Book Review: "Bullies: A Friendship"

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Trevor Latham, the founder of the East Bay Rats (photo via GQ.com)

By Jordan Latham
 

The East Bay Rats have had Bay Area residents from all walks of life participate in their Fight Night parties for more than 20 years. Alex Abramovich's new book, Bullies, will strike a chord with people from SOMA to Antioch. A wide range of folks will feel included in the raucous picture Abramovich paints, because they have a personal connection to the bike club, or know some one who does. 

The premise to Bullies, starts back in the 70's. Abramovich and his childhood foe, now East Bay Rats motorcycle club president Trevor Latham, fight each other regularly with a frantic fear and determination in their Long Island elementary school. If you ever had a childhood nemesis, someone who terrified you as a young kid, Abromovich's description of how he experienced Latham may send a shiver down your spine.

The memories had a deep, lasting enough impression on Abramovich, he was compelled to explore them. So he utilized the Google machine to find a man with whom he had a bone to pick.


He found him. Boy did he ever. In the deeply ghetto stretch of 35th and San Pablo, in Oakland California, he found Trevor Latham heading a heavily subculture motorcycle club. Latham is a big dude, with a big laugh, and an imposing presence. The Club is wild, they are punk rock, they are balls to the wall. 
Abramovich and Latham delve into their Long Island beginnings, holding memories up to the light. What comes of it, is not what one might expect. 


The story is largely of two men who came from very similar beginnings, reconnecting as the vastly different men they have become. Abramovich writes his experience of spending time with the motorcycle club with the voice of an intellectual. A thoughtful man with no inclination to act out violence in his daily life, is surrounded by men who facilitate an avenue for people to act out violence (i.e fight nights). He is taken aback at times, and intrigued by the people themselves. He approaches them with curiosity and without pretense. prolificacy ensues. 


His pinpointing and searching out the source of boyhood torment is brave. The decision to do so is hopeful. The outcome is a story that was well worth perusing. 
People who do or have lived in Oakland will thoroughly enjoy Bullies. Abramovich takes the time to discuss how complicated and Wild West the city is. He ties into his book, something people who don't know the city may not understand. That its poverty, it's corruption, its disfunctionality forged in fire the East Bay Rats. And in many ways Trevor Latham himself. 


Bullies is two sorts of stories melded together. It's a moment in Oakland during the Occupy rallies. It's a portrait of a motorcycle club and it's members. And it's an intimate look into the relationship of two men that was, and then it wasn't, and now it is. 

"Trumpenstein" - How the GOP Establishment Created a Monster

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TRUMP FLANKED BY CHRIS CHRISTIE ON MARCH 1ST AT THE MAR A LAGO CLUB IN PALM BEACH (PHOTO BY JOHN MOORE)

By Peter Horn

The shock and horror gripping the GOP establishment at the rise of Donald Trump is at best disingenuous, for he is a monster of their own creation. It’s not the mere existence of Trump that should have party brass worried though, it’s the fragmentation of their voter base—a large portion of which aligns themselves with Trump’s cheap brand of nationalistic ethnocentrism—and, possibly more troubling still, that portion’s rejection of traditional conservative economic ideals. And they have only themselves to blame.

For years, the GOP nucleus has been steadily drifting right, driven by a confluence of factors: the rise of the Tea Party and the expanding influence of special interest-funded political infrastructure that punishes party-line dissent, a movement away from policy-based solutions and bipartisan compromise in favor of explicit anti-Obama obstructionism, increasingly harsh stances towards immigrants, increasingly hostile anti-Muslim rhetoric and a 24-hour news engine that promotes an “us versus them” extremist mentality using fear-mongering and hyperbole.

For the most part, Republicans bought into this movement. As Obama ascended into the nation’s highest office, they looked around and what they saw terrified them: demographic shifts molding the country into one that was less white, less religious, more socially progressive. A country that looked less and less like the face in the mirror. Obama to them personified this dangerous shift, so rather than adapt to a changing demographic, the party doubled down and veered right, as “us versus them” became “us versus him.”

Meanwhile, in the face of powerful macroeconomic forces such as globalization and the automation of lower skilled jobs, a portion of the party’s voter base began to diverge on economic issues as conservative economic theory came home to roost in the form of lost middle-class jobs and a widening income inequality gap. The GOP’s failure to acknowledge and adapt to this divergence has much to do with the rise of Donald Trump. What’s truly amazing though is not that this split occurred, it’s that it took this long.

The Great Blue Collar Misdirection went something like this: convince low-income, under-educated voters to support GOP candidates promoting economic policy that runs counter to these voters’ best interests using a smokescreen of social conservatism, the “protection” of their Judeo-Christian beliefs and the myth of trickle-down economics.

And the ploy worked. For decades, the portion of the Republican voter base who would directly benefit from increased funding to social assistance programs and a progressive tax structure voted for candidates who advocated cutting these social programs, whose tax plans catered to big business and the ultra-wealthy and whose free market trade policies further endangered their low-skilled jobs. This degree of blind voter deference caused Republican leadership to grow complacent. Surely they observed this disconnect, but what were these blue collar conservatives going to do? Vote Democrat?

In steps Trump. Weaving together the effective elements from the modern GOP blueprint—anti-immigration, anti-Muslim, anti-climate change… anti-Obama—with a heavy dose of trade protectionism (a longtime Republican anathema), Trump was able to connect with the GOP’s disaffected blue collar base in a way no candidate has in recent history.

In an ironic twist of fate, it was the fraudster himself that revealed the grander fraud. And this revelation, that traditional party doctrines don’t necessarily reflect the interests of the party’s base, has turned the GOP on its head, leaving establishment figures scrambling for an explanation, or better yet, a scapegoat.

As party leaders stood next to a mound of smoldering ashes holding an empty gasoline can, wondering why the fireworks show went so horribly wrong, Senate Majority Leader Mitch McConnell proudly announced that the Senate Judiciary Committee would refuse to hold hearings on any Supreme Court nominees put forth by Obama. Rewind three months and Jeb Bush, the one-time establishment golden boy and relative moderate of the GOP primary candidates, sought to temper Trump’s anti-Muslim statements, ceding that those Syrian war refugees fleeing the horrors of ISIS “who could prove they’re Christians” should be allowed to enter the United States. Jump over to Fox News in the wake of one of our nation’s countless mass shootings and efforts related to common sense gun control legislation are painted as a terrorist-sympathizing Emperor in Chief’s attempt to eradicate the second amendment.

The Republican establishment has every right to be worried. The vitriol-spewing, protectionism-promoting, violence-inducing opportunist currently tightening his stranglehold on the Republican Presidential nomination is truly a monster. But they should not act surprised, for he is a monster of their very own creation.

Dolby Digital Brings Artist Community to Market St.

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A piece done by Atlanta artist Kevin Byrd (via sightunseen.com)

By Galen Barbour

Since relocating headquarters to the Mid-Market area, Dolby Labs continues to give back to the community through collaboration with artists both local and international.

Following the corporate revival of the Mid-Market area, Dolby’s move to 1275 Market (on the corner of 9th and Market) has not been a subtle one. It’s hard to miss the 60” long video wall staring at you through panes of thick glass guarding the minimal design that’s commonplace in tech-centric interior design.

However, what separates Dolby from, say, its neighbor Twitter across the street (aside from not getting the controversial tax breaks to lube its move in) is a commitment to including the community through a series of free events and interactive media studies that not only promote the creative arts but stand a good chance at changing them.

Formerly the home to the State Workers Comp Insurance Fund, Dolby Labs has stayed true to the latter part of the name by converting the bottom six floors (3 of which are subterranean) to a sort of media tabernacle which includes history museums, exhibits, theaters and study labs.

By artist Amos Goldbaum (photo via FastCompany.com)

One hyper-interesting space is a full video immersion lab where patients are exposed to certain stimuli and observed by an in-house scientist to gauge how the body physiologically reacts to various media. For example, people that were exposed to videos of fires and flames showed an increase in body and skin temperature although the room temp never actually changed.

Also patrons who are quick enough to catch one of their free events will find themselves rubbing elbows with artists both up-and-coming and established in a space that’s chic and comfortable (think titanium, wood and state of the art video and audio systems with soft lighting).  Everyone is very approachable including the man behind it all, chief curator Kevin Byrd, who possesses both an inclination towards the arts as well as a warm and graceful demeanor with people.

This week, Byrd hosted Cinema Magic film night. It included a collection of artists whose career histories range from first films to Hollywood, feature-length productions.

By London artist Rob Lowe. (photo via Dolby)

Also spotlighted this week was London based artist Sophie Clements, whose unique audiovisual works recreate the seemingly arbitrary events and materials through the manipulation of time which challenges our perspective of the world around us. Beginning first with such approaches as taking multiple shots of different events, using repetition as a tool to build them together as a singular “sculpture”. Recently, her work uses state-of-the-art effects such as “bullet time”, adding yet another dimension to her array of tools that bend the physical world around us.

As well, Clements brought with her a piece pivotal influence on her work. Guy Sherwin’s musical stairs (1977..ish? there’s no online document of this work), in which Sherwin uses the level of contrast on 35mm film to create visual/optical audio production. That work was what got Clements inspired to think about various medias and how they could be bent to produce something entirely different from their intended application.  This piece worked particularly well with the event due to the fact that Dolby got its start in cinematic film. At first, with noise reduction technology, and then later creating the standard for film audio with their SVA series optical audio technology. Now Dolby is pioneering sound systems for Ministry of Sound in London and making advancements in how we react to and understand the visual and audio media that we are becoming increasingly inundated by.

At Dolby, where professionals are working at the intersection of video/audio technology and culture, playing with those limits becomes not only food for thought but a philosophy by which their business is founded.

A mid-market gem.

"Only Fire" - A Poem

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By Victoria Woodworth

 

I see the tumbleweeds float across the desert and I think to myself - 

"tumbleweeds know nothing about tumbling" 

I hear the waves crash against the shore, the spray, the pull of the tide and I think to myself  "the ocean knows nothing about crashing"

I hear my mothers voice and I think "this is not my voice"

I hear my fathers voice and I think "this is not my voice"

And the trees keep growing

And sometimes there are flowers

And sometimes as the snow falls I can feel the air slow down

I close my eyes

Darkness

I close my eyes

A spark flickers and fades

I close my eyes

And I am captivated by the swirling glowing light

It grows slowly, wrapping around itself until it is dancing, flirting with the boundaries of all my parts and

I think to myself -  "only fire knows how it burns"

Section925's Upcoming Bay Area Art Options

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(Photo by Jakub Mosur via vulture.com)

By Galen Barbour

If the much needed rain is keeping you indoors this week, here are a few upcoming artistic events around the Bay Area to wet your mind and give you something to look ahead to. Grab your umbrella and explore all the winter art the bay has to offer in the coming days...

15th Annual SF Sketchfest (Through Jan. 24th)

If you haven’t checked out or heard of the most exhaustive stand-up festival in the country, its probably fair to assume that you owe it to yourself to do so.

Sketch Fest has earned itself a seat in the entertainment world as a sort of watering hole and incubator for veteran and aspiring talent alike in the comedy community.           

What sets Sketch Fest apart from other comedy collaborations is infidelity. You have something for the older crowd (Dave Barry?! Jeff Goldblum?!), bumping elbows with upshots like Jaime DeWolfe of Snap Judgment and Paul F. Tompkins (Bojack Horesman) all rolled into a program that’s as unconventional as it is impressive. Acts run the gamut from mock-presidential debates to a 25th anniversary Lost Boys reunion and screening of Hook (RU-FI-OOOO).

Below are some shows at Sketch Fest you don't want to miss...

"Bawdy Story Telling" (Wednesday): 

Feat, Jaime DeWolf and Kate Gill, Kate Willett and Rachael Lark. 

Where?: Eureka Theatre

All ages, $20.

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"Presendtial Debate" (Friday)

The Write-In Candidates with James Adomian, Matt Besser, Paul Gilmartin, Mary Houlihan, Brian Huskey, Dan Van Kirk and moderator Tom Shillue from Fox News Channel’s “Red Eye.”

Where?: Cobb’s Comedy Club

All Ages, $20.

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"The Black Version" (Saturday)

An all African-American cast of seasoned improv specialists from the world-famous troupe The Groundlings asks the audience to suggest a popular film title and then performs the "black version" of that movie.

Where?: Brava Theatre 2781 24th ST.

All Ages, $25.

Fortunately, there is no lack of entertainment outside of Sketch Fest as this week hosts an array of exciting new releases.

"The Nether" (A play running through March 5th)

It's fair to say that in the age where tech trends change weekly it's difficult, if not impossible to see what the future looks like when caught in the eye of the storm.

In “The Nether” screenwriter Jennifer Haley paints a near future where the Internet is a immersive digital universe where one can live out their deepest darkest fantasies through virtual anonymous characters.

The story follows a detective on the trail of a Pedophile who’s frequented a virtual child trafficking website, picking apart this darkly possible future as she goes.

Where?: The San Francisco Playhouse

$20-$120

Click here to learn more about the play.

The Firehouse Art Collective

Berkeley’s Family-friendly art co-op opens its doors to patrons for an evening of art and community. It's free, and open to all ages. Click here for dates and times. 

"YBCA Third Thursdays" (Thursday)

SOMA opens its doors to the community for "Third Thursday." With free admission and discount vouchers to surrounding galleries and shops in an ongoing outreach to the community it serves.

This month MOAD (Museum Of African Diaspora) will host "Documenting the Diaspora": A Tanzanian-Korean & Afro-Viking Go Home, followed by discussions and commentary by the film makers themselves.

In addition, YBCA will be hosting, amongst others, The Sprawl. An immersive multi-media installation of how propaganda is altered by social media.

When?: Jan 20th, 12-8pm

Where: YBCA, MOAD, CMA

All Ages Free

Click for more info.

"Oddball Films" 

Experimental Animator Ben Ridgeway, presents his mind-blowing geometric animations for Oddball’s monthly visiting artist program.

WHEN: JAN 21st

WHERE: 275 Capp Street, San Francisco, CA 94110

ALL AGES.  $10 RSVP, limited seating. 

Learn more here.

"Nightlife at California Academy of Sciences" (January 21st)

This week "Nightlife" takes us into the inner workings of our Brain and Body. An in-depth look at the mechanics of our mind and body and how everything from food and environment can influence how we think and act.

Where?: Cal Academy of Science

21+, $15

Oakland Museum of California (Friday 5-9pm)

Oakland Museum beckons you to start the week off right with half price admission, drink specials and extended hours along with DJ Sweaterfunk for a night of grooves and new concepts.

Where?: Oakland Museum of California

More info here.

"Noir City" at Castro Film Fest (January 22nd - 31st)

Thursday marks kick off of the re-known Castro Theatre Noir Films Festival which typically holds off until the rainiest part of the year to dump on us silver screen wonder both new and aged. The theme of Noir City 14 is "The Art of Darkness" and features 25 films about the pressures and pain of being an artist. Click here for more info.

Where?: The Castro Theater

All ages, prices vary.

The Biopic of Legendary Filmmaker Oskar Knight

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Lenny Von Dohlen portrays "Oskar Knight" (Photo Courtesy of "Near Myth: The Oskar Knight Story")

By Deborah Smith Ford | @DebsFord

On Oct. 23, 2015, award-winning screenwriter Scott Fivelson spoke with Examiner.com about his new film, a unique Hollywood biopic about the director, Oskar Knight. It is called, "Near Myth: The Oskar Knight Story." Fivelson, who resides in L.A., and writes for film and stage, right now would like to reintroduce memories of days gone by, starring and played by Lenny von Dohlen in the life and times of legendary filmmaker, Oskar Knight.

"Near Myth: The Oskar Knight Story" is a unique Hollywood biopic that chronicles the man who Fivelson calls "one of our greatest directors." Fivelson feels that Oscar Knight's work, well-known in his time, has been overlooked in recent years with the advent of the Marvel blockbusters.

Lenny von Dohlen ("Twin Peaks," "Tender Mercies," "American Playhouse") portrays Knight in this brilliant biopic. Through his character he is able to bring back memories among true movie buffs of the iconic auteur.

The film retells the history of American, and world, cinema with a light touch, true nostalgia, and even poignance. Fivelson reveals that, in the film, one can hear from a cavalcade of Hollywood stars in interviews about the director. Such celebs include Academy Award winner Margaret O'Brien, international Emmy winner David Suchet, Portugese Golden Globe winner Joaquim de Almeida, Kristina Anapau, Julianna Guill, Rudolf Martin, Lawrence Pressman, Noel Neill, and many more.

"Near Myth: The Oskar Knight Story" also includes numerous "period scenes" featuring bright, fresh talent like Anthony Dilio, Tannon Bleu, and Eric Richardson. According to Fivelson, Richardson is spot-on channeling Gregory Peck from "To Kill A Mockingbird." He says of Richardson's recreation of Peck: "It's a thing to behold."

Fivelson, as writer and director of "Near Myth: The Oskar Knight Story," is obviously one of the foremost film scholars on Knight and his movies. He hopes that this film will inspire audiences to go back and look at Knight and his body of work, beginning with seeing this film.

In addition to this rare feature film remembering Oskar Knight, Scott Fivelson has also written the multi-festival-award-winning "3 Holes and a Smoking Gun," plus one of David Carradine's best pictures, "American Reel" (co-scripted with Junior Burke). Fivelson is also the author of the frequently produced plays, "Dial L for Latch-Key" and "Leading the Witness" (both Hen House Press), as well as a novel -- the satirical rich-family saga called "Tuxes" (Beach Side Press) -- among other works.

Fivelson would like to credit the enormous team that worked on the film. Every department is thanked for their steadfast belief in the Oskar Knight legacy. A special thanks goes out to David Polcino, the DP/editor/producing partner, who made the five years it took to make "Oskar Knight" just fly by.

In keeping with the different eras in cinema history, Fivelson's film utilizes color plus black and white. One of the goals is to represent the changes in movie technology. That has been achieved. The movie is a lovely blend of the past and the present. And it even conveys a heartfelt hopefulness about the future of the movies. 

Awards earned by Scott Fivelson include 2014 Best Screenwriter Award, Downtown Film Festival Los Angeles for "Three Holes, Two Brads, and a Smoking Gun." The same film won Best Lead Actor for James Wilder, and the Red Dirt Award Grand Jury Prize at the 2014 Red Dirt International Film Festival. Weeks later the film won Best U.S. Narrative Feature Film at the Laughlin International Film Festival.

Enjoy following "Near Myth: The Oskar Knight Story" on Facebook, Oskar Knight on Twitter, Oskar Knight Story on Twitter, and Scott Fivelson also on Twitter, Facebook and Wikipedia.

Star Wars: The Force Awakens

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Actress Daisy Ridley plays "Rey" in the latest Star Wars (photo by Frazer Harrison)

By Dominque Keith-Maher

Duun, duun, dun dun dun duuun, duuun, dun dun dun, duuun, duun, dun dun dun duuuuun. Duun, duun, dun dun dun duuun, dun, dun dun dun, duun dun, dun dun dun dun.

Star Wars: The Force Awakens was a hit even before it crashed against the big screen. Grossing over 100 million dollars in pre-sale tickets, the students at the school I worked at planned on dedicating a project to witnessing the madness of the Star Wars fandom. Bigger than Twilight, The Hunger Games, and dare I say it, Harry Potter, Star Wars fans, young and old, have piled into theaters in droves to witness and continue the legacy of the great sci-fi opera.

Sadly, I was not one of those fans, but was merely a writer, attempting to find the next movie to review. So why not Star Wars, right? Well the problem, as you, Star Wars fan, have already figured out, is that I’m not going to understand all of the references or the large impact of particular scenes, nor will I gasp at the right moments (hence, when Hans Solo first appears). No, I watched this film as though it were any other film. So please, Star Wars fans, do not be offended at what I will say in terms of the film because I have no point of reference. With that, let us began.

Star Wars: The Force Awakens takes place, roughly 30 years after the defeat of the Galactic Empire, and The First Order has risen to take its place. Darth Vader has been destroyed (because his mask sits on a stool that Darth Vader Jr. prays to) and Luke Skywalker has disappeared. Resistance pilot, Poe and his droid, BB-8 are sent by Princess/General Leia to find Luke, where he manages to stumble along the way, encountering Finn, a defector of The First Order, who is thrown into the chaos of recovering Luke, when all he wants to do is flee a life of massacres and fascism. Along the way, Finn encounters the bad ass scavenger, Rey, and together, they try to return the droid to The Resistance and find Luke Skywalker.

What can I say about this film? Like many big screen films, with a lot of action and, splish splashes and “wouza” moments, this movie was bound to contain some cliches. At moments, particularly the end, I found myself hunched over in my seat crying with hysteria. Sometimes I asked myself, “was it really necessary to have a 15 second close-up of the, ‘This is my surprised look’ facial expression? But apparently it was.

Thank God it wasn’t accompanied by the classic, “zoom in fast” camera motion. But I’m sure the cameraman had to have an internal battle to make sure that didn’t happen. What was included was the classic, “we are evil super villains who resemble Hitler’s 1937 German SS rally” moment, the epic ending and camera pan sequence, and the even more classic, “the dead main character who just manages to come back to life” scene.

But other than that, it’s Star Wars. The little I know about Star Wars amounts to the running trope of the hero; the fantastic scenery and setting; and the excellent makeup and costumes. Yes, all of this was there. But I must say, the most exciting part of the film was the hero. According to my local Star Wars expert-- my father-- this was the first Star Wars film where the hero was a woman.

The role of Rey, or “ninja”, as I call her in my notes, is what I found most interesting. We are currently in a film age where The Hunger Games, Mad Max, The Avengers and scores of other films feature strong female leads that, yes, sometimes wear incredibly tight garments that stroke the male sexuality, yet their personalities differ greatly from the classic women that we are used to seeing portrayed in Hollywood. No longer are they the damsels in distresses who need men to not only save them, but to fall in line with their vision of living happily ever after. No, these women are who the men call on when they are in trouble. When the men believe for a moment that their female counterparts are in trouble and come barging in to rescue them, they are surprised that their masculinity was unnecessary in aiding the woman's escape. This is our friend Rey.

As Finn attempts to grasp at this womans hand, expecting to lead her to safety, she shakes it away. She does the leading. This is Rey and this is our new Princess-- I mean General Leia. Prepare to see a Leia who, has not only shed her title as princess, but has physically altered her appearance to show that she is a different person. When Hans sees her again for the first time in 30 years, he says, “You’ve changed your hair”. Yes Hans, she has. She is now the ranger in town, equipped with a new outfit, new hair and a personality to make any Texas-galaxy ranger jealous. But again, all coming from my limited knowledge of Star Wars.


Overall, this was not an astounding, life changing film, but it was a good action, sci-fiy movie. It was entertaining, the pace seemed well and it is fit for any non-Star Wars fan to go see. It actually does a great job at peaking the interest of those of us not familiar with Star Wars. I left the film wanting to find out more about these characters and their backstories. Not Luke...but everyone else's. There is enough built around the characters, that with the hint of a threat, our bodies are thrown into a brief moment of panic. Even for Darth Vader Jr. There is a fair balance of death and destruction with dialogue, yet beware at the layers of cheese that are applied around the climax. 

My overall rating for Star Wars: The Force Awakens: A-

Bay Area Art Options Leading Up to Oakland's First Friday

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Earth Machines considers the relentless stream of new technological products in light of their underlying material precariousness and profound ecological impact.

By Galen Barbour

Don't miss out on all the amazing art going down from Oakland To SF this week in celebration of art's favorite Friday, First Friday.  

But if you cant wait for the weekend, inspiration may find you at one of these evocative events throughout the week.

SAN FRANCISCO:

Yerba Buena Center of the Arts is in its final week of hosting a tumultuous exhibit that may force you to take another look at the price of our tech habits in their new collaborative exhibit: Earth-Machines. The exhibition hosts a variety of artists and media types that expose usage of and by the tech that the Bay Area has invariable been distinguished for.

Notable features include photography by Kevin McElvaney who exposes the brutal working conditions of salvage workers foraging for copper out of the rubble of tech refuse in waste sites in Ghana. There are also experimental interactive pieces, like that of Addie Wagenknecht, whose home made light installation uses acute sensors to collect data responding to your presence and displaying it through the pulses of LED lights circuited on a home made board.

It ends Sunday, Dec. 6. Click here for details.

New Experiments in Art and Sound, at the Jewish Contemporary Museum in San Francisco brings Shane Myrbeck, Emily Shisko, and Scott Snibbe under one event to showcase and discuss their work in immersive multi-sensory experiences with John Bischoff (Prof. Of music at Mills College/ pioneer of Computer Network Music). See it on Thursday.

Oddball Films will be serving up some camp-tastic masterpieces with their screening of Weird Science. See it on Thursday. Click here for details.

DOLBY STUDIO'S premieres Hays and Ryan Holladay for their work in storage and recall in Dolby's Market Street HQ.

RSVP here for entry

The Convent in SF is reminding people of the peninsula that theres still a chance with their installation of Arts Not Dead featuring live music, photography sculpture animation and more with their free all ages event. Click here for details.

OAKLAND:

Starting things off right this weekend is of course, Oakland's Art Murmur. Which showcases all flavors and mediums of artistic vision which can be checked out here. It includes, but is not limited to the following:

Erik Parra at Transmission Gallery,

Through mediums of paint and story, Parra's work looks to expose the foundation of our political and social fabric through the lens of historical narrative. Click here for details.

Urbanality, at SLATE (Grand Opening)

Henry Riekena, Counterpoint Studio, Geoffrey Meredith, Ethan Wang, Alan Mazzetti taking a look at the wonders of our urban environment which we may take for granted. Click here for details.

Andrew Wilson, Omi Gallery

Multi media artist reconsiders the story behind the African plight in America that has been handed down to us through major media. The opening night of a 3 week exhibit. Check it out here.

 

Feel free to drop us a line in the comments if we missed something, or if you got out there and enjoyed something...

 

"James Bond at 24" - Reviewing 'Spectre'

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(L-R_ Daniel Craig, producer Barbara Broccoli, actress Naomie Harris and actor Christopher Waltz. (photo by Sean Gallup)

By Dominque Keith-Maher

The latest Bond movie, Spectre, opened up earlier this month, grossing, since it’s release date, 750 million dollars worldwide. Of course, this is no surprise given that it is a part of the James Bond franchise, which rarely falls short of bringing in massive audiences. What this film did manage to fall short on, however, was the body count. That, and some much needed depth in a few choice characters.

Bond was very pleasant for this film: he killed roughly an average of 15-20 people, all in kind and considerate ways: gunshot wounds for most, unintended bomb explosions for some, and a train disaster for another. This courteous and considerate Bond is definitely a symptom of his latest love interest, the lovely Dr. Madeline Swan. Her blond flowing hair, gorgeous accent and sweeping intelligence (she sports the “Dr.” title, so she must be smart, right?) is the latest “Bond girl” to sweep James off of his feet. This time, possibly indefinitely.

The duo travel across the world, in search of Spectre and the evil Franz Oberhauser, constantly being trailed by Mr. Hinx, the eye gouging, overtly large and two word super lingering villain. Bond and Swan uncover a plot twist that is so cliched, I swore I saw Tom Cruise sitting in the front of the movie theater pouting like an upset two-year-old.  But you have to get used to the cliches if you are going to see this movie. Favorite one liner, said dramatically:  “A license to kill is also a licence not to kill.” Annnnnd scene.

Sarcasm and jokes aside, Spectre is an overall good action film. As is true with all of the Bond movies featuring Daniel Craig, the visuals are fantastic, and the scenery is perfect. The women are lovely and have few lines and minor roles disguised as large contributions (our newest member stands pretty), and the large explosions and fight scenes are to die for, literally.

The combination of the writer, director and Craig manage to display a Bond that is aging adequately for an assassin at Bond’s age. No longer is Bond the flawless spy that lands perfectly as a train collapses behind him: he makes careless mistakes that set off a chain of reactions that consistently endanger his life and the lives of others. His instincts have begun to wane as he is led into traps (luckily in some cases); and as he is matched with someone a lot larger and younger that he is, it is clear that his physicality is diminishing. In short, when you go to see this film, be prepared to see Bond as a character who is reaching his end.

But that is not to dismiss his badassedness. Bond is still Bond and Craig is still Craig, which brings me to the sex scenes. One of the reasons why this movie isn’t a “great film” is partly the random sex scenes. Let’s be real: I’ve never murdered someone and my life hasn’t been in grave danger before, so I don’t know if those situations are great aphrodisiacs. But for Bond and his chosen love interests, they certainly are.

I am not sure if this is a way for the writers to make fun of Bond’s sex addiction or it was genuinely poorly misplaced, but either way, the sex scenes clearly disrupt the flow of adrenaline one normally gets from watching Bond narrowly evade death for two plus hours.

Let’s retreat a bit to discuss the woman who stands well. Dr. Swan and Bond apparently develop a strong relationship in the film. The reason why I choose to use, “apparently” is because I didn’t see this lifelong commitment coming. Yes on the sex, no on the commitment. Their relationship can be summarized in a sentence with a few semicolons: Bond endangers her life, then saves her; she hates him, then likes him (why??); she wears a gray dress, they fight, they have sex; she falls in love; he changes his life for her. Unless the sex was filled with Lucky Charms and pixie dust, there isn’t much supporting this relationship. The underdevelopment of her character causes their relationship to appear unnatural and strictly fabricated. The one major complaint that I have about this film is that it did not fully explain or paint a relationship that convinced me that this was the one that would really change Bond’s life. The others at least had some personality.

The one good thing that I will say about the film is that it managed to touch upon surveillance in a way that some action films did not execute well. This battle over surveillance between the Old World and the New World, although presented in a dualistic way, still managed to present a complex system where governments take into account the necessity of surveillance, yet block out the idea that total surveillance is the proper way of keeping a country safe. Targeting specific people and killing them is.

Overall, go see this film because it’s a Bond film. Yes, cliches galore, 2-dimensional women are everywhere and Bond doesn’t kill that many people, but again, it’s a Bond film. This franchise surpasses many of the other generic spy films because it has the normal spy film attributes, but it also displays a complex character as the dead-inside, PTSD-ridden, sex addicted, alcoholic individual that he is. Hollywood needs more truth. Go splurge on Bond. 

Section925 Small Batch Series Podcast - Violence in Chicago

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In this episode of the Section925 Small Batch Series, Connor visits with Brandon Barfield on the South Side of Chicago. An 18-year-old senior in high school, Barfield discusses some of the urgent challenges facing one of America's greatest cities. Born and raised in the Chicago, Barfield gives his perspective on Spike Lee's new movie, the gun violence epidemic, and the recurring theme of brutal police incidents around the nation.

"Building Bikes in Hunters Point" - The 2015 Dirtbag Challenge

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Words by Jordan Latham \\ Photos by The Dirtbag Challenge

“Dirtbag is about doing things your own way – without anyone’s approval, without anyone’s permission. Build the bike you want, live the life you choose. If we can do it, so can you.”
— The Dirtbag Challenge

San Francisco has recently become increasingly polished. The influx of high-income young professionals has effected the farthest corners of the city. Fortunately, if there is one area you could call a hold out, it would be Hunters Point. Make a left off of 3rd street, head straight down towards the water and you you’ll find a dead end full of warehouse spaces serving as host to The Dirtbag Challenge. Refreshing proof the city of San Francisco is not quite yet all Pilates and decaf soy macchiatos. There is still an underbelly. There is still some edge.

Founded by motorcycle enthusiasts tired of the expensive flashy "Orange County chopper" competitions, the Dirtbag Challenge is unlike any other motorcycle building competition nation wide.

The duration is only one month, and though consistently in the fall, the start date is different every year. Once announced on Facebook (or “Facefuck” as their website calls it) the participants have four weeks to build a custom motorcycle with the budget of only 1,000 bucks. It must ride for the duration of a 100 mile loop. Not an easy task, but seeing as the competition has consistently had about 30 entry's every year for the past 13 years, it is certainly doable.

At 9am exactly one month after the challenge is posted, the machines arrive outside the founders warehouse to head out the Pacific Coast Highway. The rules are basic: stay together, be very attentive of bikes around you (remember they are liable to fail before the duration of the ride) and...NO Harleys. Because of the high budget, anyone can be a biker with 20,000 dollars and a Harley Davidson leather culture. Harleys are out. The spirit of The Dirtbag is represented by the wild creative minds of real people who are real enthusiasts. And the imagination applied to the process is truly impressive. People produce crazy looking 3-wheelers, rat bikes, sidecars and all sorts of chopper style creations. Not all the bikes last for the whole 100 miles, and there's no truck following with mechanics to assist. Sometimes parts come loose, sometimes motors give out. Make damn sure though, every rider wants to get to that after party.

Back at Hunter’s Point, starting around 2pm when the riders roll back in, there will be bands, there will be beers, and the freaks will be out to admire the mechanical artistry and take in the show. On average 4 or 5 punk rock bands are booked to grace the makeshift stage and play through the unreasonably huge speakers. If you hoped to hear yourself think, you're SOL.

When the bikes come in, the party begins, starting with burn outs. The smoke is so rubbery you can taste it, and the sound will replay a continuous rattling and roaring in your head for hours after it's over. Chunks of stripped off tire fly through the air, people cheer loudly, appreciating the genuine passion in the moment, raw bad ass experience of some 17 burnouts going on simultaneously, just feet from each other in a relatively small space.

Tail pipes are red hot and swinging all over the place. People dart in for photos, and try to dodge spinning metal radiating heat and black plumes, those photos better be good! Suffice to say, it isn't for the faint of heart.

With a 5 dollar donation you receive a red solo cup for whatever beer they're serving. You will drink it and you will like it, because regardless of what kind it is, the flavor will essentially be smoke and tires. The onlookers are comprised of every variety of punk rocker and gear head. No matter how bad your tattoos are there's someone here who’s got worse.

There are a variety of prizes doled out to the machines, including: Sketchiest Award, Coolest Award and the People's Choice. Rat Rods roll through, trying to find a place to park. Like their motorcycle counter parts, they're loud, they're custom and they're there to be admired.

After the prizes, the sun starts to drop, and the folks who aren't committed to getting wild head to quieter beer drinking holes. Those remaining to bring in the night are the drag racers, the guys who thought to bring a booze handle, the folks in it till the final drop.

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San Francisco has always had the feel of being one of America’s great grimy cities. Great dive bars, tattoo parlors, strip clubs. North Beach has always been beautiful but seedy; the Tenderloin was notoriously disgusting and dangerous. Market Street had blocks of chess and dice players on the sidewalk, smelling bad and jeering at onlookers. The sailors and the gays throughout… San Francisco was the real deal. Over the past five years the big money tech industries have driven up housing prices and cost of living to the extent that the bar tenders and line cooks who were the gears to the machine, can't begin to afford to live here any more. The city has undeniably changed.

Events like the Dirtbag Challenge represent the remaining aspects of what's made San Francisco stand apart in America. A creative outlet for the people who build the machines, metaphorically and literally, the Dirtbag Challenge is a sight to be seen, an event not to be missed. A reminder of what makes San Francisco great.

A Birthday Letter to Culture Creator Ned Buskirk

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#YG2D

By Joshua Tribe

Happy Birthday Ned Buskirk!!!!! For those of you who don't know, Ned hosts a monthly event--You're Going to Die--that's becoming a San Franciscan institution--an institution in the best sense, which as we should well know, is exceedingly rare. A rare & different tune indeed. I've only been in the Bay and able to attend a few of these spiritual hootenannies--but I treasure those experiences and I'll tell you why: I've never been to anything like it: a secular-spiritual--neither religious nor a non-religious--gathering dedicated to death and dying.

The only guarantee life grants: death, and somehow, the topic is taboo, or if not taboo, certainly not to be thought about too hard or too long--and it must be somber and best done in solitude: stay in thee dwelling should you choose to dwell on death, ha, ho! Ned curates his quiet revolution (a rambunctious unquiet carnival of words and notes) with an immaculate mix of precision and improvisation: scheduled performances and open mic opportunities for singers, poets, spoken wordsmiths or anyone with something to say, someone to remember well to those who are there ... grieving, cavorting, crying, cackling, nothing is off limits--"poetry & prose & everything goes" and it all goes down & everything turns out rhapsodic with Captain Ned steering this vessel that rolls through the silicone dew of San Francisco one Thursday a month. If you're in the Bay Area, go! If you're planning a trip to the Bay, you ought ink it into your itinerary--or type it into your goddamn app that tells you what to do and where to be and when.

The best part, for me, other than the fact that it's several hours of total non-bullshit, is the musical lineup, which often features personal favorites John Elliott, Andrew Blair, Kelly McFarling, not to mention other fantastical local singing-songwriting talent .... If you dig being alive, or you've forgotten that you oughta, check out You're Going to Die.

Thank you for choosing to be incarnated Ned: you're a reminder & an inspiration that we're all here for a reason. Your presence on this earth, manifested through your calling, your support of Andrew Blair, for all these things and those inexpressible, you have my eternal Deadhead gratitude. I know I hardly know you, but I do, and love ya thru & thru.... Selah.

The Valley Fire Engulfs California

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(photo by Andrew Seng, SacBee.com)

By Jordan Latham
 

September 12 was a Saturday. Residents in the area who saw smoke plumes are quoted as believing careless neighbors were lighting illegal burn piles. You wonder what these folks would have done in that moment had they known what was coming, what action they would have taken to save their homes, their pets, their belongings.
       

A national disaster is by definition a sudden event that causes widespread destruction, lots of collateral damage or loss of life, brought about by forces other than acts of human beings. Just over 100 miles north of us, on a weekend at the beginning of the month, thousands of our fellow Californians fell victim to a fire that tore through their town. That Saturday September 12 was the first day of a fire that would prove it's self to be a natural disaster they would never forget.
     

The fire took hold so quickly, firefighters and local officials struggled to evacuate people fast enough. With hot temperatures and high winds, the fire jumped rapidly from home to home. YouTube footage of the fire leaping across a city st., taken on someone's phone, is spine tingling. On Monday September 14, for several hours, it rained. Those of us watching the news at home thought "thank goodness, it will help decrease the spreading and aid in calming the flames". Firefighters reported by Monday, the blaze had become so incredibly hot that the water literally disintegrated before getting anywhere close enough to be helpful. It was so hot that an entire day of rain didn't make a dent.
   

As of September 28 we ve been told by fire officials that the Valley fireis 97% contained. As the month of October begins more and more people are being allowed to return home. But for hundreds of people, that really means being allowed back into the property where a house previously stood.
     

In less than 20 days the Valley fire burnt through an estimated total of 1,958 buildings total. 1, 280 of those buildings were homes. 27 were apartment buildings or multi family structures. 66 buildings were commercial properties such as offices and stores, and 585 structures were barns, sheds and garages.
       

State officials are estimating a current number of 3000 people made homeless by the blaze. FEMA is offering trailers and some financial assistance to folks who suffered uninsured losses. The Calistoga andNapa County Fairgrounds have also been able to house several hundreds of people who have no where else to go. Red Cross has supplied meals and beds.
   

The community in Lake County and the adjacent Sonoma County have rallied to gather donations of supplies that are immediately necessary, such as underwear, flash lights, batteries, walkers and canes.      Local bands played shows for the evacuees at the fair grounds. Walmart donated hot dogs and burgers to BBQ. People have held each other up, in the amazing way neighbors sometimes do when a community is faced by mutual tragedy.
     

The estimated cost to lake county has been 2.1 million dollars. And unlike Sonoma County next door, Lake County is a poorer area. With a median household income of 40,038$. For those without the necessary insurance to have everything replaced, rebuilding will be a long road.
       

There has been a wood shed identified as the origination point where the fire first caught. It was a simple structure, with out any electrical systems. There was no spark from a live wire, no smoldering cigarette to blame. Just incredibly dry wood and incredibly hot heat.
       

On January 17, 2014, Governor Jerry Brown declared a California drought emergency. As of January 2015, Clearlake it's self, with a surface area of 68 square miles, is two feet below average. On April 1, 2015 the California Department of Water Resources measured statewide water content of Sierra snowpack at 5% of it's usual average. This percentage is particularly disturbing because the beginning of April is when the runoff should be at it's peak. 2014 was the 3rd driest year in California on record in 119 years. It was also the hottest year on record. Taking these components under consideration, it does seem as though the state has been working up the perfect conditions for some serious wild fires. The drought had created some dangerously dry environments and the soaring temperatures did the rest. Add the wind, and the fire escalatedfrom bad to ferocious.
   

Since we are not returning home to fields of rubble, it's easy for us to read that the fire has been contained and just move on with our lives.   For people who have only just discovered how much they really lost, the process of dealing with the aftermath if destruction is only just beginning. To help the relief effort, you can send checks directly to our local chapter of the Red Cross at 1663 Market st. San Francisco, CA 94103. They will continue to provide aid to those who are left homeless. There are also multiple upcoming fundraiser events.                                         

On October 3rd at Cache Creek Vinyard and winery Tommy Castro and the Painkillers will preform with Maxx Cabello jr. 100% of the concert proceeds will go directly to support fire victims.
   

On November 15 at Atwood Ranch 12099 Sonoma Highway, there will be a fundraiser event calledBig Animal Rescue Night. Those of us living here in Oakland don't think livestock problems when we hear fire. But in largely rural areas around Lake County many folks who had to evacuate, were at a loss what to do with their cows and horses. When the whole area had to be evacuated as quickly as it happened, people had no time to plan the housing and transport of their large animals. Donations from Big Animal Rescue night go to an organization called Halter. Halters mission statement is to train first responders to aid rural livestock in emergency situations. More athalterfund.org/barn-event.
   

For more fundraising events and ways to donate, check out lovelakecounty.org.      

Occurrences such as the Valley fireremind us to be mindful about staying prepared. Talk with your family about an exit plan should disaster strike, and stay current on fire insurance.

Really though when something like this happens, as quickly and as fiercely as this fire did, there was very little any one could do in the moment. So take some time to be grateful for your home and the safety of your family. Send a little kindness to those who had those blessings stripped from them. Those of us unaffected now serve as the pillars of support, neighbors lifting neighbors, out of the ashes.

Your 2015 Bay Area Pumpkin Patch Preview

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Do yourself a favor and get down to Half Moon Bay this October. You can't beat pumpkins along the Pacific.

By Jordan Latham

October is here, and man are we ready! It's been a long hot summer, and now it's finally time for the cool down. Along with the lower temperatures of October, we here in the East Bay are all geared up for pumpkin season. Here's a breakdown of my very favorite spots to hit with my young boys when fall finally hits.

In years past, Speer Family Pumpkin Patch has been located beside the outdoor shopping mall Bay st., in Emeryville. This year it's scooted on over to 2153 Ferry Point in Alameda. It's a beautiful area, but it can be windy so close to the Bay, so bring coats for your kids. This pumpkin patch opens October 1 and runs all the way to Halloween. They are rockin' a bounce house, a petting zoo and face painting. Opening at 10am and staying open all the way until 10pm, a day pass will run about 20$. It's a little pricey, but most days I'd happily pay that amount to keep my boys entertained and engaged with something fun outdoors!

About a 30 minute drive from Oakland lies Ardenwood Farm in Fremont. It's host to JE Perry Organic Pumpkin Patch. This spot is no frills, down and dirty pumpkin picking. There is no kitschy Halloween games and decoration, and it is serene and beautiful. The large span of open outdoor space equalizes all the noise, and it feels very quiet. Ardenwood Farm is a functional old school farm, with a big beautiful farm house and original equipment such as tractors and tills pulled by horses. Monday through Friday they're open from noon to 7pm. Saturday and Sunday they open a little earlier from 9am to 7pm and charge 1$ as pumpkin patch admission. It feels like a genuine rural farm experience, with chirping birds in fresh air, and the kids will be wiped out tired after running up down rows to pick the perfect pumpkin (bonus!).

My favorite pumpkin patch is about an hour away, off Mines Rd in Livermore called Joan's Farm & Pumpkin Patch. Joan's is totally adorable, and it's the whole package. First off, the location is worth the drive, Mines Rd is an absolutely beautiful display of fall. Wild turkeys free range all over the farm properties lining the road. Upon arrival you snag a pull wagon from the parking lot, they supply them for hauling around pumpkins. They also work well for hauling small children and the load of lunch boxes and diaper bags that they require. There's a lot to do, so plan on spending some time to take in all the activities. The corn maize is fun and not too expansive for small kids, so you won't get lost. There's an old west town, it's little and great for using that child's imagination. There are hayrides, and pony rides. My boys enjoy the pig pens, they're smelly and they're huge, covered in mud. They section off three large areas full of pumpkins by size. One spot for huge pumpkins, a section for medium and a section for little tiny pumpkins and gourds. They are open daily from 9am to 6pm, but they're cash only so be sure to hit an ATM.

If you are a real pumpkin buff, and want a more adult experience of all things pumpkin, the annual Half Moon Bay Pumpkin Festival is the place to be. The weekend of October 17 and 18 is the 45th year they've put on this event. It features huge, heavyweight champion pumpkins, pumpkin carving contests, pumpkin pie tastings and even a "smashing pumpkins" battle of the bands. With four live stages there's music throughout the day as well as live pumpkin sculpture carving by local artists. They do a full haunted house, a zip line, and a bungie jump. There's a costume contest, and for those who need a little liquid courage before getting on stage, there's all kinds of local pumpkin ales, wines and cocktails to be had. The challenge about this event is traffic and parking. Half Moon Bay is located off of Highway 1, which quickly becomes overwhelmed by festival goers and becomes a traffic jam. Arriving and leaving early seem to be the best advised method. This year, you can actually download a free Pumpkin Festival App! Not only does it have a full event run down, but it has a detailed itinerary of performers and contests for every stage and a list of food and drink vendors. It features a "Find Parking" aspect, with the goal of using maps to alert drivers which lots are full and where you can still find spaces.
     

October can be a busy month, but make time and mark a weekend or two on the calendar to get the kids out and see some of the festive, fun pumpkin patch activities! You ll be glad you did.

Pumpkins along Highway 1 in Half Moon Bay  (photo by http://pumpkinfest.miramarevents.com/)

TRUMP: The American Nightmare

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Illustration by Seth McWhorter (www.SethMcWhorter.com)

By Peter Horn

The quest to unearth the American Nightmare leads you through the nation’s slippery underbelly, past seedy corners framed by slumping silhouettes, through graveyards of shattered dreams and long-forgotten prayers, up a winding trail of revolting excess until your path comes to a dead end, the letters towering over you like a threat: TRUMP.

The irony of your search for the American Nightmare ending in a presidential campaign will not be lost on you, as Uncle Sam’s printed face bulges and swirls into the grotesque, his signature tophat riding a wave of wispy, Clorox-blond hair plugs, his swollen pointer-finger suddenly menacing as his star-spangled overcoat takes on a department store fire-sale cheapness. But the irony will take a backseat to the obviousness of it all, how for years Trump has waved the American flag like a matador at the dull-eyed masses to distract from his utter bastardization of the American Dream.

Trump is the embodiment of our nation’s basest impulses, the modern-day Ugly American with contradiction and hypocrisy sewed throughout every fiber of his corpulent being. The son of an immigrant with a hotel and golf course empire dependent on immigrant labor, who grossly generalizes Mexican immigrants as “rapists and murderers.” The heir to his father’s real estate fortune who advocates an uncompromising brand of bootstrapped free-market capitalism in which programs meant to level the opportunity playing field are socialist and wasteful. The beneficiary of multiple draft deferments with the gall to marginalize the POW experience of one of our nation’s true war heroes.

His dangerous comments on immigration and his tired Obama-birther crusade promotes a xenophobia that is, at its very core, un-American. His America is one where nobility is transferred generationally, a wealth-driven society in which the middle class should be seen and not heard, a melting pot stripped ingredient by ingredient until all that remains is a homogenous broth not unlike the plutocratic social structure our founding forefathers so proudly fled.

It’s greed and the inevitability of entitlement that keeps the pedal pressed to the floor as he rounds hairpin turns at impossible speeds, racing towards the cliff of the next economic cycle in a one-seatbelt convertible with the myopia and selective memory of an addict, the sound of the crash followed closely by the revving of the engine. If the definition of insanity is repeating an action expecting a different result, then there’s a French Cuffed straightjacket waiting for him at the end of this campaign.

Trump crudely equates his personal value to his net worth, which, like his ego, has proven to be inflated. And herein lies the distillation of Trump’s septic American dream: taking all that makes this country unique and (at times) exceptional—freedom, liberty and the opportunity for upward economic and social mobility—and pushing them behind a flashing neon red, white and blue dollar sign.

There are lessons to be learned, even from nightmares. In many ways, Trump is the Presidential candidate we all deserve for allowing the scales of power to be tipped so far in favor of big money and special interests. He is a spray-tanned, vitriol-spewing verdict on the state of our modern political and social strata, and his candidacy should serve as a cautionary tale.

For once we mute the bluster and peel away the layers of hair plugs and veneers, we can see Trump for what he truly is. He’s a vacant McMansion on an unfinished block, a suburban promise never meant to be kept who’s forced to draw attention to the glittery surface for fear one peers beneath. He’s the American flag paper plates crammed into the clearance rack on July 5th. He’s a bloated wolf in red, white and blue-stained sheep’s clothing. He is the American Nightmare.