that we forced them to spend so much,” Muhammad said, berating, “the Labor Council’s leadership for selling out its leadership in a backroom deal.”

Muhammad was referring to the community benefits agreement that the SF Labor Council negotiated with Lennar at the last minute, with Lennar promising to develop 32 percent affordable housing units at Bayview/Candlestick Point.

Bishop Ernest Jackson joined Muhammad in casting aspersions on Lennar ‘s deal with the SF Labor Council, by pointing to what he called Mayor Gavin Newsom’s “secret press conference” about the 2008-09 budget at the Hunters Point Shipyard on June 2, as a clue to why Labor capitulated to Lennar and Newsom’s demands.

Noting that Newsom announced his budget in a “police station surrounded by all kinds of weaponry and armored personnel carriers,” Jackson claimed that Newsom “held the unions hostage”.

“Newsom used the budget cuts as veiled threats over people of conscience,” Jackson said. “But the Prop. F movement proves there is another constituency in the Bayview. The City had no idea it would have its own cyclone in the southeast sector. This same groundswell can look at its supervisor and say, you’re not doing the right thing.”

Meanwhile, Muhammad was expressing his belief that San Francisco is going to the dogs, literally, a view he aired in the heart of the Bayview, earlier this week, as the following video shows:

“There are now more dogs than blacks living in the city,” Muhammad said, “San Francisco is becoming a playground for young urban multimillionaires.”

It’s pronouced “Oo-vuh:” Uwe Boll, Part One

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Just so you know. It’s not “Oo-way.” This is the first thing I learned while gearing up to interview Uwe Boll last August, on the occasion of the uncut version of his film Postal‘s world premiere at the 2007 Dead Channels Film Festival. The film played to a small but enthusiastic Castro Theater crowd, many of whom were surely lured more by the Boll’s presence than by the film itself. Boll, who has embraced video games as cinematic source material the way other directors have embraced, say, Shakespeare, is so fond of controversy it’s difficult to read a news story about him that doesn’t include something ridiculous, like a Boll vs. critics boxing match or an anti-Boll petition. The first picture of him furnished by a Google search features a grinning Boll flipping off whoever’s behind the camera.

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Postal, as a whole, is kind of an exercise in fuck-you cinema: in addition to making light of 9/11, it pokes fun at everything from new-agers to trailer trash to coffee snobs to midgets to Nazis … and more. (Read my shockingly positive review here.) The long-delayed film is finally getting a theatrical release; it rocks the Roxie starting tomorrow. Such an event affords me the chance to dust off my interview with Boll and cast members Zack Ward (who plays “Postal Dude,” and also appeared in 2007’s Transformers) and Larry Thomas, Seinfeld‘s “Soup Nazi” — who plays Osama Bin Laden. Read on for part one, if you dare.

Played-out Bill O’Reilly: the no spin zone

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Play us out already: The original O’Reilly footage of the man flipping out.

By Laura Mojonnier

By now, you have undoubtedly had the pleasure of seeing Bill O’Reilly go ballistic on an old Inside Edition outtake that resurfaced online earlier this month. The clip spread like only viral videos can, and within days, O’Reilly himself addressed the mini-controversy on his show, joking that the taped meltdown was only the tip of the iceberg. “By contractual obligation, I have to create a few dramas every year for the amusement of my coworkers,” he said smiling, exuding an alarming degree of humility, perspective, and self-control that certainly did not win him his contract at Fox.


Inside the back pedal.

O’Reilly’s attempt to put the matter to rest was futile, however. The footage is just too damn good. I’ve already incorporated his best outbursts into my everyday conversation (“Fuck it! Do it live!” and “Fucking! Thing! Sucks!” are my favorites). The clip is the first video that pops up when you search his name on YouTube, and as of press time, it has garnered more than 1.3 million views. I am clearly not alone.


O’Reilly meltdown: the dance remix

But the real story here, I think, is not the meltdown itself – everyone knows that O’Reilly is a barking, chauvinistic blowhard – but rather the dance remix. Nothing hits the spot quite like watching O’Reilly on loop, rapping, “I don’t know / I don’t know / I don’t know / Fuck!” to the sweet techno beat. I can basically recite the entire song by heart. And in light of the remix, the original footage seems a hollow shell of its former self. It no longer possesses the same power to shock and titillate. Why not? The dance remix, in all its repetitive hilarity, shows O’Reilly’s freak-out for what it actually is: a sadly predictable confirmation that his television personality is not an act.

‘REN’-membering Matthew Barney in LA

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Heave ho at Matthew’s Barney’s REN. Photo courtesy of www.lipsticktracez.com/reggie/.

By Glen Helfand

How any artist follows up a large scale, career-making project is accompanied by the same critical pressure that greets the sophomore album of a hot new band. Matthew Barney made it through his post-Cremaster days with Drawing Restraint 9, which took over a whole floor at San Francisco Museum of Modern Art a couple of summers ago, though many would agree that while it stayed the course, it was a film and exhibition that didn’t quite rival the five part film/sculpture extravaganza that preceded it.

In an interview before that show, Barney said his next works would be in the realm of live performance, and true to his word, he’s been mining that vein. He staged a typically perverse work at the 2007 Manchester International Festival, an adults-only performance that involved a bull, a self-fisting female contortionist and Barney wearing a live dog on his head. (The reviews were mixed.) Another performance, staged in New York, was shown as a video as part of an exhibition at Los Angeles’s Regen Projects last year.

I can’t say I wasn’t thrilled to get an invitation to a recent Barney performance, titled REN, that took place on May 18 in not so beautiful Norwalk, a south-of-LA suburban flatland populated by convenience stores and auto dealerships. Here’s some of what the invite promised: “’Ren’ represents the first stage of the soul in its journey through the afterlife in which its ‘Secret Name’ is revealed, and subsequently lost. REN will reference the Cremaster Cycle, linking Barney and [music collaborator Jonathan] Bepler’s earlier project to the iconography and mythology of ancient Egypt. REN will feature the return of the 1967 Chrysler Imperial and Aimee Mullins from Cremaster 3, a Southern California drum and bugle corps, ranchera singer Lila Downs, and British performance artist Mouse. Performance is approximately one and a half to two hours in duration.”

“Fuck Lennar!”

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I’ve witnessed my share of political rallies, but Prop. F’s “We Shall Not be Moved” event at 3rd Street and Palou in the Bayview takes the bumpin’-block-party prize.

Wedged between three cash checking stores, a beauty parlor, and a T-Third station, the rally was awash with multilingual “Yes on F” signs, edgy urban chic and fighting words.

But beyond the many powerful speakers who showed up to stir up the crowd, the afternoon’s three most memorable moments involved song, dance and the spoken word.

Turfaholics’ Johnal performed to a funky remix of “San Francisco (Be Sure to Wear Some Flowers in Your Hair).

Prop. F supporters put a smile on the crowd’s face with their soulful attempts at the Cha Cha Slide.

And last but not least was hiphop emcee Cobe Obeah

Stay with the following video for a minute and you’ll get to the part where Cobe announces that he doesn’t usually cuss, then gets the crowd joining in a “Fuck Lennar!” chant, before delivering a final FU to San Francisco’s Mayor Gavin Newsom.

Hellarity burns

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› news@sfbg.com

"The angels in the summertime are ashes in the fall. As Eden fell so heaven shall. I will burn them all."

The sign, written in gothic letters on weatherworn plywood with faded red flames, is nailed to the side gate of a two-story duplex off Martin Luther King Jr. Way in north Oakland. Today, the old sign’s words carry a chilling new meaning, greeting visitors to a house whose insides were scorched by an unidentified arsonist.

The charred house has been a cauldron of contention for more than 10 years. It has been the product of two anticapitalist housing experiments, one started by an environmentalist landlord who sought to create an ecotopia, and the other by a group of anarchists who intended to make it their home. In the process, it became a hub for traveling activists and aspiring hobos, and a headquarters for antiestablishment endeavors such as Berkeley Liberation Radio.

"People would hear about it through the grapevine, hop off a freight train, and show up on our doorstep with a backpack, a banjo, and a Woody Guthrie song," says Steve DiCaprio, a tenant who moved into the house in 2001 with his wife after living in a van out front. "We had an open-door policy. Anyone could come in, no questions asked. They just had to abide by certain rules: no hard drugs, no racism, no homophobia, and no violence. We wanted to emphasize equality — it was a reaction to the closed, materialistic, competitive, dog-eat-dog society we live in."

The house originally was part of the green property owner’s attempt to create a network of sustainable, affordable housing. When his project floundered, the residence was slowly taken over by his tenants, a group of people who one-upped his radicalism. Both sides claimed to be avowed anticapitalists, but their strategies were at odds; his was to produce an alternative to the local housing market by creating a nonprofit that would help tenants own their homes as a collective. Theirs was to make space for themselves in a rent-based housing market by seizing property from investors and absentee landlords.

The owner eventually went bankrupt — drowned in the early stages of the current defutf8g housing market — and the property fell into the hands of a small-time real estate investor, despite the tenants’ attempts to buy it themselves. The tenants refused to leave, transforming themselves into squatters, and fought it out with the buyer in court for three years. As the court case bogged down, housing values plummeted, making the landlord’s investment lose value by the day.

On Feb. 28, when one of many hearings was set to take place, the squatters showed up in court but the landlord hadn’t filed the paperwork needed to move the conflict closer to a resolution. The following night, in the early hours of March 1, someone lit three fires in the empty upper apartment, setting the house ablaze as people slept inside.

WELCOME TO HELLARITY


For years the house has been known as "Hellarity," although its original owner never called it that. In fact, he refuses to. To recognize that name would be to legitimize the people who adorned it with the title — a group he sees as thieves, squatters who disrupted a legitimate project he thought would have a small but tangible impact on a profit-driven housing market.

Born on the Sunrise Free School in northeastern Washington State, Sennet Williams — known by most as "Sand" — spent his early years bouncing between Spokane and "environmental and pacifist intentional communities" in the area. A year after moving to Berkeley in 1990, he graduated from UC Berkeley’s Hass School of Business. With a degree in urban land economics, he wanted to do his part to turn the tide of environmental degradation by developing "nonprofit car-free housing" in Berkeley.

Williams didn’t see attending business school or investing in property as contradictions of his ideals. For Williams, they were strategic moves. He thought that anticapitalist projects lacked an important element — money — and wanted to be a benefactor for alternative forms of housing.

One week after graduating, his dreamy aspirations came to a crashing halt when an SUV plowed into his compact car while he was on a ski trip at Lake Tahoe, badly injuring him and causing brain damage. His goals would have been quickly destroyed, but Williams sued the driver and convinced the court that the accident interfered with his budding career, winning a settlement in 1993 that he says was "almost a million dollars."

While his money was tucked away in mutual funds and he was living briefly at a student co-op in Ann Arbor, Mich., in 1994, Williams solidified his ideas into an ambitious project called the "Green Plan" with some of his housemates. The plan was an elaborate scheme to "end homelessness" by creating "an urban nonprofit dedicated to self-governing and radical environmentalism" that would fund "rural sustainable ecovillages in Hawaii and elsewhere."

That summer, Williams bought five houses on credit in what he calls Berkeley’s "’80s drug-war zones" and brought his Ann Arbor friends to California to turn his rundown properties into co-op material. Over the summer, the Green Plan became an official organization and Williams let its members live in his houses without paying rent. Instead, they were expected to pay monthly dues to their organization — roughly the equivalent of fair market rent — to put toward buying rural land or repurchasing the houses from Williams at cost. Those who couldn’t afford to contribute were allowed to stay free in exchange for working on the houses, doing extra work for the Green Plan, or volunteering in its Little Planet café.

"Sennet (Williams) tried to be clear that he wasn’t a landlord," says former Green Plan member Dianna Tibbs, but relations between Williams and the members quickly disintegrated. Three years after its formation, the Green Plan remained unincorporated as a nonprofit. A former member also said it was still too centered on Williams’ ideas. Williams’ relationship with the tenants soured. "Ultimately there was a rebellion among the people against Sennet," Tibbs says. In 1997 the project disbanded, transferring all of the money they had raised — about $50,000 — to the Little Planet café.

The Green Plan fell apart, but Williams was caught up in the fervor of the mid-90s real estate market. In 1997, he bought the house that would later be named Hellarity for $114,000, with the goal of "making it into a demonstration of an eco-house that would be an educational resource for the city." He says he chose that property in part so it "could be a tribute to the Black Panthers’ goals of providing food in the inner-city," as it was on the same block as the home of Black Panthers founder Bobby Seale.

But shortly after Williams bought Hellarity, he says he became "overextended in real estate." By the time he made his first mortgage payments, he says there were "over 60 people" living in his houses. He owned eight in Berkeley, two in Oakland, and was planning to buy farmland in Hawaii. With Williams tied up in too many projects to fix up Hellarity, he moved in some people to "house sit" in exchange for free rent.

Shortly after people moved in, Williams stopped coming around the house. The housesitters gradually brought in their friends, the walls were slowly painted to suit the eccentric tastes of the occupants, and more people started calling the house theirs. Williams said he didn’t invite them, but admits that he never asked them to leave. He had little contact with the occupants as years passed. "He was just a theoretical person that owned the house," DiCaprio says.

Hellarity took on a distinctly anarchist flavor in Williams’ absence. "People with alternative lifestyles and alternative family arrangements could live without having to dedicate their lives to making money, giving them more time to invest in their homes and their communities," says long-term resident Robert "Eggplant" Burnett, Bay Area punk rock legend, publisher of the zine Absolutely Zippo, and editor of Slingshot newspaper. Hellarity hosted the pirate radio station Berkeley Liberation Radio, a do-it-yourself bike shop, and cooked meals for Food Not Bombs.

It seemed like an anarchist paradise, but it wouldn’t last.

FOR SALE


By 2004, mortgage payments were driving Williams deep into debt, and Hellarity became a burden. The house was being pulled away from him from two sides: by anarchists who increasingly challenged the legitimacy of his ownership, and by creditors who placed liens against his properties.

When Hellarity was eventually sold by the court in a bankruptcy sale, the tenants say the man who would buy the house, Pradeep Pal, had never set foot in it. Pal, who refused to be interviewed for this article, lived in an upper-middle class neighborhood in Hercules and owned two businesses, Charlie’s Garage in Berkeley and European Motor Works in Albany. He wasn’t exactly a freewheeling real estate flipper — he was a South Asian immigrant who, according to Guardian research of property records, never owned real estate in the area other than his own home.

But to the tenants, Pal was a capitalist trying to buy them out of their home. In a recorded meeting with tenants, Pal admitted he hadn’t been inside the house before he bought it, and Williams tells us the real estate agent who arranged the sale also never toured the house before Pal bought it. "He obviously had no interest in moving into the place or contributing to the community if he didn’t even look at it," future occupant Jake Sternberg says. "This was someone who just wanted to make a profit."

The tenants made it clear to Pal that they didn’t want him to buy the house and would make life difficult for him. As soon as it became apparent that Williams would lose the house, Crystal Haviland and a few other occupants started searching for someone to help them buy the house. In the summer of 2004, the house was slated to go up on foreclosure auction, but the tenants hadn’t found a sympathetic donor.

The auction was set to occur on the steps of the René C. Davidson Alameda County Courthouse, and the occupants showed up banging drums and bellowing chants to warn off prospective buyers. "We wanted anyone interested in buying the house to know that the people who had been living at the house for 10 years wanted to buy it," says Haviland, who is now raising a child, studying psychology at San Francisco State University, and volunteering as a peer counselor at the Berkeley Free Clinic. "We didn’t want people to buy it and turn it into an expensive gentrified thing." While people gathered, Williams showed up and announced bankruptcy, a legal move that cancelled the auction.

With more time to search for financial support, Haviland started talking with Cooperative Roots, an organization that bought a couple of Williams’ other houses — now known as "Fort Awesome" and "Fort Radical" — in foreclosure auctions. Cooperative Roots is a Berkeley-based nonprofit organized in 2003 by members of the University Students Cooperative Association. They received money from progressive donors — mainly the Parker Street Foundation — to buy houses that they turned into "cooperative, affordable housing," says Cooperative Roots member Zach Norwood. Anyone who lives in their houses is an automatic member of the cooperative and makes monthly mortgage payments to the foundation.

For Hellarity, Cooperative Roots was a godsend. "Other people would walk into that house and say, "This place is disgusting," DiCaprio says. "But they said, ‘Wow, this is a work of art.’<0x2009>" The Parker Street Foundation was willing to put down whatever was needed to buy the house, Norwood says, but the occupants were limited by the monthly payments they could afford. On Nov. 4, 2004, the house went up for bankruptcy sale, and Cooperative Roots was prepared to bid up to $420,000. "It was exciting to be there with a bunch of crazy Hellarity people, putting out bids for hundreds of thousands of dollars," Haviland says.

No one expected them to show up at the sale. Williams says they had previously offered to buy the house from him but he "didn’t think they were serious." By the time they had the money, Williams no longer had control of the sale. At the courthouse, the anarchists were playing by the rules, bidding with money up front. The only other party interested in the house was Pal and his brother-in-law Charanjit Rihal, who were placing bids against the occupants. The two sides bid against each other, driving up the price until the occupants reached their limit. Pal and Rihal took the property for $432,000.

OWNERSHIP VS. CONTROL


"This sale was symptomatic of a housing market gone haywire," says DiCaprio. "People like Pal and Rihal thought they could just throw a bunch of money into real estate and it would always be a good investment. I’m glad the market finally crashed, because that kind of behavior hurts a lot of people. It ended up driving the price of housing to the point that normal people can’t buy anymore — and that’s absurd."

Pal soon discovered he owned the property on paper only. The occupants didn’t recognize the sale or his authority to tell them to leave. Three months after the sale, the occupants were still there, refusing to go. Pal took the case to court in an "action to quiet title," demanding that they be ejected from the property and that the title be freed from any future claims against it. He claimed the people in the house were squatters, living on his property without permission. But before the police could drag out the occupants, they countersued, holding themselves up in court without a lawyer for three years and living in the house the whole time.

One of the first cross-complaints came from Robert Burnett who — with his contempt for the computerized, cell phone-saturated consumer culture — wrote his cross-complaint on the back of a flyer on an ancient typewriter. When the document appeared in court, one side advertised a benefit for a pirate radio station at the anarchist info shop at the Long Haul with an image of tiny people being thrown out of an upside-down Statue of Liberty. On the other side, Burnett claims that he is a co-owner of the house, which he acquired through "adverse possession." Two other defendants made the same claim.

"Adverse possession transfers the ownership of a piece of real estate to people occupying the house without payment," says Oakland attorney Ellis Brown, an expert in property law. "In the state of California, you have to be openly living in a place for five years without the titleholder trying to make you leave to win an adverse possession case."

"Adverse possession originated to prevent Native Americans from taking back land from homesteaders, but squatters turned it around, using it to protect people who take possession of unused property," says Iain Boal, a historian of the commons who teaches in the community studies department at the University of California, Santa Cruz and the author of the forthcoming book, The Long Theft: Episodes in the History of Enclosure. Boal emphasizes the large numbers of squatters in the world, a figure Robert Neuwirth, author of Shadow Cities: A Billion Squatters, a New Urban World (Routledge, 2004), pegs at 1 billion. "It is only here that squatters are seen as bizarre leftovers from the ’60s," Boal says. "We are in a crisis of shelter, and people need to fill their housing needs."

DiCaprio concurs. Along with Burnett, DiCaprio was the main backer of the occupants’ legal case. As we talk in a dark, live-in warehouse, he sips coffee out of a Mason jar and looks over the court case on his laptop. He says he wants to be a lawyer, but he has never been interested in making lots of money — he says he wants to "fight for housing rights." DiCaprio learned squatter law while cycling through family law court, criminal court, and federal court over a Berkeley house he was squatting and trying to win through adverse possession. The city threw him in jail, and he was released just after Pal sued the occupants of Hellarity.

He says Hellarity was different from other situations he’s dealt with as a squatter. "We never thought of ourselves as squatters [at Hellarity] per se until Pal sued us and start using that language in court," he says. "Before he bought the house, no one was challenging our presence on the property. Sennet [Williams] was either actively or passively letting us stay there. By filing a claim to quiet title, Pal made it apparent the title was in question. By calling us squatters instead of tenants, they lost some claim to the property. So we took the ball and ran with it."

Their use of adverse possession was strategic, DiCaprio says, but they didn’t intend to win the house that way. "We were never under any illusion that we would win ownership of the house in court," he says. "We wanted to use the court as a forum to enable us to buy the house. We were just treading water until Pal got tired and agreed to sell." The occupants say they offered him $360,000 for the house, the price it was originally listed for, but he refused to take a loss on his investment.

DiCaprio says the courts generally aren’t sympathetic to squatters’ cases. "Pro pers tend to be poor, so there is a class bias against them," he says, referring to people who represent themselves without a lawyer. DiCaprio says judges have rejected documents for having dirt on them and refused to give fee waivers to people with no income. "The courts do not like squatters. If you mix pro per and adverse possession, you could not have a more hostile environment against us."

For more than two years, Pal and the occupants played a cat-and-mouse game, dragging out the case and trying to complicate it in hopes the other side would just give up. Pal’s lawyer, Richard Harms (who did not return Guardian calls seeking comment), objected to the terms "documents," "property," and "identify" when asked to produce evidence related to his claim. "Instead of trying to prove their case, they were just waiting for us to trip up and not file something before a deadline," says DiCaprio.

The occupants didn’t slip, but as the case wore on, he and Burnett grew tired of upholding their side in court. By fall 2007, the two cut side deals with Pal. Burnett settled for $2,000 and DiCaprio for an undisclosed amount. "I realized I couldn’t save it alone," DiCaprio says. "I told them to sink or swim."

ENDGAME


When Burnett and DiCaprio settled with Pal, the subprime housing crisis was splashing the headlines. Pal’s investment was starting to seem more like a loss, but for the first time since he bought the property, it looked like it would finally be his. By November 2007, the remaining squatters dropped the battle for ownership and began bargaining with him for concessions.

By mid-February, Pal was ready to start renovations, and all but two of the squatters had moved out. They made their final plea and Pal gave his last compromise: two more weeks, then they had to go. "He was sure he was going to get the house, so he agreed to let us stay," says a squatter called Frank, who asked not to be named because of his immigration status.

What Pal may not have understood was that he was not the only party still interested in the house. The house was becoming a point of contention among the larger community of squatters and anarchists in the East Bay. Fissures broke around a central question: was it up to those living there to decide the fate of the notorious squat, or did the larger community of radical activists have a say in the property?

As Pal was getting rid of the last people occupying the house, the squatters’ conflict came to Hellarity’s doorstep. A new group of people came to the North Oakland house, among them a few who had previously stayed at Hellarity, ready to renew the struggle against Pal. Frank, who had been living in the house for seven months, was unhappy about the new arrivals.

"I told them that this kind of action would make problems for me," he says. "I already made an agreement with this guy [Pal] to leave by the end of the month." The new group saw things differently. "We own this place," says Jake Sternberg, the new de facto caretaker of Hellarity, who has since been pushing for the squatters to renew their court case. The discord between the squatters split up the duplex: the two old squatters stayed upstairs while the recent arrivals occupied the lower half.

Two weeks after the new crew moved in, a fire was lit in the upper apartment that burned through the ceiling and the floor. But who did it? Was it a disgruntled squatter who would rather destroy the house than hand it back to Pal? Or was Pal connected to the arson, losing his nerve as a newly energized group of squatters took over and the value of his investment crashed?

If not for the squatters, Pal might have been less affected by the subprime crisis than most property owners. He had no mortgage on the house — he bought it outright — so he wasn’t under threat of foreclosure, unlike tens of thousands of other California homeowners. But Pal faced a different threat. It seems likely he bought the house as an investment, and as the market crashed, he was stuck with a house he could neither renovate nor sell, and was left to watch its value tank as he slogged through court proceedings.

For an investor like Pal, the numbers weren’t looking good. In March, median housing prices had fallen 16.1 percent compared with those of March 2007, according to DataQuick Information Systems, and home sales declined 36.7 percent from the previous year. In April — for the seventh consecutive month — Bay Area home sales were at their lowest level in two decades, DataQuick reported. And according to Business Week, national home prices will plummet an additional 25 percent over the next two to three years.

On Feb. 17, the day after the new group of squatters moved in, Pal made an appearance at the house. In early March, Sternberg showed me a video he recorded during Pal’s visit. On the screen, Pal is sitting on a couch in the downstairs living room of Hellarity. At the door, a well-built man who looks to be in his 30s and calls himself Tony leans against the wall with two younger men who call themselves Salvador and Ryan. Sternberg tells me that Pal came to the house demanding they leave his property. Sternberg called the police, accusing Pal of trespassing. As they waited for the OPD to arrive, which took more than 25 minutes, they discuss their conflict over the house.

At the beginning of the video, Sternberg tells Pal why he and his friends refuse to give up the property: "People came over here from Europe and they said, ‘Hey, we’re going to take this place.’ Now they sell land to each other. And how did they get it? They took it…. And just because somebody pays for something doesn’t mean that they get it. And just because somebody sells something doesn’t mean they have a right to sell that."

A few minutes into Sternberg’s video, Pal told the squatters he was ready to take matters into his own hands. "You just have to deal with me now because what I’m saying is, it’s person to person…. And you know what? If it’s gonna get dirty, it’s gonna get dirty. I don’t care. Because you know what? That’s the way it’s gonna be, because this is what I need. I need to have it. I don’t have any lawyer. I can’t afford a damn lawyer. So it’s gonna be me and you. One to one. Man to man."

Pal eventually left the property after the police arrived, but the two younger men, Salvador and Ryan, spent the night upstairs. "[Pal] had them stay there because they thought the people downstairs would squat the upstairs," Frank says. "He wanted to protect the house." Frank, who says he was concerned that Pal would try to evict him with everyone else, initially didn’t protest the presence of the two young men.

The next day, at Frank’s request, Pal told Salvador and Ryan to leave, and for the two weeks that followed, Pal didn’t return to the house. The new group of squatters expected to see him Feb. 28, the date set for a case hearing called by Pal’s lawyer prior to the re-occupation of the house. If the defendants didn’t show up, a default judgment could have been entered, granting Pal his request to have the squatters removed and ordered to pay $2,000 per month in back rent. The squatters showed up for court, but Pal’s side hadn’t filed the necessary paperwork to hold the hearing.

Once again the house hung in legal limbo and the day after the hearing, the remaining people upstairs moved out as agreed. Frank says Pal called him while he was at work that afternoon to make sure they were gone. For the first time in 11 years, the upper apartment was empty, waiting for either Pal or the other squatters to seize it.

But someone was committed to preventing that from happening. The night after the people upstairs moved out, at around 3:15 a.m., the squatters downstairs awoke to fire creeping through the floorboards above them.

"Both of the doors upstairs were locked," Sternberg says. "We broke through one of the doors and threw buckets of water on the flames."

After the fire department extinguished the blaze, the squatters called the police to have an investigator search the scene. "It appears that unknown suspects entered the house through unknown means, and then set three fires in an attempt to burn the house," the police report states. According to the report, all three fires were set in the upstairs apartment; two burned out before the fire department arrived. Officer Vincent Chen found two used matches in the bathroom, where the wood around the sink had been burned, and a gas can hidden in the bushes on the east side of the house.

When I first met Sternberg, he told me the Oakland Police Department’s arson investigator, Barry Donelan, was helpful. Two and a half months after the fire, however, Sternberg says: "I regret having talked to the police."

Initially, Donelan didn’t know they were squatters — Sternberg had told him they owned the house. "Once he found flyers for a fundraiser to defend the squat, he became angry," says Sternberg. "He said he submitted the case to the district attorney, and didn’t expect anyone would be arrested."

Sternberg says Donelan also threatened to have him arrested for a traffic-related warrant and that he would turn Sternberg’s name over to the Federal Communications Commission, which had an open investigation on the house for hosting Berkeley Liberation Radio. In March, Donelan told us he wouldn’t comment on the case and at press time, he hadn’t return Guardian calls about the status of the investigation.

EPILOGUE


Although the arson may never be solved, the squatters have strong suspicions about who was behind the fire. But they have a hard time deciding who, ultimately, is most culpable for the blaze. "No one involved in Hellarity is innocent, and no one is completely guilty," says DiCaprio. The one point of view everyone seems to share is that Hellarity has long been a tinderbox of contention, in which property owners struggling in a beleaguered housing market faced off against a group of people who reject the market outright for its inaccessibility to low-income people. Eventually, it all literally — burst into flames.

When I visit after the fire, people are sitting outside playing guitar, smoking rolled cigarettes, and singing the timeless hobo ballad, "Big Rock Candy Mountain." The sounds drift over the budding vegetable gardens and into the downstairs living room, where a message written on a big green chalkboard suggests that if the fire was intended to drive people out, it was unsuccessful: "WELCOME BACK TO HELL(ARITY). Because bosses, landlords, and capitalists suck, the house has lots of repairs that need to be done before it becomes fully livable."

Upstairs, Sternberg looks up at a charred, gaping hole in the ceiling. "We have to make lemonade out of lemons," he tells me, explaining that they just got a skylight to fill the cavity. "We’re going to continue fighting just like we’ve been fighting. This guy [Pal] has been in court with us for three years. He’s got no case." *

Scraper success

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› a&eletters@sfbg.com

"This is what happens when Bay Area gas goes to 4 bucks!! We cant even afford to rap about cars..lol [sic]."

So reads one YouTube viewer comment for "Scraper Bike," a music video by local rap group the Trunk Boiz. Rather uncharacteristically for hip-hop, the clip includes a crew of hoodie-wearing, dreadlock-shaking young guys pedaling through the Oakland streets on their tricked-out bicycles. With zero support from radio, "Scraper Bike" became an underground hit last year, making alternative transporation cool for Escalade-obsessed East Bay youth.

"My scraper bike go hard, I don’t need no car," intones Trunk Boi B-Janky in the chorus of a song that’s so catchy it’s viral. Through Web word-of-mouth alone, "Scraper Bike" became one of the 20 most-watched YouTube videos of 2007. In March of 2008, the video was nominated for a YouTube Award, putting the Trunk Boiz in such illustrious company as Obama Girl.

With 2.5 million views and counting, "Scraper Bike" spurred a local trend now gone global, with folks from as far away as Turkey and Bavaria petitioning the Trunk Boiz to come pimp their rides. Yet scraper bikes are pure East Oakland, an homage to their four-wheel counterparts: long a fixture of East Bay car culture, "scrapers" are hoopty rides — usually ’80s-era Buicks or Oldsmobiles — made ghetto-fabulous with candy paint, huge rims, tinted windows, and booming speakers in the trunk.

Trunk Boi Baby Champ, inventor of the scraper bike, recalls his initital inspiration. "At that time I was real young and didn’t have no license or nothing," he says. "So I just wanted to take the pieces of the car and put it on a bike and mold it and shape it like that. I just took it and ran with it." In transutf8g the scraper aesthetic, not only does Champ outfit the bikes with neon colors and decorative spokes, he even wires up stereos to the handlebars and loads speakers on the rear. "That’s one of our promotional schemes," B-Janky informs me during a group interview at their West Oakland studio. "We ride around on scraper bikes eight deep, with speakers slappin’ our music."

Hustlers and entrepreneurs, the Trunk Boiz bring a whole new meaning to the Bay-slang term "out the trunk." The phrase refers to the marketing strategy immortalized by Too $hort, who early in his career famously sold music out of his car. Yet when the Trunk Boiz slang CDs "out the trunk," that trunk is less likely part of a Cutlass Supreme than a double-axle three-wheel cruiser — essentially, a tricycle on the back of which is a wooden cart painted in Oakland A’s colors with the words "That Go!"

A rather endearing sense of juvenalia surrounds the Trunk Boiz mystique. After all, their average age is about 19. As one might expect of a group of more-or-less teenage boys, songs tend to focus on adolescent preoccupations such as partying, looking fly, and getting girls. But unlike blunt rappers like Lil’ Weezy — who endlessly employs stale metaphors to describe their male members — the Trunk Boiz make sex romps sound clever. In the track "Cupcake No Fillin’," MCs Filthy Fam and NB drop double entendres, extending the concept of "cupcaking" — Oakland slang for flirting — into a confectionary ode to casual, no-strings-attached hookups (i.e., with "no feeling").

It may not be a message mothers want their daughters to hear, but the kids love it. The video for "Cupcake No Fillin’" has nearly 100,000 YouTube views, and helped expand the group’s female fanbase by casting the rappers in a loverboy light.

Given the group’s penchant for high-energy antics, the Trunk Boiz were happy to ride the hyphy train while it lasted. They even got scraper bikes into videos for the Federation’s "18 Dummy" and Kafani’s "Fast (Like NASCAR)." None other than Too $hort called Champ the day of the Kafani shoot, urging the scraper bike crew to roll through and bring some local flavor. They continue to glean game from the legendary rapper through their involvement with East Oakland nonprofit Youth UpRising, where Too $hort volunteers.

Inspired by such mentors, the Trunk Boiz have become more civic minded than one might expect of a group that raps about going "SSI" ("Socially Stupid Insane") — a track off their sophomore album, due out this summer. Not only are they involved with Youth UpRising and Silence the Violence but also with the "Ban the Box" reentry-reform efforts in Oakland as well as Bikes for Life, an antiviolence campaign launching July 13 with a ride around Lake Merritt. In August, they’ll attend the National Hip-Hop Political Convention in Las Vegas, where they’ll roll down the Strip on their scraper bikes.

Fortunately, when it comes to homegrown innovation, what happens in Oakland doesn’t always stay in Oakland. *

For more on Bikes for Life, call (510) 238-8080, ext. 310.

www.scraperbikes.net

Awesome T-Shirts for Cinephiles

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By Justin Juul

Have you been to Lost Weekend Video lately? If not, you better run soon. It’s the only place in the city where you can score one of these limited edition t-shirts by local Bay Area artist, Maria Forde. The Herzog/Kinski and Roman Polanski shirts are almost gone, but rumor has it there’s a Sam Peckinpah line coming soon and she may even do a run of Don Siegel prints. Rad!

Lost Weekend Video
1034 Valencia. SF
(415) 643-3373

shirt1.jpg

DEMF: Moby’s Go-go, Hawtin clogs, DBX shocks ’em, and too high to skate

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Detroit native gadabout Marke B. hits Movement ’08: Detroit’s Electronic Music Festival with a handbag full of what-what. Read part one here. The Techno Gods surely had a little laugh on the first (graciously sunny) day of the DEMF. Even though downtown’s sprawling, reinvigorated Hart Plaza on the waterfront – nestled in the shadows of the new casinos pumping serious cash into bigshot pockets and directly opposite the infamous “fist” statue that socks across-the-river Windsor, CA, in the kisser – was brimming with suburban kids and roaming tribes of fun-furred and mohawked candy ravers (love those kids!), and even though Moby (!) headlined, and started his closing DJ set by playing one of his own songs (albeit a remix of his classic “Go”), the old soul of the Detroit underground shone through in quite a few places. (Clarification: Oops my E must have kicked in then. See comment below.) demfdbxa.jpg Waiting for Moby Underground, quite literally. This year, promoter Paxahau Events has reopened the huge concrete-walled basement of the plaza, and has installed the soulful house DJs there, rather than the traditional hardcore noise experimentalists. By two o’clock, heavily muscled dance crews had stripped off their shirts and were throwing down – headspins included – to the sounds of Detroit classicists like Reggie “Hotmix” Harrell and Minx. (That night, freaky Terrence “The Phone Man” Parker and tribal-soulist Stacey Pullen would turn the underground area into a sweaty mass of writhing gay and straight bodies.) upsydaisy.jpg Upside-down to the morning beat demfsteven2a.jpg Terrence Parker hits So much for the house – and notably missing so far this year have been the little independent DJ setups sprouting about the plaza like tiny laptop-vinyl mushrooms – what about the four other stages? What about the techno? The main, video-projected-upon VitaminWater stage, where Moby would later thrash about like a puggle to his electroclash-tinged pop-techno throwbacks, got a slowish start with way-cerebral live sub-dub fractal burbles from local DJ-band hybrid trio nospectacle, which included Jennifer A. Paull, one of the few female knob-twiddlers at the fest. (I went with my fabulous mom, who seemed to be briefly into it.) The stage didn’t really seem to catch fire, though, until Canadian techno purist DBX aka Dan Bell hit the stage in the penultimate slot at 9pm. What Detroit techno used to look like: DBX’s “Electric Shock” from a TV dance show (I think “The Scene” in the late ’80s)

What the hell

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(Capcom; PlayStation 3, Xbox 360)

GAMER Video games are often pilloried for expressing a particularly juvenile kind of male fantasy, where chain-mail thongs and Kevlar corsets comprise the latest in bulletproof lingerie and mindless, balletic violence is the order of the day. Despite the efforts of more high-minded game designers, every so often a game comes along that confirms the worst of these stereotypes. Devil May Cry 4 is exactly this game. The latest in the wildly successful Capcom franchise abounds with lovingly rendered cleavage, in which cup size is dwarfed only by the polygon count, huge phallus-substitute swords the size of stepladders, and inanely macho dialogue. Players assume control of Nero, an apprentice slayer who replaces Dante, the hero of the first three installments. The plot is effectively nonsense and its function is identical to that of a porn movie, with the sex swapped out for violence. It establishes who will be fighting, where they will be fighting, and the various configurations they will fight in — and then gets the hell out of the way.

Game play is built around a satisfying beat-’em-up system that harks back to classic arcade side-scrollers. Using his monstrous sword, his trusty pistol, and a magically imbued left arm known as the Devil Bringer, Nero unleashes all sorts of punishment on waves of enemies. Stringing together attacks without taking damage allows you to build "combos," which the game grades on a scale that is undoubtedly familiar to its core player-base: eighth-graders. The most pedestrian pwnage will earn you a "D," for "deadly." More complicated attacking will allow you to garner "C" for "carnage," "B" for "brutal," and "A" for "atomic," all the way up to SSS (higher than A), which stands, of course, for "super sick style."

The combat system is abetted by the game’s purposely cartoonish physics, which are tweaked so that firing your gun or using your sword after jumping actually enables you to stay in the air longer than you otherwise would have. This kind of jumping is escapist fun. Unfortunately the game also relies on another kind of video game acrobatics, the dreaded "jumping puzzle." Occasionally Nero will have to perform a series of choreographed leaps to continue his quest, while the game ratchets up the annoyance level mercilessly by adding time limits and enemies that spawn every time you screw up.

These challenges are further complicated by Devil May Cry 4‘s frustrating camera system. Although a freely roaming perspective has been de rigueur in 3-D games for some time, Capcom decided to stick with a fixed viewpoint during most of the game, obscuring important items and areas in order to pimp the game’s admittedly lush environments. When the angle does change, it is often an infuriating 180-degree shift, so that the joystick direction you were just using to move forward now moves you backward, making basic actions like walking through doors disorienting in the extreme. Devil May Cry veterans disappointed in the new protagonist will be happy to learn that Dante appears as a player character about halfway through the game, along with his arsenal of weapons. Once Dante appears, however, the player is inexplicably forced to play through the same levels he or she just completed as Nero, except in reverse order.

This kind of backward-looking regression sums up Devil May Cry 4‘s flaws. Working in a medium that is getting ever more sophisticated, Capcom has made a game that cloaks yesterday’s tired, game play in today’s fancy graphics and hopes no one notices. I, for one, will not stand for this kind of … hey! Check out the rack on that Dominatrix Ninja from Hell!

Flying the coop?

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› news@sfbg.com

GREEN CITY From inside the trailer-size office at Sunrise Farms, one can hear the incessant squawking of 160,000 chickens housed nearby. The Petaluma-based egg producer generates the vast majority of eggs sold in the Bay Area with its seven properties and 1 million hens, one of two large egg operations in a region that used to have thousands of smaller chicken farms.

On one wall of the office a framed aerial black-and-white photograph shows the same property as it appeared more than 70 years ago. The layout of buildings hasn’t changed much over time, still retaining the long, thin structures aligned side-by-side. But in the photograph, little white specks populate the space between buildings — they’re chickens, and all 10,000 were free to wander. Today the birds are kept indoors and, to save space and increase production, are typically confined in small cages. These "battery" cages are stacked in rows four cages high, allowing each bird 67 square inches of room — about the size of a large shoebox.

Although the egg industry says the cage systems are science-based and humane, animal welfare activists say they are cruel and restrict natural behaviors. In November, voters will decide whether to ban the cages in California, thanks to a six-month signature-gathering effort sponsored by the Humane Society of the United States along with other animal welfare groups. As hundreds of veterinarians, businesses, farmers, and politicians — including Assembly member Mark Leno and state senator Carole Migden — continue to endorse the measure, the California egg industry is rallying farmers from across the country against it. If voters approve the law, California’s egg farmers would be required to move the state’s 19 million caged birds into cage-free facilities by 2015.

Since 2002, Florida, Arizona, Oregon, and Colorado have passed similar laws regarding the confinement of pregnant pigs and veal calves in crates — both included in the California measure — but California would be the first state to pass a law regarding the confinement of egg-laying hens. The pork and veal industries have begun voluntarily phasing out confinement practices nationally, and animal welfare groups hope for a similar response from the egg industry if the measure passes in California.

But some consumer groups and egg producers fear the cost of eggs could increase drastically as a result of the new laws. The industry is historically volatile, with prices rising and falling week to week due to disease outbreaks and fluctuating consumer demand. Recently, however, the industry has seen steady growth. The average American now buys around 260 eggs per year, an increase since the 1990s that has resulted in higher profits for the $3 billion-a-year industry.

Although the financial toll the measure would have on farmers and consumers is unclear, the Humane Society touts a study prepared for an industrywide meeting in 2006 as evidence that the cost to switch over to cage-free farming would be minimal. The report claims that the difference between constructing and operating a cage-free facility compared to a caged one amounts to less than one cent per egg. However, the work-up assumes land prices of $10,000 per acre — a fourth of the average land cost in Sonoma County. But even using the higher estimate, the difference is still only slightly more than a penny per egg.

Arnie Riebli, the managing owner of Sunrise Farms, says he disagrees with those figures and doesn’t understand how they were calculated. Indeed, he thinks the cost of cage-free production is closer to double that of caged production. Even so, he says that while initial costs are higher, he receives a higher profit margin on cage-free eggs because of their specialty pricing.

If required to raise only cage-free birds, Riebli says his business will lose its competitive edge to out-of-state producers. One-third of California’s eggs currently come from outside of the state, which means the delivery routes and trucks from the Midwest are established, which means flow could easily be increased. "Every other state is going to sit out there and ship more eggs in here," he says. "They’re not stopping it. They’re just moving it somewhere else."

Riebli’s says he is concerned with his hens’ welfare as much as ever, and has taken trips across the world to research the latest in hen-raising technology. But he stands by his methods. "I use myself as a judge to see what my animals will like," he says. "I go into the building just as I am. If I’m comfortable without a mask, without any protection, then the birds must be too."

The chickens closest to the office are considered cage-free. The 4,000 birds inside the building are fed an all-organic diet and, although quarters are still tight (slightly over a square foot is allotted for each), the birds can dust bathe, perch on posts, and spread their wings. Sunrise Farms reflects the entire industry, since only about 5 percent of its egg-laying hens are raised without cages. In most other buildings, birds are held in battery cages. Ten birds live in each four-foot metal cage.

The eggs are packed on site and distributed through NuCal Foods, the largest egg supplier in the western United States. NuCal also delivers eggs from Gemperle Enterprises, the company whose facility recently came under fire after animal rights activists released undercover footage of severe animal abuse at its farm. Although the farm now claims the video was staged, it showed heinous acts of cruelty, including stomping and throwing hens. More important, it showed the conditions of the hens living in battery cages. Many had excessive feather loss, abnormal growths, and infections.

Riebli says he wants to distance his farm from the cruel treatment shown in the video. Still, he admits that all laying hens are susceptible to cancers, infections, and feather loss, although not usually as severe as what was shown in the video. "There’s a disconnect to where people’s food comes from," Riebli says. "They think it comes from the back of the grocery store, but unfortunately it doesn’t. It has to come from somewhere."

The Riebli family has been in the Petaluma egg business for more than 100 years, and since 1960 his company has grown by joining with other egg producers. The farm survived the Depression, the bird-flu scare, many salmonella outbreaks, and even break-in attempts from animal rights activists. Now that iron bars guard the office windows, Riebli is no longer as worried about criminal attempts against his farm. His main concern these days is that the law, although aimed at protecting chickens, could put him out of business.

"Animals are not human," he says, furrowing his brow and raising his voice slightly. "They don’t have intellect. Chickens probably have brains the size of a pea."

Sara Shields, who holds a doctorate in animal behavior from the University of California, Davis, is among the most vocal American scientists to oppose the use of battery cages. She notes that in Europe, where battery cages were banned in 1999, she’d be considered moderate. She recently released an extensive study comparing the welfare of hens in battery cages to those in cage-free systems. "I would like to see us raise the bar for the treatment of animals," she says. "There’s a limit to how high that bar can be set in cages. I don’t think cages have the potential to be humane."

But most American agricultural scientists disagree and say both systems can be operated humanely, though they grant that poorly-run versions of either type can be disastrous. To prevent mismanagement, United Egg Producers, a lobbying group that represents 85 percent of the country’s egg farms, decided to develop standards for caged production in 1999. They sought out UC Davis poultry scientist Joy Mench to lead a team of scientists in creating these welfare guidelines.

By analyzing the disease, injury, mortality, and productivity rates of birds kept in different systems and spaces, the group developed criteria that the industry subsequently adopted. Among these standards is the 67-square-inch minimum space requirement for each hen. These measures mostly focus on disease and mortality control as well as egg-laying productivity, but have less concern for behavioral welfare.

Although caged birds in modern systems sometimes have lower disease rates than cage-free birds, Shields says the potential for humane treatment in cage-free systems is much higher. Most scientists agree that hens in battery cages cannot engage in many of their natural behaviors, including wing-flapping, nest-building, perching, dust-bathing, scratching, and preening. And although disease control in cage-free systems is more difficult, Shields says, cage-free flocks can be maintained healthfully and successfully.

But Riebli has had problems with one of his younger cage-free flocks at Sunrise Farms. They became startled and piled on top of each other earlier this month, he says, suffocating 20 percent of the birds.

But Shields says this is highly unusual, and points toward newer, aviary-style cage-free systems as a solution for producers who encounter the problem. These methods divide the birds into smaller flocks within the same building, and rely on multiple levels to allow birds to perch and nest. Another potential issue, she says, is the lack of a perfectly-bred hen for cage-free production. After years of breeding hens to produce well in battery cages, breeders only recently have begun breeding for traits that benefit cage-free production. "The bird needs to be suited to the environment, and the environment also needs to be more suited to the birds," she says.

An aviary system costs more to set up than an empty cage-free building, but Shields dismisses these costs. "If we keep racing to the bottom in the name of cheap food, the eventual cost is going to be put on the animals," Shields says. "At some point we have to balance economic costs with moral and ethical considerations."

Over the past two-and-a-half years, a group of 15 politicians, scientists, farmers, and ranchers banded together to do just that. The Pew Commission on Industrial Farm Animal Production released a report last month detailing many troubling issues with the country’s farm animal production. The group specifies that the California ballot measure is a great place to start.

More than 100 cows graze Bill Niman’s 1,000-acre Marin County ranch, but only a couple have ever successfully navigated down the cliffs from the pastures to the beaches. Niman’s home is less than a mile inland, and on clear days he can see across the bay to San Francisco and even Daly City. He founded Niman Ranch on this property in the early 1970s and quickly caused a stir by deciding not to feed antibiotics and hormones to his cows. At first his fellow ranchers didn’t take him seriously, but now nearly all beef producers feed their cattle hormone-free food. More than 30 years later, Niman is determined to use the credibility he has earned to help all farm animals gain better treatment.

Last year, at 63, he gave up his seat on Niman Ranch’s board of directors, effectively ending his involvement with the company he once ran. Now he volunteers with the Pew Commission on Industrial Farm Animal Production. "One of my missions in life is to change the way animals are treated and how food is produced in this country," he says.

As part of the commission’s research, Niman visited one of the nation’s largest caged production houses in Colorado. Despite the state-of-the-art automated system, Niman was not impressed. "It’s pretty hard to put a rosy picture of 1 million chickens living five birds to a cage with no room to move around or stretch their wings," he says. "If I ran the place, I’d have trouble sleeping at night."

Niman believes the public wants to see reform in the food production industry. He says that this measure, and any laws that improve animal welfare, will only expedite what would eventually come naturally due to consumer demand. "I’m not one to advocate more and more legisutf8g, but I also know what’s going on out there," he says. "Change is so critical — and coming — that the sooner that change can begin, and the more orderly and methodical that change can be, the better off everyone will be."

Niman is part of a food movement centered around the Bay Area that includes author and University of California, Berkeley professor Michael Pollan, who also has expressed support for the measure. "The treatment [of hens] is important for reasons for morality, ethics, and sustainability," Pollan tells the Guardian, adding another ulterior motive for changing how hens are kept: "Eggs from hens that live outdoors on grass are a excellent product, even more nutritious and tasty." *

Fly boys

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› kimberly@sfbg.com

SONIC REDUCER I never swooned over Jemaine Clement when his clueless geek-goon was busily copping quasi-Street Fighter moves in 2007’s Eagle vs. Shark, and I never noticed the spacey Middle Earthly beauty of Bret McKenzie when he was striking sultry elfin poses in The Lord of the Rings. But somehow, two discs of season one of HBO’s Flight of the Conchords and a couple jillion listens to the duo’s new self-titled Sub Pop album later, I’m hooked. I woke up this morning with the cyborg-gut-busting "Robot" roving through my head ("The humans are dead / We used poisonous gases / And we poisoned their asses…. It had to be done / So that we can have fun"), and I silently sang the lusty-nerd verses of "The Most Beautiful Girl (In the Room)" ("You could be a part-time model / But you’d probably have to keep your normal job") to myself for the rest of the morning. Apart from those lyrics, I’m at a loss for words — for a change. All I can say, doltishly, is "uhhh, they funny." Otherwise I’m considering a leg transplant and dye job so I can become the "Leggy Blonde" of FOC dreams — or at least a Rhys Darby tat.

What have they done to deserve such gushery? The way they sweetly snark at my rock, garbed in the amiable skin of a fumbling indie-rock-folk duo. The manner in which they poke at pop clichés, letting them fly well above the heads of those who don’t grasp the Shabba Ranks and Marvin Gaye references — and somehow those unfortunates still crush out on FOC. The botched trysts and fumbled musical careers of the pair, played by the half-Maori Clement and the sometime reggae musician McKenzie, which make all and sundry adore them that much more. Their humanizing humor, which stems primarily from FOC’s New Zealanders-straight-outta-Middle Earth naïveté.

Much has been made of the rise of so-called indie rock comedians like David Cross and Eugene Mirman — who both, coincidentally or no, are FOC labelmates — but lo, Clement and McKenzie are the real thing. They have the facial hair. They swill water. They hail from the land of the Clean and Tall Dwarfs. They combine pop-savvy wit and wiseacre lyrics, while sending up genres ranging from between-the-sheets R&B swoons ("Business Time") to backpacker hip-hop ("Hiphopopotamus vs. Rhymenoceros" with Clement trotting out a ringer imitation of Del tha Funkee Homosapien) to art-rock nipple-antenna anthems ("Bowie"). A good deal of FOC’s appeal hinges on the fact that pop is so utterly ripe for lampooning — after all, doesn’t the title of E=MC2 (Island) sound like Mariah Carey is attempting a self-conscious, FOC-style jab at her own intellectual prowess?

It also helps that FOC come so often with the hooks: I can’t stop replaying "Inner City Pressure" — and reveling in its low-budg, pseudo-seedy Pet Shop Boys video tropes — repeatedly in my skull. My only critique of their recently released full-length might be that the songs cry out for a DVD clip or eight: while some tracks sport lyrics with built-in yuks that allow the songs to hold their own, still others like the puzzling opener, "Foux du Fafa," completely lose the original, necessary context — FOC was hitting on patisserie workers while frolicking through a color-coded Scopitone-esque Gallic pop reverie — that justifies, for instance, its litany of French baked goods. Some numbers such as "A Kiss Is Not a Contract" are sweet and strong enough to include on the CD, though you miss the series’ accompanying Serge Gainsbourg video parody even if the tune itself bears little musical resemblance to Sir Serge’s oeuvre. Still, most of FOC’s soaring sonic moves don’t fall too far from the tree shaken during the more larky outings of producer Mickey Petralia’s other client, Beck. And who knows, this high-school-friendship-turned-comedy-act could be the start of a beautiful musical career, considering that the other would-be beautiful "Loser" kicked off his illustrious catalog with what many considered a joke song as well: there have been stranger flights of fantasy. *

FLIGHT OF THE CONCHORDS

Tues/27, 8 p.m., $32.50

Masonic Auditorium

1111 California, SF

Also May 29, 8 p.m., $32.50

Davies Hall

201 Van Ness, SF

www.ticketmaster.com

OUT THERE

DESTROYER AND DEVON WILLIAMS


Dan Bejar pulls Destroyer out of the garage, while intriguingly minimal nouveau-’80s-popper Devon Williams unleashes Carefree (Ba Da Bing). Wed/21, 8 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

MATES OF STATE


Kori Gardner and Jason Hammel polish their indie-pop to a bright sheen on Re-Arrange Us (Barsuk). Thurs/22, 9 p.m., $17–$19. Slim’s, 333 11th St., SF. www.slims-sf.com

DEAD MEADOW AND DAME SATAN


Yes, we’re weirded out that Jimmy McNulty’s spawn dug Dead Meadow on The Wire. The Bay’s Dame Satan cast a spell with the new Beaches and Bridges (Ghost Mansion). Sat/24, 9 p.m., $15. Slim’s, 333 11th St., SF. www.slims-sf.com

NO WAVE EVENTS


The definitive book on awesome atonal negheadedness is fêted by author Marc Masters and no wave authority Weasel Walter. Sat/24, 2 p.m., free. Amoeba Music, 1855 Haight, SF. www.amoeba.com; Sat/24, 9 p.m., pay what you can. 21 Grand, 416 25th St., Oakl., www.21grand.org; Sun/25, 5 p.m., $6. Artists’ Television Access, 992 Valencia, SF. www.atasite.org

WHITE RABBITS


The NYC nibblers have been ruling the boroughs since the announcement that they were joining Radiohead on ATO subsidiary TBD. Tues/27, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Disobey!

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› annalee@techsploitation.com

TECHSPLOITATION Last week I wrote about the premise of Oxford professor Jonathan Zittrain’s new book, The Future of the Internet and How to Stop It (Yale University Press). He warns about a future of "tethered" technologies like the digital video recorder and smartphones that often are programmed remotely by the companies that make them rather than being programmed by users, as PCs are. As a partial solution, Zittrain offers up the idea of Wikipedia-style communities, where users create their own services without being "tethered" to a company that can change the rules any time.

Unfortunately, crowds of people running Web services or technologies online cannot save us from the problem of tethered technology. Indeed, Zittrain’s crowds might even unwittingly be tightening the stranglehold of tethering by lulling us into a false sense of freedom.

It’s actually in the best interest of companies like Apple, Comcast, or News Corp to encourage democratic, freewheeling enclaves like Wikipedia or MySpace to convince people that their whole lives aren’t defined by tethering. When you get sick of corporate-mandated content and software, you can visit Wikipedia or MySpace. If you want a DVR that can’t be reprogrammed by Comcast at any time, you can look up how to build your own software TV tuner on Wikipedia. See? You have freedom!

Unfortunately, your homemade DVR software doesn’t have the kind of easy-to-use features that make it viable for most consumers. At the same time, it does prove that tethered technologies aren’t your only option. Because there’s this little puddle of freedom in the desert of technology tethering, crowd-loving liberals are placated while the majority of consumers are tied down by corporate-controlled gadgets.

In this way, a democratic project like Wikipedia becomes a kind of theoretical freedom — similar to the way in which the US constitutional right to freedom of speech is theoretical for most people. Sure, you can write almost anything you want. But will you be able to publish it? Will you be able to get a high enough ranking on Google to be findable when people search your topic? Probably not. So your speech is free, but nobody can hear it. Yes, it is a real freedom. Yes, real people participate in it and provide a model to others. And sometimes it can make a huge difference. But most of the time, people whose free speech flies in the face of conventional wisdom or corporate plans don’t have much of an effect on mainstream society.

What I’m trying to say is that Wikipedia and "good crowds" can’t fight the forces of corporate tethering — just as one person’s self-published, free-speechy essay online can’t fix giant, complicated social problems. At best, such efforts can create lively subcultures where a few lucky or smart people will find that they have total control over their gadgets and can do really neat things with them. But if the denizens of that subculture want millions of people to do neat things too, they have to deal with Comcast. And Comcast will probably say, "Hell no, but we’re not taking away your freedom entirely because look, we have this special area for you and 20 other people to do complicated things with your DVRs." If you’re lucky, Comcast will rip off the subculture’s idea and turn it into a tethered application.

So what is the solution, if it isn’t nice crowds of people creating their own content and building their own tether-free DVRs? My honest answer is that we need organized crowds of people systematically and concertedly breaking the tethers on consumer technology. Yes, we need safe spaces like Wikipedia, but we also need to be affirmatively making things uncomfortable for the companies that keep us tethered. We need to build technologies that set Comcast DVRs free, that let people run any applications they want on iPhones, that fool ISPs into running peer-to-peer traffic. We need to hand out easy-to-use tools to everyone so crowds of consumers can control what happens to their technologies. In short, we need to disobey. *

Annalee Newitz (annalee@techsploitation.com) is a surly media nerd whose
best ideas have all been appropriated and copyrighted by corporations.