Whatever

Damaged goods

Michael Redmond
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0
Damaged goods

emilysavage@sfbg.com

TOFU AND WHISKEY Jello Biafra could be your theatrical political science professor. The still-charismatic frontperson and song-composer has long spewed knowledge deep from the underbelly of political theater, from his influential early 1980s Bay Area punk band Dead Kennedys, and projects like the band Lard, through his nine dense spoken word albums, and up to his newest musical endeavor, louder than ever in his 50s, Jello Biafra and the Guantanamo School of Medicine.

That band, which also includes Victims Family guitarist Ralph Spight, plays the Uptown this weekend with D.I., the Divvys, and Gir-illa Biscuits — an excellent local Gorilla Biscuits tribute act (Fri/26, 9pm, $15. Uptown, 1928 Telegraph, Oakl. www.uptownnightclub.com.)

Given Biafra’s affinity for weaving news-worthy (though oft-overlooked) scandals into contextual lyrics, I have often wondered from where he gathered his news. “Why, the Bay Guardian, of course! Where would a local voter be without your fine rag?” Biafra tells me from his San Francisco home, while finishing up making a juice of apples and greens. Is he mocking me? “I just hope the new ownership and staff goes pedal to the metal to keep up the standard of muckraking and ethics. There’s so much corruption to dig up in this area.” No, his tone is just often sarcastic.

“Locally, we have you folks, among others. And then you know, the Nation, Progressive, Mother Jones, interesting things people send me in the mail, digitally or otherwise, putting two and two together — trying to write songs about stuff that no one else has. Or at least, not in the same way.”

He continues: “It’s just filling in the gaps with what’s interesting. I’m proud that no two of my music albums sound alike. Not even the Lard albums sound alike. From Dead Kennedys onward my mission as the main lyricist and composer of the damn tunes, I kind of stick to my punk core — whether I intend to or not, it’s just who and what I am —but widen the base of the pyramid to what you can do with that energy.”

Guantanamo School of Medicine’s White People and the Damage Done (Alternative Tentacles, 2013) is the group’s most recent album. A semi-concept album, Biafra says it’s about “grand theft austerity, and how unnecessary it is.”

He explains, “People have asked me…what I think is the biggest problem in the world today and they expect me to say something like ‘climate change’… or inequality, or war, or whatever. I say you know, there’s a worse one, it’s corruption. Because that is what’s blocking anything constructive from being done about all those other problems.”

The title track of White People and the Damage Done, a pounding, guitar-heavy, Dead Kennedys-esque song, explicitly points a finger toward attitudes of the higher-ups in the US and EU regarding countries run by people of color, and the need to step in and take control.

Anthemic single “Shock-U-Py!” has a chantable chorus, and moment-in-time impact. In it, Biafra howls “Wake up and smell the noise/We can’t take it any more/Corporate coup must go/We will Occupy/We will Shock-U-py.” The Occupy movement may have left the mainstream radar for now, but Biafra’s song commemorated the moment, much like he did in early career chants calling out yuppies and atrocities in places like Cambodia, in the early ’80s. His lyrics are typically both rooted in the present, and packed with historical references.

A fast-paced earlier released track (still with that Biafra-esque carnivalian breakdown), “Dot Com Holocaust,” recorded at the time of the The Audacity of Hype EP (AT, 2009), touched on problems more local to Biafra and this rag, of gentrification and a new class of tasteless techies coming in to the Bay. Dripping with satire, the song seemed to have touched a nerve when first released, and garnered scores of angry, faceless Internet comments.

“I had this funny feeling we weren’t done with the Dot Com Holocaust. Sure enough, now it’s more aggressive and obnoxious than ever. Dot Com Monte Carlo — that’s kind of what Willie Brown’s puppets are trying to turn this city into, yet again,” he says. “It has been really sad for me to see so many cool people and artists and service-workers and people of color just bulldozed out of this town to make room for more mini little yuppies who treat San Francisco as a suburb of Silly-clone Valley.” Yes, Biafra talks like he sings.

When we discuss newer bands, he notes many acts are fleeing SF for the East Bay, something bands across genre styles and influences have brought up with me during casual conversations and interviews.

“Now you don’t see people like me when I was 19, just moving out to San Francisco [from Boulder, Colo.], chasing a dream. There was a time when the vitality of the underground was maintained by entire bands moving here as a unit. Everybody from MDC and the Dicks to DRI and later, Zen Guerilla.”

But as an underground label owner (Alternative Tentacles) he knows times are tough for both bands and music fans, with a poisonous combination of the crashed economy and rampant file-sharing affecting all involved. “I wonder how many people save up money from their shitty jobs for years in order to make some really cool piece of music only to find that nobody actually gives anything back,” he says. “Maybe the solution for people who want to get their friends into really cool music, don’t just send them the whole album, pick some favorites and send them a little teaser package, a little file to inspire them to check out them more.”

For the complete Jello Biafra Q&A, see SFBG.com/Noise.

 

YASSOU BENEDICT

Counterpoint, there are still some bands and artist types heading way out west to San Francisco in these turbulent, high-priced times: Yassou Benedict. This band is not in the slightest akin to Biafra’s people, though it is a group of hopeful young dreamers.

The shoegazing dreampop four-piece formed at a small high school in Upstate New York. While most bands from the area would migrate south to New York City, Yassou Benedict made the “fairly random” decision to head to SF. “We all got into a Subaru Forrester with a Great Dane in the back and all our stuff in a trailer and drove across country,” says guitarist James Jackson, who traveled with singer-bassist Lilie Bytheway-Hoy, guitarist-keyboardist A.J. Krumholz, and drummer Patrick Aguirre.

Now in the Bay, they work as servers at Outerlands, a cook at Beauty Bagels and Wise Sons, a bartender at the Boxing Room, and a pizza-dealer at Lanesplitter Pizza and Pub.

But more importantly, the group of 20-somethings recently released its debut EP, In Fits in Dreams, a moody, complex, emotionally fraught record that leaves the listener itching for a full-length, and touches on themes of “anxiety, and wanting to be weightless, the desire to run through wide open spaces.” The album release party was actually a few weeks back, but you can catch the band this week at Milk Bar with Beautiful Machines, Hotel Eden, and NVO (Fri/26, 8:30pm, $10. Milk Bar, 1840 Haight, SF. www.milksf.com).

Led by Bytheway-Hoy’s dramatic, high-ranging vocals, and unconventional song structures (like shifting time signatures) In Fits in Dreams also features guest vocals by Hole’s Melissa Auf Der Maur on track “Cloisters.”

The subtle beats and rolling vocals of “Cloisters” feels like a doomed march toward the unknown, while closer “Last Cicada” ventures more into Radiohead In Rainbows territory (the band has been known to cover “Jigsaw Falling Into Place”). There’s also the church-like pop hymn of “Back Roads that Dead End,” which begins as an anxious vocal solo with faraway chimes, the beats and guitars slowing filtering in.

It’s surely been noted elsewhere on the blogosphere, but there’s something strangely seductive within Yassou Benedict, which I mention to Jackson. “I am not sure why that is. If we are making people feel, whether it is the desire to make love, or children or anything else, than we are succeeding. It is kind of strange though. Our music is fairly depressing. Now I’m just imaging people holding each other and crying while they listen. Lilie’s voice probably has a lot to do with that.” Bytheway-Hoy’s voice is indeed both haunting and captivating.

There’s also a cinematic quality to In Fits in Dreams, likely driven by that high emotional tug. Given the soundtrack capabilities, I asked Jackson what type of film would best be suited to Yassou Benedict and he picked a future Wes Anderson film, also noting that a dream opening slot would be an imaginary Radiohead show in an intimate venue (no arenas!).

While the record was recorded and produced back in Hudson, NY (with Steve Durand at Dioramaland Studios), the band is touring on it from its new homebase in the Bay.

 

The death aquatic

Michael Redmond
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0
The death aquatic

cheryl@sfbg.com

FILM The 911 call placed from SeaWorld Orlando on February 24, 2010 imparted a uniquely horrific emergency: “A whale has eaten one of the trainers.” That revelation opens Gabriela Cowperthwaite’s Blackfish, a powerful doc that puts forth a compelling argument against keeping orcas in captivity, much less making them do choreographed tricks in front of tourists at Shamu Stadium.

Whale experts, former SeaWorld employees, and civilian eyewitnesses step forward to illuminate an industry that seemingly places a higher value on profits than on safety — skewed priorities that made headlines after veteran trainer Dawn Brancheau was killed by Tilikum, a massive bull who’d been involved in two prior deaths. (Though SeaWorld refused to speak with Cowperthwaite on camera, they recently released a statement calling Blackfish “shamefully dishonest, deliberately misleading, and scientifically inaccurate;” read the filmmaker’s response to SeaWorld’s criticisms at film blog Indiewire.) Blackfish, which premiered locally at the San Francisco International Film Festival, opens theatrically this week. I spoke with Cowperthwaite ahead of its release.

SF Bay Guardian Blackfish uses home-movie footage to illustrate training accidents, whale misbehavior, and so forth. I’m guessing a company as image-conscious as SeaWorld would strive to keep that kind of material out of the public eye. How did you get ahold of it?

Gabriela Cowperthwaite It came from every source imaginable: personal archives, historical archives, people who happened to be filming shows when they were visitors at the park. We had to vet every piece of footage, figure out the original owner, and go from there. It was the most time-consuming process imaginable — but we really needed to be inside the park to tell the story, so we had no choice but to really do the detective work to find out where every little bit came from.

SFBG Did you do any of your own clandestine filming at SeaWorld?

GC We kind of had to. I had to “meet” Tilikum, you know? Whatever we could do to get footage that could truthfully represent the story, we did.

SFBG The film interviews several former SeaWorld trainers who seem eager to speak out against the park. How did you find them?

GC When they heard how SeaWorld responded to Dawn Brancheau’s death in the news, they knew something was amiss and they began speaking out. In terms of them being comfortable [with being in] the film, they had spoken to author Tim Zimmerman [for the] Outside magazine article “Killer in the Pool,” and had felt a level of comfort with him. His article was one of the best articles I read about the Brancheau case. So from that, I was able to contact them. Their only caveat was that the film [would have to] be truthful, and I told them I planned to do a fact-based narrative that wasn’t sensationalized or gratuitous. Because we saw eye to eye on that approach, they agreed to be interviewed.

SFBG Blackfish highlights the disconnect between SeaWorld’s version of Brancheau’s death and what the trainers suspect actually happened. Their analysis of the video shot in the moments leading up to the attack is very effective.

GC It’s exactly what you want to know because you can’t understand what’s happening. The lay viewer sees a whale circling a pool; there’s nothing other than, “Isn’t this a cute trick?” Audience members at these shows are trained just as much as the whales are, to respond and laugh and clap on cue. And yet, to have a trainer say, “Oh no, this session is going badly” — that was so eye opening for me, and I could only learn that from these former trainers.

SFBG What do you think would be the best-case scenario for whales in captivity, going forward?

GC If SeaWorld were to stop its breeding program, that would be hugely important. And one of the best alternatives [for whales in the park] is instituting a sea pen, which is essentially cordoning off part of an ocean cove with a big net. You can’t just dump [the whales] into the ocean because they don’t know how to eat live fish, and a lot of them are hopped up on antibiotics. But you could soft-release them and keep them in a place where you could monitor their health, and yet allow them to be in an ocean environment. That would be an amazing thing that SeaWorld could do.

SFBG You mentioned that you had gone to see Tilikum in person. What was that like?

GC I was terrified of Tilikum when I first started making the documentary — I think because I’d read [Brancheau’s] autopsy report early on, and it was the stuff of nightmares. But when I started unpacking his life to try and understand [him], I started feeling this empathy. It culminated with me seeing him and truly feeling sorry for this tremendous, impossible animal — relegated to doing this silly lap around the pool and splashing everybody, and then going right back into his little pool.

SFBG And SeaWorld doesn’t acknowledge that it’s the whale that killed the trainer, of course.

GC Oh no. Absolutely not. They just don’t talk about it. And remember, they call everything Shamu. That’s the easiest way not to have to deal with the Tilikum factor.

BLACKFISH opens Fri/26 in Bay Area theaters.

Phone home

Michael Redmond
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1
Phone home

culture@sfbg.com

COCKTAIL HOUR I’m not sure whether it was completely unintended, but after my night at new SoMa gastropub the Willows, one thing was clear: I need to call my mother.

A sister bar to the Mission’s Sycamore, the Willows opened a few weeks ago on the corner of Folsom and 12th, in one of those cursed spots that’s seen a lot of turnover ever since Hamburger Mary’s decamped a decade ago. (Here’s hoping the Willows breaks the curse and settles in.) It’s walking distance from my job, and at 6pm I had a serious case of the Mondays and was ready to drink.

The place is divided into two parts: a main bar room and a smaller, cozier room dedicated to serving craft beers. The main room is huge with large windows letting in lots of natural light. There were couples sitting at tables doing whatever couples do, people playing pool near the door, and arcade games in the back of the bar. Just a nice open space.

As befits the Willows’ arboreal name, the craft beer room has wooden walls and a few wooden tables out in the open, with a couple of intimate booths as well. Relieved by the emptiness, I took a seat in the smaller room and ordered a malt beer. I chatted with the bartender — a friendly young man who looked like a lost member of Vampire Weekend — and waited for my friends to arrive.

When they showed up, we all dove into the menu. This is when you get a bit of nostalgia for home. The food menu takes you right back to your childhood: burgers, roast beef, sloppy Joes (“Just like Mom’s” was the caption on the menu), and the aptly titled “Mom’s Meatloaf.” Just reading it makes you feel like a kid waiting anxiously at the dinner table. Unfortunately, we weren’t too hungry at the time. But we decided to order the pork-belly donuts anyway. I mean, how could you not?

They were delicious. And then came the drinks. Most of the cocktail menu consists of traditional classics with a tiny twist — but I think what we enjoyed most was the menu itself. Filled with fun names (Oh, Trisha!, Mom’s Mai Tai, Donkey Show) and captions (“A distinctive drink for a discerning drinker” for the 007 Perfect Martini), we had a blast reading it. There was even had a drink called Fuck You, Grandpa!, which is something my mom would totally say.

My buds and I all ordered a couple each. They were pretty good for the most part, but the hands-down winner was the Willows’ version of a sidecar. At $12, it was the most expensive drink on the menu and worth every penny — and having ordered about four, there were a lot of pennies. When ordering the last of these, the bartender told me rather candidly that she hadn’t memorized the bar’s recipe yet.

“This is just how my mom likes it,” she shrugged. I should have asked if her mom was a bartender.

So, to recap: The Willows may not be the place to take your mom — but if you want to feel right at home, here you go.

THE WILLOWS 1582 Folsom, SF. (415) 529-2039, www.thewillowssf.com

 

Heads Up: 6 must-see concerts this week

Tony Robles
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1
Heads Up: 6 must-see concerts this week

Hiatus Kaiyote, Yassou Benedict, Elvis Christ with Pookie and the Poodlez, Jello Biafra and the Guantanamo School of Medicine — this week’s must-sees are a mouthful. A salty, appetizing taste of old school punk, the young and shoegazy, Australian future soul-makers, and more. There’s also locals Wild Moth, and the reliably bubbly J-POP Summit, which includes a performance by Kyary Pamyu Pamyu.

Not listed below, but there’s also a mid-‘90s nostalgia wave hitting our shores this week, with Courtney Love’s sold-out Independent show and Weezer at the America’s Cup Pavilion (both Thu/25) — tickets to the latter are $47.50.

Here are your must-see Bay Area concerts this week/end:

Wild Moth
“To understand SF’s Wild Moth, it’s much easier to describe what it’s not. The band’s fuzzy, electric guitar styling is wild, but not sloppy. Wild Moth’s EP Mourning Glow isn’t long, it’s also not lacking in kick. Distorted guitar and rough vocals have never been so appealing. The group’s big bang is its general lackluster attitude juxtaposed with its tight percussion and surged guitar licks. It’s all about the raw emotional energy that often accompanies its tunes. Wild Moth very much leaves it up to the listener — are you there to hear about the black void of blind compliance, or to feel it?” — Hillary Smith
With Speedy Ortiz
Thu/25, 9pm, $10
Bottom of the Hill
1233 17th St., SF
www.bottomofthehill.com
http://www.youtube.com/watch?v=egkSza2EXeM

Jello Biafra and the Guantanamo School of Medicine
Jello Biafra could be your theatrical political science professor. The still-charismatic frontperson has long spewed knowledge deep from the underbelly of political theater, from his influential early 1980s Bay Area punk band Dead Kennedys, and projects like the band Lard, through his nine dense spoken word albums, and up to his newest musical endeavor, louder than ever in his 50s, Jello Biafra and the Guantanamo School of Medicine. That band, which also includes Victims Family guitarist Ralph Spight, plays the Uptown this weekend with D.I., the Divvys, and Gir-illa Biscuits — an excellent local Gorilla Biscuits tribute act.
Fri/26, 9pm, $15
Uptown
1928 Telegraph, Oakl.
www.uptownnightclub.com
http://www.youtube.com/watch?v=6f66EqCyPOE

Yassou Benedict
The shoegazing dreampop group of 20-somethings Yassou Benedict recently released its debut EP, In Fits in Dreams, a moody, complex, emotionally fraught record that leaves the listener itching for a full-length, and touches on themes of “anxiety, and wanting to be weightless, the desire to run through wide open spaces.” The album release party was actually a few weeks back, but you can catch the band this week at Milk Bar.
With Beautiful Machines, Hotel Eden, NVO
Fri/26, 8:30pm, $10
Milk Bar
1840 Haight, SF
www.milksf.com
http://www.youtube.com/watch?v=MrEejzbeYbI

J-POP Summit Festival
“The theme of the fifth annual J-POP Summit Festival is “Making Kawaii Universal” — which seems a certainty. What warm-blooded, sweet-tooth-having human could resist this two-day explosion of film, art, fashion, pop culture, and pop stars, chiefly feather-bedecked glamour girl Kyary Pamyu Pamyu, “Japan’s Official Ambassador of Kawaii”? (For those not in the know, “Kawaii” = “cute,” and its influence goes way beyond whatever Gwen Stefani co-opted and repackaged for the American masses a few years back.) She’ll be performing live (along with other acts, including a human beat box); other J-POP attractions include a film festival (with a hefty anime component), a Harajuku fashion show, live art events, sake tasting, a dance contest, and a whole lot more.” — Cheryl Eddy
Sat/27-Sun/28, 11am-6pm, prices vary
Japantown (near Geary and Webster), SF
www.j-pop.com
http://www.youtube.com/watch?v=yzC4hFK5P3g

Elvis Christ, Pookie and the Poodlez
“Looking at the bands’ names on this lineup is enough to make your head spin. From quirky to downright dumb, it won’t matter much because the performance will prove they all take playing live seriously. Elvis Christ may sound familiar if not for his new cassette on Burger Records, then for recording troves of trash rockers including Nobunny and Pookie and the Poodlez (also on the bill). Be sure to catch Yogurt Brain, an earnest act with a solid songwriter (though he does have an affinity for covering Springsteen and Gram Parsons songs). Expect some country-punk style shredding (fingerpicks and all) on guitar and if you’re lucky he may even do the kick splits on stage!” — Andre Torrez
With Yogurt Brain
Sat/27, 8pm, $5
Eli’s Mile High Club
3629 Martin Luther King Jr., Oakl.
(510) 350-7818.
www.elismilehigh.com
http://www.youtube.com/watch?v=6SdZUC5QaPI

Hiatus Kaiyote
“Hiatus Kaiyote might identify as a “future soul” ensemble, and Nai Palm’s impassioned, show-stopping vocals surely establish a strong R&B foundation, but in the end, Tawk Tomahawk sounds less like a soul LP than an unfiltered rush of creative energy, heaping countless ideas and influences into an ecstatic vision of musical possibility.” — Taylor Kaplan
With the Seshen, Bells Atlas
Sun/28, 9pm, $22
Independent
628 Divisadero, SF
(415) 771-1421
www.theindependentsf.com
http://www.youtube.com/watch?v=ghw26g3h6L0

My stars!

Michael Redmond
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22
My stars!

culture@sfbg.com

PSYCHIC DREAM This month marks 10 happy years of predicting your weeks ahead through the magic and wisdom of astrology, with my weekly Psychic Dream horoscopes. These 10 years have been so much fun — thank you, my beloved stargazers (and naysayers!). In honor of this decade of Psychic Dream, we solicited questions from readers across the zodiac about the fine art of astrology and the intuitive work I do. Below are my answers. XO, Jessica.

Q What’s the Guardian’s sign? 

Jessica Lanyadoo An intense and taboo breaking Scorpio, of course!

Q In terms of compatibility, does astrological compatibility differ for same-sex couples? If I’m looking at my partner and my charts, where should I look for compatibility? 

JL In traditional astrology we often see traditional thinking about gender and sexuality. Unfortunately, most astrological texts are written not only for heterosexual couples, but also for people who conform to stereotypical gender norms and relationship styles. This often leaves homos, poly folks, and anyone of any sexual orientation who doesn’t fit into classic gender roles straining to find themselves reflected in astrological relationship readings.

Compatibility doesn’t differ for same sex couples, but relationship dynamics, values, and expectations can. People are just energy, and astrology gives voice to the ways that our energies run, and the most effective ways to use them, regardless of where we fall on the sexuality spectrum.

So this next part applies to all relationships. What I look for in relationship compatibility is a couple of things. After making sure that the people involved’s moons are well aspected so that they both feel safe and loved, I like to look for some healthy friction in a chart. We need difference in order to have sustained attraction and be interested in a person, so one shouldn’t be scared away by predictions of conflict. Some of the most successful relationship charts I have seen are riddled with strife! The key is to make sure that whatever problems you see challenge you to become a better, more whole person instead of ones that replay your old patterns. Don’t get too hung up on whether or not your Sun signs are supposed to be well matched; we are more than the sum of our Sun signs. Remember, easy is not the same as compatible.

Q How can I make “Virgo” sound sexier to people? 

JL One of the worst things that people do in astrology is pathologize others with it. Stereotyping sucks!

Virgo does sound sexy to people, but only people who are excited by smart, contemplative, and complex lovers. All 12 signs of the zodiac are sexy in their own way, but if you don’t werque what you’ve got then you’re not using your natural goods to their full potential. Be unapologetic about the sign you are, and trust that whether your spirit animal is Grumpy Cat, K.I.T.T. the talking car, or the Eiffel Tower, there is someone out there who’s astrologically perfect for you.

Q How can you spin the negative or challenging traits of your sign into something good? For example, manipulation for Scorpio, fickleness for Sagittarius, etc. 

JL Luckily, every sign has its bad and good traits, no spin necessary.

Most bad traits of your astrological sign are only positive qualities that are out of balance. For instance, we know that Sagittarius can be a know-it-all, but that’s just an over-exaggerated expression of Sag’s awesome enthusiasm and truth-seeking nature. Cancers can be clingy, but that’s just the fear-based side of their gift of being able to experience their needs and feelings genuinely. If we stop thinking about the signs as good or bad, and start seeking balance in our nature, whatever our natures are, then we tend to thrive. A simple concept, but not an easy task to fulfill.

Q In addition to astrology, tarot, and speaking to the dead, you say you work by intuition. What can you tell about someone when they walk in the room? 

JL I get asked this a lot. I try not to know anything about people when they walk in the room because it’s creepy when intuitive people psychically peep on others. I’m committed to respecting others’ privacy as much as I can. Also, when I’m not working, I don’t want to be overwhelmed by other peoples’ personal issues.

The most common misconceptions people have about psychics are that we can read your mind or are Hollywood style fortune-tellers. Your psyche and your life are not like a movie with a well-defined plot line and a beginning, middle, and end. Life is a complex choose-your-own-adventure story, a “Where’s Waldo” of happiness, success, and health. Psychics and astrologers can’t know all things at once about a person or their life because it’s all too complex and constantly shifting.

We all have agency in our lives, and with effort and time we can change just about anything, including the path we’re walking on right now.

Q Hi Jessica. Hope you are doing well. I have a question for your anniversary column. Can you see in someone’s chart when/how they are going to die — or even any possibilities or hints? 

JL Another commonly asked question! I always have the same thought when someone asks me this: why in the world would you want to know how or when you’re going to die? How can this information help you, and what if it’s wrong? We all die, and we generally don’t get to control the when and where of it, so as an astrologer and a counselor I never predict death.

What I do look for is how to maximize your quality of life while you’re here, how to make good choices that promote the highest quality of life possible, for the long haul. I believe that living well trumps having a solid When-Am-I-Gonna-Die theory any day. As a medical astrologer and medical intuitive, I am interested in investigating health issues and tendencies, but only inasmuch as it’s constructive.

Q Can you say without a doubt, after 10 years, that astrology “works” as a predictive science? 

JL I’ve been working as a professional astrologer for 18 years now and I can say authoritatively that, yes, astrology works!

Nothing is foolproof though; I believe that medical science works too, but I don’t know a single person who hasn’t been misdiagnosed or mistreated by it on occasion. No system or practitioner works effectively all of the time, or for all of the people, and no system should be used without discernment.

Many people throw away the wisdom of astrology and call it quackery without investigation. Many people follow it blindly. Neither approach is wise. Astrology is not a religion or a belief system. It is a valuable process of divination that when used by a trained and experienced professional can profoundly help people.

I no more encourage a person to make decisions about medicine by reading WebMD than I do by reading a random astrology website. Always consult a professional if you want accurate, high quality astrology information, folks!

 

 

Psychic Dream

Michael Redmond
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0

 July 17-23, 2013

Mercury goes direct on the 20th. Rejoice my friends!

ARIES

March 21-April 19

No matter how badly you want to rush things along, you’ve gotta let them develop at their own pace this week, Aries. Share your successes with others and leave space for them to do the same. This is the right time to collaborate, but it’s not clear yet how or with whom. Let things develop.

TAURUS

April 20-May 20

The only way for your life to improve is for you to be willing to shift your participation in it. Be nice to yourself, Taurus! Instead of running worst case scenarios through your noggin, try dabbling in the fine art of positive affirmations. Strive to be happy, even if that requires you to change this week.

GEMINI

May 21-June 21

Your sign has a nasty habit of flying too close to the sun, Gemini. When a thing is awesome do you let it be great, or do you pick at it and push it? This is the week you should not let your self over think things. Trust in the flow of your life, and support it by reinforcing the good stuff whenever you can.

CANCER

June 22-July 22

In order for you to be healthy, your feelings cannot be controlled; they must be experienced and expressed. You may not be able to express or even identify what you’re feeling this week, but you can take care of yourself and the people around you until you do. Buy some time till you have greater clarity, Cancer.

LEO

July 23-Aug. 22

If being diplomatic requires you leave out important details you’re not telling the whole truth, and that can have unhappy consequences for you this week. It’s not the time to judge for others what they can or cannot handle. Be forthright so that everyone knows where you stand, and see what emerges from there.

VIRGO

Aug. 23-Sept. 22

Things change, buddy. Don’t take it personally when people or situations shift this week; it’s not personal, it’s just the way of the world. Look within to identify your limits and needs so that you can make use of new opportunities as they emerge and avoid unnecessary pitfalls this week.

LIBRA

Sept. 23-Oct. 22

It’s virtually impossible to communicate your needs to others when you don’t know what you’re feeling. This week you should spend your time looking back at your past and what it has to teach you. There is no rush to figuring things out, but the more insight you have, the sooner you’ll be able to share it with others.

SCORPIO

Oct. 23-Nov. 21

Don’t torture yourself obsessing on things that are outside of your control. You can only do what you can do, Scorpio. This week you need to let things unveil themselves to you, even if they are moving at a maddeningly slow pace. In your efforts to have an awesome life you need to make some hard choices, pal.

SAGITTARIUS

Nov. 22-Dec. 21

Sometimes things need to break in order for them to heal. You may be feeling overwhelmed by risk, loss, or pain, but don’t despair, Sag. Don’t draw conclusions based on what you see now, as you’re unlikely to be seeing things clearly. Participate as best you can and let matters develop this week.

CAPRICORN

Dec. 22-Jan. 19

When life knocks you down try to come out swinging. Be willing to work hard to get where you want to be, Capricorn, because the more you put out there, the more you’ll get back. Just make sure that you’re realistic about how much you can do in the long haul and don’t over commit yourself this week.

AQUARIUS

Jan. 20-Feb. 18

Be true to yourself so you can live a life rich with meaning. This doesn’t mean that you won’t have problems; it’s just that your problems will point you towards being a healthier version of your self. Take risks that help you create successes and make mistakes that are unequivocally yours, Aquarius.

PISCES

Feb. 19-March 20

There’s no way to avoid vulnerability, Pisces, not even if you check out completely. If you have to feel raw and open, what can you do to protect yourself? Don’t degenerate into panic for starters; make a clear plan of action that you execute to support yourself through whatever you’re experiencing.

Jessica Lanyadoo has been a Psychic Dreamer for 18 years. Check out her website at www.lovelanyadoo.com to contact her for an astrology or intuitive reading.

 

CEQA reform battle sparks welcome changes even before final compromise

Sasha Cuttler
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UPDATED When Sup. Scott Wiener last year introduced legislation that would limit people’s ability to appeal development projects by reforming the California Environmental Quality Act’s local procedures, progressives and neighborhood activists rose up in strong opposition. But now, with that measure and a competing alternative up for approval by the Board of Supervisors tomorrow (Tues/16), there is a compromise in the offing that all sides may see as an improvement on the status quo, particularly given administrative changes that the Planning Department has made along the way.

“We made a series of amendments in April that addressed almost all the concerns raised by the neighborhood activists,” said Judson True, the top aide to Board President David Chiu, who has once again taken the lead role in crafting a compromise on controversial legislation. 

Final details of the deal are still being worked out, but sources on both sides say there is an agreement on the broad outlines of a true compromise. It would accomplish Wiener’s main goal of limiting the current ability of project opponents to file a CEQA appeal at any time while also improving the public notification process.

“It’s still pretty fluid now, but we’re working to get to a consensus measure, we hope,” True told us.

Wiener has always emphasized that his legislation applies only to relatively small projects, those that are “categorically exempt” under CEQA from having to do detailed environmental studies. And he said the compromises now being developed appear to meet his initial goals.

“I’m cautiously optimistic that it will be approved,” Wiener told us, adding that, “If this turns out to be a kumbaya moment, that will show the legislative process works.” [UPDATE: The compromise legislation was unanimously approved by the board.]

One byproduct of that process was recent changes on the Planning Department’s website that make it much easier for activists to track the status of projects — with a new map showing projects that have been granted CEQA exemptions that would move forward unless challenged — which activists requested during the Land Use Committee hearings on this legislation.

“We heard from members of the public that our existing posting process was cumbersome. It was also time-consuming for staff. We decided to revamp the system, using technology we’ve developed in recent years. By converting the checklist into electronic format and having it searchable by location, it’ll be easier for the public to search for a particular project and more efficient for staff to process,” Planning Department spokesperson Joanna Linsangan told us.

True said the hearings on the legislation have helped to illuminate problems that could be addressed administratively: “There’s been a real push from supervisors and the Planning Department itself to improve noticing.”

Eric Brooks, who has been working with the 42 groups that coalesced to oppose Wiener’s legislation — including environmentalists, neighborhood groups, labor, and historic preservationists — said ensuring proper noticing was half the battle. He gave credit to Sup. Jane Kim for resisting the Wiener legislation and working with activists to put forward a competing measure, sowing the seeds for the Chiu compromise.

“This was  a real community process and Jane Kim needs to be lauded for taking part in this,” Brooks said, although he later added, “Whatever happens with this, David Chiu owns it because he’s put himself in the middle of this.”

One key piece of the puzzle that might not be resolved tomorrow is with what has always been the biggest concern for activists, which is how the legislation limits appeals to a project’s initial approval. “We knew that it would be way too early and it cuts off our ability to negotiate with developers,” Brooks said.

For complicated legal reasons, it was difficult to build into this legislation a process for activists to challenge a project that changes after its initial approval, so Kim has introduced trailing legislation that would do so (which is set to be heard Wednesday by the Historic Preservation Commission and Thursday by the Planning Commission).

It would allow activists to appeal changes to a project that they find environmentally significant, even if city staff doesn’t (or, in planning parlance, to appeal the environmental review officer’s categorical exemption determination — to that same officer).

“If the environmental review officer has to suffer the hearing if she makes a bad call, she will make fewer bad calls,” Brooks said. “And if we don’t change the environmental review officers’ mind, we’ll be able to take it to court.”

Nothing could be more super duper than ‘So Super Duper’

Jesse Hawthorne Ficks
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Nothing could be more super duper than ‘So Super Duper’

On Saturday evening in the Castro at 7pm, quite possibly one of the gayest things ever will occur, as queer comics artist Brian Andersen debuts his colorful new teen-friendly, straight-friendly, unabashedly queer So Super Duper volume, which stars “a little gay empathic hero (he can read emotions) named Psyche who doesn’t quite know he’s gay yet – even though it’s painfully obvious to everyone around him.”

It is so cute. And gloriously upping the pink quotient at the book launch, nationally televised diva Jason Brock will be hitting some high notes (he basically ruled the Bike Music Festival a few weeks back). Comics, superheroes, man-divas: It’s a gaysplosion.

I asked the infectiously smiley Brian to talk a little about the So Super Duper‘s inspiration, and he had some very interesting things to say about being a proud femme-y gay guy in a world of macho stereotypes. 

SF Bay Guardian Can you tell me a bit about what inspired you to create such a “super duper” gay hero?

Brian Andersen I’m inspired by my love of comic books, an everlasting and unwavering love for the medium since I was a skinny, gawky, goobery eight-year-old boy saving his recycling money to pick up the latest issue of the X-Men. I still live, breath, and love comic books 30 years and 100 pounds later. 

As for the hero, Psyche, himself, there does seem to be a backlash in the gay community on femme guys. So much attention is put on being “masculine” that often I get online trolls attacking me because my lead character is too “stereotypically gay.” Which is ironic because he’s based off myself! I’m a fruity gay. And so what? I don’t try to be; I’m not putting on some affectation or playing a role in an effort to be more “gay” (whatever that means).

I’m just me. If people can tell I’m gay from space I don’t care! I like being me and I don’t feel the need to try to put on a false masculine identity in order for me to “fit in” with what’s considered sexy and hot in my community. I’d rather be a sexy and hot slightly effeminate gay dude with a few extra pounds and a heart of gold! Just like Julia Roberts in ‘Pretty Woman.’ (She was a gay dude in that movie, right?)

SFBG Is this a “steamy” comic?

BA Although most local indie gay comics revolve around the erotic side of the spectrum (a side I fully and literally embrace) “So Super Duper” isn’t a gay comic based on gay sex (which I also fully and literally embrace. Often.). In fact, there is nary a sex scene at all in “So Super Duper.” There be smooches, oh yes, there be smooches, but overall the gayness of my character isn’t tied solely on whom he likes to sleep with.

SFBG Psyche is based on yourself — do you consider yourself a bit of a superhero?

BA Well, I’m actually a wanted felon from the Shi’ar interplanetary space system. OK, I grew up in small three-bedroom home in Northern California, I don’t presently have superpowers but as a boy I kept diving into toxic waste in the hopes it would eventually bear fruition, I went to Brigham Young University – so yes, I’m another one of those gay Mormons that keep popping up in SF. I didn’t come out as full-fledged homo until I was 26 (a lifetime in modern gay years), and I’ve been with the same man – my first boyfriend ever – for 12 years and we’re still not sick of each other. Yet.

SFBG That’s definitely something super duper!

SO SUPER DUPER LAUNCH PARTY

Sat/13, 7pm-8:30pm, free

Whatever Comics

548 Castro, SF.

www.sosuperduper.com

 

 

Independence movement

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Independence movement

arts@sfbg.com

THEATER/DANCE The crowd outside the Niebyl-Proctor Marxist Library in Oakland was hopping. Fidgeting, really — imperceptibly at first, but soon enough bodies were bouncing and flailing, until the scrum of dancers packed shoulder-to-front-to-back on the sidewalk morphed their collective way through the front door.

June 22 marked one year’s worth of PPP, the monthly performance series instigated by Oakland-based dance collective SALTA. As much a scene as a performance platform, PPP has been building an ethic of serious, unbridled experimentation in a low-key setting where failure is as valid as success, and no one ever encounters a price tag, a door charge, or a gate keeper.

In terms of curation, PPP is equally promiscuous and shrewd, emphasizing a cross-generational perspective. “We try to reach out to people who have paved pathways for us,” says one SALTA member. “And we’ve been a little brazen about cold-emailing, cold-calling people who are in town, like Jeremy Wade.” Meanwhile, PPP has been building a unique audience for contemporary dance-performance and inspiring dialogue about the ethics of art-making in the Bay Area.

As an attribute of its headlong dive into experimentation and openness, PPP never sits still but moves restlessly and freely from one donated space to another. With each space come new networks as well as many PPP diehards. As its members explain, the anniversary installment marked the beginning of a summer hiatus for PPP, so that the collective can better focus on advancing other projects — all geared to creating space, in the widest sense, for dance in Oakland.

SALTA is very much the restive and searching reflection of its monthly series. What began as necessity — a space for dance — has been embraced as ethic. Not that the two were entirely strangers to begin with. As suggested by the conversation below with the members of SALTA (currently seven young women who preferred to speak as members of the collective rather than use their individual names), the realities of dance today imply, more than ever, a confrontation with the values of the dominant culture.

SFBG Which came first, PPP or SALTA, and what’s the relationship?

SALTA It’s funny, we were just talking about this earlier — it’s so confusing!

SALTA I guess we, as a collective, came first.

SALTA And we named that SALTA.

SALTA But the name SALTA didn’t come until after we had the name PPP.

SALTA We all came together in the idea of making space for dance. We were talking a lot about having an actual space and, in the meantime, [we said] let’s do a performance series. So that came second, and then it eclipsed a lot of what we’d been doing. We’re actually going to take a break over the summer and focus on some other stuff.

SALTA We want to have classes, [and start] a dance publication. We want to work on networking. We’ve had some out of town people, but just because the West Coast can be very isolating.

SFBG How did it all start?

SALTA We’re all based in Oakland, and we wanted to have a space for dance to happen here — there are not a lot of venues that are really open for experimental work. That was the big thing: we’re sick of going to San Francisco all the time, and we want to figure out what the community is in Oakland and see what we can build. Something that’s been really cool from the beginning is that a lot of non-dancers come to PPP, a lot of Oakland people who hear about it from different arenas.

SALTA As well as there not being institutions interested in the kind of work we were doing, we were also not interested in institutionalizing art, in the way that it’s done. Also, financially, making it a free event was really important to us as artists and the way we want to make art. Not having to play this whole [“who do you know”] game. It was modeled, or got a lot of guidance from Jmy [Leary] in LA, who started [dance organizers/activists] AUNTS in New York. That’s been a model that we’ve been in dialogue with.

SALTA She’s a mentor of ours, and a benefactor actually, through the Yellow House fund. We originally wanted to create a space here in Oakland similar to Pieter Pasd in LA, but the realities of being who we are as artists and where we are in our lives, as transient people, we thought we’d keep the space moving. We figured out that that worked over the past year.

SFBG I like this ethic of moving around, of asking for a free space each time. It seems a good social ethic to encourage, and it really pushes back against the spirit of the times.

SALTA It’s interesting who said no to the proposal, and who has been really willing to donate space and time — and their art.

SALTA I feel as we continue to exist and assert ourselves into spaces, it opens up more. We have to find a space, ask for a free space, because as dancers we don’t have the resources to be renting all the time. So where there’s this huge scene of First Friday or whatever — “art’s happening all the time in Oakland” — we’re not a part of that. It would be interesting at some point. Well, we WILL be a part of that. [Laughter.] But what does that mean? And how much more legit, in a certain sense, do we have to become? *

For a longer version of this interview, visit www.sfbg.com/pixel_vision; for more information on SALTA, visit www.saltadance.info.

Independence/Movement: extended interview with Oakland’s SALTA dance collective

Sue Vaughan
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Note: this is an extended version of an article in this week’s Guardian.

The crowd outside the Niebyl-Proctor Marxist Library in Oakland was hopping. Fidgeting, really. Almost imperceptibly at first, while above it a bulging moon hung in the temperate June sky, just itching to go super as it would the following night. But soon enough bodies were bouncing and flailing, until finally the scrum of dancers packed shoulder-to-front-to-back on the sidewalk morphed their collective way through the front door.

We followed the dancers (choreographed by Abby Crain) inside, swept along by their momentum, and were deposited around the perimeter of the main reading room like dust mice by a strong breeze. On that same floor, a few hours later, choreographer Ronja Ver would be sending her supine audience into dreamland with a couple of Finnish lullabies. Before that, a bowl of liquid nitrogen would send a delicate fog creeping over its wooden surface as the spectators (temporarily wrapped in reflective emergency blankets) braced themselves for a performance by Daniel Stadulis that was part science experiment, part detailed meditation on the fragility of the body.

Much else went on during the event’s roughly four hours, which ended with a dance party. No one stayed put the whole time. Some wandered off to the back rooms to the free bar, or to partake in the desultory clothing swap at the free boutique (both the bar and boutique are voluntarily stocked by the guests). Upstairs, meanwhile, the ebb and flow offered other attractions — a mother and daughter did a duet; a young writer read her first novel aloud for the first time, offering each completed page to anyone who paused to listen…

June 22 marked one year’s worth of PPP, the monthly performance series instigated by Oakland-based dance collective SALTA. As much a scene as a performance platform, PPP has been building a platform for serious, unbridled experimentation in a low-key setting where failure is as valid as success, and no one ever encounters a price tag, a door charge, or a gate keeper.

As an attribute of its headlong dive into experimentation and openness, PPP never sits still but moves restlessly and freely from one donated space to another. Among these have been the Foundry, The Vulcan, The Public School, Subterranean Arthouse, Sri Louise’s Underground Yoga Parlour, private homes, Ellen Webb’s studio, and Zach Houston’s poemstore gallery (site of the inaugural PPP in June 2012). With each space come new networks as well as a growing number of PPP diehards.

Providing room for experimentation and cross-fertilization among artists — from the well known to the unknown, and as disparate as Tere O’Connor (interviewed by Monique Jenkinson), Jmy James Kidd, Peter Max Lawrence, Miriam Wolodorski, Keith Hennessy, Ethan Cowan, Laura Arrington, and Philip Huang, among many others — PPP has also been building a unique audience for contemporary dance/performance, while inspiring dialogue about the nature of art-making in the Bay Area.

The anniversary installment of PPP marked the beginning of a summer hiatus for the series, so that the collective can focus on advancing other projects — all geared to creating space, in the widest sense, for dance in Oakland.

SALTA is very much the restive and searching reflection of its monthly series. What began as necessity — a space for dance — has been embraced as ethic. Not that the two were entirely strangers to begin with. As suggested by the conversation below with the seven women who currently make up SALTA, the realities of dance today imply, more than ever, a confrontation with the values of the dominant culture.

Note: the dancers preferred to speak as members of the collective rather than use their individual names.

SF Bay Guardian Did PPP come first, or SALTA, and what’s the relationship?

SALTA It’s funny, we were just talking about this earlier — it’s so confusing!

SALTA I guess we, as a collective, came first.

SALTA And we named that SALTA.

SALTA But the name SALTA didn’t come until after we had the name PPP.

SALTA We all came together in the idea of making space for dance. We were talking a lot about having an actual space and, in the meantime, [we said] let’s do a performance series. So that came second, and then it eclipsed a lot of what we’d been doing. We’re actually going to take a break over the summer and focus on some other stuff.

SALTA We want to have classes. We would really like a dance publication. We want to work on networking. We’ve had some out of town people, but just because the West Coast can be very isolating. So that’s one of our goals, we’d really like to figure out some way to connect.

SFBG What’s the most urgent or exciting project you’re discussing now?

SALTA I think building a floor.

SALTA And also exploring what it might look like to do a pop-up for one or two months. That would then allow us to do classes and hold performance.

SALTA Yeah, I think classes and workshops and stuff. Not only us — we have a lot of things we’re interested in exploring in teaching — but also, again, people we might invite in from out of town who could come do a workshop and perform. So that kind of thing.

SALTA In that vein of dialogue, it’s important to mention that a lot of our work is multi-generational in curation. We try to reach out to people who have paved pathways for us. And we’ve been a little brazen about cold-emailing, cold-calling people who are in town, like Jeremy Wade.

SFBG I saw his performance at CounterPULSE at that time; really great. What did he do at PPP?

SALTA He tried something new!

SALTA Yeah, he took advantage.

SALTA He did a kind of magic act. He had a crazy magician’s outfit on. Yeah, it was pretty awesome.

SALTA But even he, who is touring at that time with specific ideas, still adhered to this idea of coming and experimenting with us.

SALTA That’s something we’re trying to work more. Inviting people, colleagues, or people whose work we’re interested in that we don’t actually know, from other places but also from the Bay Area. I think last month was a pretty harmonious example of that because we had Ellen Webb. She runs a space for so long and had a company in the ’80s. We didn’t really know her work. We use her space all the time — we’ve actually used it for PPP as well. So we had her come and just share. She showed some video of an amazing piece she did with a hundred dancers on Mandela Parkway, right after the [1989] earthquake. She was there, and then Keith [Hennessy] was there — who’s kind of the next [generation] — and then Jmy [Leary, a.k.a. James Kidd] from LA, who is just a little bit older than us.

SFBG How did you start working together?

SALTA We’re all based in Oakland, and we wanted to have a space for dance to happen here — there are not a lot of venues that are really open for experimental work. That was the big thing: we’re sick of going to San Francisco all the time, and we want to figure out what the community is in Oakland and see what we can build. Something that’s been really cool from the beginning is that a lot of non-dancers come to PPP, a lot of Oakland people who hear about it from different arenas.

SALTA We were also not interested in institutionalizing art, in the way that it’s done. Also, financially, making it a free event — no one is paid, free boutique, free bar  —that was really important to us as artists and the way we want to make art. Not having to play this whole [who do you know] game. It was modeled, or got a lot of guidance from Jmy in LA, who started [dance organizers/activists] AUNTS in New York. That’s been a model that we’ve been in dialogue with.

SALTA She’s a mentor of ours, and a benefactor actually, through the Yellow House fund. So we’ve been working with her. We originally wanted to create a space here in Oakland similar to Pieter Pasd in LA, but the realities of being who we are as artists and where we are in our lives, as transient people, we thought we’d keep the space moving. We figured out that that worked over the past year. We actually made a list before you got here of all the [12] spaces we’ve been in, here in Oakland.

SFBG I like this ethic of moving around, of asking for a free space each time. It seems a good thing to encourage, and it really pushes back against the spirit of the times.

SALTA It’s interesting who has said no, at the proposal, and who has been really willing to donate space and time and their art.

SALTA I feel as we continue to exist and assert ourselves into spaces, it opens up more. We have to find a space, and ask for a free space, because as dancers we don’t have the resources to be renting all the time. So where there’s this huge scene of First Friday or whatever — “art’s happening all the time in Oakland” — we’re not a part of that. It would be interesting at some point. Well, we WILL be a part of that. [Laughter.] But what does that mean? And how much more legit, in a certain sense, do we have to become?

SFBG How did your thinking about a physical space evolve into this broader idea of creating space for dance?

SALTA I live between here and LA. And when I’m in LA I spent a lot of time at Pieter, and I kept asking Jmy questions about how she runs it and how the funding worked. About a year and half ago she asked me to have coffee with her and said, ‘It seems like you really just want to run a space.’ So that planted the seed. I’d danced with some of the people here, so I just brought up the conversation, “Should we start something?” And Ethan [a founding member not currently with SALTA] used to live in New York and we would go to AUNTS events. I think Ethan had an idea to start an event series. So we thought, let’s start an events series and hopefully that will snowball into something bigger.

SALTA Into an actual space.

SALTA Before we even talked about having a performance series, it was very much, “We want a space in Oakland that is about dance/experimental performance.” But, soon we found out: that’s hard!

SALTA I think, too, we like going to different spaces, and we like how that pulls in different people. [We realized] we want to actually make space, however that can happen. One of our ideas — there have been these pop-up spaces; different people have gotten subsidies from the city and empty buildings. We want to see if we can do that kind of thing. Build a moveable floor. So, yeah, it’s just kind of expanded.

SALTA I think too there’s something about the impermanence about it that’s special and that we like. So instead of focusing on the brick-and-mortar — “We’re going to have a space. That’s our jam” — opening it up and being a bit more flexible has allowed us to think a bit more creatively about, “What does it mean to really promote dance and make space for dance in Oakland?”

SALTA All of us are dancers. But something that feels important to us in creating this event is that it’s really not about us, or our agenda as dancers. All of us at some point have performed at a PPP. There’ve been 12, so we’ve all at some point done something. We’ve talked about doing a group dance — there’s this event called Oakland Nights Live that happens once a month. They invited SALTA to perform at it, even though we’ve never made a dance together before. We thought, OK, we’ll go do something there. So there is that fluidity and it definitely feeds into the work that we do, and we’re doing other projects too. But PPP is really about creating space for dance and really trying to open it up to the community.

SFBG It sounds like you’re really creating an audience too. Do you have a lot of return people?

SALTA Yeah! We have diehards.

SALTA We have a following! It’s crazy.

SALTA Our first PPP: Zach Houston had a space in downtown Oakland. It was a poetry space, specifically; he’s a poet…

SALTA That was our first one. And I think because of that we’ve had this nice relationship with the poetry community. And so we’ve had a lot of people from that community that come and watch. So people who are around the arts, or friends of friends — I mean one of the great thing about inviting all these performers is that they bring their people. And their people maybe bring someone else. And they go to the next one. Someone last night was like, “I feel like the more I come to these I get it more, I know how to watch it better.” I thought, wow, that’s a really cool thing.

SALTA It’s very unassuming. We don’t demand a lot. People can come and leave.

SALTA There’s literally an open door policy. Like at Niebyl-Proctor last night, the front door is open and people from the street walk in. That’s happened at a lot of the events we do. And that’s really nice, to have people that are called to it.

SALTA People come to it from so many different places too, which is exciting.

SALTA I think it’s important to us all as dancers, that it is a richer audience with various interests. Because we as dancers are like that, as people, we have varied interests outside of dance that informs our dancing.

SFBG Is performing in this kind of event is more satisfying in some ways? What are the advantages to you and others, as performers, with this kind of format?

SALTA We’ve had performers who are performing on the same night together who maybe have never met each other. There have been connections that have been made there between their work and their interests that might not have happened otherwise.

SALTA It’s a space for experimentation. I think that’s one thing we’re trying to be really intentional about it, how to create a space where people will take experimentation seriously. Not just come do whatever and don’t give a shit. That’s why we were really excited about what Keith [Hennessy] did [at the May PPP at Berkeley’s Subterranean Arthouse]. He was actually late to the pre-performer meeting, saying, “I’m sorry I was late. I was rehearsing!” People come with that mindset often. Not necessarily that they’re creating their masterwork — how can they? We’re not funding them. We don’t have any money. But it’s just a chance to try things out and be able to fail or do something absolutely spectacular, and everything in between. Really, most months, there is something that’s like oh god and also something that’s so inspiring …

SALTA I like that: take experimentation seriously.

SALTA And also it’s not like a critique. We didn’t want that. It’s just a time to try something out, and then you can have conversations about it afterward if you want.

SALTA That said, whenever I’ve performed at PPP there’s always someone who comes up to me who has a really interesting, deep perspective because it’s not your typical dance, performance audience member.

SALTA And I think too that there’s something freeing in that there’s not a whole lot at stake. Oh, you finally got a show at CounterPULSE and you have to make it good if you want to show anywhere else. I think there’s a lot of freedom in knowing that everyone’s there to do the same kind of experiment.

SFBG What’s the financial model that makes possible bringing artists in from out of town, and the other projects you’re looking at?

SALTA I think, at this point, we’re trying to go for the free and grant-supported. That might not be something we continue with.

SFBG So you’ve been getting grants.

SALTA Well, we got one. [Laughter.]

SALTA That’s how it started. It was from Jmy…

SALTA But that’s what we’ve talked about — more than trying to make it a viable business.

SALTA I think it’s really important for it to stay free and non-commodified. [SALTA] has lots of thoughts about the realm of recreation, and dance as recreation rather than something you make money off of.

SALTA One more thing about the name. We had a deadline to submit a fiscal sponsorship application. So there was one meeting where we had to come up with a name. I had the idea of wanting it to be a name, like Pieter, so it could be like a sister or brother [to Pieter Pasd]. But then no one else really liked that idea. So PPP was this compromise where it would be like initials but it wouldn’t refer to a name. But then I was reading a book by Marx and I came across the term, Hic Rhodus, hic salta, which is from an Aesop fable. But Marx translates it as, “Here is the rose, dance here.” Salta is a Latin term that means both to leap and to dance. The way Marx uses it, [the phrase means], “You want to do something? OK, do it. Show the dance. Do the leap.”

So for me it was this nice metaphor for what we were doing. And it’s also something about the dance world, and the disintegration of what it means to be a professional dancer; the eclipse of a company model, where you train and then suddenly there’s this company that will employ you to dance. So it’s also part of this question: What does it mean to dance in this post-Fordist moment when it’s not financially viable to dance? (And also everyone else seemed to like the name SALTA.)

SALTA She even put that on our website: “Hic Oakland, hic salta!”

SFBG In this one year since starting, has the collective or vision changed in ways you didn’t foresee?

SALTA I feel the main change is we’ve let go of trying to have an actual, permanent space. Because a year ago we were looking at Craigslist, and biking around to different buildings, and trying to figure out square footage — and that’s — just the logistics of everyone’s lives …

SALTA And the reality of the rental market right now, it’s insane.

SALTA We were like, “How can we do that with our grant?” The grant is generous but it’s not enough to last over a year of rent.

SALTA And a lot of us do travel a lot, or live in various cities, and we all have different creative projects…

SALTA Originally we had a little flyer saying SALTA is looking for a space. We said that a lot: “PPP is this, a project of SALTA. We are looking for a space. Please contact us.” And we’ve decided we’re just always looking for a space. That’s going to be our new flyer.

Hi-yo, stinker

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Hi-yo, stinker

FILM Pop-culture historians who study 2005’s top movies will remember Mr. & Mrs. Smith, the so-so action flick that birthed Brangelina; Batman Begins, which ushered in a moodier flavor of superhero; and Tim Burton’s shrill Charlie and the Chocolate Factory.

That last title is of particular interest lately. Not only did Charlie provide grim confirmation that a post-Planet of the Apes (2001) Tim Burton had squandered whatever goodwill he’d built up a decade prior with films like Ed Wood (1994) and Edward Scissorhands (1990), it also telegraphed to the world that Johnny Depp — previously a highly intriguing actor, someone whose cool cred was never in question — was capable of sucking. Hard.

In the years since 2005, Depp hasn’t done much to stamp out those initial flickers of doubt. If anything, he’s fanned ’em into a bonfire. His involvement in the Pirates of the Caribbean franchise (which is plodding toward a fifth installment) has taken up most of his schedule, though he’s always willing to don a wacky wig whenever Burton needs him (2007’s Sweeney Todd; 2010’s Alice in Wonderland; 2012’s Dark Shadows). The rest of his post-2005 credits are a mixed bag, mostly best forgotten (ahem, 2010’s The Tourist), though one does stand out for positive reasons: 2011’s animated Rango, a cleverly-scripted tale that reunited Depp with Gore Verbinski, who helmed the first three Pirates movies.

The pair returns to Rango‘s Wild West milieu for The Lone Ranger; certainly there’ll be no Oscars handed out this time, though Razzies seem inevitable. The biggest strike against The Lone Ranger is one you’ll read about in every review: it’s just a teeny bit racist. The casting of the once and future Cap’n Sparrow — who apparently has a blank check at Disney to do any zany thing he wants — as a Native American given to “hey-ya” chants and dead-bird hats is very suspect. Some (white) people might be willing to give this a pass, because it’s always been part of Depp’s celebrity mythology that he’s part Indian. I mean, he totally has a Cherokee warrior inked on his bicep, just below “Wino Forever”!

Mmm-hmm. Let’s go to the source, shall we? Speaking of his heritage in a 2011 interview with Entertainment Weekly, Depp mustered the following: “I guess I have some Native American somewhere down the line. My great grandmother was quite a bit of Native American, she grew up Cherokee or maybe Creek Indian. Makes sense in terms of coming from Kentucky, which is rife with Cherokee and Creek.”

Sounds kinda sketchy, JD. The actor who played Tonto on TV may have been born Harold J. Smith (“Jay Silverheels” was his nom de screen), but he was also raised on Canada’s Six Nations reserve and was the son of a Mohawk tribal chief. So The Lone Ranger TV series, which ran from 1949 to 1957 — and had its share of racial-insensitivity and stereotype-perpetuating issues — was able to cast an actual indigenous person to play Tonto, but 2013’s The Lone Ranger, which elevates Tonto from sidekick to narrator and de facto main character, was not.

In fact, it’s not too far-fetched to assume that the casting of Depp (also credited as an executive producer) is the only reason this Lone Ranger exists. Clearly, he really wanted to play Tonto, and Depp has a way of making his performance the most important thing about whatever film he’s in. Were audiences really screaming out for The Lone Ranger, a rather literal big-screen take on a 1950s TV show with some heavily CG’d train chases added in? Could not $250 million, the film’s reported budget, have been better spent doing something … anything … else?

Obviously “redface” is nothing new in Hollywood. It was frequently deployed in the pre-PC era, as when a white actor played a heroic Native American figure — think Chuck Connors in 1962’s Geronimo. But shouldn’t we have transcended that by now? You’d never see blackface in a film unless it was being used to make a character look ridiculous (2008’s Tropic Thunder), or to make a satirical point, as with 2000’s Bamboozled. Somewhere, Kevin Costner is clutching his Oscars for 1990 post-Western Dances With Wolves — more or less cinema’s biggest mea culpa for all those “the only good Indian is a dead Indian” yarns of the John Wayne era — and weeping.

Tonto isn’t the only Native American character in The Lone Ranger. But the others (none of whom are given names, unless someone was called “set dressing” or “background actor” and I missed it) have a slightly sharper aura of authenticity than Depp, who spends the whole movie caked in either old-age make-up or campy face paint. They are mere plot devices, there to give contemporary audiences a reason to feel outraged when an evil railroad baron lays his tracks through their land and raids their silver mine. “Our time has passed,” an elderly Indian character tells the Lone Ranger (Armie Hammer, whose role literally consists of riding a horse and reacting to Depp’s scenery-chewing buffoonery). “We are already ghosts.”

But back up, kemo sabe. Racism may be The Lone Ranger‘s worst problem, but it’s not the film’s only problem. There’s also its bloated length (nearly three hours); its score, which dares to introduce an Ennio Morricone homage into a film Sergio Leone wouldn’t line his gatto‘s litter box with; its waste of some great character actors (Barry Pepper, William Fichtner); its assumption that having random characters ask the Lone Ranger “What’s with the mask?” over and over is the funniest joke ever; and its failure to follow through on its few inventive elements — that herd of Monty Python-inspired rabbits, for example.

And another thing: if the moral of The Lone Ranger — spelled out with all the delicate subtlety of a fiery train crash — is “greed is bad,” why did El Deppo sign onto this piece of crap in the first place? *

 

THE LONE RANGER opens Wed/3 in Bay Area theaters.

Political Alerts

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Thursday 4

San Francisco Mime Troupe: Oil and Water Dolores Park, 18thand Dolores, SF. www.sfmt.org. 2pm, free. This free performance by San Francisco’s beloved Mime Troupe actually incorporates two shorter plays, Crude Intentions and Deal with the Devil. Dealing with issues such as climate change, pollution, water scarcity and fossil fuel dependence, the plays involve a poisoned rainforest river, a senator mysteriously murdered in his office and, true to life, an oil refinery ablaze in the Bay Area.

 

Saturday 6

Laborfest bike tour of historic SF 518 Valencia, SF. (415) 608-9035, www.laborfest.net. noon-4pm, donation suggested. Led by local author and activist Chris Carlsson, this bike tour will delve into San Francisco’s working-class history, featuring stops at landmarks and tales of dozens of epic battles between owners and workers, culminating in the 1934 General Strike and its aftermath. Join this event for a different look at San Francisco labor history and a new perspective on San Francisco.

 

Sunday 7

Innocent! The case of Mumia Abu-Jamal 518 Valencia, SF. www.laborfest.net. 2-6pm, free. You may or may not know the story behind the campaign to free America’s most famous political prisoner, former Black Panther and revolutionary journalist, Mumia Abu-Jamal. But whatever your level of knowledge, here’s your chance to hear from experts including Rachel Wolkenstein, investigative attorney for Mumia; family spokesperson Bob Wells; Oakland Teachers for Mumia and ILWU organizer Jack Heyman of the San Francisco longshore union on the West Coast port shutdown organized in defense of Mumia.

Walking tour: Empires, Kings, and Labor Cable-car turnaround, Powell and Market, SF. commonwealth1234@yahoo.com, laborfest.net. 11am, free. Join this hour and fifteen minute tour of Union Square and surrounding blocks, where one can learn the history of labor struggles that unfolded in San Francisco. Tour is led by David Giesen.

 

Monday 8

Chinatown walk Portsmouth Square, Washington near Kearny, SF. www.laborfest.net. 10am, free. Join SF City Guide Mae Schoening in a walk through Chinatown to learn about Chinese labor history in California, where discrimination by governments and unions, sweatshops, housing issues and other problems have shaped experiences throughout the decades. Learn how immigrant labor struggled for fair treatment while mining gold, building railroads, and working in the garment and building trades. Meet inside Portsmouth Square Park in front of Parking Garage Elevators adjacent corner of Walter P. Lum Place and Washington.

Hungry for reform

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Hungry for reform

news@sfbg.com

Sitawa Jamaa is among the thousands of California inmates who, two years ago this summer, took part in the largest prison hunger strike in US history to protest harsh conditions and their invisibility to those outside prison walls.

Now, Jamaa and other prisoners are about to launch another hunger strike to highlight the system’s unfulfilled promises and the persistence of inhumane conditions.

The California Department of Corrections and Rehabilitation (CDCR) counted 6,000 prisoners throughout the state who refused food over several weeks in July 2011. During a follow-up strike that September, the number of prisoners missing meals swelled to 12,000, according to the federal receiver who was appointed by the courts to oversee reforms in the system. At least one inmate starved to death.

As one of four inmates who call themselves the Short Corridor Collective, Jamaa was a key organizer of the hunger strike. The group of inmates drafted a list of core demands calling for the strike when they weren’t met.

That was no easy task for Jamaa, who has spent most of the last 28 years alone in a windowless, 8-by-10 foot concrete cell in Pelican Bay State Prison, a supermax facility not far from the Oregon border, where some 1,200 men are held in similar conditions.

Inmates held in solitary confinement (in government lingo: “Segregated Housing Units”, or “SHU” for short) aren’t supposed to communicate with each other, verbally or through the mail. But they were able to organize with the help of their lawyers, who they are allowed to communicate with, and prison reform advocates outside.

Jamaa and other inmates are planning to launch a second hunger strike on July 8. The Short Corridor Collective has drafted a list of 45 demands, reflecting concerns ranging from inadequate health care to extreme solitary confinement—conditions that prison advocates characterize as cruel and unusual punishment.

The list is an extension of the five initial demands that Pelican Bay inmates presented in 2011 before initiating a hunger strike. Most of those demands were never met, or they were met only with lip service, leading prisoners back to where they started.

 

 

CONFINEMENT AS TORTURE

High on the list are concerns about conditions in the SHU, the amount of time prisoners can be made to spend in isolation, and the public’s inability to monitor the situation.

“I feel dead. It’s been 13 years since I have shaken someone’s hand and I fear I’ll forget the feel of human contact,” Pelican Bay prisoner Luis Esquivel told attorneys with the Center for Constitutional Rights in an interview.

Along with Jamaa and others, Esquivel is a plaintiff in a lawsuit against the state of California that would effectively cap the time someone can spend in solitary confinement to 10 years.

“The hunger strike is an extreme act,” says Terry Kupers, a Piedmont-based psychology professor and clinical psychiatrist who has testified before the California State Assembly on long-term solitary confinement. “It’s very dangerous, and you can die. So when a group of prisoners go on hunger strike, it means they’ve exhausted all ways of expressing themselves and having their demands considered. And that’s very much the case here—some of these guys have been in SHU for 30 or 40 years.”

Kupers believes solitary confinement in California prisons violates the 8th Amendment’s prohibition on cruel and unusual punishment, a view echoed by activists who’ve launched a statewide effort called the Stop the Torture Campaign.

United Nations Special Rapporteur Juan Méndez, an expert on torture, has called for a ban on solitary confinement where inmates are kept in isolation for 22 hours a day or more, saying the practice should only be used in very exceptional circumstances and for short time periods.

The CDCR has made some concessions and reforms since the 2011 hunger strikes, but critical issues have gone unaddressed. In Pelican Bay’s SHU, the men are now allowed beanie caps for when it gets cold. They can now have wall calendars to track time and bring a human touch to their surroundings.

Some prisoners have received exercise equipment, such as a handball or pull-up bar. Each year, they now have permission to have one photograph of themselves taken to send to family members, and prison administrators have signaled that they are looking into extending Pelican Bay’s visitation hours.

But more pressing issues have yet to be resolved, so the prisoners who drafted the 45 demands are resorting to starvation once again, despite official statements that it will do little to improve their conditions.

“Negotiation is something the department does not do,” says Terry Thornton, a spokesperson for CDCR. But the department has met periodically with a mediation team, consisting of lawyers and prison activists, who have communicated the inmates’ concerns and gone over their demands with prison authorities.

 

 

RESISTING REFORM

In 2002, the state of California was sued, and lost, in an 8th Amendment class-action lawsuit: Plata v. Davis. The federal judge overseeing the case called the medical treatment in California prisons “horrifying,” sinking “below gross negligence to outright cruelty,” ordering improved treatment and reductions in severe prison overcrowding.

A court-appointed doctor found that out of 193 deaths over the course of one year, 34 were “probably preventable,” but medical staff gave “well below even minimal standards of care.” Eleven years later, the state is still under federal receivership, until it can show that conditions have actually improved.

Court-appointed consultant Dr. Raymond Patterson wrote his 14th annual assessment report last April, blaming high suicide rates behind bars on a lack of “adequate assessment, treatment or intervention.” After it was released, he quit the post in frustration, writing: “It has become apparent that continued repetition of these recommendations would be a further waste of time and effort.”

So inmates are taking in upon themselves to accomplish what the courts and consultants have failed to do: reform conditions in the prisons.

As happened in 2011, in spite of what is planned to be a peaceful protest, prisons housing strikers will be, according to Thornton, on “modified program” (or “lockdown,” as prisoners call it). Generally, that means inmates aren’t allowed to leave their cells, even to shower.

New regulations created after the 2011 strikes call for no visits for striking prisoners, and for their canteen food to be confiscated. In addition, “inmate(s) identified as strike leaders, instrumental in organizing, planning, and perpetuating a hunger strike, shall be isolated from non-participating inmates.”

Since March of this year, the Guantanamo Bay prisoner hunger strike has made news around the world for highlighting alleged violations of international law. There, when a striker goes below 85 percent Ideal Body Weight, regulations dictate that he or she be shackled to a chair, fitted with a mask, and have tubes inserted through their nostrils into their stomachs for up to two hours at a time.

That didn’t happen in California back during the 2011 strikes, but the Division of Correctional Health Care Services devotes five pages of its policy handbook to outlining specific instructions for dealing with hunger strikers, including transfers to prison medical facilities where they could potentially be force-fed, another practice the UN regards as torture.

Prisoners and activists believe the policy was instituted as preemptive attack on the upcoming hunger strike. “We are concerned that, under the pretext of ‘welfare’ checks, prisoners are being harassed, targeted, and deprived of sleep as the date of planned hunger strikes and work stoppages approaches,” said Isaac Ontiveros of the Prisoner Hunger Strike Solidarity group. “Whatever the case, new CDCR Secretary Jeffery Beard has an opportunity to avoid the strike and begin to undo the indescribable harm that the California prison system has caused.”

 

 

DANGEROUS ASSOCIATIONS

Problems associated with solitary confinement are closely connected to CDCR’s most commonly used tool for sending prisoners like Jamaa into the SHU: the controversial “gang validation” process.

Once an inmate is listed in prison records as a gang member, he or she loses multiple rights on the assumption that they’re a threat to the order of the prison. With no disciplinary write-ups since 1995, Jamaa would have been eligible for parole in 2004, except for the gang validation that led to his indefinite SHU sentence.

Getting pegged as a member of a gang can happen easily. Guards can write prisoners up for anything from the possession of artwork deemed to be gang-related, to information obtained from confidential informants whose claims prisoners often aren’t allowed to refute and whose identities remain unknown to the targeted prisoners.

Last year, in the wake of hunger strikes, CDCR announced a “complex retooling” of the gang validation practices. The so-called Step Down process, created in conjunction with the Department of Homeland Security, is meant to transition inmates out of gangs over the course of four years, with privileges gained over that time.

It might be the most significant of the reforms that followed the last hunger strike, but prisoners and their advocates criticize it as too lengthy of a process, subject to the arbitrary whims of the correctional officers overseeing a given prisoner. In fact, they say it may widen the definition of who counts as a gang member.

Manuel Sanchez, who is participating in the Step Down program at Corcoran State Prison, wrote in a letter that he is “seriously considering returning to SHU, where I’d be less harassed and I’d get more yard access more consistently.”

Compounding the problems in the prisons is a lack of transparency and public accountability.

“It’s like mentioning July 8 is anathema,” says San Francisco Bay View Editor Mary Ratcliff, whose African American-focused newspaper has been a CDCR censorship target.

From January to April of this year, Ratcliff said papers were being returned from Pelican Bay undelivered because they included articles about the hunger strikes, representing “material inciting participation in a mass disturbance,” and “a serious threat to the safety and security” of the prison, according to CDCR Administrator R.K. Swift.

“I think it’s remarkable that hunger strikes are considered a ‘disturbance,'” says Ratcliff. “A disturbance is supposed to mean a fight—something that threatens people. A hunger strike is a threat to no one except the people who are participating in it.”

Just as inmates can’t get news from the outside, they are also walled off from journalists who might cover them and the conditions they live in.

Since 1996, the CDCR has limited reporters to only interviewing prisoners they’ve selected. Last September, Governor Jerry Brown vetoed legislation that would have opened up media access to the prisons. “Giving criminals celebrity status through repeated appearances on television will glorify their crimes and hurt victims and their families,” he wrote, citing the media spectacle around Charles Manson.

But activists say the nearly $2 million Brown received from the California Correctional Peace Officers Association (CCPOA) during his successful bid for governor in 2010 had more to do with it than infamous serial killers.

Assembly member Tom Ammiano, who authored the most recent bill, stressed that “Press access isn’t just to sell newspapers. It’s a way for the public to know that the prisons it pays for are well-run. I invite the governor to visit the SHU to see for himself why media access is so important.”

 

 

DRASTIC MEASURES

Last time around, Jamaa lost 19 pounds. Deprived of sunlight, the Oakland-born man has developed melanin and vitamin D deficiencies that have lightened his normally dark brown skin. He suffers stomach problems and swollen thyroid glands that he didn’t have before prison. Starvation is a possibly lethal proposition. “Make no mistake, none of us wants to die. But we are prepared to, if that’s what it takes to force a real reform,” he and other strike leaders wrote in a statement last December. Jamaa’s sister, Marie Levin, who has organized monthly vigils for the strikers at Oakland’s monthly First Fridays/Art Murmur event, is worried about how her brother’s body will cope this time around. “It’s something that we as family members don’t want them to have to experience again,” she notes with anxiety. Yet both the prisoners and their advocates on the outside say they can’t simply let dehumanizing conditions in California’s prison system continue indefinitely. “I think things have changed, but not substantially in terms of actual conditions,” Kupers argues. “What is changed is the CDCR had to recognize the strikers, and conceded some of the things. And subsequently, the various prisoner groups have come together and made a commitment not to have violence between groups inside the prisons. This is huge advancement.” But unless all 45 demands are met, they say the strike will commence July 8. For now, Jamaa and others are readying their bodies for hunger, for a cause they believe goes far beyond prison walls. “Know this,” he wrote from SHU, words that needed to be smuggled out through unconventional means to get around an official wall of silence. “I am a … Prisoner of War, and I serve the interest of all people.”

Heads Up: 6 must-see concerts this week

Tony Robles
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Not to give this family any more attention, but here I go. Are you aware of the fact that the Balloon Boy is now a long-hair tween, in a darker Hanson trio with his brothers, singing operatic heavy metal bits? It’s all here, in a Gawker long-read post. The article notes that the group (Heene Boyz) considers itself the “World’s Youngest Metal Band.” — don’t we have that already here in the Bay with our own Haunted by Heroes? Take that, Balloon Boy. (Whatever, technically they’re billed as “The World’s Youngest Rock Band.”)

But my real point is this: America, home of the free, free to whore oneself and one’s family out on reality TV, to sneak kids into homemade balloon UFOs, to shoot for fame from birth. Happy Fourth of July week, everyone. Celebrate it with the bedlam of Bob Log III, the annual Big Time Freedom Fest at El Rio or Fillmore Jazz Festival, dreamy R&B producer Giraffage, or, the snacktastic Burger Boogaloo fest with headliners Redd Kross, the Oblivians, the Trashwomen, and more! Paint your face red, white, and blue, stick a sparkler behind your ear, and rage out into the night, it’s what the founding fathers would have wanted.

Here are your must-see Bay Area concerts this week/end:

Bob Log III
What’s more US of A than a lone multi-instrumentalist on stage in a glittery bodysuit and microphone-affixed motorcycle helmet, looking like a futuristic Bowie-esque alien, and sounding like a punky blues madman, or a scrappier Bo Diddley meets the Coachwhips, on slide guitar. As the Kansas City Star puts it, “If he hired a drummer, ditched his helmet, and requested a standard swizzle stick to stir his scotch, Bob Log III would still draw an audience. His music is that entertaining.”
With The Okmoniks, Los Vincent Black Shadows (Mexico City).
Wed/3, 8:30pm, $15
Hemlock Tavern
1131 Polk, SF
www.hemlocktavern.com
http://www.youtube.com/watch?v=UQmX4LzaDDU

Big Time Freedom Fest
It’s back, El Rio’s annual Fourth of July patio party Big Time Freedom Fest is here again, and this time brings out the worthy local Black Sabbath tribute act that is Bobb Saggeth, fronted by wailing female powerhouse Meryl Press. The band isn’t nearly as active as I’d prefer, but always plays parties on Halloween and Fourth of July, usually at places like Thee Parkside, Hemlock Tavern, and yes, El Rio. Plus, newish local heavy-psych band Golden Void headlines the show, and Wild Eyes, Couches, and Upside Drown open. And it’s all on the back patio, so you can officially say you spent the holiday outdoors, (with your favorite local rock‘n’rollers).
Thu/4, 3:30pm, $8
El Rio
3158 Mission, SF
www.elriosf.com
http://www.youtube.com/watch?v=Ebe9BtnD6wQ
http://www.youtube.com/watch?v=BmXB7-plWrY

Giraffage
“San Francisco-based futuristic dream R&B producer Charlie Yin has made some big leaps in 2013, with a performance at SXSW along with upcoming gigs at Southern California’s Lightning in a Bottle festival and SF’s Treasure Island Music Festival. His new album Needs on Los Angeles label Alpha Pup Records is a thesis in music manipulation, a comprehensive counterargument to straightforward 4/4. Vocal samples are up-shifted in tempo to lend a playful mood. Tracks are sometimes dipped in sonic mud halfway through, decelerating to a crawl before jumping back to normal time. But Needs never feels jerky, which owes to Yin’s tight transitions and harmonious melodies throughout. The sensual, infectious, shifty third track “Money” sounds like it will be played in lounges in 2050.” — Kevin Lee
With Mister Lies, Bobby Browser
Thu/4, 9:30pm, $13–$15
Rickshaw Stop
155 Fell
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=6PVWP1Zrh4Q

Fillmore Jazz Festival
“Live jazz music, crafts, and gourmet food, all in one place (and most of it is free to check out). The Fillmore Jazz Festival is the largest of its kind on the West Coast, reportedly luring in a mind-blowing 100,000 visitors over the two-day event. Sultry local vocalist Kim Nalley will again bring her jazzy blues blend to the stage, as will instrumentalist-composer Peter Apfelbaum, Mara Hruby, John Santos Sextet, Beth Custer Ensemble, Crystal Money Hall, Bayonics, and Afrolicious, among many others.” — Hillary Smith
Sat/6-Sun/7, 10am-6pm, free
Fillmore Street between Jackson and Eddy, SF (800) 310-6563
www.fillmorejazzfestival.com
http://www.youtube.com/watch?v=5XRE8FSkxQg
http://www.youtube.com/watch?v=hall_F7pTbg

Woolfy
“I miss Kevin Meenan’s show listings at epicsauce.com. At one time it was a go-to for highlights of small shows going on in the city, filler free, and super reliable for finding a new act to see live. Meenan has since dropped the showlist (perhaps made redundant with the availability of social apps), but is still active with his regular event Push The Feeling. This edition features a DJ set by English born, LA musician, Simon ‘Woolfy’ James, whose eclectic and spacey post-punk dance sensibility first got my attention with the caressingly Balearic “Looking Glass” and the recent James Murphy-esque snappy cut on Permanent Release, ‘Junior’s Throwin’ Craze.’” — Ryan Prendiville
With Bruse (Live), YR SKULL, and epicsauce DJs
Sat/6, 9pm-2am, $6, free before 10 w/ RSVP
Underground SF
424 Haight, SF
www.undergroundsf.com
http://www.youtube.com/watch?v=R9WMPPiBimc

Burger Boogaloo
We blurbed this early: everyone is talking about the disparate headliners early LA punk band Redd Kross and Modern Lover/singer-songwriter Jonathan Richman — and rightfully so, they are incredible — but can we also take a minute to thank satan for the Trashwomen addition to the lineup? For those somehow unaware, the Trashwomen are Bay Area noisy surf-punk royalty, born of the ‘90s, and featuring Tina Lucchesi (of every band, ever), Danielle Pimm, and Elka Zolot (Kreayshawn’s hot mama). Check the paper this week for an interview with the Trashwomen. And check Mosswood Park for a sloppy soul dance party.
With the Zeroes, Oblivians, Fuzz, Mikal Cronin, Audacity, Guantanamo Baywatch, Mean Jeans, Pangea
Sat/6-Sun/7, noon-9pm, $25
Mosswood Park
3612 Webster, Oakl.
www.burgerboogaloo.com
http://www.youtube.com/watch?v=QP4hxwyWxHY
http://www.youtube.com/watch?v=eJx5c_cFq5o
http://www.youtube.com/watch?v=jI3XM-X72eQ

Before Outside Lands: Youth Lagoon on Art Garfunkel, the spiritual significance of pelicans

Tony Robles
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Youth Lagoon, the aloof youth that is Trevor Powers, has explored new land in latest album Wondrous Bughouse (Fat Possum). Revealing, yet withholding, the album proved his ability to not just create cosmic bliss, but deliver a few deep messages while doing it.

With the album, the 24-year-old Idaho native takes us through the fires of temptation in song “Mute,” dances with death on “Raspberry Cane” and paints an immensely disturbing and bloody image of love and sacrifice in “Pelican Man.”

Currently on tour in Europe, Powers will be here in SF to perform at Outside Lands this Aug. 9-11 (he plays Saturday, Aug. 10).The professional effects tinkerer and melody craftsman talked with me about his afro days, his penchant for destroy-and-create-again style of making music, and how bloody violence can really be sweet: 

San Francisco Bay Guardian Most of the songs on Wondrous Bughouse sound melancholic, pensive, or a bit glum. Would you say this was a reflection of where your mind was at when recording this album or have you simply felt more compelled to write songs of this nature?

Trevor Powers I always feel pulled different ways at different times, so what I write is always a reflection of where I am at the moment. I stay in certain obsessions for long periods of time so when I write for months at a time, usually those blocks of time show a type of consistency with whatever I’m working on.

I’ll have periods where I hate melody or how it’s portrayed, and other times where I go back to it and take the music and rip it into pieces mentally to see how I can put it back together. With this record, I wanted to go a deeper with the melancholy.

SFBG You have said before that you’re getting more into heavy expressive sounds lately and in Wondrous Bughouse,’is there something this specific style of music does for you that maybe straight rock or grunge doesn’t?

TP I guess I don’t usually think of music in styles like a lot of people. I just hear sounds being used in altered ways. Maybe I’m just desensitized to it all by now. Everybody hears sounds differently. Something I find relatable or exciting that I show to someone else could make the other person cringe, and vice versa. So it really has nothing to do with musical styles, but with speaking through sounds and noise, and that never looks the same.

SFBG What’s the best concert you have ever been to and why?

TP Art Garfunkel — it was my first concert and I was a little boy with an afro.

SFBG  Could you talk a little bit about the meaning of song “Pelican Man”?

TP Pelicans have a lot of history for spiritual significance. There are legends that say when a pelican’s babies are starving, the mother will stab her own breast with her beak to draw blood that her children can then drink. She’ll bleed out so her babies can drink her up, giving her life for theirs. A sacrifice similar to that of Jesus. Lyrically, that idea is contrasted with one of murder and serial killing. Violence out of ultimate love juxtaposed with violence out of complete hate.

SFBG Are there any artists at Outside Lands you’re looking forward to seeing?

TP I’m actually not sure who is playing so I’ll have to look up the schedule tonight and start getting my planning on. I will wear my new camouflage jumpsuit.

http://www.youtube.com/watch?v=SvWDUN57Cko

‘Alternative to Pride Parade’ announced

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‘Alternative to Pride Parade’ announced

In the wake of all the kerfuffles besetting Pride this year — from the Pride Board’s egregiously mismanaged reaction to the election of Bradley Manning as a community grand marshal (his supporters have plans of their own), to the recent announcement that military recruiters would be descending upon the celebration in earnest, and, well, just the continued corporatization of Pride in general — it comes as no surprise that a radical Pride-questioning movement has been reawakened.  Just like the ’90s are back, so is Gay Shame, at least in spirit.

And thus an alternative parade to the Pride one on Sunday has been announced — let us not be surprised that it is a bar crawl! In any case, it’s a nice start to getting us back to our gay, unlicensed roots while joining with other activists who are Over the Rainbow(TM). Here’s the statement from the organizers with more details.

Have you had enough with the poor political choices of some community leaders that claim to represent you? Are you over the over-corporatizing of SF PRIDE??? Or just tired of the same old events that don’t reflect who you are, and how you want to celebrate your queer pride?

Want to be part of something different, something fun, something that will challenge conventional thought within the SF LGBTQ community?

Then join us for an ALTERNATIVE TO PRIDE PARADE (AND BAR CRAWL).

We will be getting back to our gay roots, meeting at THE CINCH BAR at 1723 Polk Street at 12 NOON with the parade beginning at 1pm (we don’t think a 10:30am start time for a Pride Parade is appropriate), ending up at THE SF EAGLE.

We will make stops along the way, passing through SF PRIDE at Civic Center to express (peacefully) our displeasure with what passes for gay pride at this event, and then we will continue on to SOMA with stops at THE POWERHOUSE/HOLE IN THE WALL, and finally we will end up at The SF EAGLE.

We encourage you to DRESS UP, whatever you want: Drag, Leather, Freak, Nerd, Casual, Beach Wear, Furry, Punk, etc. We also encourage you to BRING PROTEST SIGNS, be creative (body paint?), be original! We will definitely want folks to know what we are up to and perhaps get people thinking about why we need BUDWEISER, VIRGIN AMERICA, VERIZON, WELLS FARGO, BANK OF AMERICA, and COMCAST to have a good time!

RSVP TODAY!!!

The Guardian is dead, long live the Guardian

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EDITORIAL First of all, we at the Bay Guardian want to thank our community for its support since the abrupt departure of our beloved leader, longtime Guardian Editor Tim Redmond, on June 13. It was a shock to us and the larger community, and the outpouring of concern and support is a testament to the important role the Redmond and the Guardian have played in San Francisco.

We’ve all been wondering where we go from here, vacillating between emotional extremes. So we want to take this opportunity to start a conversation with our readers in the hopes that our next steps can be constructive and deliberate, hopefully leading to a renewal of an important media institution that has sadly been in a period of decline for far too long. Moments of crisis can also be important opportunities, and it is our intention for that to be the case here.

It is ironic that the seeds of Redmond’s departure were sown on June 12, just as he was leaving to moderate an inspiring community forum on Plan Bay Area and the future of San Francisco, which he organized. Owner Todd Vogt and newly named Guardian Publisher Stephen Buel were there as well, and they share the view of longtime Guardian staffers that the energy in that room represented an important moment of potential progressive resurgence that shows the Guardian is more vital and relevant than ever.

Yet Vogt and Buel also believe that the Guardian isn’t resonating with either our readers or advertisers like we should, and those of us who remain want to achieve that resonance once again. We believe in the mission of the Guardian, to raise hell and be forum for progressive change in San Francisco, and we want to reinvigorate that mission with the new generation of Guardianistas who now find ourselves at the helm of this venerable old publication.

So we want to hear from you, our readers and advertisers, about what you want from the Guardian. We want you to help us formulate the plan for achieving greater journalistic relevance and economic sustainability. This is the transition point where the Guardian charts its future or fades into the past.

We have enormous respect for the people who made the Guardian what it is, particularly Redmond, Bruce Brugmann, and Jean Dibble — and we appreciate our new owners’ efforts to keep the Guardian going. But we’re also ready to help formulate a new progressive vision for the Bay Area and to find new ways of speaking to residents who may not have been engaged with the Guardian or the movements that it has chronicled and advocated, without neglecting those who have stuck with us over the years.

In the coming weeks, we plan to announce another community forum focused on the future of journalism and the progressive movement in San Francisco, and to provide other avenues for you to get involved and shape the new Guardian. Come offer constructive advice — or tell us whatever you’re feeling now, whatever ideas you have: we want to hear them.

Let’s make a plan and have you hold us to it, and in turn, we ask for your support. The Guardian is dead, long live the Guardian.

Disillusionment, “Everyman,” and Netroots Nation

Sasha Cuttler And Mary Magee
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For nearly the entire Caltrain ride to down San Jose last Thursday morning, my thoughts were fully consumed by the subject of liberal disillusionment and cynicism. I pondered the question, “How much progress have the things that liberals care about made since the start of the new millennium?”

The issue of gay rights was the only glimmer of hope I could conjure up. Since 2000, income inequality has increased astronomically, the military-industrial complex grows unabated, the drug war continues to destroy millions of lives, women are having to protest the same idiotic conservatives policies their mothers protested, we are realizing the tangible repercussions of climate change, the Citizens United ruling and Republicans have become the John Birch Party and Democrats, by and large, have become identical to the Republicans of 30 years ago.

And while it may be true that progressives were responsible for electing the first black president, the Obama Administration has, for the most part, ignored, shunned, and at times insulted progressives. If Obama governed like a progressive, he would have jailed Wall Street executives for their roles in the financial crisis and HSBC bankers for laundering terrorist and drug cartel money, he would have rejected the Keystone pipeline in resounding fashion, he would have fought harder for a public option, he would have ended or at least decreased the surveillance state, and he wouldn’t be prosecuting medical pot dispensaries with extreme vigor.

Like a lot of the other media there, I came in search of demoralized liberals and to see if the Democratic Party leaders and other notable figures in attendance would feel the brunt of this dismay.

Unsurprisingly, the boogeyman of John Boehner, the Koch Brothers, and other rightwing caricatures were paraded out in order to stomp out any reservations you may have had about the president. One of the most notable lines of the conference was Howard Dean’s unfunny salvo of how the president isn’t perfect, “but it sure beats having Bain Capital, oops, I mean Mitt Romney in the White House!”

When our Rep. Nancy Pelosi was booed for saying that Edward Snowden should be prosecuted for his leaks, she tried shouting over the jeers by repeatedly saying that Obama’s second term was not Bush’s fourth. Then she tried to calm the crowd down (in a twist of irony, a man named Marc Peckel was kicked out for voicing objection to a police state), saying she welcomed the booing and debate about privacy. But would we be having this debate now, if it weren’t for Snowden’s leaks?

I attempted to ask Rep. Pelosi some follow-up questions as she exited the building (flanked by numerous aides and security) but oddly enough, my shouts of “I’m with the San Francisco Bay Guardian!” didn’t faze her one bit.

From the dozens of interviews I conducted with a wide range of attendees, the overall consensus seemed to be that Obama, his administration and other Democratic Party leaders are still on their side – though a good number of my interviewees expressed profound disappointment that the president hasn’t been liberal enough. One healthcare organizer from Chicago said he was immensely dissatisfied by Obamacare, but believes that it’s right the step toward implementing universal healthcare.

Obama’s most visible critic for the three days was a man who goes by the name Stan Everyman, who came on behalf of the San Jose Peace & Justice Center and carried a sign everywhere he went that read “OBAMA=CHENEY”. Everyman, who fervently believes that “Netroots is firmly under control of the Democratic party,” saw the conference as an opportunity to connect with other progressives who have gripes with Obama. The majority of reactions to his sign were positive, he said, but he did wind up engaging in some mild confrontations with what he calls “Democrat loyalists.” He was aghast when he encountered someone who came to Netroots on behalf of a liberal dating service, saying, “she didn’t mind if her emails and calls were tapped and didn’t care if there were helicopters hovering over her house as long as it caught the terrorists.” and when it did elicit a reaction, did nothing more than get a thumbs up or an eye-roll.

Meanwhile, some Democratic figures urged progressives to pressure elected leaders as much as possible. Keith Ellison, a Minnesota representative and co-chair of the progressive caucus, stated: “If people who came before us got discouraged because things were hard, we’d still have slavery, have no right to collective bargaining, the air quality would be horrible. The problem isn’t that you’re not involved and you didn’t get what you wanted, the problem is that you got to stay involved.”

When I countered that a big reason behind liberal disillusionment was that our own guy didn’t come through for us, Ellison’s responded, “Let me say this, never ever organize around a personality – even if it’s an awesome personality like Obama’s. Organize around the principles that guide you. Somewhere along the way we stopped saying ‘yes we can’ and started saying ‘yes he can,’ and when he didn’t do certain things we want, we got discouraged. What personality does the Tea Party coalesce around? None! They coalesce around, ‘we hate government, we love guns’ and ‘if you’re not quite like us, you’re not all right.’ So the progressive movement should coalesce around generosity, inclusion, fairness, sustainability, and leaders need to live up to that, and if they do, they’re good, and if they don’t, they’re not. But it shouldn’t be a personality-driven thing.”

If you want change, you have to keep on keeping on, no matter. Sure, town halls, letter campaigns, and protests are great ways to engage your politicians and in democracy, but when you got to go to work or tend to your family, six-figure lobbyists walk through the halls of Congress retracting whatever impact the people’s efforts made. Politicians want us to give them the political will to do what’s right even though we elected them to do what’s right. I don’t naively believe politicians are perfect and that they’re our friends and that we can sit back and relax after we pull the voting lever. However I do have a problem with “I’ll fight for you!” during the campaign season and “Fight for me!” during the legislative sessions. The latter due to this being a non-election year, was the unofficial theme of Netroots Nation 2013, which also possessed a palpable feeling that the reason why many of the big names showed up was to throw the progressive wing a bone and quell whatever qualms they have.

I do admit that Netroots, in the past, has resulted in a concrete impact (namely, helping to get Obama elected and being instrumental in manufacturing a 21st century online campaign apparatus). However, the chances that it will be able to pull Hillary Clinton—who’s just as hawkish as Dianne Feinstein— to the left beyond the duration of the conference are lower than the probability of Obama appointing Angela Davis as his Chief of Staff. A piece on Salon.com a couple days ago reported that progressives are open to a Clinton run, which should come as no surprise to given how good the left is at reconciling their beliefs with that of their leaders.

So between now and NN14 (which is in Detroit), when the Democratic Leadership will come begging for the left’s help to return the Speakership crown back to Pelosi, pretty much everything the left holds dear will wallow in purgatory or regress to hell. But cheer up: At least Bain Capital isn’t president!

Win Tickets: Queerly Beloved

Maria Poblet
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Courtney Trouble’s Queer Pride Pink Sunday Dance Party is back, hosted by Courtney Trouble and Jenna Riot – SF’s Femme Dream Team! Featuring intergalactic space group Icy Lytes, DJs Jenna Riot, Chelsea Starr, and special guest Automaton, video booth by Ajapopfilms and QueerPorn.TV, and the Queer Porn Circus with performances by Courtney Trouble, Jade Phillips, and sexy gender fucking go-go dancers. Plus, if you’re in dire need of a spanking, a smooch, or just a damn good foot rub, the Cum and Glitter Kissing Booth has got you covered with super cheap massage, lap dance, and whatever else you’re perverted heart may desire.

Purchase advance tickets here. To enter to win a pair of tickets, follow this link.

Sunday, June 30 from 3-9pm @ El Rio, 3158 Mission, SF | $8

What’s hot in Siberia

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What’s hot in Siberia

arts@sfbg.com

THEATER Emerald green rooftops and gold domes enliven the skyline of Omsk, a provincial city and former Soviet industrial hub of roughly one million people, located at the intersection of two Siberian rivers: the wide, island-populated Irtysh and the smaller, swifter Om. The latter gave its name to the town, which grew from a fort established at the meeting point of the rivers in 1716, back when this was the disputed frontier of the expanding Russian empire.

But now it’s the last week of May 2013. The fort is long gone. In its place stands the Lighthouse, a large white hotel-cum–shopping mall festively crowned with neon Cyrillic lettering. Rounded at one end and peaked with towers, it drolly resembles a cruise ship in port. The sun is still out at 10 p.m., and a gusty wind rolling off the plains churns the warm air pleasantly.

Sleepy though this town seems by comparison with St. Petersburg, Moscow, or even Yekaterinburg — the three other stops on a four-city tour I joined last month, in conjunction with a US-Russia theater dialogue developed by the Center for International Theatre Development — Omsk turns out to be not so remote in many ways. For one thing, it’s a hotbed of theatrical activity at the moment, with the biennial Young Theaters of Russia Festival in full swing. Nor is the Russian empire entirely a thing of the past, as tonight’s provocation by a troupe from the former Yugoslav republic of Slovenia makes plain enough.

Damned be the Traitor of His Homeland! — a production of Ljubljana’s internationally renowned experimental company, Mladinsko Theatre — is a no-holds-barred attack on jingoism, xenophobia, and the false allegiances they promote, as well as on complacency in the face of recent history, government corruption, and social decay. Taking its title from the last verse of the former Yugoslav national anthem, it gleefully lobs profanity, insult, accusation, nudity, a flurry of gunshots, and lots of local dirt (dug up for the occasion) at its unsuspecting audience — who frequently find themselves unnaturally exposed and singled out under merciless house lights.

It begins quietly enough: its ten cast members onstage, reclining on the floor and clutching musical instruments, looking like a freshly slaughtered marching band — until the sound of breathing through a tuba begins a general stirring that quickly escalates into an instrumental movement titled, “Won’t Go Against My Brother.” Next, the cast introduces itself with ribald, pointed, self-effacing humor through their own imagined obituaries — each of which makes explicit reference to an imaginary production of “Hey, Slavs!” (in fact, the title of the Yugoslav anthem) directed by acclaimed Bosnian Croatian bad-boy director Oliver Frljic (in fact, the production’s own director).

Cycling through various loosely related scenes, all built from improvisations, Damned delivers its pleas and gibes with a potent combination of muscular staging, lively wit, intrepid honesty, and moments of wrenching beauty. It produced some walkouts the night we saw it — many more the night before, reportedly — but its themes were undeniably urgent and its manner both raw and sure. This was all before Edward Snowden went public with details of the NSA’s PRISM program or had arrived in Moscow from Hong Kong en route to some hoped-for political asylum abroad. But there was no denying the implications for any Americans in the audience as well.

Omsk has nine large municipally funded or federally funded theaters, leaving far behind most American cities of a comparable or even much larger size. And in short it, and the Festival, had much more to offer beyond this one highlight, even if not as explicitly provocative or political in nature. (Those curious to learn more should know that Chris White, artistic director of Mugwumpin and the other San Franciscan on the tour, has written a series of reports on HowlRound with many further details).

Highlights in Moscow included an exquisite production from leading director Dimitry Kymov (whose collaboration with Mikhail Baryshnikov, In Paris, came to Berkeley Rep last year). Based (like In Paris) on the work of famed Russian short story writer Ivan Bunin, Katya, Sonya, Polya, Galya, Vera, Olya, Tanya … is an original production crafting a series of oddball, sometimes grim love stories into a kind of high art twist on Grand Guignol.

Also utterly memorable was the best production of Hamlet I’d ever seen —staged in a ramshackle venue whose lobby was stuffed with a vaguely foul-smelling array of garage sale toys, Soviet kitsch, and other odds and ends, and whose stage was a small, low-ceilinged black box packed into the aisles with what appeared to be mainly teens. The theater and the production belong to famed Russian director and playwright Nikolay Kolyada. Somewhat infamous after his endorsement of Putin in the last elections (which points to one way in which Russian theater, offstage, can be nothing if not political), Kolyada delivers a decisive reading of Shakespeare’s play as a bald, barbaric parable of power — in an incredibly meticulous, distinct, and forceful style whose macabre wit brought to mind some weird admixture of Richard Foreman, Tim Burton, and Terry Gilliam. Whatever else it demonstrated, it showed the Bard’s play as utterly, repulsively, and compellingly contemporary — something too rarely accomplished in any language. *

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