Not only was Sunday's incredibly fun, huge rave-scale 2008 San Francisco LGBT Pride Celebration & Parade the best party of the year so far but it was also a landmark historic event: one that marked the California Supreme Court very recently making it legal (second to Massachusetts) for same-sex couples to marry. And this significant step forward (in a long uphill battle) for human rights clearly was prominently on the minds of the revelers who descended upon San Francisco this past weekend.

Sunday afternoon's giant celebration was essentially a really, really large wedding party since so many in attendance had just gotten hitched in the days leading up to the event. Included were the happy couple pictured left in front of City Hall where, they cheerfully informed me, they had gotten married two days before.

The first part of Sunday's mega-event was the long colorful parade that slowly snaked down Market and left onto Eighth Street, and along whose route Mayor Gavin Newsom got numerous ovations for his role in pushing the envelope in the same-sex marriage issue, starting four years ago shortly after he took office.

The parade was immediately followed by the "celebration" portion of the long fun afternoon. This giant party kicked into gear from the get-go and the energy didn't let up all day. The sprawling celebration extended for blocks in every direction and featured over twenty different stages in addition to countless spaces and booths that took over all the streets around the Civic Center area of downtown San Francisco.

Even in a multicultural, polyglot city like L.A. (which has the largest population of Asian-Americans (1.4 million) in the country and where the percentage of the population which is Asian-American is roughly equal to that which is black) most discussions of race appear to still be framed in the outmoded, bipolar terms of  black and white.  For example, whereas a lot of people and many organizations honor Black History Month, Asian Pacific Islander American Heritage Month is almost completely unrecognized except by some Asian-Americans. The centuries-long struggle and strife of blacks in America is well-documented and worth honoring- but Asians have also been subjected to legal segregation, racist violence, widespread discrimination and harassment. So why is it that the Asian-American experience is so downplayed?

According to polls, 23% of Americans are uncomfortable voting for an Asian-American to be President of the United States. This is in contrast to 15% compared with an African-American candidate and 14% compared with a woman candidate. A lot of Asians are suspected and viewed of holding allegiances to Asia, and not the U.S. which plays into the "perpetual foreigner" syndrome. True, many Asians are more recent immigrants than the white or black population but even Asians born in America often speak, in my experience,  of "Americans" only in the third person. Last year, coming up with movies to showcase for APA Heritage Month resulted in the suggestion of Chinese Kung Fu movies the distinction between Asians in Asia and Asians in America remains a lot harder than distinguishing African-Americans from Africans or white people from Europeans partly because America loves Asian movies and Korean dramas seem to show at all hours of the day, but Hollywood almost never casts Asian-Americans in anything and, to date, there have only been three TV shows to focus on Asian-Americans.

This film was taken from two different short films shot over a hundred years ago along the identically same route in both 1905 and a year later in 1906 by an unknown cameraman, who captured the silent footage from a streetcar going straight down San Francisco's Market Street towards the Ferry Building. This short piece (one of many that utilize the public domain footage) edits together San Francisco both before and after the big earthquake of 1906.  Footage from the Prelinger Archives, edited by Matt Lake.

Out today is the brilliant new album from Sun Kil Moon. The album is full of the intense heartbreaking songs that we have come to expect from Mark Kozelek. I don't know how he does it, but he creates the most depressing songs imaginable and he keeps you coming back for more. I just can't get enough of his albums over the last 15 years or so. They sometimes almost hurt me when I listen to them. Like the emotions actually become painful. I can sometimes feel the tears just by hearing his name or thinking about his music for even a second. It is sort of Pavlovian. My body had been trained to get emotional just at the thought of Mark Kozelek of the Red House Painters. This might not sound like very much fun, but I completely enjoy listening to Sun Kil Moon albums and I can't barely imagine my life without Mr. Mark Kozelek making music. My journey through his music began a long time ago. I still remember going to Morning Glory Music in Santa Barbara to pick up my fist copy of a Red House Painters album. At this point in my life I was very much obsessed with 4AD Records. I was determined to own everything on the label and had not yet been disappointed. I also based some of my purchases on album covers at that point-- this is how I first got into another 4AD band, This Mortal Coil.

The two self titled Red House Painters albums came out in 1993, a year after Down Colorful Hill came out in 1992.  My first album by them that I bought was the "rollercoaster" cover self titled album. The cover was a brilliant sepia colored photo of an old broken down roller coaster. I absolutely love roller coasters and am a sucker for anything with a sepia filter on it. The album included "Grace Cathedral Park," "Mistress," and "Mother."  The entire album is fantastic, and I guarantee you that this album will make you cry. It is really all about that fantastic voice that belongs to Mark Kozelek. The slow, dreamy, folky music fits in perfectly with his voice. Many of the songs on the six Red House Painters albums remain some of my favorites. I became obsessed with Red House Painters after this first album. I went back on bought the other two albums and patiently waited until 1995 for the release of Ocean Beach. This became one of those albums forever attached to a year in my life. I can't really think about 1995/1996 without thinking about this album. It was my last year in college and this was the perfect album to sort of help soundtrack my life that year. There was lots of Blur, Elastica, Gene, Suede, and Stereolab to get my through the year as well, but Red House Painters have been in my life ever since.

       

This is the third and final part in this series of graffiti on moving vehicles. These "moving violation" graffiti photos of autos were all taken this week in Oakland and in San Francisco's Mission District as well as out in the Avenues.  You gotta love the one above which is a vehicle scale get well card.