12/18/12 11:00am

San Francisco is a town that celebrates people in all their quirky, peculiar, and eccentric forms. The Urban Profile column tells the stories of the colorful characters that make San Francisco”¦well, San Francisco.

David Jay, or DJ as he likes to call himself, looks much like your typical Mission hipster — tall, brown-haired, on wheels. He’s a good looking guy, and I notice one or two heads turn as he bounds into the coffee shop for our interview. “I’m so sorry I’m late,” he murmurs, flashing a disarming smile. Studying his profile as I buy him a cup of coffee I’m reminded of Rock Hudson, with a twist of Topher Grace from That 70s Show. DJ has the kind of looks and demeanor that would turn heads, start bar fights and generate cat-calling from Castro gays and Marina girls alike.

But DJ wouldn’t be interested in any of that. He is an asexual, an individual who does not experience sexual attraction. He doesn’t think about sex, he doesn’t want sex and thinks that life is perfectly great without it. It is estimated that approximately one percent of the world identifies as asexual, and a large number of whom interact with each other on the Asexuality Visibility and Education Network (AVEN) website and forums, a community DJ founded to bring the asexual community together and put the asexual orientation on the map.

In this issue of Urban Profile, I talk to San Francisco-based DJ, the face of the global asexual community, about growing up asexual, his first and only sexual relationship (and how that was a bust), and what it means to love without sex.

Asexual David Jay in San Francisco

DJ realized he was not interested in sex at the terrifyingly awkward age of 14. He spent high school feeling like an outsider and wondering what was wrong with him. In the midst of avid teenage discussions about who is “hot” versus who is not, DJ, as an asexual, had nothing to contribute. The onslaught of awkward conversations about sex and adulthood from parents, teachers and other well-meaning adults began to stream in and DJ felt more and more isolated.

“Everyone was telling me sex was going to be a really essential part of my evolution into adulthood. Sex was supposed to be the beginning of how I would connect with people. All the images around me of people not being sexual were of people who were broken — people who  couldn’t  get laid, or people who had psychological conditions, or were depressed. And so I assumed that because I  wasn’t  experiencing a great sexual awakening, that I too was broken.”

As demoralizing as this sounds, it is unsurprising.  In a world dominated by sex and sexualization, DJ’s casual admittance that sex is not anywhere near his list of top priorities is shocking to many.  Coming out as an asexual invariably raises a few knee-jerk questions: are you just repressed? Are you secretly gay? Were you abused?

While his parents are understanding (DJ came out to them in his freshman year of college), a lot of people, especially straight women, view DJ’s asexuality as both a threat, and in some cases, a challenge to overcome. It is not uncommon for people to assume that he simply needs the “right” relationship to summon sexual interest.

In 2006 DJ was invited to a panel with the ladies of ABC’s  The View. In the clip embedded below, one of the screeching middle aged hosts, Joy Behar, tried her very best to eviscerate him.

“Is it [asexuality] a problem?”
“If you’re not having sex what is there to talk about? I don’t understand.”
“Maybe it’s just repressed sexuality.”
“Do you have sex with yourself?”
“Are you just too lazy?”

Despite the fact that asexuals do not experience sexual desire, the human desire for partnership, relationships and human companionship is strong. While sex is of course only one part of meaningful relationship, in a world that views sex as an indispensable part of the relationship equation, asexuals are often left to conclude that if they don’t have sex, they cannot be in a relationship. Naturally, loneliness is a recurrent issue for asexuals who, before online forums like AVEN existed, often wondered if they were the only person in the world who did not experience sexual attraction.

DJ himself is in a romantic relationship with another asexual person, or ace, for short. He says she is “asexy,” an adjective used to describe an asexual person showing intelligence, confidence, style, physical attractiveness and a charming personality. His eyes sparkle when he talks about her.

“She is really emotionally open and rich and caring. After we met, we realized we had found a dynamic that we are looking for in our lives and we wanted to explore it.”

It was the most intellectual way I had heard a woman described, and yet somehow so romantic.

Asexual David Jay at the corner of Haight and Ashbury with a slice of cake with white frosting and a little strawberry on top, symbolizing celebration, the asexual community’s answer to the LGBT rainbow.

One little known factoid about the asexual community — the symbol of the community is an icon graphic of a slice of cake with white frosting and a little strawberry on top, symbolizing celebration, the asexual community’s answer to the LGBT rainbow.

Like most asexuals, DJ craves intimate, physical touching that is distinctly non-sexual. He loves cuddling, specifically what he calls the “high-energy back touch,” which is really scratching on the back. He describes the mechanics of touching and cuddling for asexuals.

“For sexual folks, when things get more energetic and frantic like it does with back touching and scratching, it is moving towards sex. However in the asexual world, because there is no sex, when things get more energetic, it isn’t really moving anywhere and isn’t culminating in a sexual act. So if you don’t pay attention, the cuddling can go on for six hours and you don’t get any sleep. There is no natural conclusion point.”

Even though DJ is now in a fulfilling relationship with a fellow asexual, he has experimented with sexuality before, which he tells me is common in the asexual community. While sex isn’t something an asexual is drawn to, it is something he or she could be willing to compromise on, and engage in, for the sake of a strong, intimate relationship.

Kind of like the way my long-suffering boyfriend endures weekend marathons of Bravo’s Real Housewives of Atlanta with me? Exactly, he says.

Members of AVEN, the Asexuality Visibility and Education Network

Members of AVEN, the Asexuality Visibility and Education Network

Given that it isn’t his favorite way to pass time, what would drive DJ through down the rabbit hole of sex?

“At one point, I thought the only way to get a partner would be to have a relationship with a sexual person. And since I don’t desire sex, I had no way of consenting, so I made a long checklist of things that need to be true in a relationship before I experiment with sexuality. A year later, I found myself in a relationship where all those conditions were met so I said, okay, put on my waders and went in.”

Considering he described becoming sexual as “putting on waders” I asked if the sex was weird.

“It  felt like an out-of-body experience.  It was intellectually fascinating and really alien.”

Well that  didn’t  work out, I laugh.  He smiles in that disarming way again. “Sex is not my thing.” And the question on everyone’s mind, does DJ masturbate? He nods in the affirmative.

“Yes. Most asexual people masturbate. Although asexuals do not experience sexual attraction, we do experience sexual response and our bodies do react. Masturbation is something that feels good with your body, asexual or not. Asexuals just don’t feel an intrinsic desire to make sex and masturbation a part of how we connect with people. It is a bodily function we use it for letting off steam and reducing stress.”

In fact, research by Dr. Lori Brotto, assistant professor in the Department of Obstetrics and Gynaecology at the University of British Columbia and one of the leading academics in the field of asexuality, confirms what DJ says. Asexual men are as likely to masturbate as men with “normal” sex drives, which suggests that masturbation is a response to a physical imperative, not a sexual one. Similarly, Brotto’s research indicated that asexual women’s vaginal response to physical sexual stimulus is the same as that of sexual women.

Asexual David Jay in San Francisco

So where does the asexuality movement and the community he has built go from here? DJ tells me there is far more work to be done. The movement is becoming more global and he continues his community building work, training other young asexuals worldwide to be spokespeople and bring more awareness to the community.

DJ is also passionate about changing the way asexuality is defined in the medical community.  Despite being identified as a sexual orientation by academicians and  AVEN, asexuality is currently listed in medical journals as the mental disorder “hypo-active desire disorder,” something that DJ and  AVEN  are battling hard against. He also wants to alter existing frameworks of mental health. Think about it — a  key step that mental health professionals look for in the recovery process is to find a way for the patient to be able to date and be sexual, which excludes the possibility that a patient may be asexual.

All said and done though, DJ’s ultimate bucket list goal is much less lofty.

“I want to compete in a dance-off with Mark Zuckerberg. It would be so awkward and so much fun.”

Now that’s sexy.

Get in touch with the author @mmmagpie.

11/07/12 12:00pm

The street food scene has become an increasingly popular fixture in the Bay Area. Unlike similar mobile food markets in Portland (called “pods” ) and LA, street food regulations in San Francisco and other parts of the Bay Area make it challenging for local entrepreneurs to get their food on the move. For example, in Menlo Park a 100-year old law makes it nearly impossible for food trucks to operate. But it’s not just antiquated regulations that present obstacles for food truck vendors. It is commonly assumed that street vending is a more economical option than traditional brick and mortar establishments, however, city regulations and permitting costs and fees prove otherwise.

 

Customers order up at OTG Hayward

With the vending boom in the Bay Area, municipal governments have had to respond to the increase in demand for permits, as well as the interests of property owners and consumers. Prior to 2007, the initial permit fee in San Francisco cost a whopping $9,300 simply to operate. In 2010 the City adopted a new ordinance intended to streamline the processes and reduce fees. While these regulation have reduced some of the permit costs, the ordinance requires notice be delivered to businesses within 300 feet of the proposed permit. The notice requirement revealed that property interests, particularly in areas of San Francisco with the highest rents, were fiercely against food vendors setting up shop in their backyard. Property interests contend that mobile food vendors take away valuable customers and that they are “free riders”  because they do not pay rent.

And this anti-vendor sentiment is not a new phenomenon in urban spaces. Even cities known for street cart culture have had ongoing battles with the vending question. In 1934, New York City Mayor Fiorello LaGuardia took a stance against street vending. Blanket legislation pushed vendors off the street and into designated market spaces vendors were required to pay for. With a disconnection from the city streets, the foot traffic from consumers dwindled and many pushcart businesses were forced to close.

 

Street vending remains a hotly contested topic. In 1935, Street peddlers protest Mayor LaGuardia’s vending regulations and demand licenses to sell their wares from the sidewalks. “Demanding rights to the city’s streets” representatives of a Brooklyn organization march in a peddler’s demonstration around City Hall Park. One of the signs reads “Shall we go out and steal.” — Image by © Underwood & Underwood/CORBIS

The fight for public space and the right to vend remains a hotly contested topic in New York City. Legal advocacy groups like the Urban Justice Center Street Vendor Project are working towards creating a vendors’ movement, promoting the contributions vendors make to the City and also inform vendors of their legal rights. Who knew that the gourmet goods you enjoy from a Street Vendor have been such a point of contention for decades?

Street Vendor Project members protest exorbitant fines in New York City. Photo Credit: SVP Facebook Page

So, take the complex web of county, municipal and state vending regulations and enter Off The Grid SF  owner, Matt Cohen. Cohen is a master of navigating food truck regulations for vendors in the Bay Area. The concept is simple; develop a vending-friendly space and consumers will follow. Off the Grid handles the hairy permitting process, logistics and necessary infrastructure for the markets. The next step is making the market inviting for foodies. Off the Grid provides seating, lighting, bathrooms and entertainment which make all the difference in creating a community market vibe. The organization’s market model gives vendors a chance to vend legally and healthfully while building the community and city fabric.

OTG creates an inviting food market with seating and music. An empty parking lot is transformed into a community space through food. Photo credit: Joseph Schell

Off the Grid hosts 19 markets throughout the Bay Area, two of which are located in the East Bay. The most recent addition to their East Bay markets opened in Hayward this past summer. On its opening night in August, over 2,500 people came out to enjoy the diverse selection of foods. Hayward City Councilman Mark Salinas has called the market a “complete success.” Downtown Hayward businesses have reported record sales on Monday nights and the market steadily draws about 1,500 people each week.   This relationship is what OTG owner Matt Cohen calls as “win-win”  for the city and the truck owners-“our goal is to support small businesses and create opportunities for the communities that we work with.”  The food truck market compliments the bustling brick and mortar eateries in downtown Hayward and the city is looking to expand into other public spaces.

Aside from the gourmet goods, the market has other benefits. Cohen sees the market as an opportunity to bring life to underutilized spaces. A parking lot by day, the “triangle”  at D Street and Mission Blvd. transforms into a lively community center. As Cohen sees it, “we celebrate food but hopefully what we’re doing is creating really awesome community spaces where friends and neighbors can spontaneously run into one another.”  And these interactions are just what make the market vibe so unique. While waiting in line, perfect strangers become friends as they offer up advice on their favorite menu items and happy chatter can be heard as old friends reconnect through a chance encounter. So go ahead, support local business and rediscover your city, one food truck at a time!

Visit the OTG website for more info and sign up for email updates about markets near you!

Learn more about the Street Vendor experience in New York City:  Tale of a Taco Vendor

 

Long lines at Streatery are a testament to their delicious dishes. Streatery serves up “glorious peasant food” sourced locally, using seasonal produce and sustainably raised common cuts of meat Be sure to try their best seller, Oxtail and grits!

Hearty Chicken and Stew with Navajo Fry Bread from Streatery!

 

Try the Classic Vanilla Bean or the adventurous “Yes Please”  (Nutella and Strawberry) at the The Creme Brulee Cart.

Roli Roti Gourmet Rotisserie sources it’s free range chickens locally from Sonoma County farms. The chicken is spiced 24 hours prior to grill with the owners secret family spice recipe.

 

 

 

10/19/12 5:07pm

“DMT Mary” by Helen Bayly

It is believed that Dà­ ­a de Los Muertos (Day of the Dead) dates back to the Olmec civilization, possibly as long as 3000 years ago. The concept was passed to other cultures such as the Toltecs, Mayas, and Aztecs. Following the conquering of Mexico by Spain and the attempt to convert the native population to Catholicism, old and new blended. Since All Saints’ Day and All Hallows Eve roughly coincided with Dà­ ­a de Los Muertos, the resulting observations drew from both.

Celebrated on November 2nd, Dà­ ­a De Los Muertos is “the path back to the living world. It must not be made slippery with tears.” It is believed that this is the time when departed souls return to visit the living. It is a joyous celebration with gatherings at cemeteries for cleaning of graves, socializing and decorations.

Detail of “Live Vibrantly” by Miriam Bergman, Ana Luisa Cardona, Nina Serrano

“El Corrido del Cortito” by Martinez

Traditionally, altars are set up in the home with favorite foods and beverages of the deceased. Marigolds are the traditional decorative flower that graces most every altar.

SOMArts celebrates Day of the Dead with an exhibition curated by René Yaà±ez and his son Rio. Rene was the founder and former artistic director of Galeria de la Raza and one of the first curators to introduce the contemporary concept of Mexico’s Day of the Dead to the United States in the 1970s.

This year’s exhibition took on a new twist with the theme “Calling On The Spirits To Face the Future,” challenging the artists to bring the centuries-old tradition of building altars fused with the artists’ sentiments on the present state of life and politics.

“I call upon the spirits to help the artists portray hopeful images as we face global economic and social challenges,”  says René Yaà±ez, co-curator. “The Mayans believed that the solar system’s cycles coincided with our own spiritual and collective consciousness and imagined the close of 2012 as a period of rebirth and transition. I have asked the participating artists to interpret the profound and often enigmatic events of the present, while honoring the past and affirming the possibilities of the future.” 

With over 90 participating artists and 40 exhibits the range of interpretation on the theme was staggering.

The traditional altar is prevalent from the moment you walk through the door, and yet the twists placed on the theme are fascinating.

The one entry that struck me as most embracing the concept of the future was by Howard Katz. The explanation read: This exhibition is filled with altars to the dead, and someday, you too may be memorialized here. But thanks to the magic of the Mayans (and Facebook) you get to see a preview of your altar here and now.

Through Facebook, Twitter, Google, Amazon etc. your online alter ego has a life of its own, a life which will live on after you die. Unfortunately, your privacy has died a long time ago. Katz invites you to log onto your Facebook page and watch as your life pours into the altar. I watched as my obituary was written in the New York Times listing my “friends”  that out lived me, music played off of my music list, and photos of my friends and family filled the picture frames placed around the altar.

Truly a brilliant way to force the ancient customs of Dà­ ­a de Los Muertos into the present world.

Tree for All by Edmundo de Marchena and Jeff Barhoum Lindo. “The tree represents possible contemporary family structures as well as the families of the future. It is an inclusive versus an exclusive model in which there are no constraints or traditions to follow.”

Down the hall was the Tree For All. While hardly the typical altar, it was a perfect personification of San Francisco’s diverse families. The tree asks that you tell about your family using stickers to represent family members. There were stickers for transgender parent, female parent, male parent, female child, male child and transgender child, reminding everyone that family now takes many different shapes.

Keiko Kubo, Betty Segal, Irene LaChance and Nikolas Sikelianos use the Japanese art form Sogetsu Ikebana, a sculptural expression composed of flower and plant material, to honor artist, activist and September 11, 2001 attack survivor Janette MacKinlay

Several altars, while traditional in the fact that they honored the deceased they did so with a strong political statement. There was an altar for Janette MacKinlay, an Ikebana designer that died of brain cancer. She lived across from the World Trade Center and always believed she got her cancer after walking through the toxic cloud created that day.

Another striking altar by Susan Matthews honored journalists killed in the Middle East. Using golden shoes as a reference to journalist Muntadar al-Zeidi, who threw his shoes at President Bush, the message was powerful and heart-wrenching.

An altar by Kathy de Rosas and Ellen Vogel struck me very hard, and truly expressed many thoughts which I as a journalist carry with me.

These artists asked that participants refocus their energies to create the society they want to leave for their children. The purpose was to use the newspapers as a symbol of corporate bad news. The participant was asked to tear the newspapers up and transform them into prayer beads as an act of refocusing and asking, “What can you do to help your community thrive” .

Other artists showing their works in this years Day of the Dead exhibition include:DMT Mary by Helen Bayly, Live Vibrantly by Miriam Bergman, Ana Luisa Cardona and Nina Serrano, El Corrido del Cortito by Martinez, Novus Ordo Seclorum by Javier Rocobado and Where the Air is Clear by Susana Argon Rebaza.

The exhibit is an elegant combination of the traditional Meso-American culture that celebrates the past and its inhabitants in such a joyous way, and the art world. The messages presented prove that you cannot go forward without looking back, and we will grow in a better way as a community and as a civilization if we look back and celebrate and learn from those that went before.

Calling on the Spirits to Face the Future runs through November 10. The SOMArts Cultural Center is at 934 Brannan Street in San Francisco. Admission is free, gallery hours are Tuesday-Friday from 12-7pm, Saturday 11am-5pm and Sunday 11am-3pm.

“Novus Ordo Seclorum” by Javier Rocobado

“La Region Mas Transparente / Where the Air Is Clear” by Susana Aragon Rebaza

Read Reflections on San Francisco’s Day of the Dead Festival, Ann Lam‘s article on Untapped Cities on last year’s Day of the Dead Festival.

Get in touch with the author @PQPP3.

10/18/12 2:00pm

Zero1 Biennial showcases artworks at the intersection of art and technology of national and international artists, running September 12 through December 8, 2012. With the hub at the Zero1 Garage in San Jose, the biennial includes curated exhibitions, public art installations, performances, and speaker events all over Silicon Valley.

Taking advantage of its location and thus its network in the Silicon Valley, Zero1 manages to bring together the most innovative technology companies with artists from all over the world, among them Aram Bartholl, founder of the Dead Drops Project, interaction designer and artist Daniel Schwartz with his  Silicon Valley Karaoke 1.0, and American artist Robert Whitman, best known for creating non-narrative theater works – to name just three of many. The San Francisco Museum of Modern Art, eBay Inc and many Bay Area museums and art institutes are among the long list of partners for this event.

What makes the event original and inspiring for all, contemporary art fans or not, is its focus on innovation. In fact the exhibition questions how art impacts, shapes and criticizes innovation and technology rather than creating the most technological artworks.

The video GoZero1 was shot during the opening night and shows a very small part of the Biennial with interviews with Zero1, participating artists and partners. Intended only as a teaser, you’ll have to go out and see this exceptional art show event for yourself!

Get in touch with the author @C_Demerliac.

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10/12/12 4:00pm

Thursday night was the kick off for the Gensler show Chroma.

The Gensler Art Committee is a volunteer group of individuals whose mission is to provide exposure for emerging arts and designers. Gensler offers the events as a way of giving back to the community and provide inspiration to the people who work in and visit their office. Gensler holds Art Series every quarter at their SF headquarters.

This exhibit curated by Michelle Heinemann of Gensler features well known street artists of the San Francisco Bay Area.

Ones first image when walking into the door is of Peter Gronquist’s mixed media sculpture featuring a taxidermy antelope with gold plated automatic weapons for horns. It is a beautiful piece with so much strength and a message that screams at you in 24-karat bling. Gronquists explanation is that he is imagining a ridiculous future where animals have evolved to fight back. He goes on to state that it also comments on masculinity, overt Americanism and excess. While his pieces are not for the faint of heart, and highly controversial, I could not agree more on the symbolism.

From there you are asked to wander the offices of Gensler. Situated on the fourth floor of the historical Hills Brothers Coffee Building at Harrison Street and the Embarcadero, the bare concrete walls of their offices make for the perfect clean palate as you ogle the view of the San Francisco Bay with the Bay Bridge as the focal point. The art you have come to view seems simply to be a continuation of the tastefully appointed expanse.

The remaining artists being featured are all painters. The roster reads like a who’s who of tech office artists and known SF street artists.

Jet Martinez Mural in the Mission District of San Francisco

Tomatillo and Ferrous Bamboo by Jet Martinez

The first artist I encountered was Jet Martinez accompanied by his two adorable children. Jet’s artistic range is impressive. As Facebook’s first resident artist and director of the Clarion Alley Mural Project, Martinez has proved his ability to easily cross between the gallery and the street.

At Gensler he was showing a collection of fauna, but what truly struck me was “Ferrous Bamboo” . A nice diversion from his vibrantly colorful work that I most associate with him.

Ian Ross on Harrison Street in San Francisco

Day Dream by Ian Ross

Ian Ross, the in-house resident artist at Facebook in 2011, also has proven over and over his ability to cross cultures, as it were. Despite having written often about Ian’s work I had never met him. When confronted with this kind, courteous and truly professional man accompanied by his stunning Brazilian wife Danielle it was obvious to me how he easily walks many paths. If that wasn’t enough, one of his murals in San Francisco was featured on the cover of the Wall Street Journal for a story called “Graffiti’s New Enemy, Legal Art” .

Ian’s work around town as well as in this show are broad vibrant strokes of color and form. A style easily recognizable as his and yet varied enough to not become stagnant or cliché.

Chor Boogie on Market Street in San Francisco

As much as I had hoped to meet Chor Boogie, it was not to be. His work is recognizable no matter where he is painting in the world and has always been a draw for me. Chor uses only spray paint to create his works. This true to street art bent makes him one of the traditionalists in the gallery to street world. While most comfortable on the streets, Chor’s most recent project “The Divided State of America”  was unveiled at the Democratic National Convention and is enjoying a national tour.

Richardo Richey AKA The Apexer at Market and Jones in San Francisco (Flower by Mona Caron)

Untitled I, II, and III by Ricardo Richey

Another artist I missed meeting was Ricardo Richey. Painting under the name Apex on the streets, his work consists of colorful abstract patterns. The work he chose to show at Gensler was such a departure it took me a while to realize it was the same person. Three panels, all untitled, of black on canvas, reminiscent of Mark Rothko’s Chapel. This severe departure from form and color made for an interesting contemplative moment. I later learned from Ricardo this explanation of these pieces: “On the street people tag on doorways over and over again and the city paints it out every single time. Texture sometimes builds up and that gave me the idea of painting canvases like this. I enjoy exploring the ways that street art naturally mirrors fine art history”.

Max Ehrman in Hayes Valley in San Francisco

Max Ehrman

Max Ehrman aka E.O.N. 75 was the final artist in the show. Max received a masters in architecture from the Dessau Institute in Germany. That coupled with the fact that the exhibit was in an architecture office, one would expect more linear thinking, but that is hardly the case with E.O.N. 75. His work is vibrant, colorful and a mix of stroke and movement. There is a symphony in Max’s work that takes time to absorb and comprehend. There is nothing simple about it, and yet it will pull you in and force you to stand and study the interactions of light, color and movement until your head spins.

While it can seem intimidating to stroll through someone’s office, the Gensler Art Group has done an excellent job putting together a collection of work that will challenge, delight and make it worth your while.

Chroma runs through December 14th, Monday thru Friday from 8:30 to 5:30 pm at 2 Harrison Suite 400.

Get in touch with the author @PQPP3.

10/10/12 3:07pm

The room was almost in complete darkness expect for a couple of spotlights on Sixto Rodriguez. There was nothing to see other than him, nothing to hear beyond him. “Just a song we shared…”  he began singing, softly, almost in a whisper. His voice, the only sound hovering over that of the guitar as it played the chords to “I Think of You.” 

It seemed like everyone in the audience was holding their breath, fixated, amused. Most of them were new fans, and a few of them had been listening to his music for a long time, for the music that Rodriguez played last Saturday night at the Bimbo’s 365 Club in San Francisco was written and recorded in the late 60s. Accompanied by a four piece band of Melotron, guitar, drums and bass, he played songs from Cold Fact (1970) and Coming From Reality (1971).

Bigger than Elvis

“I’m from South Africa and I’ve been listening to your music for 30 years”  shouted someone from the audience, to which Rodriguez answered “young blood, my heart is with you.” 

The show was part of the Searching for Sugar Man Tour, which supports the documentary of the same name released earlier this year. In the movie, director Malik Bendjelloul tells the story of the Detroit musician, who in the early 70s had left his musical endeavors by the side as his records failed to gain attention. For almost 30 years, he kept a low profile and was unaware of any record sales or admirers. That was until in 1998 he received a phone call from a South African record-store owner who informed him of his Elvis-like stardom in that country. His records had spread like wildfire there, selling thousands and thousands of copies throughout the years

Acknowledging his new found followers, Rodriguez toured South African that same year. Most of the people in the audience had lived to his music but had had no clue about his whereabouts until then. Footage from the tour’s first concert, shown in the documentary, depicts a glowing audience that claps and howls for minutes after hearing the introduction bass line for “I Wonder” . Their gratefulness was overwhelming, even before Rodriguez had played or sang one note.

Rodriguez in San Francisco

Back at Bimbo’s, the bass line for “I Wonder”  ignited cheer and applause from the audience as it did in the movie. The audience also showed overt praise during “Sugar Man”  and spent the length of the set admiring the man onstage.

Cowboy boots, signature hat and long silky hair presented the silhouette made familiar by the movie. At 70, Rodriguez beams of honest joy while he faces the audience. His eyesight evidently deteriorating as he needed to be escorted on and off the stage. His voice and charisma, however, paying no attention to the passage of time, filled the main room of one of San Francisco’s oldest night clubs. Song after song, the band played tasteful representations of the recordings while Rodriguez showed that regardless of where he stands in his career he can perform beautiful music and blow an audience away.

With over 30 tour dates scheduled in North America and the United Kingdom, one wonders if Rodriguez could grow indifferent to being onstage. But upon reaching the end of the set it seemed as if he could not contain his emotions, taking off his hat in reverence towards the audience and coming back onstage to perform “Blue Suede Shoes”  as an encore.

On the stage, he constantly expressed his thankfulness and seemed amused, even surprised by the applause. His persona stood true to that portrayed on the screen. In it he had come across as a humble and principled man who described his story as a ‘rags to rags story’ and who does not waver to the lures of fame.

More pictures here.

Get in touch with the author @Hernando1.

 

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