Showing posts with label San Francisco. Show all posts
Showing posts with label San Francisco. Show all posts

29 November 2012

Paul Krassner : Behind the 'Twinkie Defense'

The smoking Twinkie? Image from candidaabrahamson.

Guilty pleasure:
Behind the 'Twinkie Defense'
The psychiatrist testified that, on the night before the murders, White 'just sat there in front of the TV set, binging on Twinkies.'
By Paul Krassner / The Rag Blog / November 29, 2012

The apparent demise of the Twinkie brings back memories for me...

A dozen police cars had been set on fire, which in turn set off their alarms, underscoring the angry shouts from five thousand understandably angry gays. This was in 1979. I had been covering the trial of Dan White for the San Francisco Bay Guardian. The ex-cop had confessed to killing Mayor George Moscone and Supervisor Harvey Milk.

Dale Metcalf, a former Merry Prankster who had become a lawyer, told me how he happened to be playing chess with a friend, Steven Scherr, one of White’s attorneys. Metcalf had just read Orthomolecular Nutrition by Abram Hoffer. He questioned Scherr about White’s diet and learned that, while under stress, White would consume candy bars and soft drinks.

Metcalf recommended the book to Scherr, suggesting the author as an expert witness. After all, in his book, Hoffer revealed a personal vendetta against doughnuts, and White had once eaten five doughnuts in a row.

Hoffer didn’t testify, but his influence permeated the courtroom. White’s defense team presented that bio-chemical explanation of his behavior, blaming it on compulsive gobbling down of sugar-filled junk-food snacks.

Psychiatrist Martin Blinder testified that, on the night before the murders, White “just sat there in front of the TV set, binging on Twinkies.” Another psychiatrist stated, “If not for the aggravating fact of junk food, the homicides might not have taken place.”

In my notebook, I scribbled “Twinkie defense,” and wrote about it in my next report. On the 25th anniversary of that double execution, the San Francisco Chronicle reported that, “During the trial, no one but well-known satirist Paul Krassner -- who may have coined the phrase ‘Twinkie defense’ -- played up that angle.” And so it came to pass that a pair of political assassinations was transmuted into voluntary manslaughter.

And I got caught in the post-verdict riot. The police were running amuck in an orgy of indiscriminate sadism, swinging their clubs wildly and screaming, “Get the fuck outta here, you fuckin' faggots, you motherfuckin' cocksuckers!”

I was struck with a nightstick on the outside of my right knee and I fell to the ground. Another cop came charging at me and made a threatening gesture with his billy club. When I tried to protect my head, he jabbed me viciously on the exposed right side of my ribs. Oh, God, the pain! The dwarf in the clown costume had finally caught up with me, and his electric cattle prod was stuck between my ribs.

At the hospital, X-rays indicated that I had a fractured rib and pneumothorax, a punctured lung. The injuries affected my posture and my gait, and I gradually began to develop an increasingly unbalanced walk, so that my right foot would come down hard on the ground with each step. My whole body felt twisted, and my right heel was in constant pain.

I limped the gamut of therapists -- from an orthodox orthopedic surgeon who gave me a shot of cortisone in my heel to ease the pain, to a specialist in neuromuscular massage who wondered if the cop had gone to medical school because he knew exactly where to hit me with his billy club, to a New Age healer who put one hand on my stomach, held the receptionist's hand with the other, and then asked her whether I should wear a brace. The answer was yes. I decided to get a second opinion -- perhaps from another receptionist.

In court, White just sat there in a state of complete control bordering on catatonia, as he listened to an assembly line of psychiatrists tell the jury how out of control he had been. One even testified that, “If not for the aggravating fact of junk food, the homicides might not have taken place.”


The Twinkie was invented in 1930 by James Dewar, who described it as “the best darn-tootin’ idea I ever had.” He got the idea of injecting little cakes with sugary cream-like filling and came up with the name while on a business trip, where he saw a billboard for Twinkle Toe Shoes. “I shortened it to make it a little zippier for the kids,” he said.

In the wake of the Twinkie defense, a representative of the ITT-owned Continental Baking Company asserted that the notion that overdosing on the cream-filled goodies could lead to murderous behavior was “poppycock” and “crap” -- apparently two of the artificial ingredients in Twinkies, along with sodium pyrophosphate and yellow dye -- while another spokesperson for ITT couldn’t believe “that a rational jury paid serious attention to that issue.”

Nevertheless, some jurors did. One remarked after the trial that “It sounded like Dan White had hypoglycemia.” Doug Schmidt’s closing argument became almost an apologetic parody of his own defense. He told the jury that White did not have to be “slobbering at the mouth” to be subject to diminished capacity. Nor, he said, was this simply a case of “Eat a Twinkie and go crazy.”

When Superior Court Judge Walter Calcagno presented the jury with his instructions, he assured them access to the evidence, except that they would not be allowed to have possession of White’s gun and his ammunition at the same time. After all, these deliberations can get pretty heated. The judge was acting like a concerned schoolteacher offering Twinkies to students but withholding the cream-filling to avoid any possible mess.

Each juror originally had to swear devotion to the criminal justice system. It was that very system which had allowed for a shrewd defense attorney’s transmutation of a double political execution into the White Sugar Murders. On the walls of the city, graffiti cautioned, “Eat a Twinkie -- Kill a Cop!”

In 1983, the San Francisco Chronicle published a correction: “In an article about Dan White’s prison life, Chronicle writer Warren Hinckle reported that a friend of White expressed the former supervisor’s displeasure with an article in the San Francisco Bay Guardian which made reference to the size of White’s sexual organ. The Chronicle has since learned that the Bay Guardian did not publish any such article and we apologize for the error.”

It was 10 feet long, 3 feet 6 inches high, 3 feet 8 inches wide, and weighed more than a ton -- no, not Dan White’s penis -- the world’s largest Twinkie, which was unveiled in Boston. And on the 50th anniversary of the Twinkie, inventor Dewar said, “Some people say Twinkies are the quintessential junk food, but I believe in the things. I fed them to my four kids, and they feed them to my 15 grandchildren. Twinkies never hurt them.”

Author Krassner was seriously injured in the massive post-verdict police riot, May 21, 1979. Image from Post Apocalyptic Bohemian.


When the jurors walked into court to deliver the verdict, they appeared somber, except for a former cop, who smiled and triumphantly tapped the defense table twice with two fingers as he passed by, telegraphing the decision of voluntary manslaughter. White would be sentenced to seven years in prison.

In January 1984, he was paroled after serving a little more than five years. The estimated shelf life of a Twinkie was seven years. That’s two years longer than White spent behind bars. When he was released, that Twinkie in his cupboard was still edible. But perhaps, instead of eating it, he would have it bronzed.

He called his old friend, Frank Falzon -- the detective who had originally taken his confession -- and they met.

“I hit him with the hard questions,” Falzon recalled. “I asked him, ‘What were those extra bullets for? What did happen?’”

“I really lost it that day,” White replied.

“You can say that again,” Falzon said.

“No. I really lost it. I was on a mission. I wanted four of them.”

“Four?” Falzon asked.

“Carol Ruth Silver -- she was the biggest snake of the bunch.” (Silver realized that she might have been his third victim had she not stayed downstairs for a second cup of coffee that morning.) “And Willie Brown. He was masterminding the whole thing.”

While White had been waiting to see Moscone in the anteroom of his office, the mayor was drinking coffee with Brown, chatting and laughing. Moscone told Brown that he had to see White, and Brown slipped out the back door just as Moscone was letting White in the front way. Thirty seconds later, White killed Moscone. The Marlboro cigarette in Moscone’s hand would still be burning when the paramedics arrived.

White hurriedly walked across a long corridor to the area where the supervisors’ offices were. His name had already been removed from the door of his office, but he still had a key. He went inside and reloaded his gun. Then he walked out, past Supervisor Dianne Feinstein’s office. She called to him, but he didn’t stop. “I have to do something first,” he told her, as he headed for Milk’s office.

George Moscone’s body was buried, and Harvey Milk’s body was cremated. His ashes were placed in a box, which was wrapped in Doonesbury comic strips, then scattered at sea. The ashes had been mixed with bubble bath and two packets of grape Kool-Aid, forming a purple patch on the Pacific Ocean. Harvey would’ve liked that touch.

On the 25th anniversary of the twin assassination, the San Francisco Chronicle stated that I reported: “’I don’t think Twinkies were ever mentioned in testimony,’ said chief defense attorney Douglas Schmidt, who recalls ‘HoHos and Ding Dongs,’ but no Twinkies.’” Apparently, he forgot that one of his own psychiatric witnesses, Martin Blinder, had used the T-word.

Blinder now complains, “If I found a cure for cancer, they’d still say I was the guy who invented ‘the Twinkie defense.’”

The Chronicle also quoted Steven Scherr about the Twinkie defense: “’It drives me crazy,’ said co-counsel Scherr, who suspects the simplistic explanation provides cover for those who want to minimize and trivialize what happened. If he ever strangles one of the people who says ‘Twinkie defense’ to him, Scherr said, it won’t be because he’s just eaten a Twinkie.”

Scherr was sitting in the audience at the campus theater where a panel discussion of the case was taking place. I was one of the panelists. When Scherr was introduced from the stage, I couldn’t resist saying to him on my microphone, “Care for a Twinkie?”

In October 1985, Dan White committed suicide by carbon monoxide poisoning in his garage. He taped a note to the windshield of his car, reading, “I’m sorry for all the pain and trouble I’ve caused."

I accept his apology. The injuries I received in the post-verdict riot affected my posture and twisted my gait. I gradually developed an increasingly strange limp and I now walk with the aid of a cane. At the airport, I’m told by security to put my cane on the conveyor belt along with my overnight bag and my shoes, but then I’m handed an orange-colored wooden cane to enable me to walk through the metal detector. You just never know what could be hidden inside a cane.

[Paul Krassner edited The Realist, America's premier satirical rag and was an original Yippie. Krassner’s latest book is an expanded and updated edition of his autobiography, Confessions of a Raving, Unconfined Nut: Misadventures in the Counterculture, available at paulkrassner.com. Read more articles by Paul Krassner on The Rag Blog.]

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26 April 2011

David Bacon : Bay Area Workers Still Fighting for Justice

Workers from the Woodfin Suites Hotel protest the firing of immigrants in Emeryville, California. Photo by David Bacon.

150 years after general strike:
Bay Area workers still fighting for justice


By David Bacon / The Rag Blog / April 26, 2011

SAN FRANCISCO -- In the 150-year history of workers in the San Francisco Bay Area, the watershed event was one that happened 70 years ago -- the San Francisco general strike. That year, sailors, longshoremen, and other maritime workers shut down all the ports on the West Coast, trying to form a union and end favoritism, low wages, and grueling 10- and 12-hour days. Ship owners deployed tanks and guns on the waterfront and tried to break the strike.

At the peak of this bitter labor war, police fired into crowds of strikers, killing two union activists. Then workers shut down the entire city in a general strike, and for four days, nothing moved in San Francisco. The strike gave workers a sense of power described in a verse in the union song "Solidarity Forever": "Without our brain and muscle, not a single wheel can turn."

The strike marked the end of a period in which, for 70 years, the efforts of workers to form unions were met with violence and firings. By the end of the 1930s, the International Longshore and Warehouse Union (ILWU) was one of the strongest in the nation; workers had a hiring hall instead of a humiliating shapeup in which they had to beg for jobs, and workers on both sides of the bay were busy building other unions, as well as political organizations that eventually elected mayors and sent pro-worker candidates to Congress.

The strike marked the beginning of our modern labor movement.

One product of the rising power of unions was the development of the workers' compensation system to ensure that injured and sick workers would receive enough compensation from employers to survive.

While California had passed its first workers' compensation law, the Compensation Act, in 1911, participation by employers was at first voluntary and only became compulsory two years later. Establishment of the system was both a reaction to the high level of workplace injuries at the turn of the century and a product of the progressive movement that sought to limit the power of large corporations.

The state established its own compensation fund in 1914 to offer a system with costs lowered by removing insurance corporations and their profits. At the height of the Depression, 18 private insurance corporations went bankrupt, while the state fund continued to pay injured workers.

Sam Johnson, a worker for the City of Burlingame, prepares to tap a water main to provide water service to a home.

The 1930s and '40s were high points in the power of industrial and manual laborers. By that time, trucks had replaced the horse-drawn wagons that employed the area's first Teamsters. Assembly workers labored in huge factories, churning out automobiles and electrical equipment; construction workers built the bridges that span the bay and thousands of sailors and other marine workers sailed out on ships that packed the wharves.

The unions of the '30s ended the worst conditions that prevailed in the previous 70 years -- 10-hour days and six-day weeks, job conditions that could sicken and kill, wages that could barely feed a family and constant fear of getting unfairly fired. The changes won by the unions of the '30s and '40s created an economic base for many working families to buy homes and send their children to college.

The state responded by creating a system of universities and community colleges and, by the end of World War II, promised that any working-class kid who graduated high school would find a place in one of them. The nation's first employer-paid medical plan began in the Richmond shipyards.

Belonging to a union gave workers from diverse backgrounds a common shared culture, with its own labor songs and activities built around the hall, from sports and fishing, to dancing, eating and other social activities.

Still, in the '30s and '40s, the Bay Area's workforce was rigidly divided by race and sex. A "color line" prevented African-Americans from getting skilled jobs in construction, industry, and public services like fire and police. Women could work in some jobs, but were kept out of the best-paying ones.

The general strike made one of the first cracks in that wall when striking longshoremen promised that, if African-Americans supported the effort, they'd force shipping companies to abandon the color line on the docks.

The promise was kept, and today people of color are a majority of the bay's dockworkers. Meanwhile, wartime work in the shipyards drew many African-Americans from homes in the south to new communities in California. Black families living in West Oakland and San Francisco's Fillmore and Western Addition neighborhoods shared a vibrant cultural life, with its clubs incubating jazz and bebop, while the promise of employment gave a new generation a sense of security.

But it wasn't until the civil rights movement of the 1960s that the color line came down in most areas, as a result of affirmative action decrees affecting jobs from building sites to fire houses. Demonstrations and active protest won women many gains as well. The reality today, however, is still that most women and workers of color earn less and are unemployed more than the workforce in general. Equality remains very much a work in progress.)

Immigration, too, transformed jobs and industries. European immigrants and their descendents made up the workforce in the best jobs in the Bay Area's budding economy of the late 1800s, in construction, transport and industry. Meanwhile, immigrants from China, Japan, Mexico, and the Philippines drained the San Joaquin delta, developed the agriculture that became the base of the state's economy, laid the railroad tracks, served the meals and washed the clothes.

Immigration status caused few problems for those from Europe, but workers from Asia and Latin America faced continuing raids and deportations, especially when unemployment rose. While today these immigrants make up a growing section of the workforce in many areas, inequality based on immigration status, with rising raids and deportations, remain as well.

With the cold war of the 1950s and '60s, however, many things changed for Bay Area workers. Among those changes was an increasing question about the adequacy of the workers' compensation system. One case that highlighted the doubts was that of Marcos Vela.

Vela began working in the Johns-Manville asbestos factory in Pittsburg, California, in 1935. In 1959, the company began medical examinations to detect lung disease. A company doctor did a chest x-ray and found indications of asbestosis. But no one told Vela. In 1962, the same thing happened and again in 1965. In 1968, Vela's x-ray showed a "ground glass" appearance. But the company again told him he was fine, even though he'd begun to cough and couldn't catch his breath. Later that year, he was hospitalized and never went back to the plant.

Vela's case became a symbol of the failure of the existing system of occupational safety and health and helped win passage of the Occupational Safety and Health Act, signed by President Nixon. But Vela's case and that of other asbestosis victims also showed the limitations of the workers' compensation system.

Dinorah Galdamez, a housekeeper at the Beverly Hilton Hotel, one of the most luxurious in the U.S.

Christopher Boggs voices the common assertion that employers will clean up dangerous workplaces in order to avoid higher compensation premiums. "Human capital (the value of the employee) became a driving force behind the push for a system of protection," he says, adding that, "recognition of the value of employees and other events between 1900 and 1911 helped spur the movement towards a social system of workers' compensation."

Yet, higher compensation insurance premium costs didn't dissuade Johns Manville from maintaining a carcinogenic workplace, or from lying to its workers. Vela and his coworkers had to win the right to sue Johns Manville to enforce its liability and to win adequate compensation.

The radical political culture that built the unions of the previous decade came under attack during the Cold War. Suddenly, workers needed to prove their loyalty to sail on a ship or teach in a school, and those who failed the tests, or refused to buckle under to them, found themselves out of a job and blacklisted.

Many unions became more conservative in response and lost much of the vibrant culture that made them a part of workers' lives. Others fought hard and kept their leaders from being deported, as was attempted with ILWU President Harry Bridges and cannery union leader Lucio Bernabe. They won court cases protecting political rights and kept pushing for better conditions for workers.

But changes in technology changed the workplace greatly in the following decades and affected the power of unions as well. On the docks, the union was as strong as ever, but the number of longshore workers fell to less than a tenth of what it was during the general strike, as huge container cranes replaced the old hook and cargo net. Similar technological changes affected factory workers.

Beginning in the 1970s, large employers moved production overseas and most of the big factories of the Bay Area began to close. Wrenching dislocation and unemployment devastated working families, as the old industrial base shrank to a small fraction of what it had been. In cities like Oakland and Richmond, which had been healthy working class communities, neighborhoods, especially African-American ones, were devastated by the consequences -- permanent unemployment, poverty and drug use.

New industries arose at the same time, although not in the former industrial centers, but in areas like the South Bay. Burgeoning semiconductor and computer plants created job opportunities for a whole new wave of immigrants, mostly from the Asian Pacific rim. San Francisco and the East Bay experienced an explosion of service industry jobs -- clerical workers in the new glass and steel office towers, hospital workers in the health care industry and retail workers in the malls that took the place of the old downtown shopping districts.

But these new jobs were not the same as the ones they replaced. The wages were generally lower, benefits fewer, employment much more temporary, and overwhelmingly, the employers were very hostile to unions. Beginning in the 1980s, therefore, the labor movement had to almost begin again from scratch, helping a new generation of workers to understand the advantages of being organized, which the general strike had made so clear to a generation before.

The development of high-tech industry also posed new challenges to efforts to protect workers' safety and health. Although the industry had a clean image, with no smokestacks belching visible pollution, the use of highly toxic solvents and other chemicals led to large waves of injured and poisoned workers.

Often workers charged that the synergistic effects of exposure to many chemicals at once made them so sensitive that they could not even walk down the detergent aisle in a supermarket without painful reactions. Studies, even those by industry, documented a large increase in birth defects among workers in semiconductor plants.

Linh Vu is a school cafeteria worker at the Toby Johnson Middle School and member of the American Federation of State, County and Municipal Employees.

The system of workers' compensation was often inadequate in analyzing these dangers and assuring workers of adequate compensation and treatment. Some affected workers organized a Disabled Workers United group to press for banning some chemicals and liability by the industry for causing the injuries. They viewed the workers' compensation system as overly favorable toward employers because it was hard to collect benefits for chemical exposure and it insulated employers from liability.

At the same time, laws passed under worker pressure, designed to encourage union organizing and protect public benefits like unemployment insurance and Social Security, came under attack from a wave of conservative administrations in Sacramento and Washington. Overtime pay, won through generations of strikes and protest, was stripped from six million workers nationally. As a result, while Bay Area unions included over a third of all workers in the 1950s, today they represent less than half that.

As unions struggled with this new environment, however, many workers did win new rights. The farmworkers movement, beginning in the 1960s, established the right of the state's poorest workers to form unions and achieve a decent standard of living. The union ended abuses like the infamous short-handled hoe, exposure to dangerous pesticides, and the lack of bathrooms and drinking water in the fields. During the period of its greatest strength in the 1970s and early 1980s, the wage of a union farm worker was at least double the minimum wage, the highest level it has ever achieved.

A crew of farm workers harvests bok choy for Vessey Farms in the Imperial Valley. Photos by David Bacon.

The movement of rural workers was strongly supported by urban workers through the boycotts of struck fruits and vegetables. In the rural areas of California, Chicanos, Mexicans, and Filipinos were able to end discrimination in schools and public services. The United Farm Workers, in turn, helped revitalize the fighting spirit of other unions and help them relearn the organizing tactics of a social movement.

Public workers, denied the right to organize and strike through the '30s and '40s, became some of the most active and numerous members of the labor movement by the 1980s. When teachers and nurses began forming unions in the '50s, they had to quit their jobs in protest in order to force public agencies to bargain. Today, legislation sets salary minimums in the classroom and protects the right to organize, while in hospitals, workers have won new laws establishing minimum staffing levels, protecting both jobs and patients.

That has made public worker unions a target for the political right, which seeks to reduce union strength even further by attacking the area where the labor movement now is strongest. The most severe economic crisis since the Depression has become the pretext for slashing education, public services, and employment, while taxes paid by corporations and the wealthy continue to decline.

The growing costs of the workers' compensation insurance system became the subject of intense debate in the late 1990s and early 2000s and competing "reform" bills were put forward by Democrats and Republicans. During the years when unions held more power in Sacramento, they proposed reforms to try to hold down costs while protecting the right of workers to adequate compensation. When unions lost power, reforms passed that disqualified thousands of workers from benefits.

The continued survival of the workers' compensation system as one that can provide adequate benefits to injured and sick workers is more clearly than ever tied to the size and strength of the labor movement.

Workers of a century ago would find the Bay Area a very different place. New industries have replaced old ones. Unions are more legally accepted, but have to fight just as hard. Worker protections and benefits have been legally recognized, but are being attacked. Race and sex discrimination is still a fact of life, but the fight to end it has scored important victories.

And that's what the veterans of the general strike would recognize most clearly. The world needs the labor of today's workers as much as it needed that of workers in an earlier era. And the effort by the Bay Area's working people to win power, equality, and better lives for their families is still going on, as hot and hard as ever. Their answer to those problems -- to get organized in strong and democratic unions -- is the same one working families seek today.

[David Bacon is a writer and photographer whose work frequently appears on The Rag Blog. His new book, Illegal People: How Globalization Creates Migration and Criminalizes Immigrants, was just published by Beacon Press. His photographs and stories can be found at dbacon.igc.org. This article was also published at Truthout.]

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11 January 2011

Marc Estrin : Infiltrations

Skulker by R. Crumb.

INFILTRATIONS

By Marc Estrin / The Rag Blog / January 11, 2011

Last week, I wrote about what I consider politically unearned infiltrations supporting rampant consumerism. I will not sing Hallelujah in the mall.

Infiltrations, however, do have real potential for thought-provoking events.

When I was in theater grad school in the 60s, everybody was all hot for Artaud's Theater of Cruelty, in which the audience was made to shit in its pants, and paradoxically for Brecht's teaching plays which asked the audience to think cooly and carefully about society's givens. We young directors were concerned with breaking down barriers between audience and actors -- new kinds of staging, new kinds of scripts.

But for me, the prior problem was one of "audience" itself -- that there should be people who buy (usually high-priced) tickets, sit comfortably in chairs, applaud, then go out for a meal or a drink to socialize, and perhaps, perhaps, "discuss the play."

Too compartmentalized, too boxed in, too unengaged with reality.

So I gathered a group interested in practicing Infiltrations -- theater pieces which would not be perceived as such, but which would just be reported at home as "something interesting that happened to me today."

Here are two such Infiltrations to give you an idea of what we were up to, one in an emporium, and one in a smaller store. Next week I will discuss the ethics involved.


Cost Plus and American imperialism

Cost Plus is a mammoth import store on the San Francisco waterfront which caters to tourists and Bay Area bobos by supplying them with hand-wrought goods from around the world -- from inexpensive mass-produced trinkets to costly one-of-a-kind curiosities. It is self-help, with no sales personnel on the floor. We began to wonder about the flow of goods that went through the store, and after getting some information from one of the buyers we came up with the following piece.

Five of us, looking as straight as possible, dispersed throughout the store as customer aides. We approach people who were inspecting possible purchases. A typical dialog went like this:

US: may I help you?

CUSTOMER, generally unsuspicious: No, thank you.

US, waiting a bit, watching over customer's shoulder: Isn't it amazing how we can bring you such an intricately carved box for only $4.99?

CUSTOMER: Why, yes it is.

US: Do you know how we can do it?

CUSTOMER: No.

US: Well, the man who carves this box -- he's very good at it, he can do two a day -- gets 25¢ a day for his work.

CUSTOMER: Oh?

US: Yes. You see, there's a lot of famine and disease in India, and he has to work for whatever he can get.

CUSTOMER: Oh.

US: He has no choice.

CUSTOMER: Uh-huh.

US: And since we control the world economy, more or less, we can decide on the right price.

Silence.

Yes, and you have to realize that what you pay includes the markup for the buyer, the warehouse, the shipper, the import duty, and our own small overhead -- so it's really an incredible bargain.

Thoughtful, non-hostile silence. This was usually a turning point: either the customer began reacting to what we were saying or else we carried it further.

I think it's right -- don't you -- that we in this country should be able to benefit from people's work around the world? After all, we give them a market. They'd starve without it. And we can have these really nice things. I mean Americans work really hard, right? We have to put up with so much -- like the war and everything -- we deserve these kind of beautiful things.

People who work hard should be rewarded. Don't you think so? And the natives? They're hard workers too, but I mean 25¢ a day is a lot for them, right? Did you know that although we're only 6% of the world's population, we consume 60% of its natural resources? That just shows -- we're sort of 10 times ahead of everybody else because were willing to work hard and bring home the bacon.

Etc., etc. Eventually these customers drifted away with an embarrassed “Thank you.” But none of them bought the items they had been looking at.

After an agreed upon two hours, we all met outside the store to trade stories. We were never caught, and the customers, too, would have their stories to tell.


City Lights Ripoff

Lawrence Ferlinghetti started the City Lights Bookstore on $500 in the early 50s; it has since become one of the most complete paperback shops in the Bay Area. The store has been busted several times for selling radical or obscene material, and has an open door policy toward its customers: the police are never called.

Once, City Lights was ripped off for $8,000 worth of books and went that much in the hole. This seemed to me like a typical example of Movement bullshit -- brothers undoing each other in the name of "liberation" or conflicting ideologies -- so we decided to explore our own and the customers’ attitudes toward ripping off City Lights.

During rehearsal, the group rejected playing "roles" in favor of exploring each member's own position. We lined up pretty heavily for the legitimacy of ripping-off. I was one of the few spokesmen against. But the balance worked out in performance, since most of the customers at least started off by defending the store.

The piece took an hour to an hour and a half to develop (we did it three times) and was done with the cooperation of the management and, as it turned out, at their expense. It's hard to record the complexities and meanderings of the performances, but the salient points are as follows:

Beat 1

One of us, previously agreed, steals a book, and hides it in his pants. Very quietly, a young woman (one of us) goes up to him and says she doesn't think he ought to do that here. His very quiet response is "Mind your own business, lady." Totally private so far.

Beat 2

The woman retreats but keeps her eye on the guy. Some minutes later, he attempts to stash another book, and the exchange begins again, just as quietly. This time the guy is a little more pissed off, and the exchange ends with a little louder than necessary "Fuck off!" For the first time, real customers are aware of tension somewhere in the store.

Beat 3

I wander over and ask the woman what's happening. She reluctantly and quietly informs me that some guy is trying to rip off books. I approach him very quietly and ask him why doesn't he do that at Doubleday's or Brentano's. He begins to get uneasy and tries to terminate our encounter as quickly as possible, until another one of us, overhearing, supports the thief by asking me,

"Hey, what are you, a cop or something? Let the guy do his thing."

Beat 4

By now it's apparent to the thief that things aren't working out as planned. But on the other hand, he has support, so he doesn't split. For the first time I chastise the thief publicly.

"Hey man, look, why don't you go down to Doubleday's and rip off the book if you need it? Why rip off your brothers?"

"Brothers, my ass! This place is the fucking pig establishment."

This is the first theme to be taken up -- it generally called up a lot of customer support for the store. Other topics for discussion we planted among the 10 to 20 customers are:
  1. Who are brothers; who is the enemy?
  2. Are there alternatives to a retail book store?
  3. Are "liberals" like Ferlinghetti and City Lights just greasing the capitalist machine?
Our group, more vocal now than at first, pushes the balance way over to the thief's side. This helps justify his sticking around. He's not an outlaw but is acting within the mores of the local population -- and this brings an emotional response from the customers. Each time, someone offers to buy him the book or take up a collection. We follow their trips wherever they go.

Beat 5

1 get more and more pissed off with what I consider poor analysis. I station myself on the steps so I can be heard by everyone, wait for a lull, and say to the thief,

"All right, that's all."

"What do you mean?"

"You're not taking those books."

"Oh yeah? Why not?"

“'Cause I'm going upstairs with you and tell Shig [the guy at the desk] you've got them."

A new uproar! Even the customers don't like it. (There are a few who come over to quietly tell me they agree with me and think I should do it, but no one defends my action publicly.) I am accused of being a pig, of laying my trip on other people, of exceeding my rights.

"What is this, the second grade, you're gonna tell the teacher?"

I argue briefly that when this man rips off City Lights, he's ripping me off (I need the store), and that I intend to defend myself. From that time on, I am generally silent, stubbornly waiting for the thief's exit.

Beat 6

One of us calls for a "rip-in," and tries to get customers to liberate books together. So far, only our own group has done this publicly, although it's hard to tell what walks out when we do.

Beat 7

Confrontation at the desk. The first time we did it the day clerk got completely flustered. He had been told what was happening and was asked to act in any way he wanted. He couldn't get it together, and three people walked out with books. That evening we confronted Shig who, with some kind of invisible karate approach, retrieved two books. A third was grabbed by a customer at the door.

The next night we had a big argument at the desk. Shig surprised us by saying, "Take the books," and several people did so -- to a lot of customers' anger. Shig just felt that that was his prerogative. That really set off some of the people who had been defending the store for the last hour downstairs.

We still haven't resolved for ourselves the implications of our positions and actions. We know the piece is credible and sets a lot of people thinking and talking (and stealing?). But when someone in our group presented me with the complete Beethoven string quartets as a present, I had to send Shig a check before I could enjoy it.

[Marc Estrin is a writer, activist, and cellist, living in Burlington, Vermont. His novels, Insect Dreams, The Half Life of Gregor Samsa, The Education of Arnold Hitler, Golem Song, and The Lamentations of Julius Marantz have won critical acclaim. His memoir, Rehearsing With Gods: Photographs and Essays on the Bread & Puppet Theater (with Ron Simon, photographer) won a 2004 theater book of the year award. He is currently working on a novel about the dead Tchaikovsky.]

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09 October 2010

SPORT / John Ross : Torture and the National Pastime


New national pastime:
Torture and the San Francisco Giants


By John Ross / The Rag Blog / October 9, 2010

SAN FRANCISCO -- The return of liver cancer has afforded me an unexpected opportunity to contemplate the National Pastime.

As I emerged from a bout of chemotherapy in late September, the San Francisco Giants were locked in a neck and neck drawdown with the San Diego Padres for a post-season play-off spot and Baghdad-by-the Bay was abuzz with pennant fever.

The Padres, who had dominated the National League West since the early days of the 2010 season, had suddenly plummeted into an unprecedented funk, at one point losing 10 games in a row. Bare percentage points separated the two teams as they entered the final weekend of the pennant race with the local heroes only having to win one out of three games here at home.

They, of course, lost the first two and diehards cringed that déjà vu was about to drop all over again. I have been a Giants fan since the day when the Polo Grounds, a misshapen stadium in upper Manhattan, was their chosen field of battle, and the scenario is an achingly familiar one for me.

Suddenly, the wind had been sucked out of the Giants' pennant hopes. The orange "rally rags" which management distributes free of charge to the aficionados (its good for business) stopped twirling, altering wind currents over AT&T park. Those idiotic panda hats issued during the pre-season to hype the disappointing exploits of third baseman Pablo Sandoval AKA "Kung Fu Panda," lay dormant splayed upon the scalps of the fanaticos.

No one "Feared the Beards," the fake whiskers that transform mild-mannered fans into facsimile Mad Bombers and remind the opposition that ace reliever Brian Wilson would soon be on the mound to rescue the locals. No kind of mumbo jumbo seemed to snap the Giants out of their trance.

I saw the first hand-scrawled signs during the late innings of the Friday night series opener. As usual, the Giants had been unable to put two hits together and were deep in the hole in yet another nail-biter with the Padres. Two young people of indeterminate sex squatted down by the first base boxes to display their homemade handiwork. The wording, as best as I can remember, underscored that it was "torture" to be a Giants' fan these days.

"Did you see that?" I turned aghast to my fellow couch surfer, the notorious peoples' lawyer Dennis Cunningham. Dennis, who of late has been trying to prevent the feds from destroying fragments from the bomb that blew up a car occupied by Judi Bari and her Earth First! comrade Daryl Cheney in 1990, reasoning that that the threatened disappearance of the evidence would absolve the FBI of complicity in the matter, was similarly provoked.

Let me delineate the reasons for our dismay. Torture, in my dictionary, means the egregious and prolonged physical abuse governments inflict upon those they suspect of harboring information detrimental to their interests. When I speak of torture, I mean Abu Ghraib, Bagram, Guantanamo, CIO "black sites" -- not an afternoon outing at Pac Bell Park.

When I speak out against torture, I mean waterboarding, having your fingernails pulled out one by one and your scrotum sliced by a razor, electrical currents shoved up your anus, extreme sensory deprivation -- not having to endure a close shave out at the old ballgame.

When I speak out against torture, I think of the unending agony the Israelis inflict upon the Palestinian people, the castration of those who marched with Monsignor Romero, Victor Jara's skull being shattered on the soccer stadium steps in Santiago ---not Buster Posey and the "tools of ignorance."

As the weekend progressed and the Giants continued to lose impossibly low-scoring games, the "torture" syndrome gained increasing currency. Legions of Giants fans were now showing up to wave signs spotlighting the torture motif. Now the offending word was spelled out in Giants' colors and decorated with hearts and care bears. Both the Chronicle and the Examiner ("free" -- and worth every penny of it) were running the T-word in their leads.

The kicker was a phone call from an old friend who has marched through this city for years decrying torture, injustice, and imperialist occupations. "It's torture to be a Giants fan," she chirped merrily. I just about did a Mike Tyson and bit her ear off to reciprocate.

The mindless drumbeat mounted last weekend at AT&T Park trivializes torture, transforming horrendous crimes against humanity into a sports slogan to be inserted somewhere between the Star Spangled Banner and God Bless America and further converting professional sports into a willing shill for U.S. domination of the Planet Earth. First and foremost, baseball is a business and I expect torture will soon be deployed to sell everything from beer and sushi to seasons' tickets. The possibilities are depressingly endless.

"FANS JUMP ON THE TORTURE BANDWAGON," the morning Chron, about the poorest excuse for a daily newspaper in this benighted land, headlines this morning (Wednesday, Oct. 6), guaranteeing that torture will be a part of the Giants' sales pitch as they enter the second round of the play-offs. Perhaps my illness has magnified the malaise but this past weekend's low-jinks seem to underscore the premise with which I launched this screed: Torture is indeed the new national pastime.

[John Ross, author of El Monstruo: Dread and Redemption in Mexico City, will be covering the new national pastime while recuperating from chemotherapy.]

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24 January 2010

San Francisco's Castro District : How Does Your Garden Grow?

Bill Murphy oversees the care and maintenance of Corwin Street Community Garden in San Francisco's Castro District. Photo from Hedonia.

Tending our garden:
The politics of planting (and sharing)
:

By Allen Young / The Rag Blog / January 24, 2010
See 'Fruits of our labor: San Francisco's Corwin Street Community Garden,' by Sean Timberlake, Below.
The following article by San Francisco blogger Sean Timberlake is, in part, about my longtime friend Bill Murphy, who can express rage as well as anyone I know about imperialism, militarism, the exploitation of workers, homophobia, and any other form of injustice.

While this article is not about any of those issues, it is, to me, a highly political article, and my desire to share it with you is equally political.

This act of sharing (with the understanding and support of Rag Blog editor Thorne Dreyer, with whom I worked at Liberation News Service in the 1960s) reflects an often forgotten value -- that of appreciating our friends and expressing pride in their accomplishments.

Bill Murphy’s work as volunteer coordinator of a community garden, and the blogger’s depiction of his own appreciation of this garden, is the focus of the article. The politics, as I see it, involves shedding positive light on concepts such as cooperation, manual labor, community, neighborhood activism, local history, government support for local initiatives, aesthetics, resource protection, sustainability, environmental awareness, land protection and stewardship, and more.

The writer weaves all of this together in a simple description of a community garden, telling a story that was personally heartwarming to me because of my friendship with Bill (whose picture you can see here on The Rag Blog), but which other readers should also be able to enjoy.

Corwin Garden: planting an urban orchard. Photo from Hedonia.

Fruits of our labor:
San Francisco's Corwin Street Community Garden


By Sean Timberlake / January 18, 2010

SAN FRANCISCO -- Sometimes, you just have to get your hands dirty.

For me, that mostly means finding strata of food under my nails after a sweaty day in the kitchen. But on a chilly morning in December, my hands got dirty with real, actual, honest-to-god dirt. As in, from the earth.

Me and dirt are like oil and water. Gardening is not something I have an innate passion for, but there is one garden I have a soft spot for. Tucked between modern apartment buildings on a dead-end street on the slopes of Eureka Valley in San Francisco, the Corwin Street Community Garden is more than a patch of pretty flowers.

As a tour guide in the neighborhood, I often drag my more ambitious groups up the steep incline to the garden and to the Seward Mini-park below. Here, deep in the residential tracts and close to the geographic heart of the city, they offer surprising morsels of our city's history.

The garden and park combined fill a narrow strip of land that spans between Corwin and Seward Streets. After a house that occupied the Seward Street plot fell off its foundation and slid into the street below in the 1950s, the land lay vacant for nearly a decade. Plans were laid for a 105-unit apartment building to be erected on the land, spurring neighbors to take the issue of preserving open space up with City Hall. Years of hearings ensued.

In 1966, on the day the contractors arrived to begin construction, the neighbors staged a sit-in, and the developers backed down. Ultimately, these actions led to legislation that set standards for a minimum amount of open space in the city.

For the lower portion of the plot, a contest was held to design a "mini-park" in 1973. The winning design, by 14-year-old Kim Clark, featured a pair of curved concrete slides. These slides never fail to bring out the inner child in everyone. I've had walkers of all ages toboggan down on flattened cardboard boxes. If the slides are dry enough, and you recline as if in a luge, you can even catch some air on the way down. It's exhilarating.

Seward Street Slide. Photo from dogwelder / Flickr.

The park also features a bas relief by local artist Ruth Asawa, whose work can be seen in the lower level of the observation tower at the de Young Museum.

Despite the modern buildings on all sides, pieces of San Francisco's deeper history lay all around. According to a local neighbor, just steps away on Seward Street, marble steps connecting the walkway and the street are in fact blocks from the original city hall, destroyed in the 1906 earthquake. There's an adjacent retaining wall of red bricks salvaged from former mayor "Sunny" Jim Rolph's house.

Acme Alley, the cobblestone passage that runs uphill alongside the park, is a vestige of the cow paths forged from the area's days as pastureland in the 1800s. At the top, where it intersects Corwin Street, is the garden.

San Francisco has a rich tradition of community gardens, which by and large offer grave-sized plots of land for locals to indulge their gardening habits in an otherwise urban environment. The Corwin Street garden is different. Here, the "habitat garden" is dedicated to showcasing indigenous and drought-tolerant plants, installed in such a way as to be sustainable with San Francisco's existing rain patterns, and to avoid the use of chemical fertilizers or pesticides.

Unlike other community gardens, the Corwin garden requires a more singularly coordinated effort to maintain. Bill Murphy, pictured above, oversees the care and maintenance of the garden. Once yearly, on the first Saturday of December, he organizes a work day to bring the garden back into shape.

Having schlepped perhaps hundreds of strangers by and through the garden, this was my opportunity to give back, at least a little. As part of a work force of some 30 volunteers, I helped plant iris and artemisia, lay mulch and remove rotten logs to make way for new walkway borders.

This year marked a sea change to the garden. The habitat garden would now be supplemented by an "urban orchard" of citrus trees. Future plans include a fence of fruit trees and berries, and raised beds of herb gardens. The orchard should be complete within the year, and Bill is working out a plan to distribute the product of the garden to contributors and community members.

I've often enjoyed the garden as a place of reflection and nourishment for the soul. On balmy spring days, it's a delight to see the butterflies and hummingbirds flit through to feed on the bounty of blossoms. It enthralls me to think that the garden will now become a source of more literal sustenance for the community.

I can't help but wonder: What if we were to treat more of our open spaces in cities this way? What if neighbors came together more often to nurture their communities? What if the fruits of their labors could feed the hungry in their own back yards? How can we better tend our gardens?

Source / Hedonia

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19 March 2009

Poet Lawrence Ferlinghetti Turns 90

Photo of Lawrence Ferlinghetti by Deanne Fitzmaurice / SF Chronicle.

Catching up with Lawrence Ferlinghetti
'Oldies such as myself talk about the good old days with nostalgia since that was when they were young and beautiful (and full of testosterone).' -- Lawrence Ferlinghetti
By Heidi Benson / March 19, 2009

SAN FRANCISCO -- On Tuesday [March 24], poet Lawrence Ferlinghetti turns 90. Nearly 60 years ago, he came to San Francisco, fell in love with this "small white city," and soon after co-founded City Lights Books. One of the most vibrant and long-lived cultural institutions in town, the store remains an international magnet for the imaginative, as does the Web site for City Lights Booksellers & Publishers, Citylights.com

Mayor Gavin Newsom has declared that March 24 will henceforth be called "Lawrence Ferlinghetti Day," in honor of his "enormous contributions to our city's life and culture," while the bookstore staff invites everyone to send along birthday wishes, via e-mail, to: lfbirthday@citylights.com.

Q: When you were named San Francisco's first poet laureate in 1998, you spoke of the damage to the culture caused by the yawning gap between the city's rich and poor. Have your worst fears been borne out?

A: When I arrived in the city, the citizens seemed to have an island, considering San Francisco a kind of offshore republic, founded by gold miners and gold diggers, cast-off seamen and vagabonds, railroad barons and rogue adventurers and ladies of fortune. What with the electronic revolution and the Information Age, we have joined the rest of the world.

Oldies such as myself talk about the good old days with nostalgia since that was when they were young and beautiful (and full of testosterone).

Q: You served as a ship's commander in the Pacific during World War II. What's the most important thing you learned in the Navy?

A: In four years at sea, I learned that the sea is a monster and can turn on you at any time. Seeing Nagasaki made me an instant pacifist.

Q: How have the concerns of poets changed since you began writing?

A: In the social revolution of the 1960s, the chant was "Be here now." Today with television, e-mail and especially cell phones, it's "Be somewhere else now."

Q: Your favorite 19th century American poet?

A: Walt Whitman, of course. He gave voice to the people and articulated an American populist consciousness.

Q: Why do you prefer the term wide-open poetry to Beat poetry?

A: I never wrote "Beat" poetry. Wide-open poetry refers to what Pablo Neruda told me in Cuba in 1950 at the beginning of the Fidelista revolution: Neruda said, "I love your wide-open poetry."

He was either referring to the wide-ranging content of my poetry, or, in a different mode, to the poetry of the Beats. Wide-open poetry also refers to the "open form" typography of a poem on the page. (A term borrowed from the gestural painting of the Abstract Expressionists.)

Q: Can writing be taught?

A: It has to be taut.

Q: Is texting poetry?

A: It can be.

Q: You've always been an activist, as well as an artist. What do you advise activists who are complacent now that a new, seemingly more enlightened administration is in charge?

A: The dictatorial reign of George the Second almost destroyed our civil liberties as well as our economy.

We shall now see whether an "enlightened" administration can defeat Washington, D.C.,'s culture of corruption. The press has given socialism a bad name, falsely equating it with Soviet Communism. What is needed today is a form of civil libertarian socialism in which all democratic civil rights are fully protected.

What with shrinking energy resources and radical climate change, a worldwide planned economy is needed. Why won't any politician even whisper it?

Q: In the upcoming film of "Howl," James Franco will play Allen Ginsberg. Who is playing you?

A: Charlie Chaplin.

Q: Who is the love of your life?

A: Life itself is the love of my life.

Q: What's the secret of your beautiful skin?

A: Genetics.

Source / SF Gate

Lawrence Ferlinghetti - Last Prayer


Thanks to Mariann Wizard and Bob Simmons / The Rag Blog

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21 February 2009

Long Strange Trip : Austin's 13th Floor Elevators and Still Trippin' Tommy Hall

Tommy Hall in his Tenderloin apartment in San Francisco. Photo by Jamie Soja.
The story of the Thirteenth Floor Elevators – Austin’s favorite psychedelic sons – is rich, rowdy and textured. They sparked a counterculture, birthed a sound and inspired a generation of musicians. In fact, their work and their legend continue to serve as inspiration to new artists and to a legion of cult followers.
By Thorne Dreyer / The Rag Blog / February 21, 2009
See 'A Long, Strange Trip: An originator of acid rock in the '60s, Tommy Hall used LSD to expand his consciousness. He’s still psychedelic,' by Jennifer Maerz, Below.
The story of the Thirteenth Floor Elevators – Austin’s favorite psychedelic sons – is rich, rowdy and textured. They sparked a counterculture, birthed a sound and inspired a generation of musicians. In fact, their work and their legend continue to serve as inspiration to new artists and to a legion of cult followers.

The Elevators joined a gang of Austin carpetbaggers – including promoter Chet Helms, musicians Janis Joplin and Powell St. John and the rowdies from Rip Off Press – who played a formative role in the Sixties San Francisco music and counterculture scene. The Elevators headlined the Avalon and Fillmore Ballrooms, the palaces of Sixties rock.

I first saw the Thirteenth Floor Elevators at Jubilee Hall in Houston in the mid Sixties. It was an extraordinary and totally consuming experience. Their live performances are truly a thing of legend.

The Rag Blog reported last year on the death of original Elevators bass player Benny Thurman. And of course the tall but so very true tale of Elevators front man Roky Erickson -- his vision, his unforgettable voice and the well-documented battles with his demons -- has been told far and wide. (The other prime mover, guitar player Stacy Sutherland, contributed -- in the words of S F Weekly’s Jennifer Maerz -- the band’s “acid-drenched garage-blues style.”)

Less known is the story of stoned poet Tommy Hall from Houston who introduced acid to the band and the electric jug to the world. The Rag Blog’s Gerry Storm wrote of Tommy Hall: “He was called 'Turn On Tommy.' He was a fast talker, a hustler, a jive artist, a rapper, a believer, a fanatic, a salesman, and sometimes a bore.”

The following is a fascinating feature on Tommy Hall, from the Feb. 17, 2009. S F Weekly. Hall now lives in San Francisco’s Tenderloin district where he is still stoned and still creating.

Tommy Hall in the early days. Photo by Bob Simmons / The Rag Blog.

A Long, Strange Trip
An originator of acid rock in the '60s, Tommy Hall used LSD to expand his consciousness. He’s still psychedelic.


By Jennifer Maerz / February 18, 2009

Tommy Hall is nursing a Coke at a corner table at the Hemlock Tavern, a Polk Street music dive. The guru of '60s psychedelic rock doesn't drink alcohol. Booze brings you down, and Hall believes you should always be working on a high.

The jukebox is playing "You're Gonna Miss Me," the biggest hit by Hall's band, the 13th Floor Elevators. The 1966 single made it onto the soundtrack of the film High Fidelity and the prized garage-rock box set Nuggets, helping the group gain massive cred with young garage-rock fiends.

The Elevators' jug player, philosopher, and lifetime LSD devotee either pretends not to notice his song or genuinely can't hear it over the din of early arrivers for the club's headliners, Mammatus. The metal band is one of many local artists whose stoned sound has ancestral ties to Hall's sonic ideology.

For many of his 66 years, Hall has been pursuing intellectual enlightenment through acid. He began that quest in the mid-'60s with the 13th Floor Elevators. Music scholars now note that the Elevators pushed an aggressive psychedelia that stood out against the feel-good artists of the time, pre-dating both punk and new wave. The band combined lingering, futuristic garage-rock jams with propulsive rock 'n' roll rhythms, grooving well with the counterculture's burgeoning drug experimentation.

Three elements made the Elevators truly transcendent: singer Roky Erickson's manic, mercurial vocals; Hall's invention of the electric jug — which made inexplicably cool sound effects based on the reverberations of his voice; and Hall's beautiful, image-rich lyricism promoting the spirituality of getting high. Of the last, he says now that he was combating the teenybopper attitude prevalent during the British Invasion. "We were trying to get into the results of acid," he says, "to get into the results of the universe."

Four decades after the Elevators collapsed, experimental garage rock and metal have enjoyed a huge resurgence in the Bay Area, and many of the leading acts have been influenced by Hall's band: droning rockers Wooden Shjips, garage punks Thee Oh Sees and Ty Segall, and pop songwriter Kelley Stoltz, to name a few. The Elevators' cult following is far from regional: Danger Mouse, the producer behind Gnarls Barkley and Beck, told The New York Times that he greatly admired the Elevators' mix of common melodies and left-field sonic adventures.

When he was playing with the Elevators, Hall made it a rule to drop acid every time someone picked up an instrument. From all reports, he didn't stop dosing regularly until very recently, when he lost his LSD connection and had to stick with pot. Hall says he's holding a bag of mushrooms at his apartment, a one-room efficiency in a sketchy Tenderloin residential hotel. He's saving that stash for the final breakthrough on his current project, a book revealing divine patterns in the solar system he's been working out in his head for years.

Hall still has very clear ideas about what makes a band psychedelic. That's why he's at the Hemlock to see Mammatus, an underground band he first heard at Amoeba Music, and one he believes is carrying on the tradition of trip music. These musicians "flash" to a higher consciousness, he says, darting a chalky hand across his scraggly Merlin beard. "It's real music," he adds. "The rest is just a bunch of noise."

Hall's offbeat observations about music make him an engrossing conversationalist. He intellectualizes songwriting to levels far beyond the average musician, and gives almost holy meaning to his favorite artists. But he also unleashes a torrent of information independent of whoever is on the listening end, the result of years of sustained drug use. Talking with him is like flipping on multiple public affairs programs midway through the discussion. It's challenging to comprehend everything he's saying. Pay attention, though, and you can sort salient points and philosophical nuggets from the sometimes intolerant — and occasionally racist — ramblings.

With a ravenous appetite for higher learning, Hall could have been a flawed yet significant cultural signpost, a rock 'n' roll Timothy Leary. Instead his lifestyle teeters closer to another visionary rock 'n' roll drug casualty, Pink Floyd's Syd Barrett.

Despite his struggles, however, Hall is still a fascinating figure in musical history. It's not often that you encounter someone who so fiercely believes rock 'n' roll is a voyage to the beyond. But it's been a difficult journey, one that isn't without its casualties.

"Most bands are just in it for entertainment," music industry vet and Elevators fan Bill Bentley says, "but the Elevators gambled on it with their lives and they got squashed.

If the Great American Music Hall has the equivalent of a VIP section, Tommy Hall is perched in it, a plaid flannel shirt hanging on his hunched frame. It's the day after Halloween, and Roky Erickson is the headliner.

Erickson's career as a solo artist was given new life with the 2005 documentary You're Gonna Miss Me, which propelled the Elevators back into public discourse while showing the damage caused by methodical drug use. Erickson was the group's most serious victim, and his communication skills are delicate these days. Nonetheless, he's a cause célèbre in certain rock circles and has sold out the Great American tonight — in part because this performance promises to be a historic one. Erickson's set list will include 13th Floor Elevators songs, which he hasn't played live since the late '60s, when he started forgetting his lyrics onstage and wearing a Band-Aid over the "third eye" on his forehead.

Upstairs, Hall sits incognito near the soundman, flanked by his closest friends, husband and wife George Ripley and Priscilla Lee, who are wearing their 13th Floor Elevators shirts for the occasion.

Ripley warned earlier that Hall had refused to perform tonight. The Elevators' wordsmith, who invented the electric jug's spectra effects, is strangely dismissive these days about his role in the group. Hall says it was his limited abilities on a musical instrument that forced him to put everything into the Elevators' lyrics and ideology. "I was mainly trying to advance a philosophy so I could take over the whole acid thing," he says. "The jug occupied a position."

A young Austin band called the Black Angels opens the show with Velvet Underground–aping rock. This same group will double as Erickson's backing band; singer Alex Maas has learned the electric jug in preparation. After hearing them perform, Hall believes the Black Angels aren't playing with enough "higher structures." He'll later tell the group that there are other psych bands ahead of them, recommending Mammatus, "so they'll learn."

When the Texans come onstage for the second time, Erickson is at the mike. The portly singer opens with his ghoul oeuvre — goofy songs about vampires and zombies — before turning toward the Elevators with "You're Gonna Miss Me." When he howls, "How could you say you missed my lovin', when you never needed it?" he sounds equally maniacal and naked. His voice remains a powerful weapon.

Erickson had already written "You're Gonna Miss Me" when Hall discovered him in 1965, sparking the idea for the first — and only — band Hall put together. The pair quickly formed a bond and traveled into deep hallucinatory space, setting Hall up as a psychotropic prophet on a vision quest from which he has never returned.

Thirteenth Floor Elevaters poster: at Fillmore in SF for a show with Grace Slick’s band, the Great Society.

The need to understand humans was coded into Tommy Hall's DNA. He was born in Memphis, Tennessee, to a nurse named Margaret "Perky" Perkins and a doctor named Thomas James Hall. But music was also in his blood. He spent his formative years in jug-band country with an ear to the progressive jazz station and a record-collecting habit.

In 1961, Hall enrolled at the University of Texas at Austin, where he studied philosophy and psychology, fascinated with how the mind works. At night, he continued his musical education, hitting blues bars with songwriter — and future Elevators contributor — Powell St. John.

Austin introduced Hall to two future loves: an English major named Clementine Tausch and the drug lysergic acid diethylamide. For years they were a tightly knit trio, but it wasn't love at first sight. Hall's slicked-back hair and long beard were a turnoff for Tausch, added to what she calls terrific arrogance: "He was pretentious and always making pronunciamentos," she says. A shave, a new suit, and Hall's genuine affection helped change her mind; they married in 1964.

It's impossible to pinpoint Hall's first LSD trip; he estimated to Elevators biographer Paul Drummond that he'd dosed 317 times between 1966 and 1970. One of Hall's initial experiences was profoundly negative. He was given the drug as part of a study at the UT lab, where he freaked out about all the scientists testing his paranoia levels. Hall realized then that chemicals have a valuable effect on the brain, but he was determined to explore LSD in more welcoming environments. This involved turning on the people closest to him, including his mother. (Perky was apparently ecstatic on acid, playing a Mozart record and repeating that she'd never realized the music had "all those things going on in it.")

Hall was into deep thinkers, including G.I. Gurdjieff, whose philosophical writings had also influenced Bob Dylan. Gurdjieff believed there were four pathways to enlightenment, one of which was interpreted to be paved with drugs. Hall carried the 19th-century writer's books everywhere, eager to spread Gurdjieff's gospel. But by the mid-'60s, rock 'n' roll was doing the heavy proselytizing to the kids — Hall wanted this access to the masses.

Hall found the vessel for his lysergic prophecies when a friend invited him to a concert by the Spades, featuring 18-year-old frontman Roky Erickson. He heard the future in Erickson's ravaged, bluesy screams — his singular voice is said to have influenced Texas pal Janis Joplin — and Erickson easily fell under Hall's mentorship. Hall poached him from the Spades, matching him with a local group he liked called the Lingsmen.

Their first jam session took place in November 1965 at the Hall residence. Tommy doled out the LSD and grabbed a clay whiskey jug, eager to be part of the action. He ushered the instrument into the electric age, holding a mike in one hand and making noises into the jug's interior, the echoes of his voice producing the Elevators' ghostly je ne sais quoi. Hall's primitive sound effects alternately came off like pigeons mating ("Earthquake"), emergency sirens ("Fire Engine"), and carnival rides ("Roller Coaster").

"The first thing you notice, before anything really, is Tommy Hall's electric jug sound," notes Elevators fan Jim Reid of the Jesus and Mary Chain. "Never could quite work out how that sound was made."

Second to Erickson's soul-wrecked wail, that jug stamped the Elevators' signature on the burgeoning psych scene of the mid-'60s. The group's third charm was guitarist Stacy Sutherland, whose use of heavy reverb gave the group its acid-drenched garage-blues style.

Tausch claims she named the band, joining an "elevating" word with her lucky number 13. But the Elevators were nonetheless a remarkably unlucky act during their brief three-year run. Every time they'd catch a break (1967: lip-synching on Dick Clark's American Bandstand!), something negative would counter the streak (Dick Clark steals their manager!)

Their biggest problems, however, came from their record label and the law. The Elevators signed to International Artists, a company many say kept the group in the poorhouse. Soon after the band formed, International Artists picked up its first single, "You're Gonna Miss Me." In 1966, the song had risen to #55 on the Billboard charts. That same year, the Elevators put their mark on a movement by titling their first official LP The Psychedelic Sounds of the 13th Floor Elevators. It became one of a string of records for which the band saw minuscule royalties.

Psychedelic Sounds' artwork was unusual for the time, featuring swirls of color with a pyramid and an eye in the middle, a takeoff of the image on the back of the dollar bill. But most importantly for Hall, the record sleeve gave him space to deliver specific, if unsigned, messages about the philosophical quest for "pure sanity" that informed the album. Song titles came with his explanations, such as the revelation on "Reverberation" that you can reorganize your mind against self-doubt. "Tried to Hide" was a dismissal of superficial trippers. And "Splash 1" — a song written by Erickson and Tausch, who played den mother to the band — described the connection felt between two honest seekers.

In his lyrics, Hall penned elegant lines about trust: "Don't fall down as you lift her/Don't fall down/She believes in you," and spiritual bonds: "She's been always in your ear/Her voice sounds a tone within you/Listen to the words you hear." There were also, of course, plenty of encouragements to take a magic blotter ride: "You finally find your helpless mind is trapped inside your skin/You want to leave, but you believe you won't get back again."

This new musical mysticism attracted a following in Texas. Elevators bassist Ronnie Leatherman remembers Hall hosting weeknight sessions in Houston where he'd play records and deliver his divine philosophies to gathered flocks.

As the band started touring Texas, though, young idealists weren't the only ones listening. The Elevators lived in a conservative hotbed when, as drummer John Ike Walton tells it, rednecks were really red. The Elevators were seen as threatening to the very moral fabric of the state; their arrests were broadcast on television. Walton says the cops wanted to beat them up, cut off their hair, and throw them in jail. Band members spent time behind bars or were threatened with hard labor on the cotton farm for such minor violations as possession of a joint.

The Elevators decamped to the more supportive environs of San Francisco in 1966. With connections to Joplin and other Lone Star State buddies gone West, the group was quickly playing venues like the legendary Fillmore and the Avalon Ballroom, its audiences growing exponentially. The Elevators shared stages with the popular acts of the time: Big Brother and the Holding Company, Quicksilver Messenger Service, Moby Grape. They were embraced by the locals, despite having much shorter hair — a consequence of going through so many drug trials — and Hall occasionally getting smacked around for taking Richard Nixon's side in political debates.

They were barely scraping by, though, getting paid $100 each for Avalon gigs, and by the beginning of 1967 they moved back to Texas. Deeper fractures also plagued the group. Hall's insistence that the band "play the acid" every time they picked up an instrument was at odds with the members who didn't enjoy the drug, and it was taking its toll on the ones who did.

The Elevators' last hurrah came in the form of 1967's Easter Everywhere. The landmark album was littered with allusions to Hall's Eastern religious studies. The songs were ethereal love ballads lifted by exquisite harmonies ("She Lives (in a Time of Her Own)"); and parables with heavy visual imagery ("If your limbs begin dissolving/In the water that you tread/All surroundings are evolving/In the stream that clears your head"). The record's lo-fi production value added to its eerie aesthetic, as did Hall's photo on the back cover. He's holding a finger to his lips in a warning to handle the mysteries of the universe cautiously.

From that minor peak the band fell mightily, starting in 1968. Erickson's story became perhaps the most tragic. After becoming increasingly irrational on- and offstage, he cycled through mental institutions and in 1969 was locked up in Rusk State Hospital for the Criminally Insane in Texas on drug charges, the final patch of dirt on the Elevators' grave. Sutherland also entered dark times: He battled for years with hard drug addiction before being shot to death by his wife, Bunni, in 1978.

Hall's path became more difficult to trace.

[....]

Read all of this article here / S F Weekly

Also see Austin Musician Benny Thurman Dead at 65 by Thorne Dreyer / The Rag Blog/ June 24, 2008

And Mesmo's Reflections on the Sixties by Gerry Storm / The Rag Blog / June 21, 2008

Thanks to Bob Simmons / The Rag Blog

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19 December 2008

Jeff Jones : The Bay Area Reacts to the Rick Warren Saga

San Francisco mayor Gavin Newsom has always been a vocal supporter of diversity and the GLBT community.

'As an enthusiastic gay Obama supporter, I can see that his choice of a homophobe preacher is a gratuitous political gaffe that he didn't have to make.'
By Jeff Jones / The Rag Blog / December 19, 2008
See 'Gay leaders angered by Obama's prayer pick,' Below.
SAN FRANCISCO -- Although conventional wisdom holds there are two sides to every story, there are some issues that really do not have two sides. What is the other side of racial equality? What is the other side of anti-Semitism? Surely, Obama would not have anyone be part of his inauguration who was an overt racist or an anti-semite. But apparently, whether the nation's LGBT residents deserve to be treated equally is still up for debate.

As an enthusiastic gay Obama supporter, I can see that his choice of a homophobe preacher is a gratuitous political gaffe that he didn't have to make. Clinton made a big mistake by getting involved in the "Don't Ask/Don't Tell" controversy at the very outset of his administration; I am very surprised that Obama has now made the same mistake.

Unfortunately, I don't think Obama knows how bitter Queer Californians feel about the religious right's passage of Proposition 8: it means discrimination against the LGBT community is now legal in California. Obama has put himself in the unenviable position of having to defend homophobia, since Warren was a militant advocate of Prop. 8. Although this situation will probably get nastier -- there will inevitably be Queer protestors on Jan 20-- after he's sworn in Obama might feel compelled to repeal Don't Ask/Don't Tell, pass federal legislation to end LGBT discrimination, and maybe end the discriminatory exclusion of LGBT artists from federal arts funding. In the interim, here's a sample of how San Francisco's elected officials are reacting to this situation:

Gay leaders angered by Obama's prayer pick

[....]Newsom disappointed


The mayor said the decision is painful for the gay and lesbian community, especially in California, where people are still reeling from the passage of Prop. 8.

"The gay community has every right to be upset," Newsom said. "I hope people appreciate that Rick Warren was not just indirectly involved but very involved in taking people's rights away. I'm disappointed, but I understand the decision.

"Rick Warren is not someone who has been a champion of gay rights, and the president-elect could not be naive to that, yet he felt that the other attributes outweighed that," Newsom said.

Warren's other attributes are not enough for state Sen. Mark Leno, D-San Francisco.

"His work on HIV/AIDS is laudable, but that doesn't change the fact that he thinks I am a second-class citizen and should be denied fundamental rights guaranteed to me in a constitutional democracy," Leno said.

"My concern is the selection of Rick Warren goes far beyond Proposition 8. He has spent a lifetime disparaging and disregarding the LGBT community," Leno said.

Obama's choice appears to fulfill his campaign promise of bringing opposing groups together to heal, said Sue Kuipers, the youth pastor at Christ's Community Church in Hayward, whose Christian parishioners spent 40 days studying Warren's book, "The Purpose Driven Life."

"It's sad that it's become political," Kuipers said. "We can agree to disagree, but that shouldn't interfere with our ability to pray for each other as a nation."

San Francisco Supervisor Bevan Dufty first heard of Warren's selection in a text message from a friend in South Africa.

Dufty said he is perplexed but is giving Obama the benefit of the doubt.

"It's difficult to understand, but I would like to look back on this in a year or two and see it was a longer-term effort to heal division in this country," he said. "Maybe strategically we'll see something positive in this in the future, but right now, it doesn't make much sense."

Signal of anti-gay policies?

Andrea Shorter, campaign director for And Marriage 4 All, a Northern California gay marriage advocacy organization, is worried that Obama's choice could signal four more years of anti-gay presidential policy.

"Rick Warren is clearly divisive and anti-gay. He is a kinder, gentler dose of Jerry Falwell and Oral Roberts. He presents himself as a warm and fuzzy new-age version of the same old stuff," she said.

"I think Obama did this because he has been under such scrutiny throughout the campaign about his legitimacy as a person of Christian faith. Maybe he sees this also as a way to give a nod of thanks and gratitude to voters who come from the evangelical right."

The Rev. Amos Brown, head of the San Francisco NAACP, campaigned heavily against Prop. 8.

"I'm very upset. I can understand that Obama wants to be inclusive but not at this moment in his life and the life of this nation. We should be pulling people together. It is most unfortunate. Rick Warren belongs to a conservative evangelical group that is divisive and in some regards mean-spirited."

Source / SF Gate
[Rag Blog contributor Jeff Jones, a San Francisco-based advocate for social justice and GLBT rights, is a former Austin activist who worked with the sixties underground paper The Rag and was president of the student body at the University of Texas-Austin.]

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