youth

Tonight: The Human Be-In 2007

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The original Human Be-In on Jan. 14, l967, was not just a giant hippy party. It had an important political purpose and political consequences and helped mobilize the youth movement against the war in Vietnam

By Bruce B. Brugmann

As a participant in Friday night’s Human Be-In, the pre-40th Anniversary “Summer of Love” event on Sept. 2,
I plan to provide a bit of revolutionary poetry/journalism (my phrase) from my old friend and journalism colleague, the late Allen Cohen. Allen was the editor of the Oracle during the Summer of Love in l967 and a major organizer of the Human Be-in in Golden Gate Park.

He also published and pioneered what I considered the most colorful newspaper in the world at that time.
And how he did it was a San Francisco classic. The Oracle was printed by the Howard Quinn Co., at 298 Alabama Street, along with the San Francisco Bay Guardian, the Black Panther paper, the Berkeley Barb, and a host of underground papers and alternative papers of the era.

One night the Oracle staff came in with their flats and asked the pressmen, a rough and tumble crew, if they could get some special color in the paper. The hippies, some in bare feet, wanted this and they wanted that and they were rapidly driving the pressmen crazy. Finally, the pressmen just waved them to the press and said in effect, go ahead, do it your way. So the Oracle hippies went to work and put all kinds of colored dyes in all of the ink wells on the press, with no consideration for what color went where. The result was a rainbow of colors, all kinds, splashed across the front page and every page in the paper. The Oracle was an immediate sensation, on the streets and amongst mainstream newspaper people still tied to the old-fashioned letterpress printing.

Allen was creating a revolution in newspaper printing at the same time he was promoting a cultural and anti-Vietnam war revolution with the politics of the Be-in.
His wife, Ann Cohen, wrote me that “the media this year has left out how the Be-In came to happen and it feels as if it will go down in history as just a big party.” So she sent me a piece he did at the time on the politics of the Be-In and a letter, dated Jan. 1, 1967, asking Art Kunkin, editor of the LA Free Press, to publish an announcement
of the Be-In and “help the echoes of this event reverberate throughout the world.”

Allen crystalized a key issue of the time: that there was a “philosophical split that was developing in the youth movement. The anti-war and free speech movement in Berkeley thought the hippies were too disengaged and spaced out. Their influence might draw the young away from resistance to the war. The hippies thought the anti-war movement was doomed to endless confrontations with the establishment which would recoil with violence and fascism.”

The idea was to have a Be-In, a “powwow,” to bring the two poles together and to strengthen the youth movement and bring on the “revolution.”

Click on the continue reading link below to see how Allen described it all:

Save the golf courses

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OPINION Public golf is a historically vital part of San Francisco life. Imported to the city by immigrants from Scotland around 1900, golf here has retained its Scottish character as recreation for all types and ages. This is fostered by one of America’s outstanding collections of municipal courses, from the flagship Harding Park to Sharp Park — designed by Alister MacKenzie, golf’s Frank Lloyd Wright — to Gleneagles, hailed as one of the country’s finest nine-hole courses.

Of all the city’s courses, Lincoln Park is the oldest and most charming — a signature San Francisco landmark like its neighbor, the Golden Gate Bridge. Beginning in 1902, Lincoln was built on a hilly former cemetery by Tom Bendelow, who was known as the Johnny Appleseed of American golf, and Jack Neville, designer of Pebble Beach. Ansel Adams took some of his earliest published photographs there. Every national poll recognizes Lincoln as among America’s top 10 most-scenic public courses.

But today Lincoln needs help. After years of deferred maintenance, it’s now unplayable for much of the winter due to the lack of a modern drainage system. The ancient clubhouse is dilapidated. So play at Lincoln has declined. Some detractors now call for Lincoln to be bulldozed and replaced by skateboard and BMX bike parks, a soccer field, a driving range, and an events center. Such high-intensity uses are unrealistic, incompatible with Lincoln’s extremely hilly topography, and unacceptable to the course’s neighbors in the quiet residential precincts of the Outer Richmond.

Those who attack golf as an elitist male pastime misrepresent the reality of public golf in the city and ignore Lincoln’s importance to our youths. Lincoln is the home of the city’s high school and junior golf programs; the course’s alumni include US Open champions Ken Venturi and Johnny Miller and LPGA stars Jan Ferraris and Dorothy Delasin. The First Tee program, based at Harding and with plans for a new learning center in the Sunnydale neighborhood, uses golf to uplift the lives of hundreds of children from the city’s most disadvantaged neighborhoods. The city’s high school golfers now on university teams across the country — including Domingo Jojola (University of San Francisco), Katrina Delen-Briones (San Jose State), Keiko Fukuda (Brown University), and Elaine Harris (Indiana University) — are anything but male elites.

That the city’s golf courses need outside expert management is not seriously debatable. At the zoo, we hire professional zookeepers; at the museums, professional curators. What’s needed at our public courses is not more "wait and study the problem to death," as some politicians advocate, but an immediate injection of golf management expertise to prevent the terminal deterioration of the courses.

Improved public recreation cannot come by tearing down one sport to benefit another. We need to work together to improve all public recreation — including restoration of Lincoln and our other storied public golf courses. Visionaries of prior generations created these great civic assets. It is now our duty to preserve them for generations to come.<\!s>*

Lee Silverstein, Terese Cronin, and Tom Weathered

Lee Silverstein is a special education teacher and golf coach at Lowell High School. Terese Cronin is a fourth-generation San Franciscan who spent her youth at the city’s public golf courses. Tom Weathered is secretary of the Lincoln Park Golf Club.

Next week: why the city should look at other uses for Lincoln.

Fall Arts: The year we turned to Glass

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Philip Glass fans are getting ready to camp out in San Francisco this fall.

The most influential composer of the late 20th century, Glass marked his 70th birthday Jan. 31, but the celebration continues throughout the fall in the Bay Area with concerts presented by SF Performances, Stanford University’s Lively Arts, the OtherMinds Festival, the SF Conservatory of Music, and the Cabrillo Festival in Santa Cruz in what has essentially become an ad hoc Glass festival.

At the center of this pan-Bay series of performances, recitals, lectures, and seminars will be the world premiere of Glass’s Appomattox, a major new commission by the San Francisco Opera. Set to a libretto by British playwright Christopher Hampton, the two-act Appomattox dramatizes the eponymous historical battle of the American Civil War and the events leading to the surrender of Confederate general Robert<\!s>E. Lee to US general Ulysses<\!s>S. Grant.

With a loss of 600,000 lives, the Civil War is easily the most devastating event in US history — but what have we learned? "The issues that were raised at the time are very much at the heart of social change in our country today: states’ rights, racism, you name it," Glass said recently from his home in Nova Scotia. "On the good side, we are still engaged in resolving these issues. That is one of the great things about our country, that we haven’t shied away from the issues. We embraced the difficulties as we tried to find solutions. We had some measures of success and some not. But [these issues] never stopped being relevant, because they were never resolved."

Glass’s previous operas, such as Einstein on the Beach, Satyagraha, and Akhnaten, exude brilliant ideas and a sense of innovation, and in tandem with multimedia and experimental projects such as the high-profile cinematic Qatsi trilogy, they earned him a place among the 20th century’s great iconoclasts — not to mention a spot in the punch line to a joke on The Simpsons.

Yet Glass continues to evolve. With Appomattox, the composer has chosen a historical topic that lends itself to an arched yet linear narrative leading to a well-defined climax. And judging from his newer works, his compositional style has acquired a surprisingly lush lyricism. One might suspect Appomattox of being Glass’s first opera in grand 19th-century style, although the composer reassured those who fear he might be softening with age, "It is going to be a very confrontational piece. Some of the elements will be quite difficult for some people."

One such element is Appomattox‘s score, which integrates Old Testament hymns sung by black Southerners to welcome Abraham Lincoln during his visit to Richmond, Va.; military songs by the Arkansas First Brigade; and civil rights ballads.

"I wanted to include in the musical language the feeling and the musical culture of that time and of the present time," Glass explained. "While this was written for voices skilled in operatic singing, there are other kinds of music in this opera as well. This was for me one of the most interesting things, to try to bring together different music that would normally not be heard at the same time."<\!s>*

SELECTED PHILIP GLASS EVENTS

"Music of Philip Glass" Joined by cellist Wendy Sutter, Glass takes to the ivories in a recital of his chamber music, including the local premieres of "Songs and Poems for Cello," Etudes nos. 2 and 10, and "The Orchard for Piano and Cello."

Sept. 28. (415) 392-2545, www.performances.org

Appomattox

Oct. 5–<\d>24. (415) 864-3330, www.sfopera.com

Book of Longing Glass collaborated with singer-songwriter and poet Leonard Cohen on this multimedia work, staged by choreographer Susan Marshall, with the composer on keyboards at this West Coast premiere.

Oct. 9. (650) 725-ARTS, livelyarts.stanford.edu

OTHER TOP CLASSICAL AND OPERA PICKS

Il Rè Pastore Philharmonia Baroque opens the new season with a rare performance of this dazzling gem, written when Wolfgang Amadeus Mozart was a mere teenager. Though the plot is a bit silly, the thrilling score is full of vibrant, infectious energy and includes a fabulous string of showstoppers that foretell the genius of the composer’s mature operas.

Sept. 22–<\d>28. (415) 252-1288, www.philharmonia.org

New Esterhazy String Quartet As part of a multiyear, comprehensive survey of Franz Joseph Haydn’s string repertoire in anticipation of the composer’s bicentennial in 2009, the local string quartet offers a fascinating exploration of Haydn’s quartets against a backdrop of early American history, finding unexpected associations linking the Old and New Worlds.

Oct. 19–<\d>21. (510) 528-1725, www.sfems.org

Gustavo Dudamel and the Simón Bolívar Youth Orchestra of Venezuela The appointment of 26-year-old Venezuelan conductor Dudamel to the top post of music director of the LA Philharmonic shocked the American symphonic establishment, but Dudamel is the next great thing. He has proved his mettle as the guest conductor of major European orchestras and as the artistic director of the excellent Simón Bolívar Youth Orchestra of Venezuela, which recruits and grooms students from the poorest barrios in the country. They’ll perform works by Dmitry Shostakovich, Leonard Bernstein, and Latin American composers.

Nov. 4. (415) 864-6000,www.sfsymphony.org

For more Glass events and classical picks, go to Noise, the Guardian‘s music blog, at www.sfbg.com/blogs/music.

Fall Arts: Sing or swim

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AUG. 28

Aesop Rock, None Shall Pass (Def Jux) We’ll see if ‘Sop has lost his edge livin’ in ol’ Frisky. Blockhead and Mountain Goats’ John Darnielle take a pass on the nervy rhymes.

Akon, Konvicted (Konvict/Upfront/SRC/Universal Motown) Konvinced? Or just plain a-korny?

Evelyn Champagne King, Open Book (RNB/Jaggo/Fontana) The disco queen who was discovered while cleaning the offices of Philly International brings “Shame” into the 21st century.

Ledisi, Lost and Found (Verve Forecast) The local singer’s debut for the true diva cathedral of all jazz labels has been three years in the making.

Liars, Liars (Mute) Work that skirt.

Noreaga, Noreality (Babygrande) Wake me up when Noreality TV has finished its broadcast day. Kanye West, Pharrell Williams, Jadakiss, Three 6 Mafia, David Banner, and a cast of thousands trade off on enabling duty.

Scorpions, Humanity Hour 1 (New Door/UME) Oh, the inhumanity; Billy Corgan scorps out new turf.

Yung Joc, Hustlenomics (Block/Bad Boy South) Joc’ed up on java with the first single, “Coffee Shop,” off this Neptunes-, Fixxers-, and Gorilla Zoe–produced disc.

 

SEPT. 4

Calvin Harris, I Created Disco (Almost Gold) The brazen Scot is irreverent enough to lay claim to inventing the big D, the buzzword of this year and the year before.

 

SEPT. 11

Animal Collective, Strawberry Jam (Domino) Helmed by frequent Sun City Girls producer Scott Colburn, their eighth album’s nine songs include one dedicated to Al Green.

B5, Don’t Talk, Just Listen (Bad Boy) Diddy’s answer to the Backstreet Boys unknowingly use the favorite phone phrase of the Weepy-Voiced Killer as the title for their album.

Dirty Projectors, Rise Above (Dead Oceans) Another punk machismo-reclamation project? Queerific art rockers team with Grizzly Bear playas to rewrite Black Flag’s Damaged — from memory and with a hearty helping of cracked experifolk whimsy.

50 Cent, Curtis (Shady/Aftermath/Interscope) The artist also known as a form of VitaminWater that tastes like grape Kool-Aid continues his marketing onslaught.

Go! Team, Proof of Youth (Sub Pop) Will their first single, “Grip Like a Vice,” hook till it hurts?

Jenny Hoyston, Isle Of (Southern) The Erase Errata guitarist finds paradise far from the dashboard blight.

Modeselektor, Happy Birthday! (BPitch Control) Genre-hopping Berlin duo go the celebrity cameo route, enlisting the vox of Thom Yorke and others.

Pinback, Autumn of the Seraphs (Touch and Go) Will this top Pinback’s last album, Summer in Abbadon, which sold more than 80,000 copies? Indie music sellers wanna know!

Qui, Love’s Miracle (Ipecac) Jesus Lizard David Yow’s quid pro quo — with covers of Pink Floyd’s “Echoes” and Frank Zappa’s “Willie the Pimp.”

Simian Mobile Disco, Attack Decay Sustain Release (Interscope) I got my pulverizing bass in your acid keyboard scrunchies!

Kanye West, Graduation (Roc-A-Fella) West’s mom has been caught saying that this is his best album ever. Making or breaking the case: West has said that Lil’ Wayne will rap over a song titled “Barry Bonds.”

 

SEPT. 18

Babyface, Playlist (Mercury) The onetime close, personal friend of Bill just wants do covers, like “Fire and Rain,” “Time in a Bottle,” and — hoo boy — “Knockin’ on Heaven’s Door.”

James Blunt, All the Lost Souls (Custard/Atlantic) U-g-l-y, this ain’t got no alibi.

Chamillionaire, Ultimate Victory (Chamillitary/Universal Motown) The H-town star’s long-delayed sophomore effort has a mammoth supporting cast even by commercial-rap standards; it kicks off with a single featuring Slick Rick.

The Donnas, Bitchin’ (Purple Feather/Redeye) Named after the fluffy puppies overrunning their studio?

Eve, Here I Am (Aftermath/Interscope) Had anyone been looking? Listening in are producers Dr. Dre, Timbaland, Swizz Beatz, and Pharrell Williams.

Rogue Wave, Asleep at Heaven’s Gate (Brushfire/Universal) Just don’t drift off around Marshall Applewhite while wearing black-and-white Nikes. A new bass player — Patrick Abernathy — and a new label for the locals.

Angie Stone, The Art of Love and War (Stax/Concord) The road back from VH1’s Celebrity Fit Club may yet be one to salvation, since it’s passing through the holy land of Stax.

 

SEPT. 25

Devendra Banhart, Smokey Rolls down Thunder Canyon (XL) Gael García Bernal sings on one track, and Vashti Bunyan sings on two; Noah Georgeson produces a collection that is supposed to flit from Gilberto Gil breezes to Jackson 5–style pop.

The Cave Singers, Invitation Songs (Matador) Pretty Girls Make Graves–Murder City Devils, Hint Hint, and Cobra High grads calcify in intriguing country-folk shapes.

Keyshia Cole, Just like You (A&M/Interscope) Two years on, it’s clear that Oakland girl Cole’s The Way It Is was the best R&B debut since What’s the 411? Through the sheer intense focus of her singing, she rescues overexposed Missy and Lil’ Kim on the first single here.

José González, In Our Nature (Mute) Yes way, José. The long wait for the follow-up to Veneer is over. González recorded this in his hometown over a three-week period after obsessing about today’s religion and (lack of) ethics.

PJ Harvey, White Chalk (Island) Peej draws in longtime collaborator Eric Drew Feldman and Jim White of the Dirty Three.

Iron and Wine, The Shepherd’s Dog (Sub Pop) Here’s hoping three’s the charm for Sam Beam.

Jagged Edge, Baby Makin’ Project (So So Def/Island) Yet another case for population control.

Mick Jagger, The Very Best of Mick Jagger (Rhino UK) It’s semiofficial: the best of Mick Jagger is worse than the worst of the Rolling Stones.

Bettye LaVette, The Scene of the Crime (Anti-) A singer who can bring out the black-and-blue tone of that title, especially because the scene of the crime is Muscle Shoals, Ala., where she returned to record this album. She’s backed by Drive-by Truckers.

Matt Pond PA, Last Light (Altitude) Neko Case and Kelly Hogan hold a candle.

Múm, Go Go Smear the Poison Ivy, Let Your Crooked Hands Be Holy (Fat Cat) Mum’s the word?

Meshell Ndegeocello, The World Has Made Me the Man of My Dreams (Decca) Connecting her MySpace page to the gender-bending edges of her cover of Bill Withers’s “Who Is He (and What Is He to You?),” you might say the man of her dreams is Miles Davis.

Robert Plant and Alison Krauss, Raising Sand (Rounder) Why does my mouth fill with sand when I think about this project?

Queen Latifah, Trav’lin’ Light (Verve) Latifah steps to a song that will always be owned by Billie Holiday — and sings some other songs as well — on her debut album for one of Lady Day’s main labels today.

Scott Walker, And Who Shall Go to the Ball? (4AD UK) The enigma returns more quickly than usual, albeit with a four-movement instrumental mini-LP composed for a dance piece.

Will.i.am, Songs about Girls (Interscope) The Black Eyed Pea with the lamest name loves the ladies, egged on by Snoop Dogg.

 

OCT. 2

Cassidy, B.A.R.S. (Full Surface/J) The Philly battle rapper rebounds from injury and lockup and leans on Bone Thugs, John Legend, and others for faith.

Annie Lennox, Songs of Mass Destruction (Arista) No doubt about it, “Why?” can be very irritating. But this title suggests she’s really amped up the damage inflicted by her tunes.

 

OCT. 9

Band of Horses, Cease to Begin (Sub Pop) Ben Bridwell expresses his love for YouTube video directors on this Phil Eks–produced second LP.

Dengue Fever, Untitled (M80 Music/NAIL/Allegro) On recordings, they’re sometimes glorious, sometimes not — will the third time be a charm for the group led by Chhom Nimol’s dynamic voice?

The Fiery Furnaces, Widow City (Thrill Jockey) The prolific sibs thrust forth their sixth full-length, emboldened by engineer John McEntire of Tortoise.

The Hives, The Black and White Album (Interscope) The ebullient Swedes will be donning black after a dozen or so shows opening for Maroon 5.

Jennifer Lopez, Brave (Epic) Are listeners courageous or is she?

Robert Pollard, Coast to Coast Carpet of Love and Standard Gargoyle Decisions (Merge) Two releases in one day — guided by bipolar voices?

She Wants Revenge, This Is Forever (Geffen) Let’s hope not.

Amy Winehouse, Frank (Island) Pre–US juggernaut album by the singer in rehab, for anyone who doesn’t think she’s overexposed or wouldn’t rather look at Ronnie Spector and listen to Ruth Brown.

 

OCT. 16

Nicole Scherzinger, Her Name Is Nicole …(Interscope) …and she’s the Pussycat Doll whom you can tell apart from the other Pussycat Dolls — I think. She falls in seconds-long love at first sight with prospective members of her group during auditions, if the trashiest TV show in recent memory is to be believed.

 

OCT. 23

Ashanti, The Declaration (The Inc.) I’ll flabbergast many by saying that Ashanti has served up more quality hit singles than the other R&B diva releasing an album this week.

Alicia Keys, As I Am (J) She can sing, she can play, she can sell Proactiv Solution like few others. But will she ever truly let that voice loose?

 

OCT. 30

Backstreet Boys, Unbreakable (Jive) Do we really want it that way again? Can they give it to us that way? One thing’s for sure — this should give Chelsea Handler months of comedy material.

Chris Brown, Exclusive (Jive) Yeah, he’s cuter than kitten posters. But his appearance in a tribute to the Godfather of Soul at last year’s Grammy Awards verged on sacrilege.

 

NOV. 13

Wu-Tang Clan, The 8 Diagrams (Street Recordings) Their first album in six years — thus their first post-ODB recording — takes its title from the Shaw brothers’ film Eight Diagram Pole Fighter; in tune with the George Harrison revival, it includes a cover of “While My Guitar Gently Weeps.”

 

NOV. 20

Six Organs of Admittance, Shelter from the Ash (Drag City) The Redwood Curtain’s guitar-wielding heir to John Fahey breaks out a new LP, said to be smokin’.<\!s>*

 

Fall Arts: Popcorn — and human pies

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1. Across the Universe Stage visionary (The Lion King) turned occasional film director (Titus, Frida) Julie Taymor’s latest attracted advance attention of the wrong kind. Revolution Studios found her final cut of this Vietnam War–<\d>era musical drama — whose characters break into Beatles songs — too surreal and abstract, reediting it without her consent. Given that, Taymor’s extravagant visual imagination, a script by two 70-year-old Swinging London veterans, low-watt leading actors, and weird cameos (Eddie Izzard, yes; Bono, god no!), this could turn out great, awful, whatever — but it shouldn’t be ordinary. (Sept. 14)

2. The Brave One Jodie Foster is Ms. 45! Or she’s Charles Bronson in Death Wish — take your pick. She’s a New Yorker turned vigilante after suffering a violent assault. Reasons this probably won’t be cheesy include director Neil Jordan and Terrence Howard, Mary Steenburgen, and Jane Adams in supporting roles. (Sept. 14)

3. The Last Winter Global warming has provided an agenda for various cautionary documentaries, nature flicks, and penguin-centric cartoons. This latest by underappreciated genre specialist Larry Fessenden (Habit, Wendigo) puts it where it really belongs: in a horror movie. James LeGros and Ron Perlman lead an advance team planning oil drills in pristine Arctic Alaska. Cabin fever, the supernatural, and perhaps a fed-up Mother Nature fast decimate these human intruders. Recommended for those who like their horror ambiguous and psychologically fraught. (Sept. 28)

4. Lust, Caution OK, Hulk wasn’t so hot. But that aside, is there a working commercial director with a higher-quality track record than Ang Lee? Great expectations are de rigueur for this Mandarin-language drama entangling Joan Chen and Tang Wei with politically powerful Tony Leung in World War II–<\d>era Shanghai. (Oct. 5)

5. For the Bible Tells Me So Like No End in Sight and Sicko, this is one of those documentaries you’ll wish every diehard conservative would see. Daniel<\!s>G. Karslake’s feature takes an evenhanded, big-picture look at just how and why the US religious right has made homosexuality its favorite target. (Oct. 12)

6. No Country for Old Men By all accounts, this lesser Cormac McCarthy novel has been adapted into the greatest Coen brothers movie in aeons. Tommy Lee Jones, Woody Harrelson, and Kelly Macdonald are among those embroiled once Josh Brolin finds $2 million, mucho cocaine, and a lotta corpses in the Texas desert. Trouble is, evil Javier Bardem wants his dough and his blow back. Gruesome splatstick ensues. (Nov. 21)

7. Joe Strummer: The Future Is Unwritten Julien Temple’s documentary portrait of the late Clash-leading punk rock hero has been praised to the skies — though not having seen it, I’m a little unclear as to why Johnny Depp, John Cusack, and Matt Dillon are leading interviewees. (Dec. 6)

8. Atonement Ian McEwan’s extraordinary novel — about the havoc wrought by a child’s misunderstanding in pre-WWII England — required careful handling. With a screenplay by Christopher Hampton, direction by Joe Wright (Pride and Prejudice), and a cast including Brenda Blethyn, Keira Knightley, and Vanessa Redgrave, this might well be as good as it needs to be. (Dec. 14)

9. Sweeney Todd: The Demon Barber of Fleet Street This looks like a perfect match for director Tim Burton, whose work has largely disappointed since 1994’s Ed Wood. But can Johnny Depp as the titular murderous Victorian — or Helena Bonham Carter as his human pie–<\d>baking pal — actually sing this demanding Broadway-operatic score? Can Alan Rickman, Timothy Spall, or Sacha Baron Cohen? The breaths of Stephen Sondheim’s and Burton’s fans are bated. (Dec. 21)

10. Youth Without Youth George Lucas has been saying he’ll return to his small-scale filmmaking roots for at least a couple of decades. His original industry booster, Francis Ford Coppola, actually delivers on that promise with this HD-shot adaptation of a Mircea Eliade story. Tim Roth plays a professor turned globe-hopping fugitive; Downfall‘s Hitler, Bruno Ganz, and secretary Alexandra Maria Lara are reunited as players on Roth’s enigmatic journey. After his full decade’s absence, it’ll be intriguing to see what dragged Coppola back behind the camera. (Dec. 21)<\!s>*

The tale of a l3-year-old youth and his adult skipper who beat the Australians in a national championship sailing race in Alameda

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By Bruce B. Brugmann

I confess here and now that I know nothing about sailing or sailing races. In fact, the only thing I know is the joke among sportswriters that the way to cover a sailing race is to station yourself at a bar, overlooking the race, and cover the action from there, because there really isn’t any action that you can see from the shore.

However, I decided to see my first sailing race when my grandson, Nicholas Perez, a lean l3-year old from Santa Barbara, and his skipper, Gordon (Gordo) Bagley, of Boulder City, Nevada, entered the Hobie National Championship Race the week of July 30th on the beaches of Alameda. I watched them head out to the start line, with some of the world’s top sailors from all over the globe, including Australia, Mexico, Fiji, and of course the U.S.
And then I came back to the city because I simply couldn’t spend the day trying to follow the action.

On Friday, Aug. 3, the last day of the five day regatta, the two did the impossible and pulled off one of those once-in-a-lifetime sailing feats that sailors only dream about, as was explained to me later by the sailors.
As you can see from the three photos, Nicky and Gordo port tacked the fleet, which means they threaded the needle between the pin boat and the rest of the fleet of catamarans on port tack, went into the lead, and never gave it up during the race.

Here’s what the sailing experts told me: Sailing afficionadas know what a difficult and gutsy move this is. To pull it off during a national championship is nothing short of miraculous. Here is how the miracle worked. A fundamental rule off sailing is that the boats on starboard tack have the right of way. Typically, 99.9 per cent of the sailors will be positioned on the starting line with their boats situated on the starboard tack. Starboard tack means that the wind is coming over the starboard side of the boat.

As you can see in the photos, 49 Hobie catamaran sailboats are on the starboard tack when the starting guns goes off and only one boat, #5l with Nicky and Gordo is on port tack. They are taking a big gamble that they will be able to sneak through a very narrow opening at the left-most end of the starting line without fouling, impaling themselves on or crashing into the rest of the fleet on starboard tack.

If this doesn’t work then, well, it’s not the good. But if it does work, then it presents one with the advantage of clear, smooth, undisturbed air and good boatspeed right at the start of the race. Good boatspeed is vital for shooting through the starting line into the race course. Conversely, starting with the fleet, all on starboard, where everyone is having to maneuver, being careful not to bump into each other while going relatively slowly, makes for a slower start.

The wind direction and starting line orientation actually favored rthe port tack start, but as you can see, 49 captains and crew thought otherwise for this particular race. After a quick consultation to determine the course of action, they decided to go for it, sailed into the lead, and won the race.

Keep on sailing, NIcky and Gordo. As for me, I am now worn out and will retire to the Connecticut Yankee bar for a Potrero Hill martini. B3

Pictured below are Nicky and Gordo doing the impossible. Click on the continue reading button to see the first person summary that Gordo wrote for the Catamaran Sailing magazine blog.

sailboy.jpg

Nicky and Gordo start the race:

sail1.jpg

Nicky and Gordo take the lead:

sail2.jpg

Click below for Gordo’s summary.

School blues

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› kimberly@sfbg.com

SONIC REDUCER Roll over and let MF Doom give you the news: even during the soporific, sunlit waning days of summer, you needn’t wander far before tumbling headlong into a deep ditch of gloom. And is it any surprise, when even the top 10 is capped with hand-wringing, ditsy throwback-pop ditties like Sean Kingston’s suicide-dappled "Beautiful Girls" — just a few skittish dance steps away from Amy Winehouse’s anxious revamps of sweet soul music?

So when Danville-raised Film School headmaster Greg Bertens made the move away from the Bay to Los Angeles last September to be with his girlfriend and get some distance from 2006, his splintered group’s annus horribilis, it doubtless seemed like dour poetry that he ended up living just a few doors down from punk’s crown prince of dread, Glenn Danzig.

"Oh yeah, Glenn and I go way back!" Bertens said drolly from LA, describing Danzig’s lair as ivy covered and encircled by a gate topped with an iron fleur-de-lis. "Once in a while I see him walk by in a big, black trench coat. LA in general is a big amusement park, and Glenn Danzig happens to be an attraction close to my house."

That new home was where Bertens rediscovered his will to make music — and lost the old, jokey misspelling of his first name, Krayg. There he wrote and recorded Film School’s forthcoming album, Hideout (Beggars Banquet), alone at home with only a guitar, a keyboard, and a computer equipped with Pro Tools, Logic, and assorted plug-ins, while listening to old Seefeel, Bardo Pond, and Sonic Youth LPs. Guest contributions by My Bloody Valentine vet Colm O’Ciosoig, who also lived in the Bay Area before recently moving to LA, and Snow Patrol bassist Paul Wilson filled out the lush, proudly shoegaze songs that Bertens eventually took to Seattle for a mix with Phil Ek (Built to Spill, the Shins).

The recording is "the closest so far to what I’ve been trying to get to since Film School began," Bertens told me later, but it came at a price, following the release of the San Francisco group’s much-anticipated, self-titled debut on Beggars Banquet. Poised to become one of the first indie rock acts of their late ’90s generation to break internationally, after opening tours with the National and the Rogers Sisters, Film School instead found misfortune when Bertens was jumped outside a Columbus, Ohio, club.

Then the group’s instruments and gear were lost in Philadelphia when thieves stole their van, audaciously driving over the security gate of a motel parking lot. Despite benefits and aid from groups like Music Cares, the loss magnified band member differences, leading to the departure of guitarist Nyles Lannon (who also has a solo CD, Pressure, out in September), bassist Justin Labo, and drummer Donny Newenhouse, though longtime keyboardist Jason Ruck remains.

"Understandably, it kind of compounded any difficulties we might have had," Bertens recalled, still sounding a little tongue tied. After such events, he continued, "you definitely tend to reevaluate what is important in your life setup."

The loss of certain key pedals was particularly felt, although, he added, "ironically, after a year or so, one of the instruments showed up on eBay, and it was traced back to a pawnshop in Philly." The entire lot of gear had apparently come in three weeks after it was stolen, but though the store claimed it had checked with the local police department, and the band and Beggars had furnished the police with serial numbers and descriptions, no one made the connection. "We found a general unorganized response to the whole event," Bertens said with palpable resignation.

Yet despite the negativity Bertens associates with 2006 — "I think it was a heavy year globally as well, and Hideout comes a little from that, the impulse to hide out when external and internal factors are unmanageable" — he did find an upside to Film School’s downturn: the response to the theft "kind of restored my ideas about the music community within indie music. We’re a small band, and all these people — people we knew and people we didn’t know and other bands — all kind of came to our aid. I kind of knew that community existed, but I never experienced it." As a result, he said, the new CD’s notes will list the names of more than 150 people "we feel completely indebted to." Something for even Danzig to brood about.

ARTSF STRESSED What would we do without Godwaffle Noise Pancakes brunches and raucous noise shows stories above Capp and 16th Street? Let’s not find out, though word recently went out that the venue for those events, the four-year-old ArtSF, is being threatened. Allysun Ladybug Sparrowhawk has been handling art and music shows at the space for more than a year, and she e-mailed me to say she hadn’t been informed of an approximately $4,000 yearly building maintenance fee until the space received an eviction notice. "When there is a repair on the building, most of the cost is put on us," she wrote. "It should be split equally between all the tenants but most of the other floors are empty."

Since a slew of the organization’s art studio spaces is empty, she continued, "we are struggling to make the rent as it is. A fee like this has really threatened our existence." Does this mean even more artists and musicians are going to be priced out of this already-too-pricey city? Keep the pancakes coming: contact artmagicsf@yahoo.com and visit FILM SCHOOL

With Pela and the Union Trade

Wed/15, 9 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

HEARING RAID

MOCHIPET


Girls really do love breakcore — and Journey reworks — by this son of a Taiwanese rocket scientist. With the Bad Hand and Bookmobile. Wed/15, 9 p.m., $10. Cafe du Nord, 2170 Market, SF. www.cafedunord.com

WHITE SAVAGE


Look out — no wavy cacophony and apelike yelps. With the Go, Bellavista, and Thee Makeout Party! Fri/17, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com. Also with the Frustrations and the Terrible Twos. Sat/18, 6 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

THE DRIFT


Tarentel’s Danny Grody sails in, following the release of a limited-edition 12-inch of remixes by Four Tet and Sybarite. Sun/19, see Web site for time and price. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

SOMNAMBULANTS


The SF-by-way-of-Brooklyn synth poppers toast their new Paper Trail (Clairaudience Collective) with contemporary dance by peck peck. Aug. 23, 9 p.m., $8. Space Gallery, 1141 Polk, SF. www.spacegallerysf.com

End-of-summer fun with Liars, Animal Collective, Thurston Moore

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By Sean Manning

liars.jpg

Ah, the end of summer. A time to wake back up to reality – be it the impending school semester, a new work opportunity, or simply the realization that you’ve been lying face down in a pile of your own dirty laundry for the past few months. It’s the year’s second wind, a time for renewal and our last chance to come out on top.

It’s also, as you may have noticed, as great time for stuff in general. From movies trying to land their way onto Roger Ebert’s goo-rag to a flurry of albums being unleashed on an unsuspecting public, our wallets never seem too deep. Here’s just a few things to salivate over in the coming weeks.

Liars, Liars (Aug. 28): Every guy I know loves the Liars, and each guy’s respective girlfriend seems to hate them. What’s the deal with that? These guys are heavy, though, and this new one proves that Drum’s Not Dead was no fluke. In addition to the face-melting stuff, you get a couple of nice melodic tracks, including the bouncy “Houseclouds,” which is everything Beck wishes The Information was.

Animal Collective, Strawberry Jam (TBA): This band came back on my radar in a big way earlier this year with Panda Bear’s terrific Person Pitch, so there’s plenty of expectation surrounding this release. While not quite as joyously blissful as that album (or even Feels), Strawberry Jam is an adventurous album that further expands Animal Collective’s range (wait til you hear “Unsolved Mysteries,” which sounds like it was pulled straight of Super Mario Sunshine).

Thurston Moore, Trees Outside the Academy (Sept. 18) Good old Thurston Moore is going unplugged on this one. Gasp! Does that mean he’s winding down, getting ready for his golden years John Denver style? No, it pretty much sounds like Sonic Youth, with some nice folkly flourishes. And a gem of a recording of Thurston at age 13, experimenting with a tape recorder, hitting random objects, and narrating for your listening pleasure.

Black and white and color

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One of the most exciting aspects of being a newspaper editor is recognizing a wave of activity that isn’t connected to government mind control or onslaughts of corporate-sponsored and mass-marketed art. This kind of spontaneous mass energy is happening via photography in San Francisco right now. August is known as a slow month, but the city’s galleries are alive with contemporary photos. Bill Daniel’s latest look at the US landscape is opening at RayKo Photo Center, the Daniel-influenced vagabond spirit Polaroid Kidd has his first Bay Area show at Needles and Pens, Greg Halpern’s moody views of Buffalo and Kelli Connell’s double-minted prints are up at SF Camerawork, and at City Hall — through the San Francisco Arts Commission Gallery — the work of 32 local photographers is on view.

Baptized in arguments regarding its viability as an art form, photography remains as contentious as it is expansive. Witness a veteran such as Duane Michals sharpening his claws on the megapopular likes of Cindy Sherman in last year’s rant-monograph Foto Follies: How Photography Lost Its Virginity on the Way to the Bank (Thames and Hudson). We live in an era when the ready availability of portraiture seems to have made its definition even more reductive; via MySpace and more explicit sites, people use cameras to readily package themselves as products. Yet when black-and-white and color and digital and film collide with unpredictable results, photo portraiture can be as varied and lively as the work you’ll find on these pages.

Thanks to fellow Guardian arts editor Kimberly Chun for suggesting, late in the selection process, a focus on portraiture. This decision necessarily narrowed the Bay Area photographers to choose from; there’s a wave of garden- and eco-driven work being done by Bill Basquin and others, while Dusty Lombardo, R.A. McBride, and Jackson Patterson are discovering tremendous depth in interiors. Thanks also to Basquin, Daniel, Glen Helfand, Chuck Mobley, Katie Kurtz, and Dave and Ray Potes for their suggestions.

Twelve years ago I interviewed therapist and author Walt Odets because he was bringing much-needed humanity to discussions of the AIDS crisis; to find out that he’s also a superb photographer whose subjects have included Jean Renoir and his wife, Dido, is a revelation. In distinctive ways, Vic Blue, Robert Gumpert, and Amanda Herman reveal what journalism usually ignores or renders shallow. The intimacy of Vala Cliffton’s photos makes one ponder her presence within the scenes she depicts. Matthias Geiger shows a city you might not have noticed even when it’s been in front of your face. Stan Banos has an eye for the many shades of gray within the multihued and the cuckoo. Job Piston is that rare Bay Area photographer whose work brandishes a sexual edge that isn’t obvious or predictable. Jim Goldberg’s urban work has been canonically influential since the publication of Rich and Poor (Random House, 1985) and Raised by Wolves (Scalo, 1995). Photography is just one aspect of Désirée Arlette Holman’s hand-fashioned fantasy world, a place that looks like a wicked satire of our own.

If you’d like to see more about some of these artists, go to www.sfbg.com/blogs/pixel_vision. (Johnny Ray Huston)

44-Banos.jpg
Stan Banos

NAME Stan Banos

TITLE The Marine

THE STORY "This photo was taken in San Francisco during Fleet Week in ’04."

INSPIRATION "I’ve always had a vague obsession with time and place, and the camera is the best-suited instrument to record such transient moments (particularly when you can’t draw). I generally try to incorporate whatever signs of irony life can offer within a rectangle."

FAVORITE PHOTOGRAPHERS "I have more favorite photographers as an adult than I had favorite ballplayers as a kid: Bruce Davidson, Josef Koudelka, Diane Arbus, Garry Winogrand, William Eggleston, Stephen Shore, Carl de Keyzer, James Nachtwey, Cheryl Richards, Henry Wessel, Elliott Erwitt, Martin Parr, Lee Friedlander … the list is endless."

SHOW "Our World," at SF Arts Commission Gallery’s City Hall space, through Sept. 21.

WEB SITE www.reciprocity-failure.com

44-blues.jpg
Victor J. Blue

NAME Victor J. Blue

TITLE Honduran immigrants, Detention Center Tapachula Mexico

THE STORY "I went to the Guatemala-Mexico border to photograph immigration there. These guys had been caught trying to ride the freight train to the United States. We only had a few minutes to take pictures inside. They were on a bus back to Tegucigalpa within a day, probably just to try again."

FAVORITE MONOGRAPHS The Mennonites by Larry Towell (Phaidon, 2000), Exploding into Life by Eugene Richards and Dorothy Lynch (Aperture, 1986), Kosovo 1999–2000: Flight of Reason by Paolo Pellegrin and Tim Judah (Trolley, 2002), Under a Grudging Sun: Photographs from Haiti Libere 1986–1988 by Alex Webb (Thames and Hudson, 1989).

WHAT ARE YOU SHOOTING NOW? "The cost of the wars in Iraq and Afghanistan for the people of San Joaquin County."

WEB SITES www.victorjblue.com, online.recordnet.com/projects/iraq/Jose/index.html

44-Clifton.jpg
Vala Cliffton

NAME Vala Cliffton

TITLE Unicorn

THE STORY "Unicorn is a portrait of my niece and my brother after their trip to Hawaii. My niece is in love with Hawaii and could not seem to detach herself from her scuba gear that afternoon. My brother was trying to catch a nap before dinner. The combination of elements in this unposed portrait captures an essential and intriguing aspect of their father-daughter relationship."

INSPIRATIONS "The Family of Man [Harry N. Abrams] was the first photography book I can remember picking up and being interested in. Photography was always a part of our family life. One of my projects while at the San Francisco Art Institute was to print the black-and-white snapshots taken of the family over the years."

WHAT ARE YOU SHOOTING NOW? "I have spent the past couple or years working as a filmmaker and producing music videos, some of which I have put up on YouTube at youtube.com/alavala11."

SHOW "Our World," at SF Arts Commision Gallery’s City Hall space, through Sept. 21.

WEB SITE alavala.com

44-Geiger.jpg
Matthias Geiger

NAME Matthias Geiger

TITLE Train

THE STORY Train is taken from Geiger’s "Tide" series, which he describes as "an examination of human presence" in "places of transit and momentary rest…. The technique of layering still images allows past, present, and future moments to appear simultaneously, reflecting the notion that each moment in time is a construct of our memories, our presence, and our projections."

INSPIRATIONS "Direct physical experience such as being outdoors, dance, and meditation, as well as readings on metaphysics."

WHAT ARE YOU SHOOTING NOW? A series on utopian subcultures.

SHOW "Matthias Geiger: Tide." Sept. 6–Oct. 20. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020, www.sfcamerawork.org

WEB SITE www.matthiasgeiger.com

44-gumpert.jpg
Robert Gumpert

NAME Robert Gumpert

TITLE Untitled

THE STORY "For the past 13 years I’ve been doing an off-and-on documentary project called ‘Lost Promise: The Criminal Justice System.’ This image was done in August 2006 while I was documenting the closing of San Francisco County Jail No. 3. Built in 1934 and beset by a number of serious issues and several lawsuits ordering its closure, the jail was finally closed in August 2006, when inmates were moved to County Jail No. 5, built on land adjacent to the old jail."

FAVORITE PHOTOGRAPHERS Don McCullin, Lewis Hine, August Sander, Leonard Freed, Gilles Peres, and Philip Jones Griffith.

WEB SITE www.robertgumpert.com

44-herman_rashad.jpg
Amanda Herman

NAME Amanda Herman

TITLE Untitled

THE STORY The image is taken from Herman’s most recent work, the short film Lost Island, which looks at the impact of Hurricane Katrina on one large family two years after the storm forced them from their home in Chalmette, La. Herman met the Morris family in Oakland while doing free family portraits for survivors at a relief day in October 2005, one month after Katrina drove them from their homes, and, she writes, "over time, I became interested in exploring the intricacies of one family’s experience with the disaster." Donations and income from the sale of the Lost Island DVD will go into a family fund to assist the Morrises as they rebuild their lives in Oakland.

FAVORITE PHOTOGRAPHERS Seydou Keita, Allen Sekula, Susan Meiselas, Jeff Wall, Wing Young Huie, Wendy Ewald, Jessica Ingram, Eric Gottesman, and others.

SHOW "Inchoate," through Aug. 11. Patricia Sweetow Gallery, 77 Geary, mezzanine, SF. (415) 788-5126, www.patriciasweetowgallery.com

WEB SITE www.amandaherman.com

44-holman.jpg
Désirée Arlette Holman

NAME Désirée Arlette Holman

TITLE Something Ain’t Right

THE STORY "This image is from a larger series of video and photo work depicting actors wearing crude, handmade (by me) chimp costumes. Something Ain’t Right was inspired by smoking chimps in zoos in South Africa and China. One zookeeper claimed that the chimps were smoking because they are frustrated. Could captivity make a chimp neurotic and lead it to smoke? Others claimed that the chimps were imitating tourists, recalling the cliché ‘Monkey see, monkey do.’ "

INSPIRATION "I am inspired by psychology, popular culture, figurative sculptures (including toys), art, and various types of fantasy and fiction making. I capitalize on the potential to create fantasy from realistic imagery through the use of the camera."

FAVORITE PHOTOGRAPHERS Currently include Tracey Moffatt, Liza May Post, and Suzy Poling.

SHOWS "CCA: 100 Years in the Making," at the Oakland Museum of Art, and a solo show at San Francisco’s Silverman Gallery. Both open in October.

WEB SITE www.desireeholman.com

44-piston.jpg
Job Piston

NAME Job Piston

TITLE A Year Later

THE STORY "I was making portraits of young Hollywood and became interested in deconstructing glamour. This is a good friend of mine who was sent away to a facility for a long while. I took this picture the first time I visited him. Today popular figures openly go to rehab; it too has become glamorous."

INSPIRATION "Complicated personalities, intimacy in public spaces, secrets, the figure, and the fountain of youth."

SHOW "Our World," at SF Arts Commission Gallery’s City Hall space, through Sept. 21; "Evidence of Things Unseen," Peninsula Museum of Art in Belmont, through Oct. 21; solo show at Silverman Gallery in San Francisco in October.

WEB SITES www.jobpiston.com, book-of-job.blogspot.com

44-Odets.jpg
Walt Odets

NAME Walt Odets

TITLE Greg Hoffspiegel, Palo Alto, California, 2007

THE STORY "Because it is so instantaneous, there is much chance in photography. This photograph seems to me about the gaze and emotion of the three figures, some combination of attention, reflection, loss, and pathos, as well as the visual organization."

INSPIRATION "I have taken pictures since I was 16. If I can use the camera in a way that forces deconstruction of what we normally see but do not observe, then I feel I have accomplished something."

FAVORITE PHOTOGRAPHERS "Henri Cartier-Bresson, of course, and Ed Ruscha and Lee Friedlander, for their elegance and form, intellect, and relentless literal rendering, respectively."

SHOW An October 2007 three-person show at SF Camerawork, devoted to winners of the James D. Phelan Award for photography.

WEB SITE www.waltodets.com/photo

44-Goldberg.jpg
Jim Goldberg

NAME Jim Goldberg

TITLE Untitled

PHOTO COURTESY OF STEPHEN WIRTZ GALLERY

THE STORY The image is drawn from "The New Europeans," a project Goldberg started around the time of the 2004 Summer Olympics in Athens. The series focuses on the journeys of refugees and immigrants from war-torn or economically devastated homelands in Iraq, Somalia, Sudan, Palestine, Afghanistan, the Philippines, and elsewhere to settle in Europe, specifically Greece and Ukraine. In June, Foundation Henri Cartier-Bresson in Paris presented Goldberg with the HCB Award so he could travel to his subjects’ countries of origin and tell the complete stories of their migration.

SHOW "Jim Goldberg: New Work." Oct. 3–Nov. 10. Reception Oct. 4, 5:30–7:30 p.m. Stephen Wirtz Gallery, 49 Geary, third floor, SF. (415) 433-6879, wirtzgallery.com

Still freestyling at 30

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› a&eletters@sfbg.com

The workroom of KUSF, 90.3 FM, has always looked just this side of combustible. It’s a second home to the radio station’s new-music volunteers, a tightly packed DIY office space papered with band posters from top to bottom. Ancient desks are pinned against each wall, one holding a beat-down stereo. Two huge metal-hinged lockers loom in the corner, monoliths stickered beyond recognition with archeological layers of rock ‘n’ roll’s past. I stare at them and try to remember the exact location of a Barkmarket sticker I myself put up more than 15 years ago. No dice.

Down the hallway — KUSF is crammed into a lone walkway in the basement of Phelan Hall on the University of San Francisco campus — Program Director Trista Bernasconi is helping a cultural producer get his next show sorted out. Putf8um records hang on the walls behind her, a reminder of the respect the noncommercial station has commanded from the musical community since its inception in 1977.

But high-caliber programming was almost no match for the university’s management, which sought to sell its license in 2006.

"Last year the university tried to sell us, and their main thing was that we were not connected to the students," says Bernasconi, a 10-year station veteran and former USF student. "It’s hard because San Francisco is expensive and [students] have to work so many jobs, but there’s been a major push to get more involved."

Coming back from the edge of the FM grave is an excellent reason to party and one that happens to coincide with the station’s 30th anniversary. After four months of celebration, the most impressive event occurs when Yo La Tengo perform a benefit for the beleaguered institution. "We wanted to celebrate in a big way and started thinking about a band that represents what KUSF is about," co–<\d>music director Irwin Swirnoff explains. "Yo La Tengo came into our mind because they’re a band that always progresses." Bernasconi echoes Swirnoff’s enthusiasm, seeing the benefit as a big step in on-campus visibility. "We have an exclusive," she adds, smiling. "There are even a couple of professors who like Yo La Tengo and are really into KUSF now."

But indie popularity and the fact that Swirnoff praises the group’s last three albums as its "three best" played only a part in making Yo La Tengo the top choice. Since 1996 the band has participated in Jersey City, N.J., noncommercial station WFMU’s annual pledge drive to support local, poorly funded radio.

Running a radio station with extremely limited funding is possible only because of the thousands of hours of volunteer work by people from the different departments of KUSF. While the university contributes half of KUSF’s operating budget, there are capital expenses, such as replacing the busted transmitter suffered six years ago, that the station and its volunteers must absorb. Swirnoff feels it’s a crucial distinction to make: "Every day that music is getting played and tickets are being given away it’s amazing, because besides a couple of paid positions, we’re all volunteers and somehow we figure out a way to get it done."

Swirnoff splits his duties with three other music directors — Miguel Serra, DJ Schmeejay, and Lenode — in an effort to combat the sheer volume of music that the station is expected to absorb. Another KUSF veteran, fundraising coordinator Jet, who along with Bernasconi holds one of the station’s few paid positions, explains that volunteering means never really being off the clock. "I have taken a pay cut to take the job," she says with a laugh. "So it’s a labor of love. I put in my volunteer hours as well, so I’m not only an employee, I’m also a volunteer, and I’m not only a volunteer, I’m still also a listener."

But what about the listeners? According to Arbitron, KUSF’s 3,000-watt basement transmitter is able to reach an audience of about 50,000, and luckily the station has managed to allocate part of its shoestring budget to broadcasting via the Internet radio network Live365.com, enabling listeners worldwide to tune in even if they’re beyond the reach of the transmitter. Still, the consumer landscape has changed radically since the station debuted. From the erosion of the major-label hierarchy to the digital explosion of the past decade, people are now drowning in musical options ranging from iTunes to DIY podcasts to satellite radio.

What lures the KUSF faithful through this technological glut is the content and, ultimately, the DJs who provide it. The cultural programming alone is enough to intrigue: where else in the country does the Hamazkayin Armenian Hour run back-to-back with I Heart Organics? New-music programming is no less varied, as DJs are required to pull half of their shows from the "currents" section of the library. While listening to Jacob Felix Heule’s show, which runs Wednesdays from midnight to 3 a.m., I hear dub combo African Head Charge, ’60s pop chanteuse Lesley Gore, and local band Rubber O Cement within 30 minutes. It’s the kind of schizophrenic genre jumping that has created the reputation KUSF enjoys today.

The station’s history lives on in the current new-music staffers. Every volunteer with an air shift has a story about a predecessor who introduced them to band X or taught them how to perform board function Y. Swirnoff, for example, first learned of the station after Sonic Youth cut a record in memory of then-music director Jason Knuth, and he remembers thinking, "I gotta get on KUSF." Jet says her station hero is legendary Rampage Radio‘s Ron Quintana — the guy who named Metallica.

As a former DJ and ex–<\d>promotions director, I recall an on-air mentor who would gesture toward Slayer’s Decade of Aggression, admonishing me to "always end with something apocalyptic." I’d follow her advice right here, but with volunteers who give so selflessly to keep the station alive, there’s a good chance that — at least for now — KUSF will keep the end times at bay.<\!s>*

KUSF’S 30TH ANNIVERSARY BENEFIT

With Yo La Tengo, Citay, and KUSF DJ Irwin

Fri/3, 9 p.m., $25 (available through www.KUSF.org)

Bimbo’s 365 Club

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com

Dirty truth bombs

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› kimberly@sfbg.com

SONIC REDUCER Been around da block as Jenny and I have? Then you’re all way too familiar with that cad Hoochie Coochie Man, that bogus Boogie (Chillen) Man, and — natch, Nick — that Loverman. But hey, who’s this new game, Grinderman? This grind has little to do with a full-bodied Arabica, the daily whatever, or the choppers that go "Clink!" in the night. It’s all about that which is toppermost of the poppermost on young men’s minds, always skirting young men’s fancies. Namely, sex, sex, and more sex. Oh yeah, and sex.

No pretense, prenups, or prenatal care here. "An overriding theme of mine is, I guess, a man and a woman against the world," Grinderman’s primo romantic, Nick Cave, murmurs. "But for this record, the woman seems to be down in the street, engaged in life, and the man is kind of left on his own, with, um, y’know, a tube of complimentary shampoo and a sock."

It’s the rough, sordid, inelegant, dirty-old-man truth, youth — and judging from Grinderman’s self-titled debut (Mute/Anti-), it sounds awfully good to me. Consider the configuration of Cave on vocals and guitar along with three Bad Seeds (violinist and electric bouzoukist Warren Ellis, bassist Martyn Casey, and drummer Jim Sclavunos), his solo band set free to create music collaboratively, loosely tethered to Cave’s mad songwriting skills. There’s sex, yes, but Grinderman is also about finding fresh, new positions and approaches to the old rump roast of rock ‘n’ roll, copping new moves to old blues, and finding new grooves for honest old dogs. After all, Cave will have been on this blighted speck for half a century this year. "Look, I’ve been turning 50 for years, so it’s kind of academic at this stage," says the polymath who won over critics with his screenplay for the 2005 Aussie western The Proposition. "I think there’s an old man’s anger behind this record and a sense of humor about it as well, I guess, that you only get with age, really. Where all you can do is kinda laugh. But I do think there’s a sort of rage that’s 50 years old."

It’s there in "Go Tell the Women": "All we want is a little consensual rape in the afternoon<\!s>/ And maybe a bit more in the evening," Cave coos. Scenes abound of balding devils treating themselves to lonely hand jobs in the shower or restlessly flipping channels, fondling the changer, on universal remote; on "Love Bomb," Cave grumbles, "I be watching the MTV<\!s>/ I be watching the BBC<\!s>/ I be searching the Internet." He’s aware of the "mad mullahs and dirty bombs" out there ("Honey Bee [Let’s Fly to Mars]"), but instead of succumbing to death and devastation, Grinderman gets lost in the life force, a many-monikered lady, the old in-and-out, monkey magik — real Caveman stuff.

The band wisely avoided choosing the latter label. But amid testosterone, no one lit on the charm. Congenialman doesn’t have quite the same ring, though the Cave I speak to from his home in Brighton, England, is definitely a lighter, brighter, wittier, and much more charming creature than I ever imagined. Searching for a lighter midinterview, Cave is in fine spirits — Grinderman had only done three shows and an in-store, but he and Sclavunos were pleased with the reception to their collective nocturnal emission.

At the larger Bad Seeds shows, Cave explains, "the audience is a long way away. It’s just been really good to kind of … see what an audience looks like again."

The four first came upon the idea of starting a new group when, while performing as the Bad Seeds, Sclavunos says, "we’d catch glimmers of it in rehearsals or sound checks. Someone would make some awful noise, and we’d all get excited and start playing along with it."

The sole American member of Grinderman and the Bad Seeds — and a onetime member of the Cramps and Sonic Youth — laughs abruptly when I ask him to describe his dynamic with Cave: "Hah! Complicated!" They talk a lot, about matters beyond music. "There’s such a tendency, such an anti-intellectual streak in rock ‘n’ roll music," Sclavunos continues. "Such a fear of seeming to know things and such a tendency to dumb things down for the sake of trying to make it seem more real or give it more integrity. Don’t let it get too complicated or it starts smacking of prog rock or something! But Nick’s not afraid of ideas, and he’s not afraid to try out ideas, and in that sense we’re all of the same mind."

Grinderman is likewise as collective minded as possible. "We do it in very much the traditional democratic manner of bands," Sclavunos offers. "Whoever can be bossier in expressing an opinion about something has the opportunity to speak up, and if there’s anything really objectionable going on, you can certainly count on people raising a fuss!"

The idea was to try something different, Cave confirms. "I asked Warren Ellis what I should sing about lyrically because we had a pretty clear understanding what the music was going to be like, and he said he didn’t know but just don’t sing about God and don’t sing about love," Cave details. "A piece of information like that initially throws me for a six, but it’s actually enormously helpful for me as a writer because it kind of cuts down your options and pushes you into another place." Contrary to belief, the idea was not to re-create Cave’s cacophonous early combo, the Birthday Party. "The Birthday Party were actually way too complicated," Cave says mirthfully. "We don’t have enough brain cells left to be able to cope with that kind of thing."

Sooo … what with all the "No Pussy Blues" and the odes to "Depth Charge Ethel" shoved down Grinderman’s trou, one wonders what Cave’s wife, Susie Bick, must think of the lyrics? She likes the band and the shows, he says, then sighs, "Um, yeah. You know, I think there may have been a certain confusion to begin with, but I cleared that up." As in, who exactly you were writing about? "Yeah. Exactly. Yeah."<\!s>*

GRINDERMAN

Thurs/26, 9 p.m., $26 (sold out)

Great American Music Hall

859 O’Farrell, SF

www.gamh.com

Also Fri/27, 9 p.m., $26 (sold out)

Slim’s

333 11th St., SF

www.slims-sf.com

ROAMING, CHARGED

CRIBS


UK punk pop with enough energy — and provocation, thanks to the Femlin-perpetuated sex and violence in the video for "Men’s Needs," off their new Men’s Needs, Women’s Needs, Whatever (Warner Bros.) — to shiver your baby bunker’s timbers. With Sean Na-Na and the Hugs. Wed/25, 8 p.m., $11–<\d>$13. Slim’s, 333 11th St., SF. www.slims-sf.com

BAT FOR LASHES


Another kick inside for Kate Bush lovers? Vocalist Natasha Khan is an ethereal ringer for the lady. I dug the all-girl folk-and-art-song combo when they played South by Southwest — and the affection is catching: Bat for Lashes’ Fur and Gold (Caroline) was recently short-listed for UK’s Mercury Prize. Mon/30, 8:30 p.m., $10–<\d>$12. Café du Nord, 2170 Market, SF. www.cafedunord.com

Sweet Youth

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› kimberly@sfbg.com

SONIC REDUCER "It was a period where you thought anything could happen," Thurston Moore once told me, talkin’ ’bout the early ’90s alternative rock scene spawned by Sonic Youth’s widely regarded masterpiece, Daydream Nation (DGC, 1988).

One might say the MTV-coined catchphrase "Alternative Nation" went as far as to take its cues from SY’s double disc, which was self-aware enough to dub a track "The Sprawl" and heady enough to venture into the big-statement two-LP turf also being hoed by once–SST kindred Minutemen and Hüsker Dü. Honestly, back in those hazy days, I recall giving it a handful of spins, sensing the distinct odor of a masterpiece, and immediately stopping playing it. Daydream was much too much, too rich for my blood, too jammed with the brainy, jokey pop culture ephemera that had riddled Sonic Youth’s LPs up to that point — positioned as the polar opposite of a hardcore punk 7-inch, which was short, sharp, and built for maximum speed. Yo, you’d never catch Minor Threat doing a double album. Instead Daydream thumbed its nose at the closeted cops in the mosh pit and unfurled like a dark banner announcing: We can’t be contained by your louder, faster, lamer rules. We’re gonna speak to a imaginary country — off Jorge Luis Borges’s and Italo Calvino’s grids — of naval-gazing, candle-clutching misfit visionaries looking for clues in trash cults, Madonna singles, and the burned-out butt end of the Raygun-era ’80s.

Now nearly 20 years old, Daydream — recently given the deluxe reissue treatment with an additional disc of live tracks — brings back memories of prophesy and triggers reminders of mortality. Around the time it first came out, I recall ranting to kindred record store clerks — and anyone who stumbled into my predated High Fidelity daydream — how everything will change when Sonic Youth meets Public Enemy. And it sort of did on Daydream, coproduced by Nicholas Sansano, who engineered PE’s ’88 masterwork It Takes a Nation of Millions to Hold Us Back (Def Jam).

Apparently we were also talkin’ ’bout nation building back then, finding a face and a place for a generation still living at home and struggling for an identity. Imagining a meeting of the most powerful forces in American rock and hip-hop seemed like the next best thing to moving out — and it foreshadowed Goo and touring collaborations to come. Little did I — or Moore — realize that a dozen years after Daydream Nation, the meeting of rock and rap would degrade into what Moore described as "negativecore" and rap-metal units like Limp Bizkit and debacles like Rapestock 2000. Daydream Nation offered a whole other, embracing view of a youth revolution with its opening track and college radio hit "Teen Age Riot." Sonic Youth had dared to write an anthem for a new age of kids, tagged with Kim Gordon’s "you’re it!" — and everyone was on the same page, stoned on Dinosaur Jr.–style Jurassic distortion and thinking-Neanderthal riffs and racing as fast as they could through dreamlike pop pastiche, as embodied by the accompanying video, a kind of decades-late Amerindie response to "White Riot" or "Anarchy in the UK."

On Daydream pop hooks emerged for the first time alongside the ever-coalescing SY aesthetic, with euphoric, charging chord progressions seemingly unrooted to the blues, and the way the group would open into intentionally pretty passages, flaunting the delicate uses of distortion and a feminized rock sensibility. We were all dreaming of Nirvana, a fringe seeping into the pop marketplace. Honestly though, listening to that Daydream again, I couldn’t help but be disappointed. Its brute approach has become a part of ’90s rock’s wallpaper — as Moore confesses in the reissue notes, black metallists have even owned up to copping licks from " ‘Cross the Breeze" — and therefore perhaps sounds more pedestrian. The triptych of "Hey Joni," "Providence," and "Candle" now sounds more charged than "Teen Age Riot" and "Silver Rocket," and I can’t help but think that Sister may be a stronger, more concise album. Perhaps we’re still too close to the stalled staling of the Alternative Nation, though maybe the faded nature of Daydream Nation is tagged to its very status as a classic — how does one pump life into, say, Sgt. Pepper’s Lonely Hearts Club Band?

It does help, however, to play it loud. *

SONIC YOUTH DOES DAYDREAM NATION

Thurs/19, 8 p.m., $35

Berkeley Community Theatre

1900 Allston Way, Berk.

www.ticketmaster.com

HOT TO TROT: THE LOVEMAKERS

There was a time when the Bay’s Lovemakers looked like they were going to get all the love nationally — an Interscope deal tucked neatly into their back pocket and a heavy-breathing following around town. So what happened?

"Interscope asked us if we wanted to do another record," vocalist-guitarist Scott Blonde says from Oakland, "and we said no, because our A&R guy was obviously really into us and he and his assistant worked really hard for us, but it didn’t seem possible to get Brenda Romano, who runs the radio department, to get into it enough to put it ahead of 50 Cent and Gwen Stefani." He chuckles.

These days, the band members are focusing on making love on their own terms: their Misery Loves Company EP comes out July 24, the first release on San Francisco’s Fuzz label.

"Obviously we got more cash dollars’ support on Interscope," vocalist-bassist-violinist Lisa Light adds from the Mission District. "But the thing is the way it gets spent. Interscope would spend $5,000 doing stupid things — in bad taste a lot of times too. Not only were you embarrassed by the dumb posters they did, they weren’t in the right places. We’ve been able to hire a radio promoter and a cool PR company. It’s all about finding the people who actually care. You cannot pay for that at all."

"We’re looking at the future of music a lot, and selling CDs isn’t really part of the future seemingly," Blonde continues. "So it’s kinda about coming up with really innovative ways of getting our music out there in the biggest way possible." He says the Lovemakers have already gotten more radio ads on stations like Los Angeles’s KROQ for the first single off Misery than anything off their major label release: "We thought Interscope was going to be our ticket."

LOVEMAKERS

Sat/21, 9 p.m., $18

Bimbo’s 365 Club

1025 Columbus, SF

www.bimbos365club.com

MUSIC TO GO

EDGETONE MUSIC FESTIVAL


Are more listeners seeking out music’s edgier tones? Edgetone New Music Summit mastermind Rent Romus believes that’s the case. "I’ve been running the Luggage Store series for five years now — last night we had 70 people," he told me. "It’s not about the hit song but about performance and performers." His fest has that critical mixture of daring performers: SF trumpeter Liz Allbee and bowed-gong player Tatsuya Nakatani, Wobbly, Darwinsbitch (sound artist–violinist Marielle Jakobsons), instrument inventor Tom Nunn, High Vulture (with MX-80 guitarist Bruce Anderson), Hammers of Misfortune vocalist Jesse Quattro, Eddie the Rat, and the Gowns. July 22–28. See www.edgetonemusicsummit.org for schedule

PUSSYGUTT


The noisy Boise, Idaho, bass-drum duo waxes darkly on Sea of Sand (Olde English Spelling Bee). Wed/18, 9:30 p.m., $5. Edinburgh Castle Pub, 950 Geary, SF. (415) 885-4074, www.castlenews.com

SHOUT OUT LOUDS


Sept. 11’s Our Ill Wills (Merge) is unveiled by Sweden’s shouters. Wed/18, 9 p.m., $15. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

LET’S GO SAILING


Rilo Kiley keyboardist Shana Levy charts a sweet indie pop course with her debut, The Chaos in Order (Yardley Pop/GR2). With Oh No! Oh My! and the Deadly Syndrome. Wed/18, 8 p.m., $12–$14. Independent, 628 Divisadero, SF. www.theindependentsf.com

YOU AM I


Three number one albums strong, the tuneful Aussie rockers muscle onto the US scene with Convicts (Yep Roc). Wed/18, 8 p.m., $13. Slim’s, 333 11th St., SF. www.slims-sf.com

JOHN NEMETH


The blues vocalist and harp player bubbles up with Magic Touch (Blind Pig). Fri/20, 8 and 10 p.m., $15. Biscuits and Blues, 401 Mason, SF. (415) 292-2583, www.biscuitsandblues.com

SHOTGUN WEDDING QUINTET


The Mission’s Jazz Mafia collectivists bring out the big guns for their CD release get-down. With Crown City Rockers. Fri/20, 9 p.m., $15–$18. Independent, 628 Divisadero, SF. www.theindependentsf.com

RED MEAT


Love Jill Olson’s "I’m Not the Girl for You" off the SF C&W combo’s new We Never Close (Ranchero). With Big Smith and William Elliott Whitmore. Sat/21, 9 p.m., $15–$17. Great American Music Hall, 859 O’Farrell, SF. $15-$17. www.gamh.com

That’s Pitchfork Music Festival you’re soaking in!

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By K. Tighe

pitchfork sunset.bmp
The sweet Chicago sky. All photos by K. Tighe.

When the folks at Pitchfork decided to add an extra day to this year’s festivities, I doubt anyone suspected this. As the lineup for the July 13 kick-off evening was announced, jaws across the blogosphere dropped. In collaboration with All Tomorrow’s Parties/Don’t Look Back, Pitchfork Music Festival was packed with ringers: Slint, GZA, and Sonic Youth all performing their most important albums in their entirety on the same soil, in Chicago’s beautiful Union Park.

As I walked through the press gate of the festival an hour before the first band was set to begin, a lingering air of “Holy shit, are we really going to see this tonight?” hovered above the crowd. The lawn in front of the Connector Stage was full with people chomping at the bit to see Slint open the event. Across the park, the Sears Tower loomed large behind the Aluminum Stage, where crowds were already busy defending prime spots for later performances from GZA and Sonic Youth.

Knowing it would be awhile before any rock began to ensue, I decided to explore the community that had sprouted for the weekend.

obamabooth.bmp
‘Nuff said.

It seems that the only presidential candidate with guts enough to rock the vote — or should we say Barack the vote? — was Illinois Senator Barack Obama. Sure, there might be a little hometown heroism explaining his booth, located directly across from a satellite Whole Foods Market doling out bento boxes to hungry, hungry hipsters. Volunteers were busy spreading the Obama love, signing people up to vote, and selling some kick-ass Obama ’08 merchandise.

A conversation about Barack always makes me feel warm and fuzzy — as does shopping for records, so I high-tailed it over to the WLUW Record Fair. A bit overwhelming, the record fair is one of the largest structures on the grounds. It’s no Amoeba, but the fair does offer a pretty good selection of new and used vinyl, and a great way to kill time between sets. Adjacent to the vinyl-junkie fix, is the Department Clothing and Crafts fair. A bunch of Chicago crafters set up booths selling various handmade wares. Festival-goers were snatching up jewelry, iPod-holders, and obligatory mini-buttons. I noticed that someone had figured out how to make fruit bowls out of melted records, which left me pretty hot and bothered for a second.

Next, it was time to head over to the Connector Stage to hear Slint play their 1991 album **Spiderland** live. Slint seems like an unusual choice to kick off such a festival: the minimalist Louisville rock band packs a lot of punch, but it’s the low-key kind. No danger of the Kool-Aid man bursting through a wall at any point during their set. In addition, the idea of hearing the highly influential **Spiderland** in stark daylight is a bit confusing. Most people in the crowd are probably accustomed to crouching in the fetal position in the corner of a dark room, breaking the pose only to flip the record. When singer-guitarist Brian McMahan took the stage in wraparound sunglasses, some preconceptions were shattered. When the band played the Great American Music Hall last year, they set a pretty high precedent for themselves.

slint.bmp
Slint glints like crazy, opening the Pitchfork fest.

As they took the stage on July 13, people cheered like crazy, and the guy in front of me almost had a heart attack. The set was very casual, and the crowd went into hysterics during every break between songs. By the time McMahan began howling, “I miss you,” at the end of “Good Morning Captain,” it became clear why **Spiderland** has remained a critic’s darling for so many years — a powerful, beautiful album that hasn’t lost one iota of its luster. Today, it positively glimmered under the Chicago sun.

Night on Earth

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Gus van Sant’s films are as thick as the Oregon sky. Swept with dreamy remove and elliptical narration, his work strikes me as being the cinematic equivalent of shoegaze music (sorry, Sofia). Now that the writer-director seems to have given up middlebrow commercial filmmaking (Good Will Hunting, Finding Forrester) to return to the art house (Elephant, Last Days), it feels like the right time for a revival of his shoestring 16mm debut, Mala Noche. Originally released in 1985, the understated story of a scraggly Portland liquor store clerk infatuated with a Mexican street youth is based on poet Walt Curtis’s novella of the same name, with the author’s beat-tinged style re-created in actor Tim Streeter’s affecting, wise voice-over.

Novellas may be easier to adapt than poems, but it’s still important that van Sant is working from a poet’s material, as he possesses a penchant for pure lyricism that puts him in league with Terrance Malick. Mala Noche has the woozy, restless rhythm of hanging around, playing hard to get. A couple of voice-overs on white privilege aside, van Sant’s rendering doesn’t feel like it’s about anything in particular — not inconsequential, considering its chronicling of a gay, biracial love triangle (Streeter’s Walt loves Johnny but ends up sleeping with his friend Roberto). Instead of identity politics, we get longing, laughter, working-class blues, weather. There are dramatic elements here, to be sure — disappearances, lockouts, even death — but they float by, washed out in wistfulness. The narration inevitably sags in places, though John J. Campbell’s low-key black-and-white cinematography is frequently stunning, imbuing van Sant’s handheld close-ups with surprising depth (reason enough for the new print from Janus Films). With a crooked smile and a purring voice, Streeter’s character is every bit the likable asshole, and the object of his desire (Doug Cooeyate) is magnetic. It’s easy enough to see Drugstore Cowboy and My Own Private Idaho coming, though one doesn’t necessarily want to leave this Mala Noche.

Dream girl

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› kimberly@sfbg.com

"I used to joke sometimes that I’m Judee’s last boyfriend," concedes Patrick Roques, producer of Dreams Come True, Water’s two-disc 2005 compendium of Judee Sill’s unreleased 1974 third album and demos. "I don’t mean to sound egotistic or anything, but I loved this woman like I’d love a girlfriend or wife."

Sill has that effect on listeners. Over the past few years, the onetime hooker, junkie, armed robber, bisexual reform-school girl, and all-around archetypal bad apple has realized the revelation visited on her while incarcerated in the Sybil Brand women’s prison: her music has been etched into the consciousnesses of passionate followers around the world who know her as a singer-songwriter of uncommon musical and metaphysical power. Even 27 years after her death from a cocaine overdose, it seems like Sill still hasn’t quite passed. Water has done its part to keep her musical reveries alive with the landmark Dreams Come True, mixed by Jim O’Rourke and including Roques’s obsessively researched, invaluable 68-page booklet and a 12-minute QuickTime movie of rare performance footage; reissues of her two Asylum studio albums, Judee Sill (1971) and Heart Food (1973); and the newly released Live in London: The BBC Recordings 1972–1973, an impeccably recorded document of Sill performing solo on acoustic guitar and piano, chatting with the audience and an interviewer, and in the process revealing snatches of a nervy yet nervous urban cowgirl in her blue-collar SoCal drawl.

For too long, before her rediscovery in recent years by a generation falling back in love with the folk songs of their parents’ youth, Sill was simply the lost girl from an age of singer-songwriters, a victim of her lack of stateside commercial success — though she’s been covered by artists ranging from the Turtles to the Hollies, Warren Zevon to Bonnie "Prince" Billy — and her will to transcend the bounds of the earth and everyday troubles, growing up in her father’s rough Oakland bar and later sexually abused by her stepfather. Clues to map out her art — or potential escape routes, which included a brief stay in Mill Valley’s Strawberry Canyon — were found in the sacred texts and music of Rosicrucianism and other forms of Christian mysticism, her studies of Pythagoras’s music of the spheres and occult modes like numerology, or simply the moment’s drug of choice, whether it be a daily tab of acid or the $150-a-day heroin habit that led her into prostitution and eventually check forgery.

Her decision in prison to devote her creative efforts to songwriting led her to truly reach for the sublime, in the form of songs that still touch listeners’ cores. Always-immaculate intonation, a deft sense of harmony, and elegantly composed songs informed by AM radio, folk, R&B, blues, gospel, and classical music were framed by Sill’s own arrangements, leading competition like Joni Mitchell to stop by and check out the Heart Food sessions. "I defy anyone who’s a high school dropout ex-junkie reform-school person to do that," Roques declares. "This woman was brilliant and plugged in — she had the energy, and it flowed through her." If you want to know and love Sill, she is, remarkably, still available — her spirit can be found all over her music.

So why didn’t Sill become a household name like Asylum labelmate Jackson Browne? "Judee didn’t get along with [Asylum head] David Geffen, and David Geffen isn’t someone you give shit to," Roques says. After recording two moderately successful LPs, "she was in debt to him, and Jackson Browne came along, and he was just easier to deal with, I think, from a corporate perspective. Browne hung out in the close inner circle and had hits. She didn’t hang out with the Asylum record crowd too much. She hung out a little with Linda Ronstadt and the Eagles, and she had a lot of strange friends that she had had for a long time in LA."

One of Sill’s exes and old pals, musician Tommy Peltier witnessed the disconnect between the worlds Sill ran in and remembers accompanying her to a Warner Bros. Christmas party right after her debut came out. "We went in my beat-up old car to the Beverly Hills Hotel, and that was first time I saw her cringe," recalls Peltier, who first met Sill onstage at a 1968 jam session ("It was love at first song"). "Here she was the new starlet — there were all these Rollses and limos, and then this clunker drives up, and the new starlet comes out! That was the only time I saw her really uncomfortable, but she just went in there and took over the room."

But as difficult or out of her element as Sill could be, she was within her rights to complain about her handling when she went from opening for kindred souls like Crosby, Stills, and Nash to fronting rock bands. "If you listen to the BBC sessions, she talks about lower chakras and people who just want to boogie, and it’s true," Roques explains. "The rock crowd just wanted to drink wine and take mescaline and get fucked up and party, and there’s Judee singing ‘Jesus Was a Cross Maker’ and making references to esoteric literature. People who went out for a Friday night didn’t want to hear that, just like they didn’t want to hear Charles Mingus. Americans just want to partay — that’s cool — but that’s why she did better in England."

It’s no surprise, then, that Sill obsessives like O’Rourke and Roques still feel protective of her, careful about sharing their love for the dark lady of a sunlit Topanga Canyon whose revelations were forged on the grittily glamorous, sadly battered streets of Los Angeles and who, ironically, seems a perfect fit for yet another turn through Hollywood. "She was out there on the edge," Roques says, "and though I don’t think she ever talked about women’s lib, she was a very ballsy chick and knew what the fuck she wanted and just went and did it. And she evolved into a fantastic person — there’s no one like her" — although, apparently, listeners keep looking. "I search for tapes and talk to musicians endlessly," he continues. "And if you go on these sites, you’ll see everyone wants to find the next Judee Sill — and none of them can even touch Judee Sill." *

The fundamentals of Fucked Up

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You needn’t be too wary of the dialogue surrounding Fucked Up, Toronto’s jewel of esoteric hardcore punk. The members’ beliefs and their names are hidden, but they’re not out to brainwash anybody. And they’re certainly not hiding anything in the songwriting department: the melodies are blistering and as uninhibited as the band, which has a knack for subverting punk conventions.

"For hardcore bands especially, politics are often made out to be black-and-white," rhythm guitarist 10,000 Marbles says on the phone from Toronto. Critics and listeners have puzzled aplenty over this pseudonyms-only band in their attempts to pin down Fucked Up’s political allegiances. Before releasing its debut, Hidden World, on Jade Tree last year, the band had spent the prior five years releasing 17 vinyl singles with artwork and lyrics that cited magick, anarchism, the Spanish Civil War, and André Gide. These may look to be the makings of a bizarre cult agenda, but Fucked Up’s "culture of confusion" and conflicting political ideas — the most bizarre instance coming in the form of a photo of a Hitler Youth rally on the cover of its 2004 split single with Haymaker on Deep Six Records — are more about kick-starting independent thought than advancing any specific, concrete ideas.

"We originally wore the anarchist tag pretty proudly," rhythm guitarist Gulag says, also calling from Toronto. "But now we’re more interested in leapfrogging cultures and ideas. It’s a more fulfilling way to live, if a little unprincipled." As amorphous as the members’ personal beliefs may be, Fucked Up doesn’t express any disdain for punk as a sound: Mustard Gas’s bass lines and vocalist Pink Eyes’s deep growl-howl are quite reverent toward the ghosts of hardcore past, and surprisingly enough, the band’s new 12-inch, Year of the Pig, marks its first waltz with rhetorical clarity and straight-ahead activism. The A-side title track examines the ongoing problem of violence toward women through the lens of prostitution, which is legal in Canada. It’s the culture of repression and guilt surrounding these subjects that has inspired the unusually pointed song, 10,000 Marbles says: "It’s taboo issues like sex work that people like us have a responsibility to talk about."

"Year of the Pig" is pretty daring stylistically and structurally, but to Fucked Up’s great credit, it’s also fantastic. Eighteen minutes long and starting as something of a twee shuffle before shifting into organ-backed operatic bellows from Pink Eyes, the song deftly delves into pummeling, psychedelic kraut rock riffage the likes of which might make Earthless or Major Stars jealous. Fucked Up’s sheer disregard of genre pigeonholes is especially evident in its recent doings. "We’re trying to bring in the electronic crowd now," Gulag says. "We just recorded a cover of [French dance duo] Justice’s ‘Stress.’ "

Venturing into Daft Punk–related territory: there’s a first for hardcore! It’s this staunch avoidance of cliché and political boundaries that very nearly makes Fucked Up punk for the Reading Is Fundamental set. More than anything else, the imperative is to ignore convention and get informed, which isn’t a fucked-up MO at all.

FUCKED UP

Sat/30, 8 p.m., $7

924 Gilman, Berk.

(510) 525-9926

www.924gilman.org

Also July 4, 9 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

A real dialogue on trans issues

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OPINION What I love about the queers in this town is just how messy and offensive we allow one another to be in our unified goal of relentlessly trying to strengthen our community. In some circles, the evolution of dyke space into a multigender population of transsexuals, genderqueers, femmes, tg-butches, bisexuals, lesbians, and men of all birth sexes has led to tension about queer visibility and discussions about misogyny, privilege, and appropriation. I am frequently pissed but never lacking for a group of people who will continue to engage the issues and attempt imperfect solutions no matter how hurt they have become in the process.

And yet, during Pride season there will be countless potentially offensive voices we will not hear. The ex-gay and right-wing Christian movements — arguably homosexual communities in their own right — will not be given unchallenged space at our events, and there won’t be an uproar that these views should be included for the purpose of "fostering dialogue." As many journalists and artists can attest, ensuring the free exchange of ideas often means knowing what to leave out.

Still, it was predictable that supporters of lesbian director Catherine Crouch’s film The Gendercator would claim censorship and blame transgender community allies for "silencing dialogue" when the Frameline International LGBT Film Festival decided last month to pull this film from its June schedule. It was a setup; victims could either remain silent during an attack or speak up and "prove" that they have malicious intentions to take over the world.

For those unfamiliar with The Gendercator, a quick look at Crouch’s film summary and deliberately defamatory director’s note says it all: Trans people are the product of "distorted cultural norms" who uphold antigay values and change their sex "instead of working to change the world." Male-identified trans people are altered lesbians, despite the fact that many have never held that identity. And not even the femme dykes are safe, considering Crouch’s tomboy-or-else definition of acceptable queerdom.

Crouch says the film comes from her anxiety about what she perceives as the loss of gender-variant women and the rise of binary gender norms. But the film itself strikes a different note, depicting trans bodies as sci-fi horrors and trans characters as coercive perpetrators of nonconsensual body invasions — all the familiar rhetoric used to justify antitrans violence and deny basic civil rights.

If there’s a dialogue to be had about our community’s valid anxieties surrounding the spike in sexual reassignment surgeries, it certainly wasn’t raised in Crouch’s The Gendercator. Unlike the creators of other films that have been controversial in the trans community, Crouch is disinterested in the lives of the people she portrays in this work. Imagine making a film alleging an inherent pedophilia in gay people to "spark dialogue" about gay culture’s obsession with eternal youth. As Rae Greiner, a queer woman who launched the Frameline letter-writing campaign, points out, "You can’t foster genuine discussion when you demonize your subjects or when you intentionally forego nuance in favor of stereotypes, false accusations, and outdated perceptions."

In fact, The Gendercator provoked very little dialogue at all until San Francisco activists protested it. Far from trying to silence it, they aimed to call attention to the film and create an actual conversation. They distributed flyers with Crouch’s position and responded with the truth about trans people’s lives: trans people are often queer social-justice activists with a nuanced and feminist view of identity.

The reason nontrans gay people have not seen blatantly antigay or antilesbian films yanked from their festivals is that such movies don’t make it past the selection committee. To decry the ban on The Gendercator is thus disingenuous, particularly when many of the "anticensorship" and "nonbinary" voices support events that ban trans people from attending based on the presence or absence of a penis.

Yet there are some important messages about this film that should not be lost.

First, if our community artists are going to claim dialogue as justification for blatant attacks, then they should expect to have that dialogue. Some of the questions the queer community has posed in its discussion of the film are: Why does Crouch think her views are nonbinary? How do femmes, bisexuals, butches of color, nonop male-identified trans people, and dykes who choose breast cancer reconstruction fit into her limited view of sex and gender? How does the glorification of masculinity in lesbian circles and the sexism in butch and genderqueer communities contribute to this perceived pressure to transition to male?

Most important, if gays and lesbians feel that the growing transgender population means they are under attack, how can we come together to make sure this concern is heard and validated without demonizing one another? Several events exist in San Francisco to deal with such tensions, but perhaps they aren’t reaching the smart and articulate people whose need for real dialogue has been reduced to lamenting the loss of a 15-minute monster movie.

Opposing the inclusion of a deliberately divisive and dialogue-stopping film in an event designed to build community was something we did not do because we don’t want to have a community conversation, but because we do. *

Zak Szymanski

Zak Szymanski is the producer and editor of the short film The Wait.

Flaming creators

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› johnny@sfbg.com

They’ve got passion to burn, whether there’s 100 percent pride or a potent dose or two of critical shame in their game. They’re the dozen-plus-one LGBT artists who constitute this year’s lineup of flaming creators — individuals and groups adding radical perversity, butch dyke glitter, b-boy funk, punkified monkey love, dandified bear flair, and more to the Bay Area. It seems apt to pun off the title of Jack Smith’s still-revelatory 1963 film Flaming Creatures in uniting this wildly varied group: all of them ignore or defy the conformist strains of mainstream gay culture to blaze new trails of truth and fantasy.

NAME Keith Aguiar

WHAT I DO Currently, I am photographing a community of queer artists who continue to resist assimilation and express themselves freely without compromise to both hetero and homo normative values that have imprisoned so many of our generation. I want the viewer to enter my world of rich color, texture, and chaos to find the intricate beauty that comes from reconnecting with more primitive forms of expression. More recently my work has been progressing to include portraits, erotic photography, and even a few landscapes. I’m currently seeking funds for my next show and have started to do commissioned work on the side.

MOTTO Create your own reality. Live your own myth. Be your own God.

MORE KeithAguiarPhotography@gmail.com; www.flickr.com/photos/untamedvessels

NAME Emerson Aquino

WHAT I DO I’m cofounder and executive artistic director of the nonprofit professional dance company Funkanometry San Francisco. In 2005, I helped establish the Funksters Youth Dance Company through summer camps and dance-intensive programs. I’ve trained and danced with groups such as 220, Anarchy, Culture Shock Oakland, and SWC and showcased my choreography with Funkanometry SF in the Bay Area, Los Angeles, Chicago, San Diego, and Bogotá, Colombia. My most recent project is an all-male performing group called Project EM, featuring 12 principal dancers.

MOTTO Life’s not about how much money you make; it’s about the number of people you inspire.

MORE emerson@funkanometrysf.com; www.funkanometrysf.com; www.myspace.com/project_em

NAME Dreamboat, Where Are You? (Carrie Baum and Jessica Fudim)

WHAT WE DO We’re a punk pop duo with choreographed vaudevillian antics and a penchant for monkeys, monsters, and Yiddish innuendos. We’ve been described as "the Buzzcocks meet the Muppets." We’ll be leading a Dancers’ Group Rock Theater workshop July 21, and we also have our own projects: Carrie’s Exit Sign: A Rock Opera and Jessica’s dance show Please Feed My Animal will both be previewing at CounterPULSE’s "Rock 4 Art" benefit Aug. 4. (Carrie also runs Big Star Printing; Jessica is a certified Pilates trainer.)

MOTTO Be sure to share your cookies.

MORE www.myspace.com/dreamboatwhereareyou

NAME Edie Fake

WHAT I DO Food fetish zines (Foie Gras), dirty comics (Gaylord Phoenix, Anal Sex for Perverts, Rico McTaco), apprentice tattoos, perv-formance art, rare appearances, desert adventures, and general feminism.

WORDS OF WISDOM Someone was yelling on the bus the other day that anal sex produces no children.

But that is false!

Anal sex produces

ILLEGITIMATE GOLDEN CHILDREN

and they grow up to become

THE PERVERT SAINTS OF THE CATACOMBS.

MORE www.ediefake.com

NAME James Gobel

WHAT I DO Paint, serve as a member of the California College of the Arts faculty, chub 4 chub.

WORDS OF WISDOM I hope my paintings make people want to be big, bearded, and queer. I could be wrong, but I think it was fellow whiskered gay chubby chaser and one-time San Franciscan Alice B. Toklas who said, "I loves ’em tubby, and so should you!"

MORE www.heathermarxgallery.com; jamesgobel@hotmail.com

NAME David King

WHAT I DO I make collages, which often syncretize the camp and the spiritual. Some of my work can be seen at Ritual on Valencia during June.

WORDS OF WISDOM I don’t have words of wisdom. I have dissertations of wisdom, to which I subject only my most tolerant friends, who have other reasons to love me.

MORE www.davidkingcollage.com

NAME Torsten Kretchzmar

WHAT I DO Present good old electropop music with a German twist.

MOTTO My motto is "I know what girls like." I really do! With the hip music of the Men of Sport, I present this old Waitresses song in my three new video clips. The DVD release party will be Aug. 5 at Club Six, and I expect a lot of guys to show up to find out about my secret.

MORE www.kretchzmar.com

NAME Dolissa Medina

WHAT I DO Experimental films mostly, but I plan to move into more multimedia and installation work at UC San Diego, where I’ll be starting an MFA program this fall. I’m interested in San Francisco history, Latino and queer experiences, and mapping urban space through mythologized storytelling. Last year I produced Cartography of Ashes for the 100th anniversary of the 1906 earthquake; we projected the film onto the side of a fire station in the Mission District. My film 19: Victoria, Texas will also be on display at Galería de la Raza this August and September.

MOTTO Viva la caca colectiva!

MORE mercurious3@yahoo.com

NAME Lacey Jane Roberts

WHAT I DO I make large-scale, site-specific knitted installations that often involve guerrilla action. My work, which is knitted by hand and on children’s toy knitting machines, aims to traverse boundaries of art and craft, the handmade and the manufactured, as well as categories of gender and class, through fusing seemingly contradictory materials, methods, and contexts. Additionally, my work seeks to illuminate the connections between craft and queerness and shift this position into one of agency and empowerment.

MOTTO I don’t really have a motto, but I would like to thank my friends for always showing up and helping me install, especially in places where I am not supposed to.

MORE www.laceyjaneroberts.com

NAME Erik Scollon

WHAT I DO I try to queer up our ideas about what art can do by remaking and repurposing functional objects. At the same time, I’m trying to retell new histories in old languages. I want to make objects that exist in between the sculptural and the functional in an effort to insert art back into everyday life.

WORDS OF WISDOM Art objects are useless; craft objects are utilitarian.

MORE www.erikscollon.net

NAME Jonathan Solo

WHAT I DO Draw, eat, sleep, sex, draw, dance, laugh, cry, scream … not in that particular order. I roam the city and its late-night haunts with my beautiful, crazy, talented friends, protected by a black rose on my chest and my custom Jobmaster 14-hole oxbloods. I have a piece in a current group show at Catharine Clark Gallery and a solo show there next year. I also have contributed to the Besser collection at the de Young, opening this October.

WORDS OF WISDOM I observe the beauty and decay of humanity. Aren’t the strange the most interesting, powerful, and telling of who we are? I’m fascinated by the amount of energy we use to oppress our true selves. I say fuck ’em! Own who you are and walk forward boldly — it’s made me a more sensitive artist, lover, friend, son, and brother.

MORE www.cclarkgallery.com; (415) 531-3376

NAME Matt Sussman

WHAT I DO I am a freelance film writer, and I DJ under the moniker Missy Hot Pants. My friends and I run a party in Oakland called Dry Hump. Our sets include everything from Gui Boratto to Baltimore club remixes to Ethel Merman doing disco. We’re playing Juanita More’s Playboy party at the Stud on June 30, so come work off your post-Pride hangovers.

MOTTO "Make visible what, without you, might perhaps never have been seen." Robert Bresson.

MORE www.myspace.com/thedryhump

NAME Jamie Vasta

WHAT I DO Working with glitter and glue on stained wood panels, I create "paintings" of figures exploring dark, dazzling landscapes. I am interested in predatory beauty and the balance (or imbalance) between nature and culture. My work is currently on view in the group show "Stop Pause Forward" at the Patricia Sweetow Gallery. I’ll be having a solo show there in mid-October.

WORDS OF WISDOM Glitter connotes an image of cheapness made glamorous — the superficial, the frivolous. But to dazzle is to have power — this is something drag queens have known all along.

MORE www.jamievasta.com; www.patriciasweetowgallery.com *

Cemetery gates

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› a&eletters@sfbg.com

Perhaps the only nonzombie movie in recent memory in which the dead outnumber the living, Colma: The Musical did not appear to be a hot prospect when it premiered at last year’s San Francisco International Asian American Film Festival. A musical suburban-youth angstfest made locally on a shoestring, starring and produced by no one you’ve heard of? A movie originally intended to be an indie concept album and a stage show? It is the nature of such things to be cute in theory and adorable in execution — but only if one is friends with the cast and crew. If not, it might prompt the type of frozen smile reserved for requests such as "Will you go with me to see my old college roomie play Evita?"

The high energy at the packed Kabuki Cinema for Colma‘s first big screening didn’t necessarily raise my expectations. So the cast and crew have a lot of friends, I thought. Add a decent percentage of the burg of Colma’s approximately 2,000 current residents — hey, I’d go see anything named after my hometown too — and indulgence could be counted on, no matter how lame or amateurish the movie turned out to be.

It’s normal to go a little nuts when something you expected to be so-so at best emerges as totally ingratiating instead. The worthy underdog is usually a little overrated; one current case in point is another movie musical, Once. But in the case of Colma: The Musical, over the past 15 months a number of newspaper writers and people at subsequent festivals have been as surprised and delighted as I was at that first screening. Now Richard Wong’s movie is at a theater near you — at least in San Francisco, with New York City and Los Angeles showings soon to come — and it’s possible it could become a feel-good sleeper around the nation. Like, well, Once.

Almost everywhere anyone grows up seems like Deadsville at the time, boredom being the glue that holds adolescence together. But of course in Colma, the Bay Area’s ruling burial site (breathing-to-decomposing ratio: 1 to 1,500), that notion is redundant. The protagonists of Colma: The Musical are three best friends who’ve just finished high school and have no idea what they’ll do with the rest of the week, let alone the rest of their lives. Equal parts awkward and deadpan, they love and torture one another as if going through naturally spazzy growth spurts.

Jug-eared Billy (Jake Moreno) is a wannabe actor and serial monogamist with the attention span of a gnat, so his head-over-heels crushes come as fast as reprises of the ironically titled lovesick song "Mature." His parents are weird, but at least they’re trying hard to relate to him, unlike the militarily stern widower dad of Rodel (scenarist, composer, and lyricist H.P. Mendoza), who does not react well when his son’s crackhead secret ex-boyfriend reveals Junior is a ‘mo. Much like Rodel, Maribel (L.A. Renigen) is privately crushing on Billy. Even though she’s an aspiring slut, she’s probably the most grounded of the three.

Crises happen, feelings are hurt, and production numbers are born. Two particularly resourceful, near-spectacular highlights of this $15,000 production are the drunken barroom kiss-off "Goodbye Stupid" and "Deadwalking," a wistful lament sung by Maribel and Rodel while innumerable white-gowned ladies and black-tied men waltz through one of Colma’s oldest cemeteries. The sassy humor at play is perhaps best defined by Mendoza piping the tune "One Day" to a car-alarm accompaniment. But nothing is quite so exhilarating as the opener, "Colma Stays" ("like rigor mortis"), a snarky anthem that introduces the Bay Area, the movie’s lead characters, and Colma‘s droll tenor in a sugar rush of split-screen, lip-synching joy.

Colma: The Musical was shot on mini-DV in a widescreen format, and in his first directorial feature, cinematographer-editor Wong already knows how to fill the screen and cut images to music with a genius simplicity that shames most Hollywood (even MTV) veterans. The filmic energy ideally complements performances that are deadpanned to perfect al dente density.

Irresistible at first listen, Colma: The Musical‘s songs haven’t held up quite as well as I’d hoped over the last year’s repeat listens on CD. But as someone who still treasures the ’80s college rock likes of Game Theory, Let’s Active, They Might Be Giants, and subsequent torch carriers, I’ll happily note that a musical that sounds like those groups rather than the usual bad MOR (a description applicable even to the pseudosoulful Dreamgirls and the garish top 40 pastiche Moulin Rouge) is a step in the right direction.

On the other hand, the movie has improved. Clocking in at a generous 113 minutes during its festival travels, Colma: The Musical has since been tightened to a lean 95 without losing poignancy, hilarity, or nuance. "Listen, things got outta hand, things were said, basically everybody’s at fault here," Rodel quasi-apologizes at a late point after an instance of much interpersonal ado about basically nada. The makers of Colma, by contrast, have made something remarkable from almost nothing. Their film is as sweet, funny, and dweeb-pop catchy as anything you’re going to see this year.*

COLMA: THE MUSICAL

Opens Fri/22

See Movie Clock at www.sfbg.com

www.colmafilm.com“>

Pet projects

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› gwschulz@sfbg.com

"If you have men who will exclude any of God’s creatures from the shelter of compassion and pity, you will have men who deal likewise with their fellow men."

St. Francis of Assisi

His name is Sylvester. He’s quite handsome and charismatic, for a cat.

Sylvester is believed to be about eight years old, and the San Francisco Society for the Prevention of Cruelty to Animals has been his home since last July. He’s a simple domestic shorthair, with a jet-black coat aside from some snow-white blotches on his chest and left arm.

Also doing time at the SPCA is a slightly bashful orange tabby named Jitters, who has awaited a home since April. A long-haired tortie named Minna, with somber green eyes and a splash of umber on her nose, has been at the SPCA for a year and a half.

In many cities Sylvester, Jitters, and Minna would be on death row. In San Francisco they’re guaranteed a chance to live until they find a family, as long as they’re deemed adoptable by the SPCA and don’t develop a life-threatening disease or unmanageable behavior traits. They are the legacy of pioneering former president Richard Avanzino, regarded by most as the originator of the national "no-kill" movement.

Avanzino spent 20 years making the San Francisco SPCA a national leader in saving animals, including forging a pact with the city in 1994 to work toward guaranteeing every adoptable cat and dog a home, a remarkable promise during a time when few places across the nation were willing to make saving the lives of companion animals a priority. Most shelters euthanized tens of thousands of kittens, puppies, dogs, and cats every year to save space and money. Quite a few still do.

But after Avanzino left in 1998 to spread his no-kill philosophy nationally through the Alameda-based nonprofit Maddie’s Fund, the local SPCA has steadily retreated from the cutting edge. Rather than continuing to push toward the goal of saving all the animals, the two presidents who succeeded Avanzino have focused the organization on a private hospital project that has turned into an expensive boondoggle that’s sapped the organization’s energy and resources and angered the local veterinary community.

"San Francisco likes to say it’s the safest city in the United States to be a dog or cat," said Nathan Winograd, a widely recognized proponent of the no-kill philosophy and former director of operations for the SPCA, who left the organization in late 2000. "That is no longer true. There are other cities that are doing much more in terms of lifesaving. That’s one of the reasons I chose to leave San Francisco."

The SPCA’s eighth president, Jan McHugh-Smith, finally arrived in April after the shelter had spent nine months with an interim head, and the question now is whether she can turn this troubled yet still revered organization around.

Only in recent years have cities nationwide begun enacting policies intended to stop — or at least dramatically slow — the senseless slaughter of animals that are the defenseless victims of the public’s love of adorable newborns and specialized breeds. That trend started in San Francisco.

Avanzino calls welfare groups like the SPCA "safety valves" that relieve pressure on animal control officers and traditional municipal shelters. In an editorial last year for Maddie’s Fund he wrote that saving healthy and treatable shelter pets is the "minimum no-kill standard" and that communities today should strive to go beyond no-kill.

"Tompkins County, New York is a case in point," he wrote. "The Tompkins County SPCA maintains a 92 percent live-release rate. It saves all of the county’s healthy and treatable shelter pets and feral cats. Should this be our life-saving goal? I think it should."

Tompkins County, it turns out, is exactly where Winograd went after leaving the San Francisco SPCA in frustration. "When I left, we just had to save 500 or 600 more treatable dogs and cats every year, and we would have been just about there," Winograd said. "We were a whisper away."

Edwin Sayres, who succeeded Avanzino as president, told the shelter’s board of directors that the SPCA could remain in the vanguard of reducing pet overpopulation and saving abandoned animals while at the same time building a prestigious, state-of-the-art veterinary hospital that would rival one of the few other comparable facilities anywhere in the United States, Angell Memorial Hospital in Boston.

The Massachusetts SPCA, however, spends millions of dollars more each year simply running its three Angell facilities than the San Francisco SPCA’s entire budget. Originally expected to cost just $15 million, the price tag of the latter’s Leanne B. Roberts Animal Care Center has now shot to $32 million. The SPCA will finally break ground on the new facility in October.

Critics feared the hospital idea was a potential disaster, and they complained that the nonprofit had become top-heavy under Sayres. They pointed to the shelter’s money trail, detailed in its required annual tax-exempt disclosure forms, to emphasize where they believed the shelter’s priorities now rested.

While earning $200,000 a year in salary and benefits, Sayres created new executive positions that cost the shelter hundreds of thousands of dollars more in compensation than was spent during Avanzino’s tenure. That might not have seemed like such a big deal in 1997, when the nonprofit was taking in several million dollars more in donations from the public than it was spending to cover operational expenses.

But by the end of the 2002 fiscal year, when donations to the SPCA and many nonprofits were lagging, the shelter had fallen $2 million short of covering its $14 million in expenses, which had climbed by the millions annually.

At the same time, the city failed to reach its goal of releasing alive 75 percent of the animals it impounded; 2,075 animals were killed that year for a variety of reasons, according to city records. The SPCA also missed its target that year for the number of animals it would take in from the city’s municipal shelter and make available for new homes through its unique adoption center.

Meanwhile, several cities across the country were embracing the no-kill cause, inspired at least initially by San Francisco’s example. They did so with considerable help from Winograd, who worked briefly as a Marin County prosecutor before traversing the nation to help shelters come as reasonably close to no-kill as they could.

Tompkins County; Charlottesville, Va.; and Reno are all boasting live-release rates of around 90 percent after promising to find homes for adoptable and treatable animals, the latter a key category that includes animals with behavior problems, serious illnesses, and injuries that require extra care.

In other words, as San Francisco struggled to maintain its sense of direction, other communities began to implement and even redefine the meaning of no-kill. San Francisco has averaged a 70 to 80 percent save rate annually for several years — and the difference between this and what Winograd and others have hoped for the city of St. Francis means hundreds of animals being killed each year.

While avoiding any searing critique of the shelter, Avanzino told the Guardian that he perhaps would not have promoted the hospital scheme. However, he said, plenty of his own bold ideas at the SPCA once made him a target of criticism, like the shelter’s posh $7 million adoption center, composed of 86 kitty condos and doggy apartments.

"I know it sounds like I’m ducking the issue, and I am," Avanzino told us. "But the bottom line is that new leadership and the policy makers for the organization believe with everything in their being that this is an important next step for the San Francisco SPCA and [that] it is going to do more to help the animals. They have not kept me in the loop."

Nonetheless, when Sayres led the nonprofit, between 1999 and 2003, it spent at least $1.7 million just on architects and veterinary consultants moving the planned hospital forward. Meanwhile, programs like humane education and law and advocacy, the latter at one time a half-million-dollar program, saw deep cuts in their budgets or simply shriveled up and disappeared altogether, while public relations and promotional expenses retained brisk support to the tune of at least $1 million annually for several years before those expenditures were finally trimmed too.

Further, the shelter’s 17-member board of directors granted Sayres a $400,000 home loan and gave him 30 years to pay it off, although he cleared the debt before leaving for a new job in June 2003 at the American SPCA, which is independent of the San Francisco SPCA.

As the summertime explosion of kittens loomed in the spring of 2003 and Sayres prepared to leave, he sent an e-mail to the SPCA’s nearly 1,000 volunteers blaming the economy’s ongoing downturn and a 10 percent drop in public donations for the shelter’s money woes. The jobs of at least 15 employees were cut, and others were merged into one, including two major volunteer-coordinating positions.

In e-mails circuutf8g at the time, copies of which we’ve obtained, volunteers agonized over whether to inform the press of what was going on internally, nearing the point of insurrection over cuts in shelter services — including a one-of-a-kind dog behavior and training program. The truth, some feared, would turn donors away. Some argued that executive salaries should be trimmed to save money before ground-level staffers were dispatched with pink slips. Others were furious over the planned hospital’s burgeoning costs.

"I certainly think a new center is exciting and overdue," a volunteer wrote to Sayres. "But it annoys me [to] no end to see billboards all over the city about the center and nothing about the situation we’re in."

Sayres never responded to several detailed questions sent to him by e-mail and was unable to make time for a phone interview. But he admitted in a 2002 San Francisco Business Times story that he’d "tried to move forward with my vision too quickly."

"I should have taken more time to listen and absorb the culture," Sayres said in the story. "Now I’m more mindful of the contributions that people have made here over the decades."

New president McHugh-Smith insists the shelter can still balance the hospital plan’s most recent incarnation and a continued focus on the agency’s raison d’être: preventing cruelty to animals.

"One thing I’m really proud of is our hospital provides one and a half million dollars’ worth of charity care to homeless animals and people who can’t afford veterinary care for their pets," McHugh-Smith said. "What a critical service for this city. There are a lot of people here who can’t afford the care their animals need. They shouldn’t have to give up their pets for that."

Recent troubles aside, even the SPCA’s fiercest critics contend that much of the nation still lives deep in the shadows of its extraordinary achievements.

The San Francisco SPCA was officially chartered in 1868 as the first humane society west of the Mississippi River. But more than a century later, in 1978, its leadership had grown tired of the organization’s serving dual roles as a killer and a savior of animals.

Backing out of its long-standing shelter contract with the city meant losing more than a fifth of its annual budget, but then-president Avanzino felt the group’s agenda no longer fit with the city’s mechanized handling of hapless animals. Thousands were still being killed by the city each year.

"For 101 years, the reputation of the SFSPCA was, ‘That’s the place where animals are killed,’" Avanzino said in a 2000 interview he gave to Maddie’s Fund. "That was not the purpose of our organization. You can’t be the animals’ best friends and be their principal killer."

The city was forced to create a separate municipal shelter, known today as the Department of Animal Care and Control, which cites abusers, seizes dangerous dogs, and maintains its own adoption program. The SPCA then proceeded to vastly expand its spaying and neutering services, particularly for juvenile animals, as well as its medical facilities and treatment for animal behavior previously regarded as severe enough to warrant a trip to the death chamber, in which dozens of animals were killed at once. A technician withdrew oxygen from a decompression room until they died.

The SPCA led the way in taking animals waiting for adoption out into the community, and while some early skeptics feared mobilized adoptions would inspire impulse buying and high turnovers, many groups nationwide started to follow Avanzino’s lead after seeing how well it worked here.

On its sweeping Mission property at 16th and Alabama streets, where the SPCA has been located for almost a century, the shelter did away with cell-style kennels, which encourage erratic behavior and reduce the chances that an animal will find a home. In 2004, the most recent year for which figures are available, the city found homes for 4,500 dogs and cats, with the SPCA handling three-fourths of those adoptions.

And guaranteeing homes for cats and dogs defined as adoptable, let alone those who are arguably treatable with the right commitment of energy and resources, was almost unheard of in the mid-’90s, when San Francisco made its promise. Under San Francisco’s agreement with the SPCA, animals considered adoptable include cats and dogs eight weeks and older, those without "temperamental defects," and those not suffering from life-threatening diseases or injuries.

However, while a 100 percent adoption rate is probably not possible, Winograd and others worry that the bedrock of the nation’s no-kill movement has failed to reach its full potential since Avanzino left, and they say the San Francisco SPCA could at least aspire to a save rate of more than 70 to 80 percent.

"I think the agency went through some times they weren’t used to, not having a long-term leader that really understood the history of the organization and the goals of the organization," Carl Friedman, director of Animal Care and Control, said of the SPCA. "But that happens everywhere. I think it took a little bit of a toll on the organization."

Friedman worked at the SPCA for several of its most memorable years before moving to the city’s municipal shelter in 1988, after the SPCA relinquished its role as the proverbial dogcatcher. He says that most euthanized animals in San Francisco are cats and dogs struck by automobiles or those suffering from parvovirus and distemper, both preventable with early vaccinations.

It’s worth noting that the agreement between Friedman’s office and the SPCA forbids each of them from speaking critically of the other, and many of the people we talked to balked at speaking on the record.

"People are afraid of getting sued, and they’re afraid of what will happen," Winograd said. "There are people in San Francisco who need these agencies. They’re not willing to be forthright, because they’re afraid. I’m a lawyer, so anybody who wants to sue me, good luck. But the truth is the truth."

The shelter’s problems that started under Sayres continued under his handpicked successor, Daniel Crain. And they reached a zenith in August 2004 when one of the SPCA’s leading veterinarians, Jeffrey Proulx, committed suicide in horrific fashion, delivering a psychic blow to longtime SPCA volunteers and staffers.

The morning Proulx was discovered, a Marin County coroner found an empty box of Nembutal injectable solution on the kitchen counter of his San Rafael home. Nembutal is a barbiturate used in physician-assisted suicides, but it’s also used to euthanize animals, and a bottle of it was missing from the shelter’s medicine cabinet the day Proulx died.

Proulx was the hospital’s chief of staff and was overseeing the expansion project. The task was apparently wearing him down, and on the day of his death, he threatened to resign.

Groundbreaking was supposed to occur in 2004. Then 2005. Then 2006. In the meantime, a private animal hospital providing 24-hour emergency care — San Francisco Veterinary Specialists — moved into the neighborhood, just blocks away, casting doubt on whether the facility’s service load could justify the project.

After Proulx’s death, the SPCA announced that it had chosen another architectural firm to take charge of the hospital: Rauhaus Freedenfeld and Associates. By then the organization had spent nearly $4 million on veterinary consultants and architects, according to tax records, and even today hardly a single wall has been erected.

A previous architecture firm, ARQ Architects, which designed the shelter’s adoption center, has earned more than $2 million from the SPCA since 2000, but there’s no telling what happened to any of the designs the firm crafted. Nonetheless, according to the shelter’s newest tax records, provided at the Guardian‘s request, Rauhaus was paid more than $500,000 last year, and another $330,000 went to a project manager, CMA. A new veterinary consultant was paid $90,000 last year as well, after a previous consultant, Massachusetts-based VHC, was paid at least $925,000 over a three-year period.

After Proulx died, Crain lasted just two more years as president. He left last August, and attempts to reach him at various phone numbers, a fax number, and a last-known San Francisco address in Bernal Heights were unsuccessful.

Crain joined the shelter in 1999 as a human resources director but quickly — despite little evidence of nonprofit management experience and only a brief stint running human resources — became the SPCA’s vice president under Sayres, earning well into six figures. In 2003, after Sayres’s departure, he became the SPCA’s top administrator following a board vote, which brought his compensation to more than $200,000 a year.

Ken White, director of the Peninsula Humane Society, said he never forged the bond with Crain that he did with the leadership of Marin County’s municipal shelter and its major East Bay animal welfare counterpart. White worked for nearly a decade at the SPCA, until 1989, when San Francisco created the separate animal-control entity that exists today.

Although reluctant to speak critically about the SPCA, White explained that the Peninsula shelter treats about 1,000 injured wildlife animals from San Francisco annually under a very modest contract with the city that’s nowhere near enough to cover his costs. The SPCA focuses primarily on cats and dogs, and the Peninsula shelter has more space.

People like Winograd, who now directs a nonprofit in San Clemente called the No Kill Advocacy Center, say the shelter’s campaign to build a modern but almost prohibitively expensive hospital diverted funds away from "God’s work": caring for animals so they may be adopted out.

"I didn’t feel the city needed another specialty hospital," Winograd said, "and my fear was that the energy and dollars and all the effort that would be put into the hospital would pull the agency away from its core mission of patching together the sick and injured dogs and cats."

"They still think that’s the next big thing," said Karin Jaffie, a former public relations coordinator and longtime volunteer. "For the cost of the hospital, you could have trained a lot of people’s dogs or spay-neutered the city’s pit bull population for free."

An early plan for the hospital included 24-hour emergency care and critical services like oncology, cardiology, and neurology — services that shelter execs argued pet owners would never pursue otherwise to help save their animals.

Yet the plan had a significant catch: it called for aligning the hospital’s nonprofit component with a for-profit network of veterinary specialists who would lease space inside the facility and help cover its overhead by paying some of the utility bills. Private specialty veterinary care was among the fastest-growing segments of the industry at the time, and the SPCA’s eager citywide promotional campaign for the hospital raised the ire of private vets working in the Bay Area, including their industry group, the California Veterinary Medical Association.

McHugh-Smith admitted that "after much evaluation" the complex for-profit plan was scratched completely, and the shelter had to more or less start over after spending millions. "It wasn’t going to help our mission, so that project was put to rest," she told us.

Not everyone was quick to offer a negative opinion of the shelter’s past leadership. Kelley Filson, a former humane-education director, said that all nonprofits experience periodic lulls in funding and that her program was never short of the resources it genuinely needed to help Bay Area youth understand why it’s necessary to treat animals humanely. Like in K-9 behavior training, she says, SPCA supporters should focus on the shelter’s historic milestones.

"It was not a direct-care program," Filson said of humane education, which endured budget cuts in recent years. "When there are 10 puppies that need medicine and treatment, that’s a very immediate need, so I think that people [misunderstand] when an organization has to look at the immediate needs of suffering animals versus education goals. Until you’re in the position of running that organization, you don’t often understand the decisions that are being made."

Skepticism aside, the shelter’s existing 70-year-old animal care hospital, where it treats injured and abandoned animals, could certainly benefit from a makeover. It still provides a range of services for a relatively minimal fee, including limited emergency care for the pets of some low-income San Franciscans. In 1978 the shelter’s spay-neuter clinic was the first in the nation to provide the service at a reduced cost, and it continues to alter feral cats brought in by a citywide network of caretakers for free.

"The demands on that hospital have grown large over the years," McHugh-Smith said. "Our surgical [unit] is on the second floor, and we have to carry the animals upstairs…. It’s just not very efficient or effective any longer."

The emergency and specialty hospital San Francisco Veterinary Specialists now does what the SPCA originally hoped to. Previously at odds with the SPCA’s for-profit scheme, the private vets will now donate certain specialty services that the SPCA isn’t able to cover under its current plans. Dr. Alan Stewart, a founder of SFVS, told us they’ve already helped several animals.

Construction on the Roberts Center is slated to begin in October. McHugh-Smith promises the new plan will enable San Francisco to expand its definition of a treatable homeless animal by expanding the range of treatment the city can administer. Now the $32 million will go toward simply renovating a massive warehouse on the shelter’s campus and giving its current facility another 40,000 square feet of space. The feral cat project, which today operates out of a former lobby, will get its own designated area, and McHugh-Smith says the shelter will also act as a university hospital where veterinary students can learn to treat the approximately 25,000 animals that pass through annually.

McHugh-Smith, the shelter’s first female president, has worked in animal welfare for more than two decades. She spent 12 years as CEO of the humane society in Boulder, Colo., and built that city’s live-release rate up to 86 percent.

Because of the Bay Area’s supercharged political tendencies, she faces constant and varying obstacles. Wildlife supporters loathe the SPCA’s long history of backing feral cat populations and off-leash dogs on federal parkland such as the Golden Gate National Recreation Area.

Even the phrase "animal welfare" is politically loaded — it’s often used specifically to separate pet lovers and the wealthy benefactors of big nonprofit shelters from "animal rights" factions perceived as too radical. Plus, there’s the fact that higher save rates translate into greater challenges in dealing with the final 20 or 30 percent of animals, which can require treatment before being adoptable.

"The higher you get, the more difficult it gets, and the more resources you need," McHugh-Smith said of the city’s save rate. "Hence, the hospital is going to be a really critical part of that."

Avanzino says San Francisco could still do a much better job presenting records to the public of which animals are killed and why. Are hyperthyroid or feral cats untreatable? Are otherwise healthy pit bulls made "unhealthy" merely by irresponsible owners? For years, transparency in terms of what constitutes a treatable or healthy animal has been a major tenet Avanzino has advocated.

"If we’re really going to empower the public to be part of the solution and see that the job gets done, we’ve got to give them the data," he told us. "Are the dogs and cats that we call family members getting justice from us? If not, then we have failed them, and in San Francisco that should never happen. It’s the city of St. Francis." *

Caffe Bella Venezia

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› paulr@sfbg.com

The world traveler might arrive in some strange foreign city eager to find enlightenment at the table — to suss out the city’s most interesting and revealing restaurants and ponder the cultural clues they offer — but first there is the matter of jet lag. The world traveler has an urgent need for a good night’s sleep and perhaps a meal that’s somehow authentically local but not too difficult: not too expensive or far away or served at a place that’s difficult to get into. Tourist cities — of which ours is one — must have plenty of restaurants to provide this service, just as they must have plenty of other places to provide dazzle and memories while charging prices that keep the local tourist economy well watered and in bloom.

We don’t lack for the second, lofty sort of restaurant, of course, but you might be surprised that we have examples of the former too. While stepping into Caffé Bella Venezia one recent mild evening, I noticed a huge youth hostel on the other side of Post Street, and I was glad. For a city that so self-consciously links itself to youth culture, ours is a fearfully — I might even say prohibitively — expensive place for youth to visit. Youth tends to be impecunious, and that won’t get you very far at the Ritz-Carlton or even the Phoenix, no matter how charming and chic your pennilessness. If the concierge is nice, you might be sent down to the hostel on Post Street, not far from Union Square and the theater district, and welcomed there. And if you’re hungry, you might next be sent across the street to Bella Venezia, which isn’t exactly Venetian — except for all the wall art, with its many depictions of gondoliers and canals — but is appealingly pan-Italian, with a rich selection of pastas. If money is one language everybody speaks, pasta is another.

Venice has long been the most eastward-looking of Italian cities. For centuries it was the western terminus of the Silk Road to China, and after the horrendous Fourth Crusade in 1204 — in which Venetian forces sacked the Byzantine capital, Constantinople, instead of carrying on to the Holy Land — it was handsomely decorated with Byzantine gewgaws looted from that ancient city. One associates certain oriental perfumes, of cinnamon and nutmeg, among others, with the cooking of Venice, and while you’re not likely to catch a whiff of these at Bella Venezia, you might catch a latter-day Silk Road echo: the chef is Italian, and his Filipina wife runs the front of the house with the help of their son.

Meanwhile, much of the clientele speaks little or no English. While we did note several solitary, possibly Anglophone, diners roosting forlornly at tables on various evenings, we were more struck by the parade of high-spirited young people moving in packs and speaking, say, French. Of course the French like and serve pasta, even if they’re French Canadian. And just about everyone would like Bella Venezia’s fettuccine arlecchino ($9.95), a lively and colorful mélange of zucchini coins, black olives, and sun-dried tomatoes in a sauce of garlic and goat cheese and a heaping tangle of pasta. Even better is gnocchi ($5 for a small plate that’s not that small), which isn’t really a pasta but is often grouped with the pasta family. Bella Venezia’s house-made lobes are achingly tender, stuffed with gorgonzola, and bathed with a mushroom cream in which we detected, we thought, a hint of brandy breath.

I was surprised to find that I did not quite care for the lasagna ($9.95). So seldom am I disaffected in this way that I can’t recall the last time it happened, if it ever did. But BV’s lasagna, though served in an immense portion, had an unbecoming sweetness; too much minced onion mixed in with the ground beef? We noted a similar problem with the minestrone ($4.50), a run-of-the-mill vegetable soup heavy with carrots, onions, celery, zucchini, potatoes, and shreds of spinach — but no tomatoes, white beans, or pasta. Both lasagna and minestrone responded to salting, the latter more smartly than the former.

A nice feature of the menu is that you can get little versions of pizzas, pastas, and salads for $3 to $6 each. A pair of these makes a nice two-course dinner for someone who isn’t starving or is watching carb intake or feels a little jet-lagged. Pizza regina ($4.75) is a daughter of the full-figured pizza margherita, topped with the same combination of tomatoes, oregano, basil, and mozzarella — plenty of mozzarella. Pizza salsiccia ($8.95) is (to extend our familial imagery) an uncle, a brawny pie of meaty mushrooms and lots of fennel-charged Italian sauces. If the current vogue of thin-crust pizza has left you fatigued, you will appreciate BV’s slightly thicker, breadier crusts.

Two of the restaurant’s best dishes turn up as appetizers. Caprese salad ($6.95) is often routine, a tried-and-true medley of sliced tomatoes and mozzarella cheese, but here it is lightly doused with a pesto vinaigrette that enlivens each constituent while bringing them together. (All salad dressings are supposed to do this, but few do it this well.) And sautéed mussels ($9.95) arrive in a pool of garlicky tomato–white wine sauce that will have you motioning for more of the house-made focaccia to sop it up with, since it is impolite to do so with your fingers, even if you’ve just flown in from Venice and have jet lag. *

CAFFÉ BELLA VENEZIA

Dinner: nightly, 5 p.m.–midnight

720 Post, SF

(415) 775-1156

www.caffebellavenezia.com

Beer and wine

AE/DC/DISC/MC/V

Not loud

Wheelchair accessible

Criminals of poverty

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OPINION The morning I got out of jail, I walked through the icelike streets of Oakland touching ivy and running my fingers along the sides of buildings and cars and the trunks of trees. It wasn’t that I had forgotten how they felt. It was just that knowing that these things were still there, even when I wasn’t, helped to ease the shudder, the ache, and the tension that were now permanently lodged in my head.

Due to some extremely innovative legal work by a local civil rights attorney, I was given a chance to write as a way of working off my several thousand dollars of fines and months of jail time for crimes of poverty. In my and my poor mixed-race mama’s case, this was for the sole act of being homeless in the United States — a citable offense.

The most recent invention in the march toward increasing the criminalization of poverty in San Francisco is Mayor Gavin Newsom’s proposed Community Courts — or what the Coalition on Homelessness so aptly renamed poverty courts.

These courts would focus on status crimes — crimes like the ones I was charged with not so many years ago, crimes that are unavoidable for people who are poor and living on the streets.

These courts represent a further step toward the permanent criminalization of poor and homeless people, disguised as a more compassionate approach to so-called quality-of-life issues.

But the reason this is inane and a serious waste of resources is that no amount of punishment will ever succeed in lifting people out of poverty.

As a youth raised in a houseless family who was cited and arrested countless times for the act of sleeping in our broken-down vehicle, I was given referrals to community service agencies for several thousand hours of community service (free work), none of which I could ever complete, which then led to jail sentences and a criminal record — yet I was never offered housing. Instead I was continually criminalized for the fact that we didn’t have housing or the money to acquire it.

The proposed price tag for the poverty courts is $1.3 million. That’s money that could be funding permanent housing, mental health services, and drug treatment that would actually improve the quality of life for poor people.

The information gathered by the Coalition on Homelessness and Poor magazine indicates that the city plans to redline a portion of the poorest neighborhood in San Francisco (the Tenderloin), and any sleeping, sitting, vending, camping, graffiti, and prostitution tickets received in this area will be sent to a special court.

This is consistent with the massive increase in sweeps, arrests, and citations of homeless folks since Newsom came to office.

My writing–media production assignment was eventually completed, albeit slowly, while I lived through the devastating experience of being a youth in a homeless family. Had I not received this innovative work-around, I would not have made it out of the criminal injustice system and in the end would not have made it out alive. *

Tiny

Tiny, a.k.a. Lisa Gray-Garcia, is the cofounder of Poor magazine and PoorNewsNetwork and the author of Criminal of Poverty: Growing up Homeless in America.

Muse of fire

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REVIEW Perhaps the most intriguing question about David Gordon’s Pick Up Performance Company’s Dancing Henry Five is why it works so well. Gordon took the third of William Shakespeare’s Henry plays, the monumental but stiff Henry V, sent it through the wringer of his imagination, and spit it out as what he calls in the subtitle "a pre-emptive (post modern) strike and spin." That’s about as razor-sharp and witty a label as you could stick on this elegant and prickly entertainment, which lasts for an hour but resonated well beyond the confines of the ODC Theater’s modest stage during its May 16 to 19 run.

Not that Gordon didn’t have plenty of help; for one, there is Shakespeare’s resonant language, taken from Laurence Olivier’s 1944 film version, which buoyed a dispirited Britain. Then there is William Walton’s mostly excellent score. And let’s not forget the Bushites, whose own strike and spin provided the impetus for this sly look at history repeated. As for Gordon’s eight-member ensemble ("plus three dummies," as Valda Setterfield, the key pin in this finely tuned work, makes a point of specifying), it is an admirably gifted and beautiful group of dancers.

Gordon is not the first to use dance and language in a fully integrated way, but few others have become as masterful at holding the two in perfect balance. In a nod to his roots in the Judson Dance Theater, his work looks casual and ordinary. The language can be everyday conversational, the dancing based on walking. But the commonplace surface is deceptive. Gordon has assembled his components with a clockmaker’s attention to using finely calibrated gears that interlock to create momentum and flow. The resulting work charms with easy grace but impresses through impeccable craft.

For Dancing, Gordon took key elements of Shakespeare’s play — Henry’s debauched youth, his politically expedient abandonment of old friends, his going to war for economic reasons and with the moral force of religion behind him — and spun them into a contemporary fable whose parallels at times amuse but more often cut deeply.

The British-born Setterfield, Gordon’s life and artistic partner for the past 30-plus years, was the key to setting the tone for a work that easily could be but never became preachy. Her clipped delivery — sometimes cool, sometimes wry, and always straightforward — set up an ironic contrast with the mellifluous sonority of the Shakespearean language heard on tape. She brilliantly navigated between her roles as master of ceremonies, observing chorus, and when necessary, the various characters. Her function, she explained, was "to fill in, fill up, and fill out." She did so with the simplest of means. With direct addresses to the audience, while scurrying about or from her pedestal on a ladder, she interpreted the swiftly moving narrative. As the dying Falstaff, with a pillow held as a belly, she shrank in front of our eyes; as a woman with an adult-size rag doll in her arms, she became a mother who has lost a child to war; and as an attendant to Catherine of France, she was dainty, subservient, yet authoritative.

For all its simplicity, Gordon’s choreography is structured in overlapping phrases and precisely timed rhythms that are endlessly fascinating. Much of the dancing is robust, but it is always inflected. In the opening passage, the apparently random walks had a slight bounce to them. The Dauphin’s insulting gift of tennis balls became a game of passing and bouncing — at first one, then two balls — while crisply circling walking patterns were maintained. During the multilevel battle of Agincourt, the pounding poles’ rhythmic accelerations suggested the rising violence. However, whether throwing dolls and folding chairs was the best way to choreograph the collapse of civility remains dubious.

Dancing is also elegant and refined. Setterfield’s charming English lesson to the future queen (a sturdy, fleet on her feet Karen Graham) was delivered as a minuet between the two women, their arms lacily acting out the anatomical vocabulary. After Falstaff’s death, Sadira A. Smith danced a lyrical solo that mourned the loss of innocence. In the courting duet, which became a trio with Setterfield as an intermediary, the dour king (a stocky Tadej Brdnik) even managed a low-level jeté or two. The costumes were rugby inspired, and Jennifer Tipton’s lush lighting design was brilliant. *

Holdin’ the weight of the Bay

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Still looks like slavery

But it’s the black legacy

Mistah FAB, "100 Bars"

One night last September, I hitch a ride with G-Stack of the Delinquents and Dotrix of Tha Mekanix to Dem Hoodstarz’s album release party in San Francisco. As we park outside the club, Mistah FAB rolls up with a modest posse. In contrast to his usual iced-out Technicolor clubwear, the man also known as Fabby Davis Jr. is low-key, dressed all in black, a pair of designer stunna shades supplying the main clue to his identity. He hops in Stack’s car to hear a newly laid track for the latter’s upcoming Purple Hood, then we set out for the club, a less than half block journey whose distance is lengthened interminably by a series of well-wishers and business consultations. It’s like following two CEOs across the floor of the stock exchange: Stack is on two cell phones, trying to shake hands with someone. FAB, meanwhile, handles minor transactions, poses for a photo, and takes a call, all while briefing me on the deal he had just signed with Atlantic Records for Da Yellow Bus Rydah, the much-anticipated follow-up to his 2005 disc, Son of a Pimp (Thizz Ent.).

Near the door, a man takes FAB aside. "FAB, you gotta do something about the violence," he says, meaning specifically the 141 homicides in Oakland in 2006 under former mayor and present attorney general Jerry Brown. FAB nods at what is clearly an unreasonable request, albeit one that reflects the disproportionate political burden borne by black entertainers in America. No one would turn to, say, Justin Timberlake to stop violence. Then again, I imagine no one asks Keak Da Sneak either. FAB’s position, in other words, is unique.

Though he made his early reputation as a freestyle battle rhymer and owes his success to hyphy hits like "Super Sic Wit It," FAB’s lyrics seldom stray into gangsta or pimp terrain — the title of his last album is simply literal. Yet he can get down on a track with the most thugged-out MCs. Aside from the giants Too $hort and E-40 and on par with the perpetually hot Keak, FAB is the rapper all Bay Area rappers want on their albums, because he has the biggest buzz on the radio and in the streets. His popularity gives him influence, but FAB commands respect in the hood because he’s from the hood: his compass-based hit "N.E.W. Oakland" was the first major rap recognition of his native North Oakland as a hood. This rapport with the alienated and isolated ghetto youth who constitute hyphy’s core audience separates him from the vast majority of MCs to whom the label "conscious" may be applied.

"You go up to someone in the hood and be, like, ‘Dick Cheney had a heart attack,’ they be, like, ‘Who the fuck is Dick Cheney?’" FAB says later. "But you tell him, ‘Jay-Z donated a million dollars to improve water in Africa,’ they be, like, ‘For real?’ That’s something of their world. Being a Bay Area artist, I’m of their world. So you have the opportunity to teach without them knowing."

"People who have influence," FAB continues, "have an obligation to tell people, ‘Preserve life. Save lives. Help lives.’ But it’s hard to reach people if you’re not giving them something they relate to. The hyphy movement is something they relate to. Hyphy gets you in the door, to open their ears to what I’m saying. It’s up to them to digest it."

That night at the club, FAB exerts his influence. When things get salty between security and Dem Hoodstarz’s East Palo Alto associates, the group calls FAB to the stage to perform their collaboration "Ugh." Things chill out. FAB issues an impromptu plea against violence and murders. These are problems no single person can solve, but FAB is doing his part. Yet by the show’s finale — the "Getz Ya Grown Man On" remix, on which he has a verse — Fabby Davis has left the building. Being Mistah FAB, I realize, can be exhausting.

FOLLOW THE YELLOW BUS ROAD


Mistah FAB’s deal with Atlantic is a landmark in a scene long neglected by the majors. Along with Clyde Carson’s signing with Capitol, FAB’s arrangement — including distribution for his Faeva Afta Entertainment — is the first serious acknowledgment of the renaissance Bay Area rap has undergone in the past three years. Unlike E-40, a regional star who’d already achieved putf8um sales on Jive before his push last year by Warner Bros., FAB’s an unknown quantity outside the Bay. And in contrast to Frontline or the Federation — whose deals came through the respective backing of nationally known producers E-A-Ski and Rick Rock — FAB is the first evidence for a new generation of local rappers that enough talent and dedication can get you signed. It’s another weight on the shoulders of the man born Stanley Cox Jr.

"Lots of people are putting their hopes into the album," he acknowledges. "They’re, like, ‘I hope FAB do it, because it’ll kick in the door for all of us.’ I realized when I was creating this album it’s not just something I want to do. It’s something my whole region depends on."

Da Yellow Bus Rydah‘s journey has been anything but smooth, however. Bottom line: Atlantic has postponed the album’s tentatively scheduled spring release, due to controversy surrounding the Ghostbusters-themed advance single, "Ghost Ride It." A tribute to the hood-invented practice of throwing your car in neutral as you walk alongside and steer, "Ghost Ride It" was generating a buzz through its a video on YouTube and the minor-league MTVs when a Dec. 29, 2006, Associated Press story ("Hip-Hop Car Stunt Leaves 2 Dead") linked the song with a pair of unrelated deaths: Davender Gulley, 18, of Stockton, who "died after his head slammed into a parked car while he was hanging out the window of an SUV," and an unnamed "36-year-old man dancing on top of a moving car [who] fell off, hit his head and died in what authorities said was Canada’s first ghost riding fatality." While the scant details obscure whether these incidents stemmed from ghost riding or more traditional automotive horseplay, Fox News’s Hannity and Colmes found the trend alarming enough to call FAB on the carpet in January.

"You understand that a lot of kids look up to you?" Sean Hannity accused rather than asked FAB. "They sing your songs. They dress like you. They talk like you — they wanna be you!" Aside from displaying an oversimplified sense of the relationship between artist and audience, Hannity’s remark reveals a comic lack of familiarity with hip-hop and their guest in particular: what part of "Super Sic Wit It" do you sing? Moreover, while rap fans undoubtedly draw from the same well of slang, the idea that they all talk the same — or even like FAB, for that matter — is a stereotype.

"I don’t think they expected me to be so articulate," FAB recalls with a laugh. Yet among MCs, FAB is singular interview subject. While he has a clear sense of his talent and importance, he’s more apt to discuss his personal relationship with God or how his lonely childhood as a latchkey kid inspired him to create rather than brag about how real he is. His power to articulate the struggle of urban youth — to explain the rage that motivates, say, ghost riding — is the very reason he’s often labeled the spokesperson for a hyphy movement otherwise devoted to "going dumb."

Hannity treated FAB like he’s dumb, but FAB turned the tables. Hannity’s denunciation of his effect on the "kids" prompted the rapper to question whether his influence rightly extends to a Canadian 11 years his senior, which Hannity countered by accusing FAB of wanting as much "money and controversy" as he can get. When FAB speculated on the influence of turning on the TV and seeing 3,000 soldiers die in Iraq, Alan Colmes was sent in as a balm, ending the segment.

"Both those people were adults," FAB says later of the ghost-riding deaths. "I feel bad for the families, but at the end of the day, an adult has to take responsibility for his actions."

GHOSTBUSTED


The next pothole for Yellow Bus was a late March cease and desist letter from Columbia Pictures for copyright infringement in the "Ghost Ride It" video — just as it was about to debut on MTV’s 106 and Park. "We had permission [to use the Ghostbusters van] from the man who built it and owns it," FAB explains. "But Columbia owns the logo." The video was immediately pulled from all media outlets, impairing Atlantic’s ability to market the single nationally. As a result, the Yellow Bus has been parked. The official explanation, from Atlantic VP Mike Carin, is that the label is focusing on FAB’s "artistic development." Despite the inevitable rumor that the rapper was dropped, Carin confirms that "the deal is still in place."

Still, such delays have silenced many MCs’ buzz: witness how the delay of Raekwon’s album on Aftermath has converted excitement into skepticism, or how the Team’s World Premiere (Moedoe/Koch, 2006) dropped too long after its singles had peaked, leading to lower-than-expected sales. Fortunately, the structure of FAB’s distribution deal allows him an unusual degree of freedom.

"They were willing to sacrifice certain things," he says of his initial decision to sign with Atlantic among competing offers. "They allowed me to do what I want to do — if I want to drop an independent album, I can."

ENTER DA BAYDESTRIAN


This flexibility has allowed the prolific FAB to immediately walk out another new album, Da Baydestrian, on May 15, through SMC/Fontana. Although, according to SMC cofounder Will Bronson, Atlantic has options to include as many as five of its songs on Yellow Bus, Baydestrian is an otherwise distinct project intended to satisfy the demand for a follow-up to Son of a Pimp. FAB’s also preparing a series of summer releases, including a second installment of the all-freestyle Tonite Show with DJ Fresh. (Fresh, incidentally, edited FAB’s 2005 DVD, The Freestyle King, now packaged with Baydestrian as a bonus.) With Beeda Weeda and J-Stalin, representing the East and West respectively, FAB’s formed the multihood group N.E.W. Oakland, whose mixtape is nearing completion. Prince of Da Bay (In Yo Face/Hooker Boy Filmz), a documentary on FAB by local hip-hop director Dame Hooker, should be out by press time, while FAB’s next DVD, Shoobalaboobie TV, is in the works.

"You do what you have to do to keep the buzz going," FAB says. "Also sales — on the independent level, your numbers are what’s important [to major labels]." Da Baydestrian thus has Atlantic’s blessing, but its commercial success will determine the fate of his deal.

Yet the need to appeal to the marketplace hasn’t inhibited FAB’s creativity, and Da Baydestrian refuses to play it safe. Rather than exploit the hyphy sound he helped establish, FAB only sprinkles it in, most obviously on the remix of the Traxamillion-produced "Sideshow" and the opening title track, one of six bangers produced by FAB protégé Rob-E. The young Martinez-born producer proves his versatility on tracks like the triumphant "Get This Together" and the melancholy "Life on Track," featuring Faeva Afta vocalist J-Nash, whose Hyphy Love drops in August. Another four productions by Son of a Pimp collaborator Genessee contribute to Baydestrian‘s in-house feel even as the family breaks new ground: "Can’t Wait," say, evokes Andre 3000’s explorations of go-go, filtered through FAB’s hyphy sensibility, while "Shorty Tryin’ 2 Get By" is a contemporary "Keep Ya Head Up" spiced with Bay Area R&B. The album is refreshingly free of skits, and guest stars are kept to a minimum, but Too $hort blesses the disc three times, an unambiguous stamp of approval from Bay rap’s founder.

What makes Da Baydestrian one of the most extraordinary albums since hyphy’s inception, however, is its social consciousness. "Deepest Thoughts," for example, hits out at President George W. Bush, but even more pointedly at Gov. Arnold Schwarzenegger for expanding the prison system instead of aiding the poor. The Sean T–produced "Crack Baby Anthem" addresses teen dope dealers, seeking to uplift without castigating or glorifying their activities — for the nonghetto audience, the song connects the dots between poverty, crime, and the present political climate. FAB describes his approach as "hip-hyphy," presenting an alternative to hip-hop fans who consider hyphy juvenile or incomprehensible. Granted, the disc’s school bus and helmet imagery — referring to the hyphy concept of acting "retarded" — is hardly p.c. Nonetheless, FAB’s lunchbox-wielding Baydestrian is a welcome change from the exaltation of guns and dope adorning your average rap album.

"In no way am I trying to say I’m like Martin Luther King or Malcolm X," FAB explains. "But I realized I could create nonsense and seem to support ignorance, or I can get people to start looking at the reality of it, and the reality of it is that young blacks are dying, not only in the Bay; they’re dying everywhere. We’ve been raised in a warlike civilization. We’ve been brainwashed to accept war as the proper thing to do when things don’t go right."

"Tupac [Shakur] said it himself," FAB concludes. "He said, ‘I’m not going to be the one to change the world. But I guarantee I’ll plant a seed in the mind of someone who does.’ We’re all the Tupac generation. Pac was hyphy."

While I don’t think it’s my place to declare FAB the next Tupac, I can’t fail to be struck by his invocation of the Bay Area icon. On a superficial level, of course, with all his non-thugged-out, cartoonish imagery, FAB is nothing like Pac, just as the hyphy movement differs from the Bay’s mid-’90s sound. Yet locally, if not nationally, the two rappers occupy the same position on the map of hip-hop: like Pac, FAB has cred with nearly everyone, he has a positive message within an utterly street aesthetic, and he makes tunes everyone wants to hear. No rapper has embodied all three attributes since Pac, and that combination makes FAB extraordinary. *

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