Warriors

Foot Village

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PREVIEW As if it were a sovereign nation of drum-toting, megaphone-wielding musical savages, Foot Village bears its own two-pronged manifesto, stating "Our national language is drumming, our national pass-time is screaming." This declaration aptly sums up the Los Angeles group’s polyrhythmic sonic attack, which is studded with explosions of feral hoots and hollers, and three drum sets’ worth of cataclysmic crashing, hissing, and banging.

The band’s witch-doctor blend of hardcore punk and noise rock is at its best on "Bones": visions of bloodthirsty, amphetamine-fueled jungle warriors out to collect heads come to mind via Grace Lee’s wild yawps over the rest of the Village’s battle cries and death-drum rolls. Foot Village’s forthcoming album of "drum essays," titled Anti-Magic (Upset the Rhythm) and out June 2009, will be the young collective’s blueprint for its war upon the ethereal as its avows to "embrace the physical and the physical alone." Considering the group’s aggressively carnal approach to music, god help anyone who gets in its way. The ensemble will perform with the Drums — a new project with John Dwyer, ex of the Coachwhips and currently of Thee Oh Sees — at Bottom of the Hill, making it a blitzkrieg of eardrum assault with no electric guitars or bass in sight. This isn’t the usual clamor we San Franciscans are fed, but the citizens of Foot Village are clearly ready to shovel their bristling wall of sound down our hungry throats.

FOOT VILLAGE With the Drums, T.I.T.S., and Casy and Brian. Wed/18, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

Crystal magic

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› kimberly@sfbg.com

SONIC REDUCER Light a candle, burn a wand of sage, and singe your bangs. Then fondle a frosty pink hunk of rose quartz and ask the goddess, "Are crystals the new wolves — or at least the new bears? Maybe even the new alps/mountains?" ‘Cause I swear, I’m not a miner — ’49-er, tweenie-bopper, or otherwise — but I can almost smell the crystals everywhere. Especially when it comes to artist-band names like Crystal Castles, Crystal Stilts, Crystal Waters, and wow, now juxtaposing crystal with defensive head-growths, Crystal Antlers.

I clash gently this sparkling SOMA morning with said smiling, scruffy, shambolic Long Beach combo — half chimney sweeps by day and all capable of metamorphosing magically into fierce psych-garage warriors by the light of a mountain-wolf-bear moon. The obvious question goes to tousled vocalist-bassist Jonny Bell, his hoodie bunched over his brow in the very un-Cali cold and just roused from his slumber at Closer Recording where the band is completing its first full-length: what is it about crystals that resonates? Is this a conspiracy (of beards)? And more importantly — the goddess craves a response after spotting those vaginal folds on the cover of Crystal Antlers’ recent self-titled Touch and Go EP — do you believe in crystal magic?

"Yeah, well, we came up with the name three years ago, so we didn’t know about those other bands," mumbles Bell, weary of being given the crystal shit. "We’ve done a lot of interviews where they ask about that, and I’ve given a lot of sarcastic answers." The non-sarcastic rejoinder? "It sounded fragile."

No wonder the band leader is a wee bit wary about conjuring a name for the Crystal Antlers’ album, due out in April, which he says sports mellow and ambient musical percolations as well as "more of a soul influence." Crystal Antlers have been gobbling up old soul from ’60s Miami like Della Humphrey and George McRae and spilling out their own revamp — strained through the filter of their punk background and miles away from the well-inked and -oiled Daptone/Mark Ronson new-old-school. Judging from the EP produced by Mars Volta’s Isaiah "Ikey" Owens, Crystal Antlers roam another neck of the woods altogether: a noisier, more distorted dead meadow where hirsute beasties like Comets on Fire and Mammatus roam near Holy Mountains, where Andrew King’s careening guitar skirts squalling psych-cacophony and Victor Rodriguez’s textural, low-screaming organ revels in a garage-goth parking lot, out behind the rock ‘n’ roll wilderness preserve.

"We wanted to try to play beyond our abilities," Bell says of the recording. "I think we’re always trying to push our limits, and a lot of stuff on the EP was really difficult for us. None of us have any formal training." Noisy, dark matter far from the manic weekday traffic tearing down Howard Street as the Crystal Antlers tuck into eggs and bagels at a café near the studio.

It’s the kind of recession-strapped, pre-Christmas week — a ruthless admixture of hope and fear — that brings out the take-that holiday light displays in the Mission and makes it a great moment to get your fill of your friendly neighborhood Bay Area bands, as the clubs stock up on local talents choosing to staycation. Instead Crystal Antlers are here, forsaking primo chimney sweep season ("I can write songs while laying bricks," explains Bell. "It’s a nice contrast to sitting in a van") to record with engineer Joe Goldring (the Enablers, Touched by a Janitor). Today they’ll track keyboards, saxophone, and vocals, though Bell caught a cold from bunking down in their veggie-oil van during last week’s hail.

At least they’re out of the vehicle — now convalescing on a SoMa byway — though Bell is proud that it got the band out and on tour on a single tank of diesel. "Ten thousand miles and we only used one tank of diesel fuel the whole time. We were able to find vegetable oil all around the country," he says. "We filled up when we were leaving for the tour. We didn’t go to a single gas station the whole time on the way back." The group’s recent Fuck Yeah tour with Monotonix, Dan Deacon, the Death Set, and others was similarly veggie-oil-fueled, though somewhat nuttier from the sound of the stories of smashed vans and spilled instruments that drummer and kindred chimney sweep Kevin Stuart regales me with. There was also that time when Crystal Antlers were in Oakland, touring with Canada’s Fucked Up, and Bell offers, munching, "Kevin forgot to lock the trailer."

"Hey, I didn’t forget it!" Stuart protests. "That was Fucked Up’s fault!"

"We started driving," continues Bell, "and all their stuff started falling out onto the freeway." Word from the goddess: unlock that Crystal power — with limits. *

CRYSTAL ANTLERS

With Two Gallants and the Tallest Man on Earth

Fri/26, 9 p.m., $20

Fillmore

1805 Geary, SF

www.livenation.com

LOCAL POTION

QBERT


Hamsters unite! The Invisibl Skratch Pikl re-emerges. With Mochipet and Joyo Velarde. Fri/26, 9 p.m., $20. Independent, 628 Divisadero, SF. www.theindependentsf.com

ZIGABOO MODELISTE


The Meters percussion mainstay whoops it up for his b-day. With Bhi Bhiman. Sat/27, 9 p.m., $20. Café du Nord, 2170 Market, SF. www.cafedunord.com

BLACKALICIOUS


Gift of Gab’s Mighty Underdogs project weighs in at this hefty indie hip-hop hoedown. Sat/27, 9 p.m., $26.50. Fillmore, 1805 Geary, SF. www.livenation.com

CRACKER AND CAMPER VAN BEETHOVEN


Having a cracked Cracker-Camper Christmas comedown — and how good it is. Sat/27, 9 p.m., $23. Independent, 628 Divisadero, SF. www.theindependentsf.com

MICHAEL TALBOTT AND HELENE RENAUT


The Brooklyn-by-way-of-SF wolf king grows starry-eyed with the winsome Brittany-born Beam warbler at an Antenna Farm convo. With the Naked Hearts. Sat/27, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

TOMMY GUERRERO’S GET RAD SIX


Skating, designing, music-making — Tommy Guerrero veers off from Jet Black Crayon with his birthday bash band at this SF Food Bank benefit. With Marc and the Casuals. Tues/30, 8 p.m., $6–$10 sliding scale. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

Holiday Guide 2008: The game room

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› culture@sfbg.com

The holidays have always been a time for toys. Back in the day, it was board games, baby dolls, and Rubik’s cubes. Then came Nintendo, Dance Dance Revolution, and The Sims. And now? The world of gaming is exploding, with something for everyone — from sci-fi-loving kids to sports-fanatic adults. Here are a few of our favorite new releases, which are sure to please everyone on your list (except maybe Grandpa):

Spore

Maxis (EA Sports); PC/Mac

"Playing God" just took on a whole new meaning. From Maxis, the people who brought you The Sims, comes the genre-defying Spore, a game designed for people who are tired of creating boring ol’ humans. In its captivating metaverse, gamers create a unicellular organism which must evolve into a social, cognizant creature. Explore the game’s expansive, interstellar landscape while developing a whole new species that can live and thrive in a brave new world. If that isn’t enough, it features ambient soundscapes by avant-garde composer and producer Brian Eno.

Pro Evolution Soccer 2009

Konami; PS3, Xbox 360, PSP, PS2, Wii, PC

The Pro Evolution Soccer series, also known as Winning Eleven, has long been the "Beautiful Games" best-kept gaming secret. While enjoying rampant global popularity, stateside it has long been the Don Swayze to Electronic Arts’ FIFA series’ Patrick Swayze. Its underwhelming sales in the United States are due to EA’s publicity machine and its name recognition. But PES 2009‘s staggering fluidity, graphics, and realism leaves FIFA‘s in the dust. While it features the international and club matches we expect, this year’s version exclusively features UEFA Champion’s League mode, which allows you to navigate through soccer’s preeminent club competition that decides the best team in Europe. A majestic sport demands a majestic game, and Pro Evolution Soccer ’09 best captures the nuances and gravity of the world’s most beloved sport.

World of Warcraft: Wrath of the Lich King

Blizzard Entertainment; PC/ Mac OS X

If you can control an insatiable appetite for the destruction of your social life during the 42 days between its release and St. Nick’s World Tour, No. 1 on your shopping list should be the latest installment of the soul-sucking, hypnotic genius of Blizzard Entertainment’s World of Warcraft. While its global fans’ limitless dedication risks the ire of parents, teachers, and psychologists (read: party poopers), who confuse persistence and attention to detail with addictive behaviors, Blizzard has simply achieved every video game maker’s wet dream. It’s crafted a game intriguing and enjoyable enough that both hardcore and weekend warriors want to get in on the action.

Shaun White Snowboarding

Ubisoft; PS3, Xbox 360, Wii, Nintendo DS, PSP, PS2, PC

Not since Tony Hawk has an athlete been able to seamlessly transition from extreme sports star to bona fide sports hero and A-list celebrity like Shaun "the Flying Tomato" White has. He’s appeared on countless magazines and talk shows, and is now pulling his own "Tony Hawk" by fronting a big-budget, mainstream video game franchise. While time will tell if Shaun White Snowboarding will be as successful as the Tony Hawk’s Pro Skater series, but early returns have been overwhelmingly positive. The game features four mountain settings — Alaska, the Alps, Japan, and Park City, Utah — with seemingly endless runs and backcountry trails to get lost on. The game flows well, and there are countless opportunities to do hair-raising tricks and twists. White wanted the game to capture the freedom that made him fall in love with snowboarding, and Ubisoft has captured that perfectly, constantly pushing the user to discover the road less traveled without the possibility of death by hypothermia.

Rock Band 2

Harmonix/ Pi Studios; PS3, Xbox 360 (PS2/Wii releasing December 2008)

I’ll be honest with you. There is nothing, but nothing, that can kill a night out quite like Rock Band. Speaking from experience, it usually strikes around 11 p.m., when you and your friends are, theoretically, having your last drinks and preparing to brave the San Francisco nightlife. You may have high hopes for the evening. Maybe you’ll find a cool new bar, meet some new people, or even engage in a hazy dalliance that hopefully leaves you disease- and child-free in the morning. Then, disaster strikes. Someone asks, "Hey, who wants to play a little Rock Band before we go out?" Three hours later, you are wasted, singing "Wanted Dead or Alive" at the top of your lungs, and surrounded by the same four mates you started the night with. Good-bye cool bar, new friends, and Ms. or Mr. Right (Now). The latest version promises even more lost evenings and new opportunities to show off that falsetto, with almost 100 songs from nearly every genre, including classic rock standards (Fleetwood Mac, the Who), a double helping of ’90s grunge (Pearl Jam, Alice in Chains), and ’80s metal jams (Ratt, Bon Jovi).

Mirror’s Edge

Electronic Arts; PS3, Xbox 360

First-person adventure games are the Auto-Tune (T-Pain Effect) of video games, with seemingly every major video game manufacturer using this über-realistic, up-close perspective. That said, Mirror’s Edge looks likely to revolutionize first-person shooters with its unparalleled gameplay. Players control Faith, the game’s tragic hero, on her quest to save her sister from a web of deceit woven by a corrupt communist government. The game’s gorgeous, illuminated metropolitan setting demonstrates its elite graphics, but the real attraction lies in Faith’s ambitious journey. While fighting is involved, the user must navigate the expansive urban labyrinth and find ways to infiltrate the totalitarian regime. Though it boasts more action (read: combat) than most RPG’s, Mirror’s Edge is not a game for the unreceptive, lazy gamer who simply wants to blow shit up. But if you like using your brain as well as your bullets, you will rejoice in its complex storyline, nuance, and overall gameplay.

NBA Live ’09

Electronic Arts; Xbox 360, Wii, PS3, PS2, PSP

Without the mighty Baron Davis, how are the hapless Warriors going to make the playoffs? Easy. Pick up a copy of EA’s new installment of the NBA Live juggernaut, make a few shrewd trades such as swapping Al Harrington and C.J. Watson for Carlos Boozer and Deron Williams (that’s fair, right?), start up your season, and voilà! The Warriors go 73-9, break the Bulls all-time record, cruise into the playoffs, and crush the overmatched Boston Celtics to bring the Bay Area their first title since 1975. Meanwhile, the villainous Utah Jazz are sent tumbling to an abysmal 5-77 mark (guess who’s still bitter about the ’07 playoffs?). Along the way, enjoy graphics clear enough to make out Kenyon Martin’s impressive array of neck tats, high-flying dunks more exciting than a moped ride with Monta Ellis, and gameplay so realistic that while playing as the Knicks, you’ll be too lazy to get back on defense. *

More Holiday Guide 2008.

Race and Prop 8: What’s next? Plus: Transgender Remembrance Day

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The fight against Prop 8 continues — and here’s some touching and empowering video of fierce comedian Wanda Sykes stepping up to the lesbian plate in LA last weekend (via Ta-Nahesi Coates):

(Not in attendance: Prince)

And the somewhat-exhausting dialogue about what role race played in the passage of Prop 8 also continues (um, see funny black dyke above) — and there’s sure to be some intelligent voices included at the below forum on this Wednesday (11/19) at the LGBT Center, sponsored by StopAIDS.

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Prop 8 and Race: What’s Next
A community forum
Wed/19, 7pm-9pm
SF LGBT Community Center
1800 Market, SF
www.sfcenter.org

Also, just a reminder: Thursday November 20 is Transgender Day of Remembrance, commemorating our transgender brothers and sisters who’ve lost their lives to live their lives — a surprising number of which are non-white. There will be a rally with community speakers followed by a march through the Tenderloin to City Hall this Thursday evening:

Transgender Remembrance rally and march
11/20, 6pm-8pm, free
Beginning at the TRANS:THRIVE offices
815 Hyde Street, 2nd Floor, SF
info@sfcenter.org

Plus, the fabulous LGBT synagogue Congregation Shaar Zahev will be holding a special Transgender Remembrance Shabbat at 7:30pm in Friday, November 21. (You don’t have to be Jewish to attend, trust me.)

If you can’t make it, at least light a mental candle for these recently passed-on TG warriors.

Life training, the Maasai warrior way

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By Michelle Broder Van Dyke

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Maasai Warrior Sabore Ole Oiye, aka “Baby Giraffe” at Grace Cathedral on Sept. 27, with little giraffes

To see from other people’s perspectives, and to genuinely remember (or realize) that not everyone’s lives is yours, is a gift; or so says the late David Foster Wallace in a commencement speech I read the other day on the Guardian’s Promosexual blog, recited originally in 2005. Wallace stated that we should strive to see from other people’s perspectives, remember that we are not the center of the universe and that, in fact, other people have bad days, too. So, don’t feel so sorry for yourself. Or at least something to that effect is proclaimed by Wallace, but at greater length, with more subtlety and much more eloquence. As Wallace puts it: “I can choose to force myself to consider the likelihood that everyone else in the supermarket’s checkout line is just as bored and frustrated as I am, and that some of these people probably have harder, more tedious and painful lives than I do.”

Sometimes, though, you are adjacent to a world that is so different from the one that you’re familiar with that you don’t have to choose to remember that you are not the center of the universe, because the truth of the matter is staring you in the face. Instead, the importance becomes less remembering that you are not the center, but having to come to terms with and decide what you are going to do with this knowledge. Wallace offers an option, which seems still fitting for my own experience: “The really important kind of freedom involves attention and awareness and discipline, and being able truly to care about other people and to sacrifice for them over and over in myriad petty, unsexy ways every day.”

Maasai Warrior Sabore Ole Oiye, nicknamed “baby giraffe,” towered above me at the Maasai Warrior Training at the Grace Cathedral a couple Saturdays ago, stating calmly, without even a slight smile in his eye, that he has killed two lions in his lifetime. Lifting his two-sided spear, Sabore explained that the blunt side is for throwing; the lion will first need to be declared TKO. The other side is razor-sharp, and ready to spear the lion. The Maasai warriors wear the mane of the lion home, and slide the tail over the sharp-end of the spear as they heroically return to their village.

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New Maasai warriors are trained for six to eight years in “the bush,” the all-encompassing term that refers to the wild wilderness of Kenya, which surrounds their village. The warriors learn how to slay lions, which in a polygamous patriarchal society that measures worth in manes and cattle, is extremely important. A woman in the audience asked: “What reasons make you kill lions?” To which Sabore explained, “The main reason is to show that you are brave. And then your friends will say, ‘come and marry my sister.’” They also learn, based on the ancient ways of the nomadic Maasai, basic survival skills – how to protect themselves from wild animals and how to live off of the land.

Mao and Coca-Cola

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› johnny@sfbg.com

The San Francisco Museum of Modern Art is in the grip of full-on Fridamania when I first pay a visit to "Half-Life of a Dream: Contemporary Chinese Art from the Logan Collection." Nonetheless, Yue Minjun’s terracotta warriors attract photo-ops: a little girl poses next to a solitary Yue sculpture with his hands behind his neck, while five other Yue statues (each a life-size body — barefoot in white T-shirt and blue jeans — with an enormous head: eyes closed, mouth frozen in anxious "smile") stand in formation near the exhibition’s threshold.

A single Yue also welcomes visitors to the quieter, more expansive "Mahjong: Contemporary Chinese Art from the Sigg Collection" at the Berkeley Art Museum, where 25 more Yue statues (from the 2000 installation 2000 A.D.) and numerous oil-on-canvas renderings of Yue — including a chain of 13-or-so Yues looking down on everyone — await inside. A decision to use this icon of cynical realism as a host of sorts unites the SFMOMA and BAM shows, which also feature a number of the same artists: Bird’s Nest Stadium designer and provocateur Ai Weiwei; satirical painter Yu Youhan; gay gazer Zeng Fanzhi; repetitious self-portrait specialist (like Yue) Fang Lijun; disturbing dreamer Yang Shaobin; chilly portraitist Zhang Xiaogang; candid snapper Liu Xiaodong; mordant physical observer and landscape artist Liu Wei; Tiananmen Square lookout Yin Zhaoyang; and Li Songsong, who coats memory in cake icing.

A collection of work dating from 1988 to 2008 by 25 artists, "Half-Life of a Dream" is less expansive than "Mahjong," which draws from Uli Sigg’s world’s-largest collection of contemporary Chinese art and dates back to the late stages of the Cultural Revolution. Its conceit is also more specific and restrictive: digging beneath the Beijing Olympics slogan "One World, One Dream," the SFMOMA exhibition taps into the myriad dream facets or "masks, shadows, ghosts, reveries" (to quote from Jeff Kelley’s titular essay) that drift through pre- and especially post-Mao China.

This dream theme is clear and to the forefront in paintings such as Liu Xiaodong’s 2007 Xiaomei and Zhang Xiaogang’s 2005-6 Untitled, but it grows strained when applied to, say, Liu Dafang’s urban photorealism. At times, it obfuscates the layers of a work, as when the complex mother-daughter vision of Yu Hong’s 2006 She — White Collar Worker is summarized with the quasifeminist remark that "women remain trapped in dreams of themselves." Regardless, "Half-Life" presents more than a few standout works: Gu Wenda’s hair-raising united nations — babel of the millennium (1999) and Sheng Qi’s autobiographical political memorial My Left Hand (2001) are especially formidable. Its dream analysis fits most snugly and dramatically around one of the most recent pieces — and the exhibition’s climax of sorts — Sui Jianguo’s The Sleep of Reason. There, an eternally resting Mao is surrounded by multicolored masses of toy dinosaurs.

Here’s a Mao, there’s a Mao, everywhere’s a papa-oom-Mao-Mao in the relatively playful "Mahjong," where Sun Guoqi’s 1973 Chairman Mao with the New National Emblems greets viewers with false cheer at the first of five floors (leaving aside the lower levels and snaky hallways, where some of the most provocative work resides). This traditional view of Mao is quickly punctured by Yu Youhan’s hilarious 2005 Warhol pun Untitled (Mao/Marilyn), the young androgyne Mao of Li Shan’s 1995 Rouge–Flower, the Nintendo Mao of Feng Mengbo’s 1994 Taxi Taxi, the decaying Mao of the Gao brothers’ acerbically watchful 2000 An Installation on Tiananmen, the art connoisseur Mao of Shi Xinning’s 2000-01 Duchamp Retrospective Exhibition in China, and the flirtatious Mao of the same artist’s 2001 Dialogue, to name but a handful.

Strong currents of irreverence surge throughout "Mahjong," thanks to children of Mao and Coca-Cola such as the Luo brothers, whose vulgar, comedic keepsakes of fast-food capitalism enliven "Dialogue China Part II," a group show at Elins/Eagles-Smith Gallery. (Also at Elins/Eagles-Smith, Xing Danwen’s urban fiction dioramas bring the post-human romance of Tsai Ming-liang’s 1994 Vive L’<0x2009>Amour to mind.) The exhibition’s sub-strands of subject matter include militarization and the "little emperors" and troubled girls of China’s one-child policy.

While mahjong might not be the deepest or most revelatory thematic motif for an exhibition devoted to a nation, it more than suits both BAM’s multitiered or tiled space and the rich varieties of the Sigg collection. "Mahjong" doesn’t have to beg for repeat viewings — the magnitude of the show and quirks of its arrangement demand it. In general, contemporary Chinese painters tend toward large-scale representation, perhaps most successfully when — as with Zhou Tiehai’s looks at Joe Camel — one gets the sense that the grand gesture itself is being mocked. But one of the exhibition’s best works is also its tiniest: Lu Hao’s A Grain of Sand (2003) is a 1/4-by-1/4-inch memorial to the individual, a figure perpetually under assault — whether by communism or hypercapitalism.

DIALOGUE CHINA PART II

Through Sept. 30

Elins/Eagles-Smith Gallery

49 Geary, Suite 520, SF

(415) 981-1080

www.eesgallery.com

HALF-LIFE OF A DREAM: CONTEMPORARY CHINESE ART FROM THE LOGAN COLLECTION

Through Oct. 5

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

MAHJONG: CONTEMPORARY CHINESE ART FROM THE SIGG COLLECTION

Through Jan. 4, 2009

Berkeley Art Museum

2626 Bancroft, Berk.

(510) 642-0808

www.bampfa.berkeley.edu

American Dreamer: Obama’s big night

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TheRoad.jpg
Steven T. Jones and Kid Beyond are driving to the Democratic National Convention in Denver, stopping by Burning Man on the way there and back, reporting on the intersection of the counterculture and the national political culture.

By Kid Beyond

Thursday. The Big Event. We’ve moved to Mile High Stadium (I refuse to call it “Invesco Field at Mile High”). It’s sweltering outside. 70,000 people are streaming into the stadium. Beaming young volunteers in their 20’s and 30’s. Families. Boy Scout troops in full uniform. Bubbly, wholesome, multi-racial excitement pervades. It’s like a Black Eyed Peas show.

Howard Dean lands with a thud. “I’m the chairman of the Democratic National Committee, and I know exactly how many houses I own.” He’s halting, rusty. The crowd is non-plussed. He’s done wonders for the party as Chairman, but it’s hard to believe this was the Obama of 2004.

Martin Luther King III, marking the anniversary of the “I Have A Dream” speech, honors the legacies of both his father and Bobby Kennedy — the fallen warriors of 1968. If Martin and Bobby had had a kid, it would be Barack Obama.

Russia v. Georgia: Some perspectives

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Once you get started on this stuff, it’s hard to let go.

As usual, some of the best material on what’s really going on in Georgia has appeared in the British press, not in the NY Times. I’ve put together a few links that give some perspective here.

From the London Independent: Saakashvili sucked up to the West and gambled that NATO would back him when he got in a firefight with Russia

Also from the Independent, check out the comments here on how Saakashvili may have started the whole thing

From the UK Guardian, some good background on what Russia is demanding

And I’m posting below an intelligent piece by J. Victor Marshall of the Independent Institute over in Oakland. Marshall has a bit of the Peter Dale Scott in him, but this is well worth reading.

Georgia on My Mind

By J. Victor Marshall

Whenever a crisis somewhere in the world involves Russia, members of Americas political establishment appear gripped by a collective psychosis.

The latest revival of Cold War rhetoric comes on the heels of Russias incursion into neighboring Georgia to counter its recent attack on the ethnically distinct enclave of South Ossetia.

South Ossetia, which was once part of the Soviet republic of Georgia, has increasingly asserted its independence since 1991, when several thousand Georgian troops invaded, unleashing barbaric violence on both sides.

Its no surprise that armchair warriors like Vice President Cheney, uninterested in the regions complex history, now bluster that Russian aggression must not go unanswered.

But Democratic hawks like Richard Holbrooke are no less quick to raise the specter of the Cold War and declare ominously, Moscow’s behavior poses a direct challenge to European and international order.

Hunting the lord of war

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› gwschulz@sfbg.com

Accused illegal arms dealer Victor Bout’s long-awaited arrest by Thai police officers March 5 was an important victory against unchecked human rights abuses around the world, and a personal vindication for the San Francisco woman who helped bring Bout to international attention.

Bout arrived at the luxurious Sofitel Hotel in Bangkok believing he was to meet with two senior leaders of the Marxist guerrilla army known as the Revolutionary Armed Forces of Colombia, or FARC. The men, it turned out, were paid informants operating on behalf of US drug enforcement officials.

Through an associate, the 41-year-old Bout allegedly promised to sell the duo large quantities of weapons to continue FARC’s decades-old insurgency against the Colombian government. According to an April federal grand jury indictment filed in New York, the arms included surface-to-air missiles, AK-47s, C-4 explosives, land mines, and even people to help train FARC soldiers in using the weapons.

Among those most relieved — and surprised — at the arrest was a relentlessly determined human rights investigator who lives in San Francisco. Kathi Lynn Austin, 48, has been pursuing the notorious trafficker and war profiteer for more than a decade.

Bout, a former USSR Air Force officer, is widely reputed to be one of the world’s most active criminal arms dealers, perhaps best known for his spectral presence on the African continent. There, he cultivated professional relationships with its litany of brutal dictators and helped fuel some of the most appalling human rights tragedies of the last century.

Austin and other investigators, as well as journalists and law enforcement officials in several countries, say that Bout expertly structured a business empire of shell companies, dubiously licensed cargo planes, and endless arms accumulations from former Soviet stockpiles — all of which were intended to minimize evidence linking his name to illegal weapons dealing.

But the work Austin did to penetrate that shell and expose Bout was so notable and dramatic that Paramount Pictures announced in December 2007 that superstar Angelina Jolie would play her in a drama inspired by Bout’s infamous career.

It’s a stunning achievement for someone who 15 years ago struggled to convince even her colleagues in the human rights community that the end of the Cold War and the globalization of organized crime made nonstate actors like Bout as much of a threat to peace as the tyrannical governments they’d been naming and shaming for years.

"A human rights violation is considered a violation that is carried out by a state actor," Austin told the Guardian. "We were trying to change the whole field of human rights to philosophically say we should be going after these private perpetrators as well."

Austin has helped document Bout’s convoluted network since about 1994, first as a consultant for Human Rights Watch and later as arms and conflict director for the Washington, DC–based Fund for Peace, for which she maintained a San Francisco office, before eventually working for the United Nations.

After returning to San Francisco in June from an 18-month UN mission in East Timor, Austin agreed to talk about her investigations of Bout over several hours of interviews near the North Beach apartment where she’s been holed up writing material for the Paramount script.

Seeing Austin in a crowded coffee shop with clear features and wide, earnest eyes, it’s not easy to imagine her charging through the world’s hellholes: Rwanda, Sierra Leone, Liberia, the Democratic Republic of the Congo, Angola, and other African conflict zones where the UN has imposed longstanding but ineffective arms embargos.

The work of Austin and others repeatedly helped show that death and destruction could continue indefinitely for the right price paid to savvy arms brokers like Bout, while the United States failed to regard the plight of civilian populations across Africa as vital to its interests.

As the world would learn in 2004, even the US military relied on Bout’s planes to conveniently bring its partially privatized war machine down on Iraq, making this story about more than just Bout and his pursuers.

Following Bout’s arrest in Thailand, federal prosecutors here charged him with conspiring to kill US nationals and attempting to illegally acquire anti-aircraft missiles.

In 1997 the United States designated FARC a terrorist group for kidnapping and murdering American citizens in Colombia. US officials also consider Colombia the globe’s largest supplier of cocaine, a trade that’s kept the leftist rebels afloat.

Bout allegedly told DEA informants that an ongoing, violent campaign by the FARC to counter America’s cocaine fumigation efforts in Colombia was his fight, too, and that he could supply the guerrillas with everything they needed.

Days after this story goes to press, however, he’s due for a court hearing in Bangkok, where a judge will decide whether to extradite him to the United States. That means Bout could face a criminal trial on American soil. To Austin, that’s long overdue. She had lost hope that her country would subdue a top-tier enabler of gross human rights violations. A secret sting operation led by American narcotics agents was the last thing Austin believed would lead to Bout’s capture — and for good reason.

She first became aware of his name in 1994, shortly after witnessing one of the brightest moments in contemporary African history. On April 24 of that year, Austin stood near the polling station as Nelson Mandela, a political prisoner of 27 years, marked his ballot in South Africa’s first fully democratic election. She’d been invited to attend after working as a researcher in the Natal province documenting political violence and the apartheid government’s desperate attempts to preserve decades of white control through upheaval and destabilization. No one was sure Mandela would reach the ballot box.

"We got up at three, four in the morning to load a bus," Austin recalls. "Nobody told us exactly where it was. We had to go under cover of darkness. When we got there, he voted just after the sun came up."

The inauguration party weeks later spilled out everywhere in Johannesburg. Austin mingled with foreign journalists and drank champagne. But one of the greatest parties of the century turned glum as vague reports mounted describing trouble in a nearby country, one smaller than Maryland and at the time unknown to most Americans: Rwanda.

"Nothing was really clear. It was all very ambiguous," Austin remembers. "We just kept hearing these reports that 10 Belgian peacekeepers had been killed and the UN was pulling out and people were dying on a massive scale."

The Rwandan genocide would become one of the greatest human atrocities since the Holocaust as extremists from the ethnic Hutu majority massacred at least 800,000 minority Tutsis and Hutu moderates with gruesome efficiency while the world stood by.

As details emerged, Austin raised money in the United States and worked to get to the beleaguered African nation as soon as possible. Meanwhile, a Tutsi-led military offensive defeated the Hutu Power government in the capital city of Kigali by July 1994 and supposedly ended the genocide. But as Austin and others would learn, the violence was far from over.

Hundreds of thousands of refugees streamed toward the eastern border of neighboring Zaire, among them the perpetrators of the genocide. Hidden inside refugee camps, Hutu militias renewed their strength and began amassing weapon caches with the quiet support of Zairian dictator Mobutu Sese Seko.

Austin fearlessly penetrated the militia encampments, persuading exiled Hutu military leaders to disclose how they had obtained antitank grenades and high-caliber ammunition. The list included Col. Théoneste Bagosora, considered to be a chief architect of the genocide. Her trick? Austin told them she was a researcher for the neutral-sounding Institute of Policy Studies — which was technically true — and simply needed to hear their side of the story.

"It was a really treacherous place to be," Austin said. "At the time I appeared young, nonthreatening. I didn’t often say I was with Human Rights Watch…. In any kind of organization, people are motivated by many different things. You find those sources that for some reason or another want to help out or are so ego-driven they don’t think that any information they give to you is going to be used somehow against them."

She also interviewed members of flight crews who gave her information on cargo companies hired by the Mobutu government to secretly supply its Hutu allies with weapons by falsifying official flight plans and end-user certificates, key legal requisites designed to curtail transnational arms shipments.

According to her later Human Rights Watch report, "The militias in these camps have taken control of food distribution, engage in theft, prevent the repatriation of refugees through attacks and intimidation, carry out vigilante killings and mutilations of persons suspected of crimes or of disloyalty … and actively launch cross-border raids."

What didn’t make sense was how the suspected ringleaders of the genocide could obtain weapons despite the return of peacekeepers to the area and an arms embargo on Rwanda imposed by the UN.

CIA investigators later discovered that planes belonging to Bout were involved in supplying the outlaw Hutus, according to Douglas Farah and Stephen Braun’s definitive book on Bout, Merchant of Death: Money, Guns, Planes, and the Man Who Makes War Possible (Wiley, 2007).

Austin also came to that conclusion by the end of an eight-month fact-finding trip to the region carried out in 1994 and 1995. Her findings for Human Rights Watch helped propel her to international notoriety as more NGOs focused on illegal arms flows coming from private brokers.

"The Rwandan genocide was really the watershed, for me and for Bout," Austin said. "In the early years, he’s building his empire and I’m beginning to narrow what I want to investigate. I was becoming more and more convinced that in all the wars I was looking at, it was logistics. It was all about who could bring in the guns, the fuel — keep the war going."

Back then, Bout was still a bit player among many weapons suppliers working on the continent, according to Austin. But he soon did something that would significantly boost his career and help make him what another Bout pursuer once described as "the McDonald’s of arms trafficking." He switched sides and helped the new post-genocide Rwandan leadership topple the neighboring Zairian presidency of Mobutu, Bout’s own longtime client.

Zaire is known today as the Democratic Republic of the Congo. Bout would make yet more money years later aiding another warlord who attempted a violent coup inside the country, Jean-Pierre Bemba. The International Criminal Court last month charged Bemba with mass brutality and rape committed against civilians between 2002 and 2003.

"He [Bout] has no loyalty," a Bout associate told Merchant of Death authors in 2006. "His loyalty is to his balls, his sweet ass, and maybe his wallet."

Probably Bout’s most cynical move occurred in Afghanistan. At the start of his career, in the early 1990s, he allegedly maintained an intimate business relationship with commanders of the Northern Alliance, the tribal army that fought Taliban extremists for years until gaining power in Afghanistan with US help following the Sept. 11 terrorist attacks.

US officials began openly acknowledging in 2005 that Bout earned as much as $50 million also furnishing the Taliban with military equipment during its reign over the country.

Austin’s upbringing is the antithesis of what one might expect from an international human rights investigator. The oldest of five kids, she played guitar in a country-and-western band with the rest of her siblings, embarking on tours throughout the South from their home in Richmond, Va.

"We would play for people who had no money," she said. "We’d camp out for three days just to give them some music."

In the ’60s , the family of Baptists played at small African American churches during the climax of Southern segregation and against the backdrop of racist terror. They defied the neighbors and invited black friends over for dinner or socialized with them publicly. The Austins were largely apolitical, but Kathi says her parents insisted on human decency and encouraged a basic sense of justice and rebellion.

Her exposure to the destitution of many formerly enslaved black families in the South translated seamlessly in her own mind to Africa, a continent that fascinated her. But her understanding of the continent was limited.

"I just wanted to go save Africa one day. It was what I said I wanted to do with my life when I was really young…. I had this kind of missionary zeal, this very naïve, humane impulse."

Few people in her family considered going to college, but Austin hungered for academic achievement, securing a scholarship to the University of Virginia in the late ’70s.

Civil rights turmoil at the school politicized her and transformed her deeply. A model Organization for African Unity held for college students each year at Howard University in Washington, DC had the greatest impact. She attended it devotedly for several years. After competitive debates, politicians, professors, and other experts would speak to the students about Africa’s colonialist history and the anti-Apartheid movement.

"I really began to understand a lot of the underpinnings of what was going on with the African liberation movement in South Africa," she said. "I became engrossed in it and learned a lot intellectually and got a good sense of what I thought."

Austin began to zero in on the Ronald Reagan administration’s agenda of undermining Soviet communist influence in the region. The United States covertly backed the UNITA rebels in Angola against a communist-led liberation movement there, and continued to support the white-dominated and separatist apartheid regime of South Africa.

She wanted to investigate the unsavory relationships Reagan’s White House had developed on the African continent in its crusade to defeat communism during the Cold War. But Austin was aware of only two think tanks in the capital that examined such issues and had a reputation for attracting left-leaning luminaries. One was the nonprofit National Security Archive, a repository of declassified intelligence and foreign policy documents obtained largely through Freedom of Information Act requests.

Headquartered at George Washington University, lawmakers concerned about US covert activities abroad and some of the nation’s best-known journalists, including New Yorker writer Seymour Hersh, palled around at the independent, nongovernmental research library after it was founded in 1985 by a group of muckracking reporters and scholars.

Austin’s internship there in 1988 created a new realm of possibility — solo investigations — and sparked an interest in following the intricate paper trails that accompanied her growing knowledge of Africa’s geopolitical landscape, frequent outbreaks of low-intensity conflicts, and evasive weapons procurers.

But she still had never been to Africa. "That was my big ambition," she said. "If there’s anything about me it’s that I’ve got to see for myself."

As her ties to Washington expanded, she joined a World Bank urban rehabilitation team, writing political and economic background reports on Angola in 1989, believing she could make a difference inside the ill-reputed lender to developing countries.

She didn’t, but it was enough to give her first contact. After that trip to Angola, Austin used her savings to stay behind, joining a UN mission overseeing the withdrawal of Cuban troops above the 19th parallel, who were there as a result of Angola’s years-long civil war. She later went to Mozambique on a MacArthur Foundation grant and interviewed private mercenaries operating there for a report called "Invisible Crimes" that included a simple investigative formula she would employ for years to come: What’s wrong? And who’s doing it?

"Through the years, you realize just what kind of danger she’s in," her sister, Cindi Adkins, said from Virginia. "We would go days, weeks, months without hearing from her. My mom would say, ‘We have to call the Red Cross and see if we can find out that she’s okay.’<0x2009>"

Wanting to escape Washington culture, she moved to North Beach in 1997 after becoming entranced by San Francisco’s slower pace. Between missions, she’d spend full days at Caffe Sapore on Lombard Street writing a book about arms trafficking she’s still working on today.

Stanford University’s Center for African Studies invited her to become a visiting scholar for a year, researching arms proliferation and lecturing students, while the Goldman School of Public Policy at the University of California, Berkeley, did the same thing shortly afterward.

But the San Francisco–based Ploughshares Fund became one of Austin’s biggest supporters, helping her finance the creation of a local arms and conflict office for the Fund for Peace, an antiwar think tank in Washington.

"At that time, one of the areas we did a lot of funding in was the control of small arms and light weapons," said Deborah Bain, Ploughshares’ communications director. "Kathi was someone who did a lot of very courageous work tracking arms flows around the world. We were very impressed with the work she was doing and the kinds of results she was getting."

By then the UN had grown to understand the need for knowledgeable people on the ground who could travel across various war-torn African countries and gather evidence on who was vioutf8g arms embargos and how they were doing it. In the coming years, Austin served as a consultant and official expert on panels that investigated sanctions violations in Liberia, the Congo, Uganda, Burundi, Sudan, and Sierra Leone with teams of other human rights investigators who’d long followed Bout’s operations.

Her ex-boyfriend, Todd Ewing, a foreign economic development specialist and Bay Area native who began dating her in East Africa during the ’90s, described Austin as intense and ambitious. While his own blonde hair and six-foot frame made him conspicuous in the region, he said Austin’s "big brown eyes" and polite manner enabled her to slyly convince gritty characters to talk.

"Her MO at that time would be to just disappear for months [on fact-finding trips]," Ewing said. "I always liked to describe her as a sort of spy for the good guys."

Observers say that history handed the equally ambitious Victor Bout a perfect storm in 1991 at just 24 — an age when many Americans are looking for their first post-collegiate job.

The Soviet empire dissolved that year, ending the Cold War between Russia and the United States. Economic globalization expanded and gave every creative entrepreneur with good connections, criminal or legit, a chance to make a fortune. Aging Cold Warriors in the Beltway during the Bill Clinton era and later in George W. Bush’s cabinet maintained a stark binary ideological view of the world and failed to take seriously the growing threat posed by transnational criminals who had exchanged ideology for profit.

After the Berlin wall fell, corrupt Russian oligarchs infamously plundered the country’s assets as they were privatized following years of state control. Some robbed Russia’s rich oil reserves. Bout sought its military installations and airfields containing rows of cheaply available and unused commercial planes, all essentially abandoned by the central government.

Profiles of Bout put him in Angola — and possibly Mozambique — working as a translator for Russian peacekeepers when the Soviet Union broke up. US officials say Victor Anatolijevitch Bout was born in Dushanbe, Tajikistan, a deeply impoverished former Soviet state, and speaks several languages.

Bout told the New York Times in a rare 2003 interview that he purchased three Antonov aircraft for next to nothing in 1992 and used them to exploit a gap in the transit market, at first ferrying innocuous cargo like flowers from South Africa to the Middle East.

But the mogul quickly fostered connections to old Eastern bloc manufacturing and storage facilities in places like the Ukraine and Bulgaria, which were filled with AK-47s — ubiquitous in the developing world — ammunition, tanks, helicopters, and other military equipment.

Over time, investigators say he erected a complex web of cargo and airline companies designed to throw off suspicion. If one firm faced too much attention from aviation authorities, another was created to hold the assets. Otherwise, bribery, fraud, and forged documents were used, according to a report on Bout created by the US Treasury Department. In many African countries, aviation regulations are weak and international law is rarely enforced.

"Unless confronted with documentary evidence to the contrary, Bout’s associates consistently deny any involvement with Bout himself or playing any role in arms trafficking," the treasury report from 2005 reads.

US officials believed by then that he controlled the largest private fleet of Soviet-era aircraft in the world and employed hundreds of people, overseen partly from a nerve center in the United Arab Emirates, at the time a fast-growing and highly unregulated intercontinental transportation hub east of Saudi Arabia.

The Treasury report and other investigations say Bout became a confidante of the Liberian dictator Charles Taylor, supplying him with gunships and missile launchers. Taylor is currently on trial in the Hague for directing horrifying atrocities in neighboring Sierra Leone, ranging from widespread and extreme sexual violence to drugging and forcing children into combat.

When treasury officials here finally moved to seize Bout’s assets and bar Americans from doing business with him in 2004, they concluded that he had received diamonds extracted from Sierra Leone in exchange for supplying arms to Taylor.

That year saw one of Austin’s boldest attempts to confront the trafficking of illicit goods, on an airport tarmac in the Democratic Republic of the Congo, at that time under its own arms embargo. A UN team Austin worked with uncovered piles of questionable registration records during a surprise inspection of two dozen planes, some of which fit Bout’s profile, as their Russian crews stood by, annoyed.

"I only told one or two high-ranking UN officials to get their permission, so we could be sure it didn’t get leaked out," Austin said. "None of the people involved in the actual inspection knew about it until that morning…. I’m still surprised it was so effective. I’m not sure it would work again."

International aviation rules require pilots to maintain several different types of documents, but the group found that 21 planes had invalid registration papers, two had false airworthiness certificates, and three had no insurance to speak of — telltale signs of smuggling. The group determined that weapons in the area were being exchanged for illegally mined columbite-tantalite, or coltan, a valuable mineral contained in some modern electronic devices such as cell phones.

The revelation led the UN Security Council to place Douglas Mpamo, a prominent alleged Bout manager in the region, on the DRC sanctions list, along with a pair of well-known Bout subsidiaries. With Austin’s help, another reputed top Bout lieutenant named Dimitri Popov made a similar security watch list in the United States.

Meanwhile lower-level bureaucrats in the US State and Treasury departments collected evidence on Bout for years, assisted by Austin, who occasionally met with them to relay information she had gathered on fact-finding missions. She testified to Congress about the proliferation of small arms, too, but after Sept. 11, the White House drifted away from a growing campaign to stop Bout.

"I don’t think the Bush administration should get any credit for the fact that Victor Bout was arrested," Austin said. "I think it has to do with the DEA being insulated from the policy influences of the administration. They kept the case so secret they were able to succeed. In the past, once it became an interagency issue or problem, bureaucratic inertia and turf wars entered in and always raised some obstacle to the actual pursuit of Bout."

Eventually, that bureaucratic inertia began to look like something far more shameful.

On April 26, 2005, several state and federal law enforcement agencies including the FBI, IRS, and Dallas Police Department, raided two homes and an office in Richardson, Texas, looking for evidence that Bout’s tentacles had reached the United States.

The properties belonged to a Syrian-born American citizen named Richard Chichakli, who had served in an aviation regiment of the US Army during the first Gulf War. After being discharged in 1993, Chichakli helped create a free trade zone in the United Arab Emirates.

That’s where Chichakli likely first met Bout. Chichakli later returned to the US and became licensed as an accountant and an expert in military contracting. Officials found records showing that the 49-year-old Chichakli had created American companies connected to Bout.

Also discovered during the raid were wire transfer statements showing hundreds of thousands of dollars at a time moving from Bout-connected companies in the UAE to Chichakli in Texas, and credit card invoices managed by Chichakli listing Bout’s lavish purchases at businesses serving the nouveau riche of Moscow.

The raids were the result of a July 2004 executive order signed by President Bush — who, facing pressure from the UN, authorized the raids and prohibited Americans from doing business with Bout due to his connections to Taylor in Liberia.

The White House’s action came years after Austin and other investigators compiled their own research on Bout’s role in arming African warlords. Thirty companies and four individuals were added to a blocking order as a result. Federal court records from the case include extensive references to UN reports on Bout, including some Austin worked on, like one citing witnesses who saw a Bout-connected plane transporting large volumes of arms and ammunition through a Congolese airport between February and May 2004. Something was finally being done, or so it seemed.

But Austin and her colleagues were furious to learn that the US Defense Department hired Bout’s vast air armada with taxpayer money nearly 200 times in 2004 alone to ferry supplies and construction materials into Baghdad after the start of the Iraq war.

Merchant of Death co-author Braun, a Los Angeles Times national correspondent, reported for the paper in December 2004 that two well-established Bout companies, Air Bas and Irbis, had contracted with the US Air Force and Army as well as private companies like FedEx and Kellogg Brown & Root, the much-maligned former Halliburton subsidiary. The State Department had circulated a list of Bout companies warning its officials not to use them, Braun wrote, but the Pentagon made no similar effort.

A fuel purchase agreement included in Chichakli’s court file shows that the Defense Department used Air Bas "for official government purposes" just nine days after Wisconsin Democratic Sen. Russ Feingold questioned top defense officials, including then–Deputy Secretary of Defense Paul Wolfowitz, about such contracts. But Wolfowitz didn’t acknowledge what he eventually characterized as the "inadvertent" use of Bout’s planes for Feingold until months later.

When Austin delved into the issue in 2005 with fellow Merchant of Death author Farah, a former West African bureau chief for the Washington Post, the pair obtained new information for an article in the New Republic showing that the US military also used Bout-controlled companies during a four-month period in 2005, long after the "inadvertent" contracting had first been publicized.

The discoveries were a major letdown for Austin. She’s discussing with some NGOs the possibility of suing the federal government for vioutf8g its own presidential executive order. But Austin knows that even if Bout lands in a US prison for life, there will be someone else to take his place. It’s already happening, she says. As dark as it sounds, Austin will never have to go without a job.

"I’ve seen so much of the same thing go on year after year," Austin said. "You just have to take it in stride and keep coming back punching and hitting. That’s just the nature of the beast, the nature of the work that I do. You just have to keep going."

You’re going to myth me

0

You don’t need to pick up all the subtleties of Berkeley-born Iranian American artist Ala Ebtekar’s work to appreciate the resonant beauty of, for instance, The Ascension II (2007), and its angelic, part-griffin, semi-human, quasi-Homa messenger drawn from Persian mythology, winging across reams of Farsi as assorted readers’ delicate notes intricately lace the printed manuscript. But it helps to know that the iconography of that winged messenger reaches back 5,000 years to a pre-Islamic Iran, was eventually appropriated in depictions of Ayatollah Khomeini, and that the angels with keys dangling from their necks, surrounding the wary mythical creature, refer to the child soldiers enlisted during the Iran-Iraq War (1980–88) to run across battlefields and detect land mines. "They’d give these kids these keys to heaven," explains Ebtekar at his Palo Alto studio near Stanford University, where he received his MFA. "It’s like, ‘Whoa!’ That’s a certain kind of mythology, but it’s tapping into something apocalyptic."

And you don’t need to know the specifics of aerospace design to appreciate the watercolor, acrylic, and ink jets tearing across script in The Breeze of Time (2002): they happen to be the exact ones used in the Iran-Iraq War. Ebtekar is aware that viewers bring their own connections to the work. "Yeah, I was doing this stuff before 9/11, in school, on book pages, and then 9/11 happened and I stopped. I thought, there’s no way I can do this," he recalls. Much of his work tied in directly with the Iran-Iraq War, a part of his own personal mythology, and the reason his activist Iranian parents remained in the States. "I was very much tapped into those older stories and histories. But then they announced the [Iraq] war, and I thought, actually, if there’s any time to do it, it’s more important to do it now than not."

The urgency of the present continues to call to Ebtekar, who draws from his studies in Iran of the refined art of Persian miniature painting and the less-known, more visceral field of coffeehouse painting for his works, which range from the aforementioned pieces that play off rich layers of text and imagery — and Iranian poetry and history — to large-scale graphite drawings that superimpose the outlines of Iranian wrestlers — current street-level mythological heroes — with hip-hop figures culled from Ebtekar’s music-obsessed youth, one spent DJing at parties and interning as a hip-hop DJ at KALX 90.7 FM.

As we listen to classic tracks by his mother’s pop idol, Iranian diva Googoosh, and scope out images of strongmen striking poses in a zurkhaneh (house of strength), juxtaposed with aerodynamic break-dancers in his studio — aptly situated over a downtown Palo Alto coffeehouse and crammed with art supplies, books, cassettes, vinyl, and a Tehrangeles T-shirt Ebtekar made for the 2006 California Biennial — it’s clear the artist’s pop interests still find a way to light: witness the 2004 Intersection for the Arts show that saw Ebtekar pairing a white-washed Iranian coffeehouse installation with shoes sporting fat laces fashioned from ornate Persian textile. "Bay Area Now 5" will find him combining his two approaches with a piece that layers ancient and modern-day warriors in a ghostly epic that looks backward and forward — a gesture familiar to Ebtekar, who rolls his eyes over John McCain’s comment on recent cigarette exports to Iran — "Maybe that’s a way of killing them" — and is currently teaching art at UC Berkeley in preparation for his dream. By 2011, he wants to start an art foundation and school in Iran.

After the US presidential election, Ebtekar hopes he can make it happen. First, he says, "there needs to be more diplomacy. In Iran, there’s this thing about nostalgia. You had such a great empire in the past — how do you move forward?" As a Bay Area 18-year-old who fell in love with Iran when he studied art there in 1997, he’ll be able to synthesize the past and future, bringing his ancestral mythology back to the old country in new forms. "It’s like having these multiple identities and being able to tap into this side of you and that side of you," Ebtekar explains. "They’re not clashing, you know what I mean. They’re rocking it full force."

The Hot Pink List 2008

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>>ALLAN AND LEO HERRERA



Yes, they’re gay brothers, which is, like, totally hot. But even if they weren’t related, their individual artistic creations would have us on the hook. Heads of HomoChic (www.homochic.com), the new gay mafia collective that combines gallery shows, fashion design, and nightlife craziness into mind boggling events, they’re inspiring the latest generation to revel in its scandalous past. Leo’s photography mixes porn with historical reference to dizzying, stimuutf8g effect. Allan’s costuming and styling brings bathhouse and backroom gay culture to light. Currently the Chihuahua, Mexico-born siblings have pieces in the queer Latino "Maria" show at Galería De La Raza. Leo features pants-raising boy-pics and a video installation centered on Harvey Milk. Allan, whose Money Shots underwear line graces many an alternaqueer’s backside, displays a chandelier made of 2,000 pink condoms.

MARIA

Through July 4

Galería De La Raza

2857 24th St., SF

(415) 827-8009

www.galeriadelaraza.org


>>ANNIE DANGER



Who’s the superbusy M-to-F artist and activist stirring up trouble with the mighty force of a Dirt Devil — the one they call Annie Danger? She’s sketched flora and fauna for environmental manifesto Dam Nation (Soft Skull Press, 2007), appeared as a blackjack-playing nymph in a shit-stirring Greywater Guerillas performance, dressed like a wizard at a recent Gender Pirates party, and just played Pony Boy in a queered-up "Outsiders." Right now at Femina Potens gallery (www.feminapotens.org), you can see her as Sister Wendy, the wimpled PBS art nun, in her video for "Untold Stories: Visual and Performative Expressions of Transwomen." In a rare occurrence, you can meet Annie Danger as herself at the National Queer Arts Festival’s edgy "TransForming Community" spoken word event. Who she’ll be when she MCs Friday’s thrilling Trans March (www.transmarch.org) is anyone’s delightful guess.

TRANSFORMING COMMUNITY

Thurs/26, 7:30 p.m., $8–$15

LGBT Community Center

1800 Market, SF

(415) 865-5555

www.queerculturalcenter.org


>>DEXTER SIMMONS



"I worry not just for fashion, but for the future of television," this multitalented fashion designer, stylist, hair and makeup artist, model, and Oakland native told us with a laugh backstage at the Vans Warped Tour, where he was frantically preparing bands for the stage. "There’s a cheesy aspect creeping in right now because of fashion reality TV that scares me. It looks too easy, and creates too many followers. Wise people want one-of-a-kind, personalized looks. That’s why I love San Francisco," he adds. "It’s small but big — global even — and it likes to take risks." Dexter’s company, FLOC (www.teamflocouture), formed with his best amigo Lauren Rassel, has been taking local runways and nightclubs by fierce, feathery storm since it was formed two years ago, and local rockers like Von Iva and Svelt Street swear by FLOC’s Warriors-inspired designs. Now working as a stylist for SF-based online retail giant Tobi.com, Dexter seems destined for the big time — his designs are penetrating the world and making heads turn a wee bit sharper.


>>CHELSEA STARR



She’s too-too much, this Miss Starr. A genre-straddling DJ and ubiquitous promoter celebrated for her many regular parties (including new weekly Buffet at Pink, a fabulously popular all-female DJ weekly shindig, and Hot Pants, a queer biweekly that draws out the crème de la crème of the city’s thigh-baring night owls), as well as a groundbreaking writer who just toured the country as part of the Sister Spit all-girl spoken word road show, and a fashion designer with her very own eponymous line of eminently wearables — there are just so many ways to love her. This week she’ll find time to spin at umpteen Pride parties, as well as at her very own special Pride edition of Hot Pants. "I’m also a twin, a Gemini, and a cookie monster," Chelsea tells us with a wink.

HOT PANTS

Fri/27, 10 p.m., $5

Cat Club

1190 Folsom, SF

(415) 703-8964

www.myspace.com/hotpantsclub


>>JOSH CHEON



We can’t fib — smarties turn us on. So when we heard that cutie DJ Josh Cheon, host of West ADD Radio’s thuper-queerific "Slave to the Rhythm" program (www.westaddradio.com/slavetotherhythm) held advanced degrees in cell biology, neuroscience, and psychology, we suddenly had to hide our pointiness. An integral member of San Francisco’s gay vinyl-fetishist collective Honey Soundsystem (www.honeysoundsystem.com), Cheon just got back from rocking London’s premiere alternaqueer club, Horsemeat Disco. While his radio show’s name pays homage to Grace Jones, his eclectic sets encompass Candi Staton classics and Detroit Rock City jams. As a featured disc-meister at Bibi, San Francisco’s glorious, charitable party for Middle Eastern and North African queers, he taps his Lebanese roots with Arabian and Persian pop and disco favorites like Fairuz, Googoosh, and Dalida — and some surprise grin-givers from the likes of Boney M.

BIBI

Fri/27, 9 p.m., $20

Pork Store Café

3122 16th St., SF

(415) 626-5523

www.myspace.com/BibiSF


>>MONISTAT



She’s everywhere, lately, this feisty mistress of the night. Trash drag fanatics, glamorous electro freaks, after-hours hipster hot tub revelers — she’s a muse to many, with a sharp tongue and handmade Technicolor outfit for all. Plus, just in general: hot Asian tranny fierceness. "I’m thoroughly inspired by the pigeons in the Civic Center," she tells us. "Also, parties full of beautiful people worshipping me." She’ll be hosting the Asian and Pacific Islander stage at this year’s Pride festivities. But first this plus-size supermodel, trainwrecking DJ, oft-blacklisted performer, and dangerous skateboarder will be throwing a sleazoid party called Body Rock on gay-historic Polk Street "for the musically impaired and fans of a man in a dress, which would be me. I’ve walked through the fire and come out blazing!"

BODY ROCK

Thu/26, 10 p.m., free

Vertigo

1160 Polk, SF

(415) 674-1278

www.myspace.com/monistat7


>>CHRIS PEREZ



Which highly influential SF gallery owner brought John Waters, Todd Oldham, the mayor, and hundreds of sweaty kids together (with a couple kegs) under one roof this spring for photographer Ryan McGinley’s West Coast solo debut? Chris Perez of Ratio 3, whose shows also helped artists score Artforum covers and big time awards. Perez pairs an intuitive talent for identifying a popular hit with innovative curatorial decisions. But his space is no mere white box in the gourmet ghetto: "You’re never just walking down Stevenson," explains this escapee from Catholic school and former San Diego Museum of Photographic Arts volunteer. "Unless you’re hooking up or getting cracked out." Or peeping great art. On Friday, Ratio 3 dresses up as ’90s queer-radical gallery Kiki, for "Kiki: The Proof is in the Pudding," a group tribute to late curator-activist Rick Jacobsen.

KIKI: THE PROOF IS IN THE PUDDING

Fri/27, reception 6–8 p.m., free

Ratio 3

1447 Stevenson, SF

(415) 821-3371

www.ratio3.org


>>HUNTER HARGRAVES



If you think constant AIDS activism is exhausting, try doing it in drag. Stanford grad Hunter heads up StopAIDS (www.stopaids.org) community initiatives by day, and is a board member of diversity-seeking And Castro For All (www.andcastroforall.org), through which fellowships in his name are awarded to young queer activists every year. By night and early morning he becomes Felicia Fellatio, a precariously-heeled tranny who’s single-handedly hauling grunge back onto drag stages — a recent flannel-drenched lipsync of Pearl Jam’s "Jeremy" teared up many a jaded eye — and he DJs queer punk parties like Trans Am (www.myspace.com/transamtheclub) and Revolution, the hot monthly tea dance for HIV-positive men at Club Eight (www.positiveforce-sf.com). Felicia also auditioned for America’s Next Top Model (seriously) but was eliminated when her man hands slapped someone prettier. You can catch Hunter and Felicia, although probably only half of each, at the StopAIDS booth at this year’s Pride celebration.


>>ALICIA MCCARTHY



Hipsters sporting $80 faux-penciled rainbow patterns and glossy-mag ads with jagged color intersections are fronting a style artist Alicia McCarthy helped originate — but she does it a hundred times better. Her current show at Jack Hanley takes off in a dozen different directions from her signature shapes and spectrums in a manner that reflects an honestly fractured identity. Coiled thought forms, a wooden chair facing the backside of a scruffy penguin flying toward a wall of mirrors, and a show-within-the-show by friend Stormy Knight that includes sketches by a parrot named The National Anthem and sculpture by Redbone the dog. McCarthy’s latest exhibition also displays more than a few small works subtly placed where a wall meets the floor, which goes to show that she’s still making some art that only people who pay attention will discover.

ALICIA MCCARTHY

Through Sat/28, free

Jack Hanley Gallery

395 Valencia, SF

(415) 522-1623

www.jackhanley.com


>>MON COUSIN BELGE



Half-naked, goo-spitting art rock in a sling never got so deliciously tawdry. When this San Francisco quartet of self-professed "bunch of fags with vision and bacon cheeseburgers" takes the stage and launches into "Tweaker Bitch" or "Pigdog" off their new album Quelle Horreur (World Famous in SF Records), anything involving titilutf8g revulsion can happen and usually does. Fronted by enigmatic singer Emile, a Belgian addicted to plastic surgery — 39 procedures to date — and leather thongs, Mon Cousin Belge (www.moncousinbelge.com) updates queercore for the ambivalent masses with "deep faggotry jams" and knickers-wetting live performances. Bring a towel to their launch party at Thee Parkside bar in Potrero Hill. You’ll definitely need it — the crowd of cute intel-queers they draw is over-the-top steamy.

QUELLE HORREUR LAUNCH PARTY

Sat/28, 10pm, $6

Parkside

1600 17th St., SF

(415) 503-0393

www.theeparkside.com

The Guardian Queer Issue 2008

Prana

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› paulr@sfbg.com

Prana has a soundstage look of the sort we haven’t seen in restaurants around here since the late 1990s, when Entros and Mercury lived their firefly-brief lives. The main dining room is a vast hall whose ceiling is supported by two parallel columns of whitewashed pillars. With some flagons of mead and a clutch of bit actors in Viking period costume, it’s easy to imagine a scene from Beowulf being filmed there — maybe an early moment in which the warriors are sleeping one off while Grendel comes creeping from the bog.

But no. Prana, despite dim lighting and shadows high in the corners of the great room, is too festive for such gory spectacle. Its incipient energy is that of a nightclub or discotheque, and late at night it actually does become a club called Temple. This isn’t surprising, since the space for more than a decade was home to DV8, a haunt of international reputation. (A few years on, toward the end of the millennium, it became Mercury, an unforgettable hall of glass and mirrors that lasted only a few weeks despite serving pretty good food.)

Chef James Jardine’s cooking, pan-Indochinese with a dash of Filipino, is elegant, stylish, and imaginative. It also tries harder than it needs to; it’s overachiever food, determined to be stimuutf8g at all times. Perhaps the kitchen feels it’s in competition with the relentlessly antic setting. Prana starts tugging at your sleeve and winking at you before you even get inside; the main doors are a set of funhouse mirrors that make you look skinny going in and fat going out. Once inside, you’ll find the music thumps steadily and rather loudly from clusters of huge speakers mounted overhead. As if that weren’t enough, there’s a huge display screen mounted behind the bar. The whole experience seems to be tuned for restless young people with short attention spans who might panic at any interruption in the stream of external sensation.

In such an environment, we can’t really blame the food for raising its voice a little. And it does, practically from the first moment, when the server appears with a basket full of deep-fried wonton skins and toasted pita triangles, along with a trio of chutneys: chipotle, cilantro-mint, and tomato. Certainly there’s more drama here than we would expect in a simpler, more traditional presentation of bread and butter or olive oil, and we found the chutneys to be excellent. But neither the wonton skins nor the pita triangles were of much use in dipping or sopping, and the result, for us, was a tablecloth decorated with dribblings ("It looks like a Jackson Pollock painting," my friend said) before we’d even ordered.

No spattering marred our enjoyment of spicy peanut soup ($9), weighted with basmati rice and shreds of roast chicken and amended with a pesto of vanilla bean and habañero chili that talked a big game but didn’t bring much. It didn’t need to; the basic soup was irresistible in a satay-sauce way, and a sprig or two of cilantro would have been an elegant, less effortful, finish.

The kitchen also cannily reinvented the lumpia ($10) — a Filipino cousin to the egg roll — by stuffing it with ahi tuna and serving it with a dipping sauce of garlic vinegar softened by açai, the Brazilian rainforest berry renowned for its antioxidant properties. Here the berry contributed mainly a pretty bluish-red color, while the tuna’s creamy sweetness made an attractive contrast with the deep-fried skins of the lumpias.

Cooking a lamb shank ($22) in a Filipino adobo marinade of vinegar, garlic, soy sauce, and peppercorns was another fine idea executed with high skill. The resulting meat was lightly crisped at the edges but tender enough to fall off the bone. The shank was plated with a disk of forbidden rice, like pebbles of porphyry arranged into some kind of monument, and a heap of baby mustard greens for discreet healthfulness.

Vegetarian choices are lively. A curried vegetable potpie ($16) was a shade sweet for my taste, though the pastry itself, with its Shar-pei folds and Hershey’s-kiss spire, was spectacular. The filling’s sweetness was cut a bit by the sharp salad of peppercress and halved cherry tomatoes on the side.

Better-balanced was a portobello mushroom "scaloppine" ($16). The cap of the fungus had been coated with rice flour, which turned an appealing crunchy gold in the sauté pan. The heat released the mushroom’s juices, as if it were a piece of steak. The cap was presented as a fan of slices, and the juices mixed with the chili-lime butter to make a slightly thickened sauce. The rest of the story was a small hedge of grilled Chinese broccoli and a neat square of polenta, wearing a strip of nori like a prize ribbon.

No matter what hoops a kitchen has set itself to jump through, there are certain dishes that don’t need to be tinkered with, and one is crème brûlée ($7). But Prana tinkered, on a theme of bananas, and this turned out to mean not a banana-flavored custard but three thin strips of banana laid over the custard in lieu of the standard cap of caramelized sugar. Taste: good, but the banana strips were tough and unwieldy. More texturally pleasing was a shortbread tart ($8) filled with lemon curd and topped with a royal flush of ripe mango slices. They were soft, and soft was good. Now about the music …

PRANA

Dinner: Tues.–Fri., 5:30–10 p.m.

Sat., 5–10 p.m.

Lunch: Tues.–Sat., 11 a.m.–3 p.m.

540 Howard, SF

(415) 978-9942, ext. 319

www.pranasf.com

Full bar

AE/DC/DISC/MC/V

Noisy

Wheelchair accessible

The Sword

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PREVIEW For Austin, Texas, rockers the Sword, the cumbersome descriptor "epic fantasy metal" ain’t no joke; it really is the story of their lives. Check out the lyrics to "How Heavy This Axe," from their second full-length, Gods of the Earth (Kemado): "So many men have fallen / So many more must die … How heavy this axe / Burden carried from birth / Wrought in Stygian visions / By the gods of the earth." The album’s got it all: frost giants, witches, warriors, lords, vassals, "Fire Lances of the Ancient Hyperzephyrians," exile, maidens, serpents, and of course, wizards. It’s essentially the transcription of a Ronnie James Dio fever dream. At the same time, the lyric sheet translates as the classic American odyssey of pubescent, pimple-faced Dungeons and Dragons geek to um, axe-wielding metal god.

On a sonic level, the disc is unassailable. Guitarists Kyle Shutt and John Cronise have the magical combination of both riffs and licks, never becoming confused and faltering in the hoary mists of the Moors of Eternal Noodling. Nonetheless, I’m forced to pose the question, Is heavy enough? Not being an avid player of World of Warcraft, I wonder: is a whole album of sword and sorcery motifs satisfying on a level beyond bowel-shaking instrumental thunder? When I try to dig past the fantasy veneer of Sword songs, I hit the frozen tundra of metal cliché. There’s not enough lyrical flux to let the listener hear between the lines.

Don’t get me wrong — I’ll be at the show, banging my head like crazy. But the question remains: Why can’t metal be about something? It’s been suggested that the Sword is playing with the lingua franca of metal, that they’re being tongue in cheek. But irony is a lame gag, especially when you can’t tell it’s ironic. And if it’s not ironic, and it doesn’t allow deeper interpretation, it’s just riffs — albeit excellent riffs — and the Sword is an instrumental band with a vocalist. Again: is heavy enough?

THE SWORD With Slough Feg and Children. Sat/19, 9 p.m., $14. Slim’s, 333 11th St., SF. (415) 522-0333, www.slims-sf.com

Metal Mania: Just keep Walken

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› duncan@sfbg.com

How would you feel? Your band has been together since 1999, struggling through lineup changes, two US tours, hundreds of shows, an album and two EPs, without so much as a write-up in the local weekly. Finally, after dropping your most recent CD last year — an untitled, self-released disc of skull-crushing riffs — you get a review in the bible of modern metal, Metal Maniacs, and the photo that runs with it is of another band.

In the case of the San Francisco four-piece Walken, it was a photo of a three-piece party-rock outfit from Sioux City, Iowa, whose MySpace "sounds like" reads: "Rush meets Metallica meets Blink 182 meets Nickelback meets Matchbox 20 meets Live meets Red Hot Chili Peppers." With all due respect to Neil Peart and pre-Load era Metallica — seriously?

"They’re total dicks," Shane Bergman, 25, vocalist and bassist for the Original Walken — otherwise known as Vintage Walken or Walken Classic — says during an interview at the Western Addition Victorian he shares with roommate and guitar player Sean Kohler, 27. It’s the crack of noon and the guys are posted up on the couch, drinking coffee, and eating toast and jam in their finest sweatpants. "I’d written the guy a long time ago," he continues. "’Hey, this isn’t cool. We’ve had this name for seven or eight years. We’ve actually put out stuff and toured the US. It’s not cool.’ And they were like, ‘Oh, it doesn’t really matter — we’re in different states.’ I just let it slide. And then I pick up that" — he points to the magazine — "and I’m, like, ‘Well, now it’s gone too far.’ You look through and see a picture of those tools … "

There have been more Walkens, including a band from Melbourne that played weddings and broke up in 2004. The reason for the popularity, most likely, is Christopher Walken’s 2000 "more cowbell" skit on Saturday Night Live. While this settles the name game with pretenders enamored with the sketch, it raises the question: if not for "more cowbell," then why "Walken"?

Like the actor, dancer, and celebrity beer-can-chicken chef, Walken is hard to pin down. When walking in on Walken’s live set and hearing the crushing, dual-guitar assault "Bitch Wizard," from their untitled, self-released 2007 EP, all pummeling drums and clean backing vocals contrasting with deathly, oven-throat howls, it’s difficult to characterize the group — which includes guitarist Max Doyle, 26, and drummer Zack Farwell, 29 — as anything but metal. Perhaps "fuckin’ metal" might be more apt. But it hasn’t always been so clear-cut. "Our Unstoppable record, it was just a weird record," Kohler says of the self-released 2004 full-length. "We thought we were being all revolutionary having these funny rock songs, with funk songs and blues songs … "

"And math rock," Bergman interjects. Unstoppable was Walken’s version, to steal a phrase from Lou Reed, of ‘growing up in public.’"

"Most people sit in their garage when they’re coming up with their sound, but we were actually out there playing it, trying to figure it out in front of people," Bergman says. The band’s music has coalesced into a pointed metal attack. It couldn’t have happened at a more opportune time. While the bottom has fallen out of the housing market, and spending $3 trillion bucks on blowing up Iraqis has wreaked havoc on the economy, stock in metal is clearly on the rise.

"That’s one thing that’s changed about metal," Kohler says. "All of the sudden it’s getting cool again. You can be big and be in a metal band, with Mastodon and High on Fire and bands like that." I’m sworn to (semi-)secrecy, but there’s something on the horizon for Walken, something that Kohler demanded I euphemistically term a "great opportunity," which will put the days of touring cross-country with Hightower on their own dime, playing a couple dozen shows, and coming home dog-dick broke, behind them.

But are the vanguard of 21st-century metal warriors and their burgeoning audience really anything new? While it’s no doubt refreshing to see metal — true metal, not the Hollywood hair-farmer crap that lined record company coffers in a pre-Nirvana world — crawl out from the underground, it seems that it’s still largely aimed at the dudes in black hoodies. Which leads us to simultaneously discuss two major concerns about the future of heavy music: is anything really new, truly revolutionary, or is it all just a remix of old ideas? And just what will it take to woo a crop of hot new metal women away from the evils of floppy-haired emo boys in so-called chick pants?

Thankfully, Kohler’s got some insight: "Everything that’s new is just a reinvention of something else. The only way that I really believe that there can be a new beginning is after most of the human population is annihilated. And then it starts over, just as creative expression is part of life. It slowly becomes a community thing. It starts organically, that’s the point."

"So basically, you blow up the world, and more chicks will come to metal shows," Bergman quips.

Walken is already well into writing a new full-length, but I’ve got to advise them: scrap those songs and work on the concept album. Imagine this: the year is the year is 3052. Global warming and perpetual war have taken their toll. The ice caps have melted and a tribe of mutant metal warrior women of Amazonian stature have arisen from the rubble, repurposing military technology found in underground bunkers into hybrid instrument-weapons, with which they can both rock out and kill you. They rock you to death. Everything metal is new again.

WALKEN

With Hightower, Three Weeks Clean, and Soulbroker

May 1, 9 p.m., $8

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

Metal Mania: The return of the kings

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› a&eletters@sfbg.com

It’s a Sunday night in late February, and the facade of Slim’s is shrouded by the shadow of a monstrous black tour bus. Inside, middle-aged bikers rub shoulders with teenagers in skin-tight jeans and garish print hoodies. At the bar, tattooed hipsters vie for position against glowering heshers and balding suburban fathers in polo shirts. As New Orleans black metal band Goatwhore kicks into a crescendo, the masses teem, pumping their fists and offering devil-horn salutes. Song finished, vocalist Ben Falgoust gulps for air before raising the mic to his mouth: "Are you guys ready for Exodus!?"

The multitude roars. They are ready for Exodus; ready to rock out to a band that formed in San Francisco 28 years ago, before many of them were even born. They are ready to help write a new chapter in the bloodstained tome of American metal and ready to crank their iPods to 11. After the winter of the ’90s, when the genre hibernated through grunge, boy bands and rap-rock, metal is back in bearlike force, packing halls across the nation and charting albums with astounding frequency. (Most recently Lamb of God’s Sacrament (Epic) hit number eight on the Billboard charts in September 2007, and the Bay Area’s Machine Head reached no. 54 with The Blackening [Roadrunner] last April.)

While it’s true that some of this success is due to the work of our nation’s talented young headbangers, it is the reinvigoration of the genre’s veteran warriors that makes the renaissance so momentous. Almost three decades ago, the Bay Area witnessed the birth pangs of thrash metal: a frantic mixture of hardcore punk and the burgeoning new wave of British Heavy Metal that would come to define heavy music in America for much of the ’80s. This generation of thrashers produced Metallica, who need no introduction, but it also produced a pair of massively influential bands that never quite garnered the spotlight they deserved: Exodus and Testament.

After years of strife, drug addiction, illness, and disregard, these two titans are both back on the road, promoting brand new albums to brand new fans with the same fury they mustered in their youth. As Exodus guitarist Gary Holt puts it over the phone while taking a well-earned respite from the road: "We’re proving that the founding fathers still know how to do it better than anyone else."

Rob Flynn — guitarist for the vintage Oakland thrash band Vio-lence and current frontman for local groove-metal crowd-pleasers Machine Head, who were recently nominated for a Grammy — has witnessed the thrash revival from both sides of the stage. Speaking by phone from his tour bus, he lauds the two bands’ success: "Exodus and Testament are appealing to an entirely new generation of kids, as they should." This appeal is the result of a national hunger for musical authenticity that both outfits are eager to sate. Similarities between Reagan- and George W. Bush-era politics have fueled a new wave of thrash polemics, and the bands’ undiminished ability to slay from onstage has won them a new legion of supporters.

EARLY SUCCESS


Exodus was the first of the two bands to coalesce. Holt joined forces with childhood friend Tom Hunting on drums and Kirk Hammet on guitar; Hammet would play on the band’s early demos before leaving in 1983 to join Metallica. In 1985, the group released Bonded by Blood (Torrid), an incendiary full-length filled with breakneck tempos and anthemic, shout-along choruses, eminently deserving of its place on the short list of best metal albums.

Testament got off to a slower start, forming in 1983 under the name Legacy, which had to be scuttled after a jazz combo of the same name complained. Joined in 1986 by a man-mountain of a singer named Chuck Billy, the group released their debut, The Legacy in 1987 on Megaforce Records. While they retained the pummeling tempos that defined the thrash idiom, they drew heavily on the progressive leanings of lead guitar player Alex Skolnick, a prodigy who joined the band when he was just 16. Their third album, Practice What You Preach (Megaforce) was extremely well-received, with the title track garnering video plays on MTV throughout 1989.

When interviewed by phone, Billy is quick to point to two catalysts for the music’s early success. The first was its combative nature, which pitted ascetic thrashers against their mortal enemies, the so-called posers. Groups sought out ever more extreme tempos and tunings in order to alienate the hair-sprayed acolytes of glam metal, whose temple was located on Los Angeles’s Sunset Strip. Beyond distinguishing themselves from their gussied-up foils in Mötley Crüe, bands strove to out-do each other: "It was all friendly competition, the desire to be bigger and do better," explains Billy.

Flynn sums up the impact of Testament and Exodus memorably: "If it wasn’t for those bands, there wouldn’t be a Machine Head. When I was a kid, Exodus was my favorite band of all time. Bonded by Blood was like my life. I once punched some kid in the face for saying that Gary Holt sucked."

In addition to Vio-lence, local outfits like Death Angel and Forbidden released classic albums during this period, taking advantage of a record industry shopping spree that was triggered by the success of the Big Four — Metallica, Megadeth, Anthrax, and Slayer — during the years 1988 to 1990. This success had its consequences as the towering reputation of those four groups began to overshadow the lesser-known acts that had helped pioneer the thrash idiom. The slight sticks with Holt to this day: "We were one of the first thrash metal bands ever, and it certainly sucks when you hear people referring to the ‘Big Four’ and you’re left out, considered by some to be a ‘second-tier’ band."

THE DARK AGE


For Exodus and Testament, things would get much worse before getting better. As the airwaves clogged with one metal band after another, the genre’s countercultural status began to erode. Diagnosing the problem, Holt recalls the beginning of the music’s slow implosion: "I’ve always thought metal needed a common enemy. It became a parody of itself." On Jan. 11, 1992, Nirvana’s Nevermind (DGC) hit No. 1 on the Billboard’s album sales chart, neatly coinciding with Capitol Records’s decision to drop Exodus from its lineup, and ushering in a long winter for metal in America. Exodus broke up. Testament sustained itself by touring in Europe, where, as Billy explains, "they didn’t have that grunge thing, so it’s been all metal, all the way." Faced with uninterested record executives and a fan base that was buying flannel, thrash retreated into the underground.

Financial struggles were soon compounded by medical woes. In 1999, Testament guitarist James Murphy was diagnosed with a brain tumor. Although he made a full recovery, Murphy was forced to rely on a number of local fundraisers to afford treatment. In 2001, lightning struck twice, and Billy developed a rare form of cancer known as germ cell seminoma, which also necessitated extensive and expensive treatment. In August 2001, San Francisco’s dormant thrash community banded together for "Thrash of the Titans," a benefit concert to raise money for Billy and Death frontman Chuck Schuldiner, another metal god battling cancer (Schuldiner passed away in December of that year). The concert showcased reunions by Exodus, Death Angel, and Legacy, the pre-Billy incarnation of Testament.

As the metal community united around its stricken heroes, old grudges were put aside, and the two bands began making tentative comeback plans. The reinvigoration of Exodus was tragically put on hold in 2002 when original vocalist Paul Baloff suffered a stroke while riding his bike and lapsed into a coma, eventually being taken off life support at his family’s request. While Holt was pained by the loss of his old friend and bandmate, he was determined to soldier on: "I felt like I still have something to prove, even if I don’t. I still keep a chip on my shoulder."

Billy recovered fully in 2003, and Testament was offered a slot at a metal festival in Eindhoven, the Netherlands. Reenlisting the participation of Skolnick, who had left the band to pursue his interest in jazz, Testament rediscovered the pleasures of touring for new audiences and found itself poised to regain some of its past glory. As Billy explains, "The whole music business is all about timing. The reunion show that brought people together again enabled people to put their problems aside, to do it for the music. The reason those bands weren’t touring was that the climate of metal wasn’t right.

"I think the bands like Shadows Fall, Trivium, and Chimaira — all these bands making names for themselves by bringing back our style of music — its perfect for a band like us," he continues.

By the time this article is published, Testament will have played two sold-out shows at the Independent, a triumphant homecoming in a city eager to acknowledge its extensive thrash history. On April 29, they will release their first album of new material in nine years, The Formation of Damnation, on Nuclear Blast, a label that is also the new home of Exodus, who released The Atrocity Exhibition … Exhibit A in October 2007.

Billy describes the Testament release as a return to form, with more traditional thrash elements replacing the midtempo brutality that defined their ’90s material. "We hadn’t written a record that had lead guitar sections," he says. "We have Alex Skolnick back in the band — it was feeling good, like it used to. I wanted to sing more, not do death metal vocals. I wanted it to be heavy, but have catchy melodies." The few tracks that Nuclear Blast has divulged to journalists confirm his analysis: they include scorching Skolnick shred and singing that is at times almost hooky.

The Atrocity Exhibition is a more modern-sounding recording, appropriating the blast beats and Byzantine song structures of death metal and continuing the trend established by the act’s two other recent releases, 2004’s Tempo of the Damned and 2005’s Shovelheaded Kill Machine (both Nuclear Blast). This evolution has its detractors, much to Holt’s frustration. "Some people want me to write Bonded by Blood over and over again," he says, "But I can’t." Despite the protestations of the purists, Exodus’s recent material is invariably successful at adapting the techniques and innovations of a new generation of metal without compromising the group’s essential sound.

Both bands will continue to tour voraciously throughout the spring and summer, eager to win over new fans with their daunting chops and undimmed energy. According to Holt, their hard work on the road is already paying off. "It’s a change for us to look out in the audience and see kids that are 17 or 18 years old," he says. "In the last five years we’ve been beating ourselves to death on tour and we’ve acquired a new audience. The old guys all have mortgages and their wives won’t let them go to shows anymore." This time around, even the subprime lending crisis is unlikely to deter Exodus and Testament. Far from being nostalgia acts, the two bands have relied on their competitive natures to keep their music on the bleeding edge of metal, refusing to sacrifice even a lone beat-per-minute to old age. Buoyed by fans both old and new and revered by a rapidly expanding metal world eager to give them their due, the new order is bonded by the blood of the past — but looking toward the future.

Bad Voodoo tonight

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Editors note: Award-winning reporter and former KTVU news anchor Leslie Griffith sent us this dispatch.

By Leslie Griffith

Tonight you can watch the mother lode of reality shows. It’s called “Bad Voodoo War,” and it airs on PBS’ Frontline. “Bad Voodoo War” is the story of a platoon of 30 soldiers in Iraq armed with both military might and camcorders. Cameras are attached to their humvees and carried in their hands as they take us on a mind-molesting mine-field of monotony that turns into an eruption of violence and leaves viewers sitting as anxious as nervous fingers on a loaded gun.

Director Deborah Scranton (“The War Tapes”) uses her brilliant subject as reporter theme to tell “Bad Voodoo’s War.” With very few “embeds,” (journalists reporting from Iraq,) Scranton jars us into the reality of war by forcing us to see through the eyes of the soldiers.

She chose a California based National Guard unit with seasoned soldiers. Almost all of them have seen prior active duty. They are not wide-eyed “want to be” warriors. They know the ropes, and they know a meaningful mission when they see one. Viewers get the impression there are many reasons to doubt this mission is worth the lives of the extraordinary men Scranton’s cameras introduce us to.

At 18 years old, when most of our sons are working to get into someone’s pants, Jason Shaw learned how to tie tourniquets around his pant legs to keep himself and his fellow soldiers from “bleeding out” during battle. While fighting for control of the Baghdad airport in 1993, the 18-year-old Shaw was awarded the Military’s third highest award for valor, The Silver Star.

He lost six of his best friends during that tour, returned to the states and moved to California to help care for the child of one of those buddies killed in action. Shaw, suffered from post-traumatic stress syndrome, lost his girlfriend and his religion and insisted on returning to die with his “brothers” if he had to. He did not want them in a fight he might be able to help them win. His fear of them dying on the battlefield without him was stronger than his fear of returning to Iraq. He is now 22 years old in “Bad Voodoo War.” I wonder if he understands the bravest people are always afraid.

“Kill yourselves!” Emo bashing besieges Mexico?

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Yes, it seems like some bizarre spoof: The Warriors mixes it up with Dashboard Confessional and West Side Story, across the border. But word – according to Mexican TV news reports and other print sources, along with this piece by Exclaim – has it that emo-bashing has become popular among assorted subcultural tribes in Mexico City and elsewhere. (Thanks to Amber Asylum’s Kris Force for tipping us to the insanity.)

Exclaim holds forth: “According to Daniel Hernandez, who’s been covering the anti-emo riots on his blog Intersections, the violence began March 7, when an estimated 800 young people poured into the Mexican city of Queretaro’s main plaza “hunting” for emo kids to pummel. Then the following weekend similar violence occurred in Mexico City at the Glorieta de Insurgents, a central gathering space for emos. Hernandez also reports that several anti-emo riots have now also spread to various other Mexican cities. Via the Austin American Statesmen, several postings on Mexican social-networking sites, primarily organizing spot for these “emo hunts,” have been dug up and translated. One states: ‘I HATE EMOS!!! They are not even people, they are so stupid, they cry over meaningless things… My school is infested with them, I want to kill them all!’

“Another says: ‘We’ve never seen all the urban tribes unite against one single tribe before… Emos, their way of thinking is for crap, if you are so depressed please do us all a favour and kill yourselves!'”

Yikes, what did My Chemical Romance and Fall Out Boy ever do to these haters? OK, yeah, I know… but still, why can’t kids just get along?

Dress sharp

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REVIEW Don’t tell anyone, but I have a secret fetish. Nothing turns me on like a new pair of shoes, and few bring me to shoegasm like sexy stilettos. So I put on my favorite pair of Gucci patent-leather tuxedo shoes and headed down to Stiletto, clubutante Parker Day’s arty party at Asia SF, in search of the perfect footwear.

Day named the night after the seductive heels, but it also alludes to the discreetly slim knife — both of which are deadly in the hands of the Pam Anderson B-movie character Barb Wire. "It’s sharp and it’s sexy," Day said. "It gets to the point." But it was The Warriors, a 1979 cult classic about New York City street gangs at war, that set the theme for that night’s party. As footage from the film was projected onto a side wall, the music morphed genres, from hip-hop and hit pop to electronic and indie-rock remixes for an audience as diverse as The Warriors‘s cast — and equally reminiscent of the early-’80s Big Apple. Fab Five Freddy, Blondie, and Madonna occupy the same turf without incident.

The crowd’s footwear was just as varied, but cowboy boots and Converse All-Stars were the most heavily represented in The Warriors–inspired fashion show. Taking cues from the movie, models worked leather vests and gunmetal belts into fierce ensembles, which they paraded down the runway like gangsters. A bit later, audience members were able to participate in a Warriors–themed costume contest. Not to ruffle anyone’s fab feathers, but I think my own shoes were the ultimate winners.

STILETTO

Third Friday of the month, 10 p.m.–3 a.m., $8

Asia SF

201 Ninth St, SF

http://www.myspace.com/stilettosf

“Who were those guys?”

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Anyone who knows me understands — or at least acknowledges — my Freddy Krueger obsession: the holographic Freddy watch, the Freddy sweater, the talking Freddy doll, the glazed-over look in my eyes when I rhapsodize about the human-head pizza served in A Nightmare on Elm Street 4: The Dream Master‘s scene at the “Crave Inn” diner. (Best…crunching sound effects…ever).

A Nightmare on Elm Street — specifically the third installment, a.k.a. 1987’s Dream Warriors, possibly the series’ strongest entry — is also the reason I became a Dokken fan. This film has it all: a young Patricia Arquette, a Freddy-propelled sleepwalking human marionette, John Saxon, Freddy’s nun-tastically elaborate backstory, the line “Welcome to prime time, bitch!”, and Nightmare‘s best theme song (apologies to DJ Jazzy Jeff and the Fresh Prince). That last item comes courtesy of Dokken’s “Dream Warriors,” co-written by the band’s George Lynch and Jeff Pilson. It was released Feb 10, 1987, just days before my 12th birthday. Being a sick-minded sixth grader, I was already deep into Freddy. “Dream Warriors” quickly became my favorite song.


Ain’t gonna dream no more!

SPORTS: Scoring votes — the faceoff

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By A.J. Hayes

Turn on cable television or AM radio any afternoon and you might be hard-pressed to tell the difference between the sports and political news programming. Whether it’s ESPN’s Pardon the Interruption or Fox’s Hannity and Colmes, it seems as if everyone is yelling with the fervor and conviction of a roided-up high school P.E. teacher.

Some political shows (Hardball) have sports inspired names and another (Countdown) is hosted by Keith Olbermann, who cut his broadcasting teeth inventing new catch phrases to describe home runs and field goals.

So considering that politics and sports are both populated by the same types of egomaniacs, we’ve decided to wed the three top remaining Presidential candidates with the Bay Area sports figures that best fits their persona.

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McCain behind the straight talk?

John McCain and Don Nelson. Both the Warriors head coach and leading Republican nominee have seen great victories in their day, and have both have suffered their share of humility in their given professions. Though Nelson is one of the NBA’s all-time winning coaches, he’s never captured a NBA title and each coaching stop he’s has made has ended ignominiously, with invariably lawsuits flying after his departure.

SPORTS: The return of C-Web is a bad idea

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By A.J. Hayes

Thomas Wolfe may have been exaggerating when he wrote “You Can’t Go Home Again.” But in the case of basketball player Chris Webber that phrase should be taken as gospel.

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Chris Webber, earlier

Especially when it comes to a possible return to the Warriors, Webber’s initial NBA club. When Webber forced his way off the Warriors in the fall of 1994, he just didn’t leave the franchise and team’s dedicated fan base in the lurch. He dumped a gallon of gasoline on the shag carpet and lit a match.

But here we are more than a dozen years later and there is serious talk of a Warriors and Webber reunion. But before the Warriors make that move we implore Golden State to take Amy Winehouse’s advice and say “No, No, No.”

The current Warriors, with Baron Davis and Stephen Jackson leading a “shoot-and-ask-questions-later” barrage are currently the most entertaining and only winning pro sports team in Northern California. But today’s W’s still have a ways to go in matching the excitement level generated by the Warriors clubs of the late 1980s and early 1990s.

Led by fish-tie-wearing Coach Don Nelson in his first tenure as Warriors coach, those Warriors reinvented NBA basketball in the Bay Area. Led by Timmy Hardaway, Mitch Richmond and Chris Mullin (AKA Run-TMC), those Warriors clubs put on awesome scoring displays every time they took the hardwood, selling out the Coliseum Arena on a nightly basis and winning a couple of league scoring titles in the process.

Warrior’s fans ate it up like popcorn, or more accurately free pizza, which they won every time Golden State scored 120 or points in a game, which was frequently.

Despite a high entertainment value, the Warriors of those days lacked the presence of a great big man to move them deep into the playoffs. But that all changed in 1993 when the Warriors managed to draft Webber, the collegiate superstar who led Michigan to the NCAA championship game in ’93.

Choicers snake lifers in SF

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I just had to chuckle at the phone message I got from a representative of this weekend’s fourth annual Walk for Life, complaining that the Bay Area Coalition on Reproductive Rights had pulled city permits to gather in Justin Herman Plaza before the anti-abortion folks could secure their usual gathering spot. The pro-lifers now plan to gather on the nearby grassy knoll. Tee-hee. Nonetheless, those who want to outlaw abortion could still have numbers on their side, saying they expect to be 25,000 strong, mostly by busing in conservative churchgoers from the suburbs and all over the western U.S. The event marks the 35th anniversary of the landmark Roe v. Wade decision, which these holy warriors are trying to overturn with what they dub the “new civil rights movement,” even bringing in MLK’s niece Alveda King as a speaker to drive home the connection.
But of course, those who favor abortion rights are having none of it — particularly given the provocation of a march in San Francisco populated mostly by outsiders — and they plan to actively confront and hound the marchers as they make their way down Embarcadero to the Marina. Join the fray if you’re so inclined, or stay as far away as possible.

Year in Film: Cartooning the war

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› kimberly@sfbg.com

Oh! What a lovely war! At least that’s the overall tone of the most popular movies reflecting our current conflict, surge, or however we’re marketing it this week as it conveniently combusts so far from all of the happy $3.50 a gallon gas-guzzling Best Buy shoppers, out of ear- and eyeshot on the other side of the world.

Moviegoers have been avoiding Iraq’s realities in droves — this much the producers of The Kingdom, Lions for Lambs, In the Valley of Elah, Redacted, and others can attest. This year Americans liked their war with a good dose of comic book fantasy and clearly fictitious spectacle, their tongues teasing the CGI-enhanced teat, preferably attached to the too perfectly uniform six-pack abs on one of those hunka-hunka-burning-Spartan tough-love monkeys in 300.

While Grindhouse‘s bio-experiment rogue troops were banished to fiscal limbo, Hollywood blockbusters like 300, Transformers, and even Beowulf — stemming from comics, toys, and cartoons and steeped in the stuff of a distended childhood — turned out to be the only way Americans would swallow warfare. Fusing digital animation and live actors to produce spectacles that would have made Cecil B. DeMille reach for his next merchandising tie-in, those hit movies tacitly acknowledged the war we’re in and offered candy-colored, action-packed escapism for the inner fanboy and fangirl. Six years into the war on terror, we can’t feel good about imminent outright victory; hell, even the most fervent right-winger realizes, in his or her reptilian back brain and in the dark of the multiplex, that the real-life shoot-’em-ups are depressingly, futilely, infuriatingly misguided. But we still want our war to be a great ride — despite the fact that ambiguous reality finds a way of inserting itself into the metal-crushing, knuckle-skating mise-en-scène.

Picking up the air of suicide-mission doom suffusing 2006 Oscar contender Letters from Iwo Jima, 300 started the year with blood-spattered, heroic fatalism. Like Beowulf and even the tongue-in-cheek Transformers, the Zack Snyder–directed epic, based on a graphic novel by draconian edge maven Frank Miller (Batman: The Dark Knight Returns), self-consciously frames its narrative — and its uses as propaganda — from the start by revealing the bard or narrator telling the tale. Here the story is recounted for the distinct purpose of leading the Spartans into battle against the Persians.

Miller may have penned the original comic in the late ’90s, yet it’s hard to read 300 as anything more than emotionally skilled, cinematically compelling, and blatantly racist support for a US invasion of the country most associated with ancient Persia, Iran — little surprise that Javad Shangari, a cultural adviser to Iranian leader Mahmoud Ahmadinejad, described 300 as being "part of a comprehensive U.S. psychological warfare aimed at Iranian culture," according to Variety. Certainly, stereotyping is nothing new in the realm of the sword and the sandal, and 300‘s Spartan heroes are pale faced and peppered with accents from throughout the United Kingdom (though not the evilly aristocratic upper-crusty tones pushed by Romans of yore) — a case for multiculturalism and inclusiveness they ain’t.

The film, however, firmly positions these "free" people versus the dark-skinned "slaves" of the Orient, holding their noble defenses against the dusky masses. According to 300, it may be futile to battle the hordes of the Persian empire — tellingly, an imperial array of warriors from Asia and the Middle East that resembles a mindlessly blood-thirsty "It’s a Small World After All" — but dying a good death and fighting for one’s supposed freedom is the right and noble path to take. Freedom is a word that’s bandied about repeatedly here and in Transformers, but it’s obviously the privilege of a select Darwinian few.

Snyder resorts to the ignorant and offensive tact of visually equating the forces of evil and darkness with the dark skins of the Persian forces. And the empire’s pierced, proud, and power-hungry leader Xerxes (Rodrigo Santoro) — painted as perverse and ensconced in a polymorphic harem — comes off as a fetishy freak next to the Spartans’ King Leonidas (Gerard Butler) and Queen Gorgo (Lena Headey), who are fiercely straight (judging from Leonidas’s odd and likely historically inaccurate disparagement of bookish Athenian "boy lovers") and, by implication, straight shooting and Spartan-soldier tough. Which isn’t to say there aren’t vulnerabilities in the Spartan armor: Leonidas and his too meticulously CGI-embellished troops live and die by standards that doom the weak and disabled, and when a rejected Spartan hunchback is denied entry into their ranks, the scene is set for their final destruction, one that rhymes with that of Toshiro Mifune’s Japanese Macbeth in Akira Kurosawa’s 1957 Throne of Blood.

Able-bodied elite fighting forces take an even more artificial turn with Transformers. Though its production was aided and abetted by the US armed forces, preening military hardware in displays that rival those of the alien robots, the movie nonetheless exhibits a conflicted relationship with warfare that reflects the mood in the country. At moments its scenes precisely echo the visuals of those ubiquitous "Army of One" recruitment commercials; at others it reveals a wariness of its very exhibitionism. It’s no marvel that director Michael Bay (Pearl Harbor, Armageddon) can ape those ads as adeptly as a ‘bot can mimic a sports car: in early 2006 he wrote on the MichaelBay.com forum, "The military looks like it is going to support the film, which is a big deal in giving the movie scope and credibility. The Pentagon has always been great with me because I make our military look good."

In keeping with that two-way support system and setting Transformers clearly in the Persian Gulf, Bay applies a veneer of salable heroism to his scenes of military machinery in action by battling the nefarious Decepticons and hastily dabs a quick layer of humanism on an identifiable, multilingual, and diverse clutch of everyday grunts. Jon Voigt’s defense secretary makes his share of wrong moves, but he’s no Donald Rumsfeld. This is likely Bay’s most successful film, thanks to the self-mocking humor of the script, which extols the bond between "man and machine." After all, he knows and we know Transformers is all about toys — our hardware versus their hardware — and what makes them go, a.k.a. energy — whether it’s the magical, Energizer Bunny envy-inducing all-spark cube or that oil the film’s military is battling over when it isn’t strafing robots.

The question is, who is to be trusted? Intriguingly, the Decepticons hide in plain sight on Earth by assuming the guise of US Air Force jets, Army tanks, and police cars, while the good Autobots change into civilian big wheelers, trucks, and cars. If a car makes a man, the machines in Transformers are giving out conflicted signals. *

KIMBERLY CHUN’S POP TOPS

<\!s>Most valuable hair: Javier Bardem’s do in No Country for Old Men (Ethan Coen and Joel Coen, US)

<\!s>Most versatile player: Christian Bale in I’m Not There (Todd Haynes, US), Rescue Dawn (Werner Herzog, US), and 3:10 to Yuma (James Mangold, US)

<\!s>Thug life: Eastern Promises (David Cronenberg, UK/Canada/US) and American Gangster (Ridley Scott, US)

<\!s>Horrific kicks and sick twists: Grindhouse (Robert Rodriguez, Quentin Tarantino, et al., US), Black Sheep (Jonathan King, New Zealand), Hot Fuzz (Edgar Wright, UK/France), The Host (Bong Joon-ho, South Korea), Sicko (Michael Moore, US),

<\!s>Geek love: Rocket Science (Jeffrey Blitz, US), Eagle vs. Shark (Taika Waititi, New Zealand), Superbad (Greg Mottola, US)

<\!s>Little love: Control (Anton Corbijn, UK/US/Australia/Japan), Broken English (Zoe Cassavetes, US)

Year in Music: Too many Top 10s

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MOCHIPET’S TOP 10 NOT RELATED TO HIMSELF OR DALY CITY RECORDS


SOLO ARTIST, DALY CITY RECORDS


1. A-Trak, Dirty South Dance (Obey)

2. Dan Deacon, Spiderman of the Rings (Carpark)

3. High on Fire, Death Is This Communion (Relapse)

4. Chris De Luca vs. Phon.o, Shotgun Wedding Vol. 7 (Violent Turd)

5. Ludicra, "In Fever," Sonic Terror Surge 2007 (Alternative Tentacles)

6. Nanos Operetta

7. Larytta, Ya-Ya-Ya (Creaked)

8. GoldieLocks

9. Edaboss, "Go Left" (featuring Gift of Gab and Lateef) (Om)

10. edIT, Certified Air Raid Material (Alpha Pup)

BEN CHASNY’S TOP 10


SIX ORGANS OF ADMITTANCE, COMETS ON FIRE, BADGERLORE


1. Sapat, Mortise and Tenon (Siltbreeze)

2. Blues Control, Blues Control (Holy Mountain)

3. Axolotl, Telesma (Important)

4. Loren Connors, As Roses Bow: Collected Airs 1992–2002 (Family Vineyard)

5. Earth, Hibernaculum (Southern Lord)

6. Om, Pilgrimage (Southern Lord)

7. Daniel Higgs, Ancestral Songs (Holy Mountain)

8. Magik Markers, Boss (Ecstatic Peace)

9. Son of Earth, Pet (Apostasy)

10. Grinderman, Grinderman (Anti-)

BART DAVENPORT’S TOP 10


SOLO ARTIST, HONEYCUT


1. Sugar and Gold, Crème (Antenna Farm)

2. Nedelle, The Locksmith Cometh (Tangram 7s)

3. Sharon Jones and the Dap-Kings, 100 Days, 100 Nights (Daptone)

4. Rilo Kiley, Under the Blacklight (Warner Bros.)

5. St. Vincent, Marry Me (Beggars Banquet)

6. Arthur and Yu, In Camera (Hardly Art)

7. The Fiery Furnaces at Fernwood Lodge, Big Sur, Oct. 20

8. Vashti Bunyan at Central Presbyterian Church, Austin, Texas, during South by Southwest, March 15

9. Von Iva at the Uptown, Oakl., Nov. 9

10. Ghostland Observatory at Mezzanine, Nov. 29

RICHIE UNTERBERGER’S TOP REISSUES


WRITER


1. Pentangle, The Time Has Come: 1967–73 (Sanctuary/Castle)

2. Fairport Convention, Live at the BBC (Universal)

3. Various artists, Love Is the Song We Sing: San Francisco Nuggets 1965–1970 (Rhino)

4. Dusty Springfield, Live at the BBC DVD (Universal)

5. Various Artists, The American Folk-Blues Festival: The British Tours 1963–1966 DVD (Hip-O)

6. The Blossom Toes, We Are Ever So Clean (Sunbeam)

7. The Zombies, Into the Afterlife (Big Beat)

8. The Incredible String Band, Across the Airwaves: BBC Radio Recordings 1969–1974 (Hux)

9. Various artists, Stax/Volt Revue: Live in Norway 1967 DVD (Concord)

10.Various artists, The Birth of Surf (Ace)

JUMBO’S TOP 10


LIFESAVAS


1. Kanye West and Lifesavas at Quebec City Festival, July 5–15

2. Jill Scott, "Crown Royal," The Real Thing: Words and Sounds Vol. 3 (Hidden Beach)

3. Talk to Me with Don Cheadle

4. Little Brother, "Step It Up," Getback (ABB)

5. My Brother Marvin musical

6. Prince, Planet Earth (Sony)

7. Nas with Snoop Dogg at Mezzanine, after the Warriors eliminated Dallas, May 3

8. Rolling Stone picks Lifesavas for "Ten Artists to Watch in 2007"

9. Kanye West, "Stronger," Graduation (Roc-A-Fella)

10. Ledisi’s 2008 album

WEASEL WALTER’S TOP 10


FLYING LUTTENBACHERS, XBXRX, BURMESE


1. The Peter Evans Quartet, The Peter Evans Quartet (Firehouse 12)

Peter Evans is one of the few musicians I’ve ever seen that have made my jaw drop. Trust me on this one.

2. Marnie Stern, In Advance of the Broken Arm (Kill Rock Stars)

She came out of nowhere, playing some unholy mixture of girlie indie pop and Orthrelm, and kicked all of our asses.

3. Mayhem, Ordo ad Chao (Season of Mist)

The gods of Norwegian black metal get weirder and better.

4. The Films of Alejandro Jodorowsky DVD box (Starz/Anchor Bay)

Essential metasurrealism from this filmic genius at an insanely low price.

5. Miles Davis, The Complete On the Corner Sessions (Sony Legacy)

Insanely lavish box from Davis’s notorious 1972–74 period, during which rhythm and skronk ruled.

6. The Films of Kenneth Anger, Vol. 1 and Vol. 2 DVDs (Fantoma)

Pure eye candy for psychos.

7. The Flying Luttenbachers, Incarcerated by Abstraction (ugEXPLODE)

I would be lying if I didn’t tell you this was the best album released this year. It will destroy you with its dissonant structural complexity.

8. Hawkwind

I recently began overdosing on the early output of this mythic ur-metal space-rock juggernaut, particularly when Lemmy was with them.

9. StSanders’s Shred videos on YouTube

Honestly, I don’t think I’ve laughed as hard and long this year at anything else. Viva la suck!

10. Zs, Arms (Planaria)

This rigorously intense new music group from New York keeps delivering the rock with staggering precision.