Drugs Archives — Page 3 of 30 — San Francisco Bay Guardian Archive 1966

Massage therapists hope for a happy ending

Michael Redmond

April 1, 2014

Massage therapists hope for a happy ending

The California Massage Therapy Council, a statewide body that licenses massage practitioners, may expire at the end of this year unless extended by the California Legislature. Some anti-prostitution crusaders say reverting to local control will make it easier to shut down covert brothels, but the practitioners fear a return to the bad old days, when stigmas and stereotypes overcomplicated their lives.

On one side of the debate are the massage therapists, who say that the council protects them from unfair discrimination, replaces a patchwork of local ordinances, and provides a greater level of respectability to their profession. However, an array of city officials, police departments, and powerful groups such as the League of California Cities argue that the CAMTC makes it easier for illicit massage parlors to get away with prostitution and human trafficking.

“I receive complaints from neighbors all the time about certain establishments,” said Sup. Katy Tang about her supervisorial district in San Francisco’s Sunset District. “We can inspect, but we have no ability to enforce any of our regulations. If there are any penalties, we can’t enforce them.”

Tang’s frustration stems from Senate Bill 731, legislation that was signed into law in 2008. That bill created the CAMTC, a nonprofit organization that has the authority to certify massage practitioners and therapists in California. Prior to the creation of this body, each city and county enacted its own certification procedures, leading to a messy patchwork of rules all over the state.

Before the CAMTC, “there were 550 different kinds of regulations from city to city,” said Ahmos Netanel, CEO of the organization. “Within a radius of one mile, you can have a situation where different cities have their own standards. One city may require no training, and another right next door may require 1,000 hours.”

A massage provider working in California pre-2009 not only had to be savvy with the medley of laws, but also needed to purchase expensive licenses for each city he or she planned to practice in. The CAMTC creates a universal—though voluntary—system, where licensed practitioners can travel and work freely around the state.

The contentious part of the law comes from the protection that it offers to licensed practitioners. Any establishment that employs all CAMTC-certified massage providers is exempt from city ordinances that target massage businesses. Law enforcement agencies claim that these restrictions impede their ability to crack down on illegal parlors, but the massage therapists say that they are necessary to fight off discriminatory laws.

Some of these unfair regulations targeted entire establishments, such as zoning rules that forced all massage businesses into run-down or dangerous parts of town, with the assumption that they were brothels. Massage providers argued that this was neither fair nor safe for, say, a 75-year-old woman seeking out massage for arthritis, or a soon-to-be mom trying to obtain a pre-natal massage.

Other laws targeted the therapists themselves. Stacey DeGooyer, a certified massage therapist in the Bay Area, remembers times when practicing massage meant mandatory STD testing and reminders from police to not wear undergarments as exterior clothing.

“I remember thinking, ‘Wow, this is for my profession?'” DeGooyer said, decrying being subjected to “archaic prostitution laws.” Most massage providers aren’t looking to be on par with physicians, but they also don’t want to be on par with prostitutes.

Currently, San Francisco has its own certification program that is regulated by the Department of Public Health. To practice massage in the city, the provider must have a license from either the city or the CAMTC. However, only those who have the state CAMTC license can legally call themselves a “licensed massage” therapist or practitioner.

Tang has been one of the most outspoken critics of the CAMTC in San Francisco, urging the Legislature to let the body sunset at the end of the year.

“I wouldn’t say that I’m against [the CAMTC], but there are structural flaws in how it was designed,” Tang said. “It was created for good reasons, since there were so many jurisdictions and they wanted to standardize it and create a cohesive process. But there are jurisdictions like San Francisco where we have our own robust process.”

The number of massage establishments have surged since the adoption of the CAMTC, which critics use as evidence for a growing number of illicit parlors. But Netanel said his group’s worked to prevent prostitutes from getting licensed in the first place. Out of over 63,000 applicants, Netanel said, the group has never certified a single person who has been convicted of illicit activities. It also utilizes an online complaint form to report questionable behavior, and respond to all complaints within 24 hours.

“Even with those who criticize [the CAMTC], we share the same goals,” Netanel said. “We want a safe, healthy, and reliable certification process, so consumers can trust their therapists. Even more, we want to put an end to illegal massage parlors so they are no longer categorized with honest providers.” (Brian McMahon)

HOT MAIL

Last week’s Bay Guardian featured a cover story on homelessness in San Francisco (“San Francisco’s untouchables”), including communications between local residents and the city’s Homeless Outreach Team, which we obtained in a public records request. So we thought we’d share a few message from the more than 100 we received.

“I don’t know where to begin,” one resident wrote. “I feel between mad, disgusted, and frustrated. This homeless encampment keeps growing. … The city has put up wire fencing only to be cut through by the homeless. … It is within 100 yards of my $1.2M condo.”

Another said: “Something is deeply wrong with San Francisco policy. Cultivating the Bohemian San Francisco style is nice but … it is as if we were in a deteriorated undeveloped country. We live in downtown San Francisco, not in the favelas, which is what it feels like.”

Still another complainant wrote: “Bags distributors are installed in the parks in order to help dog lovers clean up after their dogs, which is completely normal, but nothing is done for all the human beings who stroll, do drugs, eat, sleep, urinate, defecate and so on, on the sidewalks.”

Sometimes these complaints result in HOT visits to homeless encampments. But the emails suggest that while the HOT does approach homeless folks to try and persuade them to access services or go to a shelter, the service workers don’t always have full services to direct them to if the homeless individuals agree to do so.

Psychiatric social worker Jason Albertson, who is part of the HOT, explained this dilemma in an email sent in mid-January. His email noted that the HOT had encountered some homeless people in the vicinity of Harriet Alley and Manolo Draves Park, in response to a neighbor’s urging.

They’re “primarily in transit, meaning that they camp in different places each night and are not regulars,” he explained. “So far, nobody has wanted to enter into shelter or discuss other access to treatment or services.” But even if they had, he said, there wouldn’t be too many options for moving forward with recovery.

“At this time, our case management support is limited with identified clients waiting,” he wrote. “So capacity for full service is limited.” (Rebecca Bowe)

WHITHER GOOGLE BUSES

As the Board of Supervisors prepared for an April 1 hearing to consider an environmental appeal of the San Francisco Municipal Transportation Agency’s program for regulating Google buses and other private shuttles to the Silicon Valley, which charges them one dollar per stop, both sides marshaled their troops.

The pro-business Bay Area Council released a poll of San Franciscans claiming that most of us love tech, we’re totally cool with the Google buses, and we care more about job creation than the cost of living. The group wrote: “Despite what it may look like from recent media coverage, a majority of voters have a positive opinion of the shuttle buses and support allowing buses to use Muni stops.”

SF.citi, an alliance of San Francisco tech companies, touted the poll as it sent out an email blast that reads like a call to arms: “Divisive shuttle opponents are now suing the City to challenge this pilot program before it has the chance to get off the ground. We need YOU to tell the Board of Supervisors in person that you want them reject this lawsuit and let the pilot program go forward.”

Progressive activists countered in a similar tone: “Please join us to support the appeal and to tell the city to hold Big Tech accountable for the actual impact they have on our communities and neighborhoods.”

The hearing was scheduled after Guardian press time, so check www.sfbg.com/politics to find out what happened. (Joe Fitzgerald Rodriguez)

Inside the Homeless Outreach Team

Sasha Cuttler And Mary Magee

March 27, 2014

This week’s Bay Guardian features a cover story on homelessness in San Francisco.

For that story, we reached out to the San Francisco Department of Public Health to interview members of the city’s Homeless Outreach Team, public workers who interact directly with people who live on the city’s streets.

Access was denied. It’s not clear why DPH was unwilling to allow a press interview with members of the HOT team, but our requests did coincide with a March 19 Board of Supervisors Budget and Finance Committee hearing regarding a $1.3 million budget supplemental to expand its capacity.

The item was approved 4-1. Sup. John Avalos, who opposed it, said the city ought to come up with a more comprehensive plan to address homelessness.

As Sup. Jane Kim noted in an interview for the story, “If you’re just going to increase the HOT team, but not services, then you’re just sending people out to harass homeless people.”

Meanwhile, thanks to emails we recently obtained in response to a public records request, we now have a clearer picture of the HOT team’s day-to-day activities.

Apparently, efforts to expand the HOT team are being made in the context of city officials being contacted frequently by neighbors who complain that they are very bothered by the sight of homeless people.

A records request yielded more than 100 pages of such complaints. Some are quite dramatic.

Sometimes these complaints result in HOT team visits to homeless encampments that have been described. But the emails suggest that while the city’s HOT team does approach homeless folks to try and persuade them to access services or go to a shelter, the service workers don’t always have full services to direct them to if the homeless individuals agree to do so.

Psychiatric social worker Jason Albertson, who is part of the HOT team, explained this dilemma in an email sent in mid-January. His email noted that the HOT team had encountered some homeless people in the vicinity of Harriet Alley and Manolo Draves Park, in response to a neighbor’s urging.

“At this time, our case management support is limited with identified clients waiting,” he wrote. “So capacity for full service is limited.”

Complaint against Yee includes firearms trafficking and envelopes full of cash

Sasha Cuttler

March 26, 2014

Complaint against Yee includes firearms trafficking and envelopes full of cash

The federal criminal charges filed today against Sen. Leland Yee (D-SF), local political consultant Keith Jackson, reputed Chinatown organized crime boss Raymond “Shrimp Boy” Chow, and 23 other defendants allege a vast criminal conspiracy that was penetrated by undercover FBI agents, who say they then gave Yee envelopes full of cash in exchange for official favors.

Among the many bizarre aspects of this blockbuster case, Yee stands accused of taking part in a conspiracy to illegally smuggle firearms into the country, and using those deals to help secure campaign contributions for his current campaign for Secretary of State, while he was sponsoring a trio of gun control bills that were signed into law last year.

Yee, who reportedly faces 16 years in prison for two felony counts of wire fraud and conspiracy to deal firearms without a license and to illegally import firearms, was arrested this morning during a series of early morning police raids, pleaded not guilty at his arraignment this afternoon, and was freed after posting a $500,000 unsecured bond.

Chow had a long criminal history as the admitted head of the Hop Sing gang in SF’s Chinatown, serving prison time. “Chow’s criminal history includes a guilty plea in federal court for racketeering, involving murder for hire, conspiracy to distribute heroin, arson, and conspiracy to collect extensions of credit,” the complaint notes. (You can read the full complaint here.)

Chow publicly claimed to go legit after being released from federal prison in 2006, and he has cultivated many high-profile business and political connections in San Francisco. But the 137-page criminal complaint that was unsealed today alleges that “Chow is currently the Dragonhead, or leader, of the San Francisco-based Chee Kung Tong organization,” which it describerd as a criminal syndicate connected to Hung Mun, a criminal dynasty that began in 17th century China, “also referred to as a Chinese secret society and the Chinese Freemasons.”

It says Chow was sworn in as CKT head in August 2006 after being released from federal prison, soon after the still-unsolved murder of CKT head Allen Ngai Leung. Chow’s swearing-in was reported in local Chinese media sources, so SFPD and FBI conducted surveillance there and launched an investigation.

CKT is allegedly part of Triad, an international Chinese organized crime group with ties to China and Hong Kong, and in San Francisco it is said to be comprised of Chow’s Hop Sing, a street gang with 200-300 members, and the Wah Ching gang headed by George Nieh, who was charged with a variety of crimes today.

“Nieh said he was in charge of the Wah Ching gang and Chow was in charge of the Hop Sing gang. Nieh said they used to be enemies, but banded together instead,” the complaint says, relating what they allegedly told FBI informants who had infiltrated the organization.

The FBI says it began infiltrating CKT five years ago, including an undercover FBI agent dubbed UCE 4599, who in May 2010 was introduced to Chow, who “then introduced UCE 4599 to many of the target subjects.”

Chow allegedly told UCE 4599 that he oversees all of CKT criminal enterprises, but doesn’t actively run them anymore, acting as a arbiter, or as a judge when one CKT member kills another. Nieh allegedly heads the criminal activities division and reports to Chow.

They are accused of laundering money made from “illegal activities, specifically illegal gambling, bookmaking, sports betting, drugs, and outdoor marijuana grows.” They allegedly laundered $2.3 million between March 2011 and December 2013 for UCE 4599, with members collecting a 10 percent fee for doing so.

UCE 4599 told Chow he was a member of La Cosa Nostra, an Italian mob, and in March 2012 he was inducted into CKT as a “Consultant,” the complaint alleges. It says that Jackson — a former San Francisco school board member and political consultant who has worked for Lennar Urban and Singer Associates — had also be inducted into CKT as a “Consultant,” participating in various criminal conspiracies.

The complaint says Jackson “has a long-time relationship with Senator Yee,” and “has been involved in raising funds for” Yee’s run for mayor “and for Senator Yee’s current campaign in the California Secretary of State election.” And much of the complaint details deeds allegedly committed by Jackson and Yee.

In fact, the second person named in the complaint, right after Chow, is Yee, “aka California State Senator Leland Yee, aka Uncle Leland.”

“Senator Yee and Keith Jackson were involved in a scheme to defraud the citizens of California of their rights to honest services, and Senator Yee, [Daly City resident Dr. Wilson] Lim, and Keith Jackson were involved in a conspiracy to traffic firearms,” the complaint alleges.

Yee and Jackson met UCE 4599 through Chow, and then Jackson allegedly solicited him to make donations to Yee’s 2011 San Francisco mayoral campaign “in excess of the $500 individual donation limit. UCE 4599 declined to make any donations to Senator Yee, but introduced Keith Jackson and Senator Yee to a purported business associate, UCE 4773, another undercover FBI agent,” who made a $5,000 donation to Yee’s mayoral campaign.

Yee had $70,000 in debt after that mayor’s race and worked with Jackson on ways to pay off that debt. “This included soliciting UCE 4773 for additional donations and in the course of doing so, Senator Yee and Keith Jackson agreed that Senator Yee would perform certain official acts in exchange for donations from UCE 4773.”

Yee allegedly agreed to “make a telephone call to a manager with the California Department of Public Health in support of a contract under consideration with UCE 4773’s purported client, and would provide an official letter of support for the client, in exchange for a $10,000 donation. Senator Yee made the call on October 18, 2012 and provided the letter on or about January 13, 2013,” and Jackson allegedly took the cash donation from the agent.

Meanwhile, it says Jackson and Yee continued raising money for his Secretary of State race by soliciting donations from UCE 4599 and UCE 4180, another undercover agent. “They agreed that in exchange for donations from UCE 4599 and UCE 4180, Senator Yee would perform certain officials acts requested by UCE 4599 and UCE 4180.”

That included Yee issuing an “official state Senate proclamation honoring the CKT in exchange for a $6,800 campaign donation, the maximum individual donation allowed by law.” Yee allegedly did so, and it was presented by one of his staff members at the CKT anniversary celebration on March 29, 2013.

Yee and Jackson are also accused of introducing a donor to state legislators working on pending medical marijuana legislation, the donor being another undercover agent who claimed to be a medical marijuana businessman from Arizona looking to expand into California, “and in payment for that introduction, UCE 4180 delivered $11,000 cash to Senator Yee and Keith Jackson on June 22, 2013.”

In September, after making another introduction, Yee and Jackson allegedly received another $10,000 cash donation for their services.

In August of last year, in an effort to raise more money, “Jackson told UCE 4599 that Senator Yee, had a contact who deals in arms trafficking.” Jackson then allegedly requested UCE 4599 make another donation “to facilitate a meeting with the arms dealer with the intent of UCE 4599 to purportedly purchase a large number of weapons to be imported through the Port of Newark, New Jersey…Senator Yee discussed certain details of the specific types of weapons UCE 4599 was interested in buying and importing.”

The complaint, a declaration by FBI Agent Emmanuel Pascua, does indicate that both Chow and Yee sometimes tried to declare their legitimacy to the FBI agents.

“It should be noted that throughout this investigation, Chow has made several exculpatory statements about how he strives to become legitimate and no longer participates in criminal activity,” it says.

For example, Chow has been working on book and movie deals about his life, and he would regularly make statements attempting to distance himself from CKT’s alleged criminal activities, as well as building connections in the political world. Chow posed for photos with then-Mayor Gavin Newsom and other local political figures.

“Chow has also been portrayed in many Chinese newspapers as being involved in community affairs and has been photographed posing with local politicians and other community leaders. For example, in August of 2006, Chow was photographed hold a Certificate of Honor from the San Francisco Board of Supervisors for community service of the CKT,” it reads.

But the complaint also said that Chow continued to make incriminating statements to the undercover agents “confirming his knowledge of and involvement in criminal activity.”

The complaint says that Yee also made many exculpatory statements and expressed discomfort with how openly UCE 4180 discussed overt “pay to play” links between cash donations and official actions.

“Despite complaining about UCE 4180’s tendency to speak frankly and tie payment to performance, and threatening to cut off contact with UCE 4180, Senator Yee and Keith Jackson continued to deal with UCE 4180 and never walked away from quid pro quo requests make by UCE 4180. In fact, Senator Yee provided the introductions sought by UCE 4180 and accepted cash payments which UCE 4180 expressly tied to the making of the introductions.”

Yee’s attorney, Paul DeMeester, told reporters they will contest the charges: “We will always in every case enter not guilty pleas, then the case takes on a life of its own.”

Officials in San Francisco and Sacramento are still reeling from the allegations. “I think the whole city is in shock at the moment,” Board of Supervisors President David Chiu, who represents Chinatown and ran against Yee in the 2011 mayor’s race, told us. “Today’s widespread law enforcement actions are incredibly disturbing. The detail and scale of the criminal activities are shocking.”

California Senate President Darrell Steinberg told reporters today that he has asked for Yee’s resignation and that he plans to introduce a resolution Friday to suspend Yee and two other Democrats chargeed with political corruption, Rod Wright and Ron Calderon.

Sen. Mark Leno (D-SF), who took part in that briefing, told the Guardian, “I’m frustrated and angered on behalf of my constituents that my Senate colleagues and I are there each day to create positive changes and all of these situations are distracting…It reflects badly on a great institution.”

Guardian reporter Joe Rodriguez Fitzgerald, who contributed to this report, has been covering this case from the federal courthouse today, and we’ll have more on this unfolding story in the coming days and the next issue of the Guardian.

Yee had a reputation for political corruption even before the federal indictment

Sasha Cuttler

March 26, 2014

Yee had a reputation for political corruption even before the federal indictment

Long before Sen. Leland Yee’s surprise arrest and arraignment on federal corruption charges today, Yee already had a reputation for, at best, political pandering and influence peddling; or at worst, corruption, a label for Yee long used in private conversations among figures in the local political establishment.

It was usually assumed to be the kind of low-level, quasi-legal corruption that is endemic to the political system: voting against one’s values and constituent interests in order to curry favor and financial contributions from wealthy special interests. In Yee’s case, his recent voting record seems to indicate that he was cultivating support from landlords and the pharmaceutical, banking, oil, and chemical industries for his current campaign for the Secretary of State’s Office.

But today’s indictment — which is expected to be released at any minute, and which we’ll detail in a separate post — seems to go much further, the culmination of a four-year FBI investigation tying Yee to notorious Chinatown gangster Raymond “Shrimp Boy” Chow, who was also arrested today. They and 24 others arrested in the case today are now being arraigned in federal court.

The Bay Guardian has covered Yee throughout his 26-year political career, and we wrote a comprehensive profile of this controversial figure when he ran for mayor in 2011. More recently, in September, we wrote about some of his suspicious votes and refusal to offer credible explanations for them to activists he’s worked with before.

After that article, confidential sources contacted us urging us to investigate a series of strange votes Yee had cast in the last year, and we’ve been holding off on publishing that until Yee would sit down to talk to us about them. But each time we scheduled an interview with him, starting in November, he would cancel them at the last minute.

Maybe he was aware of the federal criminal investigation, or perhaps he had just decided that he not longer needed to cooperate with the Guardian as he sought statewide office, but he became increasingly hostile to our inquiries. Last month, when Yee saw San Francisco Media Co. (which owns the Guardian) CEO Todd Vogt having dinner with Board of Supervisors President David Chiu in a local restaurant, Vogt said Yee angrily accused the Guardian of being motivated by an anti-Asian bias in our inquiries and criticism, an incident that Vogt described to us as bizarre.

Guardian calls to staffers in Yee’s office, today and in recent weeks, haven’t been returned.

Yee has been a champion of sunshine (last week, the Society of Professional Journalists NorCal gave him a James Madison Freedom of Information Award for defending the California Public Records Act) and gun control, last year getting three such bills signed into law. SB 755 expands the list of crimes that would disqualify and individual from owning a gun, SB 374 prohibited semiautomatic rifles with detachable magazines, and SB 53 made background checks a requisite step in purchasing ammunition.

But he’s disappointed liberal and progressive constituencies — renters, environmentalists, seniors, students, the LGBT community — in San Francisco and beyond with most of his other votes, some of which ended up killing important legislation.

Yee voted against SB 405, which would have extended San Francisco’s plastic bag ban statewide. He also said no to regulating gasoline price manipulation by voting against SB 441, siding with the Big Oil over his constituents. And then he sided with Big Pharma in voting against SB 809, which would have taxed prescription drugs to help fund a state program designed to reduce their abuse, partially by creating a database to track prescriptions.

In addition to the Pharma-loving, ocean-shunning, oil-chugging votes Yee has cast, he has also turned a cold shoulder towards the elderly (by voting against SB 205, a bill that would make prescription font larger or, as the elderly would like to say, “readable”), the LGBTQ community (by voting against SB 761, which protects employees that use Paid Family Leave), students (by abstaining from a vote on AB 233, which would allow debt collectors to garnish the wages of college students with outstanding student loans), and tenants (by voting against the SB 510, the Mobile Home Park Conversion bill, and SB 603, which protects tenants from greedy landlords).

This year, as San Francisco’s other legislative representatives — Sen. Mark Leno and Assemblymembers Tom Ammiano and Phil Ting — announced efforts to reform the Ellis Act to address the escalating eviction epidemic in San Francisco, Yee has pointedly refused to support or even take a position on the effort.

In 2013, Yee sided with the Republican Party nine times on key votes, earning the scorn of many of his Democratic Party colleagues. Yee even voted for SCR 59, which would have created highway signs honored former Sen. Pete Knight, the late conservative Republican who authored Prop. 22 in 2000, strengthening California’s stand against same-sex marriage at the time.

Since we ran our “The real Leland Yee” article on Aug. 30, 2011, Yee has voted on 88 “key” pieces of legislation, according to the non-partisan, non-profit educational organization Project Vote Smart, and his final recorded vote has been “Yea” 80 times. He has abstained from voting six times, and has voted “Nay” just twice.

One of those votes came in response to a bill that was deemed “unnecessary” by Gov. Jerry Brown, but the other bill, SB 376, would have prohibited the harvesting and sale of shark fins in California.

In 2013, his voting record more closely aligns with Sen. Mark Wyland, a Republican from Carlsbad, than it does with any other Democrat on the Senate, finishing just ahead of Sen. Ron Calderon, the Southern California Democrat who was also indicted by the federal government on corruption charges last month after allegedly accepting bribes from an undercover FBI agent.

Throughout his legislative career, Yee has regularly supported Pacific Gas & Electric’s stranglehold on San Francisco’s energy market and benefitted from the company’s corrupting largesse. None of this may have crossed the line into actual criminal conduct — but for those familiar with Yee and his transactional approach to politics and governance, today’s indictment isn’t a huge surprise.

Wigging out with Stephen Malkmus

Steven T. Jones

March 25, 2014

esilvers@sfbg.com

LEFT OF THE DIAL Stephen Malkmus’ 17-year-old cat, Juanita, has been peeing outside the catbox lately.

He’s been assuming it’s just stress from the new additions to the household — two kittens recently joined the Portland home Malkmus shares with his wife, artist Jessica Jackson Hutchins, and their two young daughters. But he took her (the cat) to the vet today, and it turns out she needed a couple of back teeth extracted, plus they did blood work, the whole nine yards, he says, by way of explanation about why we’re starting this phone interview with him sitting in a veterinary office waiting room, and why, beginning about five minutes later, as they leave, the guttural moans of which only an unhappy cat is capable will serve as the soundtrack for the bulk of our conversation.

“That’s really terrible, isn’t it?” says the Stockton native, thoughtfully, of Juanita’s misery, before insisting that he’s perfectly happy to talk with her wailing in the background. “Got some Exorcist, Linda Blair sounds going on.”

As a guy who’s still best known as a touchstone for (if not the founder of) mid-’90s indie slacker-rock — Pavement’s mainstream breakthrough Crooked Rain, Crooked Rain, which came out 20 years ago last month, and which got the deluxe reissue treatment 10 years later, was arguably one of the defining albums of that decade — Stephen Malkmus seems to understand that it’s tough for people to reconcile the skinny, casually bratty, frozen-in-time Pavement frontman with the current Stephen Malkmus: A 47-year-old suburban dad who cares a lot about his fantasy basketball league, and who’s currently trying to figure out if his sick cat is capable of eating yet.

And yet: His solo career, at the helm of Stephen Malkmus and the Jicks, has actually outlasted Pavement’s at this point. The band’s sixth album, Wig Out at Jagbags, out this January, is full of the wry, observational comedy and narrative wordplay that have come to constitute the Malkmus trademark. (The band’s tour for the album brings them to Slim’s this Thursday, March 27.) And while it’s easy to romanticize the golden days of lo-fi lullabies about young love and record label angst and being so drunk in the August sun — hell, those songs sounded nostalgic about those days while they were happening — the truth is that it was in the years that followed, with the Jicks’ more simplified and twang-ified tunes increasingly showing his ’70s classic rock influences and allowing the lyrics to come front and center, that Malkmus went and became one of the best songwriters we have right now.

Maybe even more sneakily: He seems like he’s figured out how to (gasp) have fun.

“Come and join us in this punk rock tomb, come slam dancing with some ancient dudes/We are returning, returning to our roots, no new material, just cowboy boots,” begins Malkmus, through a nearly audible smirk, on an upbeat ditty called “Rumble at the Rainbo”; at one point, the song devolves goofily into a full-on ska breakdown.

“I was thinking about somewhere like [924] Gilman, full of people skanking, but with old people, because it’s just funny to see senior citizens doing anything that youthful,” says Malkmus of the track. “But it’s also bit of commentary about how, if you go so far as to really be into a subculture of music, whatever it is, heavy metal, or punk, or reggae, you always have a home there, and that’s nice. It doesn’t matter if you’re depressed, or way overweight, or you’ve been divorced five times; you can go to the show and feel safe and see your people and get lost in the music.”

If he’s at his best as a songwriter when he takes on the point of view of other characters — I fell hard for this tendency with his first post-Pavement album, a Jicks record on which he sings story-songs from the perspectives of, among others, a bloodthirsty pirate, an Alaskan dog sled driver, and Yul Brynner — then part of what makes Wig Out such an enjoyable in-joke is the sense that Malkmus is writing songs while “in character as” an aging rock star who’s looking back on his career with a mix of sentimentality and cynicism, fondness and detachment, á la Don Henley circa The End of the Innocence.

“That [Pavement reunion] tour was kind of like reliving an old play, or something,” says Malkmus of the cross-country jaunt his old band took in 2010, to the fever-pitch-level delight of virtually everyone who came of age listening to indie rock in the ’90s. “It was fun being back with the same dudes, and there were some really cool shows — especially playing hometown shows in Berkeley, Stockton, meeting people my age who were road-tripping to see Pavement twice.”

The songs don’t quite feel like him anymore, he says, though The Jicks are known to play a handful of Pavement songs during some sets — toward the end, when they’re playing other covers. “We mix them in like they’re part of some canon, which is a little cheeky,” he says. “You know, play a Steve Miller song, some Roxy Music, Pavement, then Wire. And yeah, it’s my song, I wrote it, but it’s mostly just feels like we’re playing a song.”

After that reunion tour, something started to feel a little claustrophobic upon returning to Portland. “There was a neurotic, kind of fishbowl feeling,” is how he puts it. So in 2011, the family picked up and moved to Berlin for two years, (“a big giant place where no one cares about you too much”), put the girls in an international school, and reveled in the apparently productive anonymity — Malkmus proceeded to write most of Wig Out there.

The family moved back to Portland in 2013, but the expat’s sense of liberation comes through in free-wheeling tracks like the Billy Joel-ish, Steely Dan-esque rocker “Chartjunk,” complete with horns, shout-along choruses, and a buttery guitar riff, over which Malkmus channels the singing style of the sun-bleached, coked-out ’70s guitar gods he grew up with. “In one ear and out of the other, if you feel the urge to share/think again cause you’re not my mother, actually I’m not contractually obliged to care,” he cautions, happily, but also sounding like he means it. (Acknowledging its Joel-like sonic landscape, Malkmus recently told a Detroit publication that the track, in which he plays both roles of a mentor/mentee dispute, was inspired by the relationship between Detroit Pistons point guard Brandon Jennings and his coach Scott Skiles, back when Jennings played for the Milwaukee Bucks. Dude’s serious about basketball.)

The only thing that will seem, to Pavement fans, to be conspicuously missing from the record: That old Malkmus sneer (or full on flipped-bird) in the direction of the record industry, and the accompanying, all-too-self-aware ambivalence about his role in it. This, from the former frontman of a band whose biggest mainstream radio single called out the entire record industry for, more or less, the concept behind mainstream radio singles.

“We were coming from a DIY scene, and we wanted to control our own destiny, start our own label, be our own boss. We were about artists’ rights,” he says, while noting that he doesn’t begrudge anyone who goes the corporate route. “I mean, Beck [recently] signed to Capitol, but I’m sure he just did it because he was taking advantage of them as much as he could, because he’s in a position of power. A lot of bands weren’t back then.”

In terms of newer music, Malkmus names SF “neo-psychedelia” bands like Thee Oh Sees and Ty Segall as recent favorites, as well as Oakland’s own tUnE-yArDs, Sic Alps, Purling Hiss, Kurt Vile, and The War on Drugs. He thinks a minute. “I like Beyoncé,” he says, like it’s a challenge. “And Jay-Z. And Justin Timberlake; the kids really like him. We listen to a lot of Justin Timberlake in the car.”

Looking back, I ask him — in the minute before he has to go, some other dude is supposed to be calling him soon, and he’s trying to get Juanita to eat some food — can he imagine being 20, and starting a band right now? With the way the record industry is, with everything he knows about what happens after you “make it” — or even if you never do? He sounds relatively at peace on this album, to be sure, but it’s taken long enough.

“Sure!” he replies, without hesitation. “I mean, I think everyone should start a band. It’s really low-stakes, and it’s fun. If you like music, start a band, and just mess around with your friends. It’s better than a lot of things you could be doing, like wasting time on Facebook. Or playing video games. Or…what are kids even doing these days? Snapchat? Sexting on Snapchat?

“Stop sexting on Snapchat and start a band.”

Stephen Malkmus
With Speedy Ortiz
Thu/27, 8pm, $21
Slim’s
333 11th St, SF
www.slimspresents.com

San Francisco’s untouchables

Michael Redmond

March 25, 2014

Rebecca@sfbg.com

In one sense, San Francisco’s homeless residents have never been more visible than they are in this moment in the city’s history, marked by rapid construction, accelerated gentrification, and rising income inequality. But being seen doesn’t mean they’re getting the help they need.

Not long ago, Lydia Bransten, who heads security at the St. Anthony’s Foundation on 150 Golden Gate, happened upon a group of teenagers clustered on the street near the entrance of her soup kitchen. They had video cameras, and were filming a homeless man lying on the sidewalk.

“They were putting themselves in the shot,” she said.

Giggling, the kids had decided to cast this unconscious man as a prop in a film, starring them. She told them it was time to leave. Bransten read it as yet another example of widespread dehumanization of the homeless.

“I feel like we’re creating a society of untouchables,” she said. “People are lying on the street, and nobody cares whether they’re dead or breathing.”

Condominium dwellers and other District 6 residents of SoMa and the Tenderloin are constantly bombarding Sup. Jane Kim about homelessness via email — not to express concern about the health or condition of street dwellers, but to vent their deep disgust.

“This encampment has been here almost every night for several weeks running. Each night the structure is more elaborate. Why is it allowed to remain up?” one resident wrote in an email addressed to Kim. “Another man can be found mid block, sprawled across the sidewalk … He should be removed ASAP.”

In a different email, a resident wrote: “The police non-emergency number is on my quick dial because we have to call so often to have homeless camps removed.”

It’s within this fractious context that the city is embarking on the most comprehensive policy discussions to take place on homelessness in a decade.

In 2004, city officials and community advocates released a 10-Year Plan to Abolish Chronic Homelessness. One only needs to walk down the street to understand that this lofty objective ultimately failed; people suffering from mental illness, addiction, and poverty continue to live on the streets.

Most everyone agrees that something should be done. But while some want to see homelessness tackled because they wish undesirable people would vanish from view, others perceive a tragic byproduct of economic inequality and a dismantled social safety net, and believe the main goal should be helping homeless people recover.

“The people living in poverty are a byproduct of the system,” said Karl Robillard, a spokesperson for St. Anthony’s. “We will always have to help the less fortunate. That’s not going to go away. But we’re now blaming those very same people for being in that situation.”

Sabrina: “The streets can be mean.”

Guardian photo by Rebecca Bowe

HOMELESS MAGNET?

A common framing of San Francisco’s “homeless problem” might be called the magnet theory.

The city has allocated $165 million to homeless services. Over time, it has succeeded in offering 6,355 permanent supportive housing units to the formerly homeless. Nevertheless, the number of homeless people accounted for on the streets has remained stubbornly flat. The city estimates there are about 7,350 homeless people now living in San Francisco.

Since the city has invested so much with such disappointing results, the story goes, there can only be one explanation: Offering robust services has drawn homeless people from elsewhere, like a magnet. By demonstrating kindness, the city has unwittingly converted itself into a Mecca for the homeless, spoiling an otherwise lovely place for all the hardworking, law-abiding citizens who contribute and pay taxes.

That theory was thoroughly debunked in a Board of Supervisors committee hearing on Feb. 5.

“The idea of services as a magnet, … we haven’t seen any empirical data to support that,” noted Peter Connery of Applied Survey Research, a consultant that conducted the city’s most recent homeless count. “The numbers in San Francisco are very consistent with the other communities.”

He went on to address the question on everyone’s mind: Why haven’t the numbers decreased? “Even in this environment where there have obviously been a tremendous number of successes in various departments and programs,” Connery said, “this has been a very tough economic period. Just to stay flat represents a huge success in this environment.”

As former President Bill Clinton’s campaign team used to say: It’s the economy, stupid.

LIFE OUTSIDE

For Sabrina, it started with mental health problems and drug addiction. She grew up in Oakland, the daughter of a single mom who worked as a housecleaner.

“Drugs led me the wrong way, and eventually caught up with me,” she explained at the soup kitchen while cradling Lily, her Chihuahua-terrier mix.

“I had nothing, at first. You have to learn to pick things up. Eventually, I got some blankets,” she said. But she was vulnerable. “It can get kind of mean. The streets can be mean — especially to the ladies.”

She found her way to A Woman’s Place, a shelter. Then she completed a five-month drug rehab program and now she has housing at a single room occupancy hotel on Sixth Street.

“You don’t realize how important those places are,” she said, crediting entry into the shelter and the drug-rehab program with her recovery.

Since the 10-year plan went into effect, Coalition on Homelessness Director Jennifer Friedenbach told us, emergency services for homeless people have been dramatically scaled back. Since 2004, “We lost about a third of our shelter beds,” she explained. About half of the city’s drop-in center capacity was also slashed.

“Between 2007 to 2011, we had about $40 million in direct cuts to behavioral health,” she said at the Feb. 5 hearing, seizing on the lack of mental health care, one of the key challenges to reducing homelessness.

“The result of all three of these things, I can’t really put into words. It’s been very dramatically negative. The increase in acuity, impact on health,” she said, “those cannot be overstated.”

The need for shelters is pressing. The city has provided funding for a new shelter for LGBT homeless people and a second one in the Bayview, but it hasn’t kept up with demand. And for those who lack shelter, life is about navigating one dilemma after another, trying to prevent little problems from snowballing into something heinous.

Consider recent skirmishes that have arisen around the criminalization of homelessness. Department of Public Works street cleaning crews have sprayed homeless people trying to rest on Market Street. Sitting or lying on the sidewalk can result in a ticket. There are few public restrooms, but urinating on the street can result in a ticket. There are no showers, but anyone caught washing up in the library bathroom could be banned from the premises. Sleeping in a park overnight is illegal.

“The bad things that happen are when people don’t see homeless people as people,” said Bevan Dufty, the mayor’s point person on homelessness. “That’s the core of it — to be moved away, to be pushed away, citing people, arresting people.”

Friedenbach said the tickets and criminalization can ultimately amount to a barrier to ending homelessness: “You’re homeless, so you get a ticket, so they won’t give you housing, because you wouldn’t pay the ticket. And so, you’re stuck on the streets.”

ORDINARY EMERGENCIES

A man slumped over his lunch tray and fell to the floor. Within minutes, a medical crew had arrived on the scene, set up a powder-blue privacy screen, and cleared away a table and chairs to administer emergency care.

Throughout the dining hall, most continued lifting forkfuls of mashed potatoes, broccoli, and shredded meat to their mouths, unfazed. Volunteers clad in aprons continued to set down heaping lunch trays in front of diners who held up laminated food tickets. At St. Anthony’s, where between 2,500 and 3,000 hot meals are served daily to needy San Franciscans, this sort of thing happens all the time.

“A lot of our guests are subject to seizures, for one reason or another,” Robillard told me by way of explanation. Behind him, a pair of medics hovered over the man’s outstretched body, his face invisible behind the screen. “In almost all cases, they’re fine.”

Seizures are just one common ailment plaguing the St. Anthony’s clientele, a mix of homeless people, folks living on the economic margins, and tenants housed in nearby single room occupancy hotels.

Jack, an elderly gentleman with a gray beard and stubs on one hand where fingers used to be, told me he’d spent years in prison, battled a heroin addiction, and sustained his hand injury while serving in the military. He previously held jobs as a rigger and a train operator, and said he became homeless after his mother passed away.

St. Anthony’s staff members mentioned that Jack had recently awoken to being beaten in the head by a random attacker after he’d fallen asleep on the sidewalk near a transit station.

A petite woman with a warm demeanor, who introduced herself as Kookie, said she’d been homeless last August when she faced her own medical emergency. “I was in the street,” she said. “I didn’t know I was having a stroke.”

She’d been spending nights on the sidewalk on Turk Street, curled up in a sleeping bag. When she had the stroke, someone called an ambulance. Her emergency had brought her unwittingly into the system. At first, “They couldn’t find out who I was.”

She said she’d stayed in the hospital for six months. Once she’d regained some strength, care providers connected her with homeless services. Now Kookie stays at a shelter on a night-by-night basis, crossing her fingers she’ll get a 90-day bed. She’s on a wait-list to be placed in supportive housing.

Kookie unzipped a tiny pouch and withdrew her late husband’s driver’s license as she talked about him. Originally from Buffalo, NY, she lived in Richmond while in her early 20s and took the train to San Francisco, where she worked as a bartender. She’s now 60.

“When I was not homeless, I used to see people on the ground, and I never knew I would live like that,” she said. “Now I know how it is.”

Kookie: “I used to see people on the ground, and I never know I would live like that.”

Guardian photo by Rebecca Bowe

HOUSING, HOUSING, HOUSING

Way back in 2003, DPH issued an in-depth report, firing off a list of policy recommendations to end homelessness in San Francisco once and for all. The product of extensive research, the agency identified the most important policy fix: “Expand housing options.”

“Ultimately, people will continue to be threatened with instability until the supply of affordable housing is adequate, incomes of the poor are sufficient to pay for basic necessities, and disadvantaged people can receive the services they need,” DPH wrote. “Attempts to change the homeless assistance system must take place within the context of larger efforts to help the very poor.”

Fast forward more than a decade, and many who work within the city’s homeless services system echo this refrain. The pervasive lack of access to permanent, affordable housing is the city’s toughest nut to crack, but it doesn’t need to be this way.

At the committee hearing, Friedenbach, who has been working as a homeless advocate for 19 years, spelled out the myriad funding losses that have eviscerated affordable housing programs over time.

“We’ve had really huge losses over the last 10 years in housing,” she said. “We’ve lost construction for senior and disability housing. Section 8 [federal housing vouchers] has been seriously cut away at. We’ve lost federal funding for public housing. There were funding losses in redevelopment.”

A comprehensive analysis by Budget and Legislative Analyst Harvey Rose found the city — with some outside funding help — has spent $81.5 million on permanent supportive housing for the formerly homeless.

That money has placed thousands of people in housing. Nevertheless, a massive unmet need persists.

WAITING GAME

Following the hard-hitting economic downturn of 2008 and 2009, San Francisco saw a spike in families becoming homeless for the first time. Although a new Bayview development is expected to bring 70 homeless families indoors, Dufty said 175 homeless families remain on a wait-list for housing.

Yet the wait-list for Housing Authority units has long since been closed. And many public housing units continue to sit vacant, boarded up. Sup. London Breed said at a March 19 committee hearing that fixing those units and opening them to homeless residents should be a priority.

DPH’s Direct Access to Housing program, which provides subsidized housing in SROs and apartments, was also too overwhelmed to accept new enrollees until just recently. Since the applicant pool opened up again in January, 342 homeless people have already signed up in search of units, according to DPH. But only about a third of them will be placed, the results of our public records request showed.

Meanwhile, the city lacks a pathway for moving those initially placed in SROs into more permanent digs, which would free up space for new waves of homeless people brought in off the street.

City officials have conceptualized the need for a “housing ladder” — but if one applies that analogy to San Francisco’s current housing market, it’s a ladder with rungs missing from the very bottom all the way to the very top.

In the last fiscal year, HSA allocated $25 million toward subsidized housing for people enrolled in the SRO master-lease program. “It’s often talked about as supportive housing,” Friedenbach notes. “But supportive housing under a federal definition is affordable, permanent, and supportive.”

In SROs, which are notoriously rundown — sometimes with busted elevators in buildings where residents use canes and wheelchairs to get around — people can fork over 80 percent of their fixed incomes on rent.

“An individual entering our housing system should have an opportunity to move into other different types of housing,” Dufty told the supervisors. “It’s really important that people not feel that they’re stuck.”

Amanda Fried, who works in Dufty’s office, echoed this idea. “Our focus has to be on this ladder,” she told us. “If people move in, then they have options to move on. What happens now is, we build the housing, people move in, and they stay.”

START OF THE CYCLE

Homelessness does begin somewhere. For Joseph, a third-generation San Franciscan who grew up in the Mission and once lived in an apartment a block from the Pacific Ocean, the downward spiral began with an Ellis Act eviction.

After losing his place, he stayed with friends and family members, sometimes on the streets, and occasionally using the shelter system (he hated that, telling us, “I felt safer in Vietnam”). He now receives Social Security benefits and lives in an SRO.

Homelessness is often a direct consequence of eviction. Last year, the city allocated an additional $1 million for eviction defense services. Advocates hope to increase this support in the current round of budget talks. The boost in funding yielded measurable results, Friedenbach pointed out, doubling the number of tenants who managed to stave off eviction once they sought legal defense.

There’s also a trend of formerly homeless residents getting evicted from publicly subsidized housing. Since 2009, the Eviction Defense Collaborative has counted 1,128 evictions from housing provided through HSA programs. Since most came from being homeless, they are likely returning to homelessness.

Dufty said more could be done to help people stay housed. “Yes, we’re housing incredibly challenged individuals. And we have to recognize that allowing those individuals to be evicted, without the city using all of our resources to intervene to help that person, that’s not productive,” he said. “It’s debilitating to the person. It’s just not good.”

Fried said the city could do more to provide financial services to people who were newly housed. “You were homeless on the street — you know you didn’t pay some bill for a long time. Really that’s the time, once you’re housed and stable, to say, ‘let’s go back and pull your credit.’ Once we have people in housing, how are we increasing their income?”

Gary: “If I knew how to fix it, I would.”

Guardian photo by Mike Koozmin

SEARCH FOR SOLUTIONS

The reopening of [freespace], a community space at Sixth and Market temporarily funded by a city-administered grant, attracted a young, hip crowd, including many tech workers. A girl in a short white dress played DJ on her laptop, against a backdrop where people had scrawled their visions for positive improvements in the city. Some of the same organizers are helping to organize HACKtivation for the Homeless, an event that will be held at the tech headquarters of Yammer on March 28. The event will bring together software developers and homeless service providers to talk about how to more effectively address homelessness.

“The approach we’re talking about is working with organizations and helping them build capacity,” organizer Ilana Lipsett told us. The idea is to help providers boost their tech capacity to become more effective. And according to Kyle Stewart of ReAllocate, an organization that is partnering on the initiative, “The hope is that it’s an opportunity to bridge these communities.”

Other out-of-the box ideas have come from City Hall. Sup. Kim, who stayed at a homeless shelter in 2012 during a brief stint as acting mayor, said she was partially struck by how boring that experience was — once a person is locked into a shelter, there is nothing to do, for 12 hours.

She wondered: Why aren’t there services in the shelters? Why isn’t there access to job training, counseling, or medical care in those facilities? Why are the staffers all paid minimum wage, ill-equipped to deal with the stressful scenarios they are routinely placed in? Her office has allocated some discretionary funding to facilitate a yoga program at Next Door shelter, in hopes of providing a restorative activity for clients and staff.

More recently, Sup. Mark Farrell has focused on expanding the Homeless Outreach Team as an attempt to address homelessness. Farrell recently initiated a citywide dialogue on addressing homelessness with a series of intensive hearings on the issue. He proposed a budgetary supplemental of $1.3 million to double the staff of the HOT team, and to add more staff members with medical and psychiatric certification to the mix.

But the debate at the March 19 Budget and Finance Committee hearing grew heated, because Sup. John Avalos wanted to see a more comprehensive plan for addressing homelessness. “I’m interested in people exiting homelessness,” he said. “I’d like there to be a plan that’s more baked that has a sense of where we’re going.”

Farrell was adamant that the vote was not about addressing homelessness in the broader sense, but expanding outreach. “We have to vote on: do we believe, as supervisors, that we need more outreach on our streets to the homeless population or do we not?” he said.

Sup. Scott Wiener defined it as an issue affecting neighborhoods. “When we’re actually looking at what is happening on our streets, it is an emergency right now,” he said. “It’s not enough just to rely on police officers.”

When other members of the board said homeless advocates should be integrated into the solution, Wiener said, “The stakeholders here are not just the organizations that are doing work around homelessness, they are the 830,000 residents of San Francisco … It impacts their neighborhoods every day.”

Asked what she thought about it, Kim told us she believed sending more nurses and mental-health service providers into the city’s streets was a good plan — but she emphasized that it had to be part of a larger effort.

“If you’re just going to increase the HOT team, but not services,” she said, “then you’re just sending people out to harass homeless people.”

STILL OUT THERE

Mike is 53, and he’s lived on the streets of San Francisco for five years. He was born in Massachusetts, and his brothers and sisters live in Napa. We encountered him sitting on the sidewalk in the Tenderloin. “I don’t like shelters,” he explained. “I got beat up a couple times, there were arguments.” So he sleeps under a blanket outside. “It’s rough,” he said. “I do it how I can.”

A few blocks away we encountered Gary, who said he’s been homeless in San Francisco for 17 years. He was homeless when he arrived from Los Angeles. He said he’d overdosed “a bunch of times,” he’s gone through detox five times, and he’s been hospitalized time and again. “Call 911, and they’ll take care of you pretty good.”

Gary is an addict. “If I knew how to fix it, I would,” he said. “Do yourself a favor, and lose everything. It’s like acting like you’re blind.”

Gary and Mike, chronically homeless people who have been on the streets for years, are HOT’s target clientele. “My slice of the pie is the sickest, the high-mortality, they’re often the ones that are laid out in the street,” said Maria Martinez, a senior staff member at DPH who started the HOT program.

“I went through years of the 10-Year plan,” she added. “Do I feel like I could take this money [the HOT team supplemental] and do something effective with it? Yes. Do I think there’s a lot of other things that we could address? Yes.”

Pressed on what broader solutions would look like, she said, “There has to be an exit into permanent housing. I’ve seen that we’ve been creative around that. We can make lives better. I say that vehemently. And permanent housing is critical to exiting out of homelessness.”

Guardian photo by Mike Koozmin

Crooked cops

Michael Redmond

March 4, 2014

steve@sfbg.com

It’s a bombshell police scandal befitting San Francisco’s restive mood, dropping at a time when simmering class tensions have been making national news, and one more example of how the poor are getting trammeled by those with power.

As politicians and tech titans were trying to make the gritty central city more welcoming to corporations and their workers three years ago, a half-dozen plain-clothed police officers were allegedly abusing poor people, illegally busting into their rooms, stealing anything that had value, forcing criminals to sell stolen drugs for them, and repeatedly telling lies in police reports.

When the targets of these abuses complained to the authorities, they were dismissed or ignored. Only when Public Defender Jeff Adachi and his investigators found and publicly revealed damning video surveillance from the targeted single-room occupancy hotels did federal authorities launch an investigation.

Adachi held press conferences in March and May of 2011 showing officers brutalizing SRO residents and leaving their rooms with laptops and other valuables that were never booked as evidence. When Greg Suhr was sworn in as police chief in April 2011, he put the officers on administrative duties, forced some to give up their weapons, changed department policies to deter cops from barging into people’s rooms without warrants or probable cause, and cooperated with the Federal Bureau of Investigation on the case.

That investigation resulted in federal grand jury indictments that were unsealed on Feb. 27, charging six SFPD cops with a variety of serious charges, including civil rights violations and conspiracies, theft, extortion, drug conspiracies, and falsification of records.

They are Officers Arshad Razzak, Richard Yick, and Raul Eric Elias, who worked in Southern Station, dealing with residents of SoMa SROs; and Sgt. Ian Furminger, Officer Edmond Robles, and Reynaldo Vargas (who Suhr says was dismissed from SFPD for unrelated reasons as the investigation got underway), who worked in Mission Station, where the drug conspiracy allegedly took place, on top of shakedowns in Mission District SROs.

All defendants are facing more than 20 years in prison (except Elias, who faces 10 years for civil rights conspiracy and one year for deprivation of rights under color of law). The Southern Station defendants are also facing $250,000 in fines. The Mission Station defendants face $1 million in fines on the drug conspiracy charges, which allegedly involved having informants sell a few pounds worth of marijuana seized by police.

Attorney Michael Rains, who represents Razzak and has been designated by the San Francisco Police Officers Association as a spokesperson for the others, told the Guardian that all the defendants had difficult undercover jobs in the murky world of informants and drug dealers.

“There was sloppiness in the reporting [in officials police reports], but sloppiness doesn’t rise to the level of criminal activity,” Rains told us, questioning the credibility of witnesses who have criminal records and the reliability and context of the video evidence.

But Suhr strongly condemned the behavior outlined in the criminal complaints, telling reporters that other SFPD officers connected to the case may still face disciplinary action and that, “My officers know I will not have dishonest cops among us.”

He called the indictments a serious blow to the SFPD, appearing to choke up with emotion.

“Our department is shaken,” Suhr, who has been with the SFPD more than 30 years, told reporters. “This is as serious a matter as I’ve ever encountered in the Police Department.”

Yet Suhr also distanced himself from scandal, telling reporters, “This conduct occurred before my time as chief.”

Most of the alleged crimes happened under former Police Chief and current District Attorney George Gascón shortly before he made that transition, one in which critics at the time raised concerns about whether he could be an effective watchdog of SFPD misconduct. That conflict of interest was what sent this case to the feds.

“It is extremely disappointing that the officers violated the trust of the community and tarnished the reputation of all the hard working men and women in uniform,” Gascón said in a press release.

During a brief press conference that afternoon, Gascón denied responsibility for the misconduct: “Anytime you have a large organization, you are going to have people who operate outside the boundaries of what is acceptable.”

Asked by the Guardian when he became aware of allegations that his officers were abusing SRO residents, he said, “We became aware at the same time everyone else did, when the videos came out.”

Gascón’s Press Secretary Alex Bastian cut the press availability off after 10 minutes so Gascón could prepare for his State of Public Safety speech that afternoon, but Bastian told the Guardian he would get answers to our questions about the office’s police accountability record.

“When appropriate, we ensure the integrity of the system is not compromised by referring cases to other prosecuting agencies. In the abundance of caution, when this case was brought to my attention, I referred the case to the federal authorities to safeguard a thorough investigation and guarantee maximum consequences,” Gascón said in a prepared response, while Bastian ignored our requests for more responsive answers to our questions.

But Adachi says these indictments are just the tip of the police misconduct iceberg, charging that police officers routinely lie in police reports and in court to justify illegal searches and other abuses of defendants who are poor or have drug problems, knowing that judges and juries tend to believe cops over criminals.

“The indictments today are a victory for ordinary San Franciscans,” Adachi told reporters, emphasizing that in addition to personally profiting from the shakedowns, these officers were also submitting false testimony in perhaps hundreds of cases, including about 100 that his office has gotten dismissed. “These allegations not only involve violations of the constitutional rights of our clients, but also lying on police records that were used to send individuals to prison based on the testimony of these officers.”

Residents and employees of the Henry Hotel, one of four SROs involved in this case, told the Guardian that the indictments are a rare repudiation of police mistreatment of SRO residents, which they say continues to the day.

“A lot of these people need help. They need guidance. They need a program. They need somebody to motivate them to go to their programs, not a fucking cop who keeps harassing them,” Jessie Demmings, a manager at the 132-room Henry Hotel on Sixth Street, told the Guardian. “They try to take that one step to go forward and then when you come outside you get greeted by a fucking cop having a bad day.”

Even though new SFPD policies prohibit officers from using passkeys to enter people’s rooms without a warrant, Demmings said it still happens. “The reason why we give the passkey is because they always threaten we’re gonna kick in the door, we gonna have a batting ram come and bust the door in,” he said.

Adachi cited his office’s long history of cases in which “officers were barging into rooms without warrants and they were lying about it in police reports.”

Cases of police abuse are handled by the city’s Office of Citizen Complaints, but its work is shrouded in secrecy, thanks to the California Peace Officers Bill of Rights, and officers rarely face serious consequences for their actions.

“We do have complaints with regard to the conduct within the SROs and we have made policy recommendations to the chief,” OCC Director Joyce Hicks told reporters at the SFPD press conference. She called the indictments “extra serious because it implicates the Fourth Amendment and people’s rights.”

Adachi said that after revealing the videos in 2011, he persuaded Mayor Ed Lee to fund two positions in his office investigating police misconduct, but the Mayor’s Office defunded those positions after a year and ignored Adachi’s calls to restore them (as well as Bay Guardian calls for comment on the issue).

“We felt like the public needs to know about this,” Adachi said of the behavior revealed by the federal investigation. “What happened today is significant, and I think it will have deterrent effect.”

Sabrina Rubakovic and Brian McMahon contributed to this report.

Matthew Dear presents Audion, in a shipping container of LED triangles

Steven T. Jones

February 28, 2014

Matthew Dear presents Audion, in a shipping container of LED triangles

At this point I have no idea when this show is going to start, but it’s 9:22 and there’s another loner type rubbing the wood grain pillar in the middle of Mighty. He’s got his hood up as if keeping a low-profile, but
blowing it otherwise. It looks like he took the wrong drugs, slowing down when he might want to speed up. Because at this point in the evening, with some crew members apparently still wiring up the massive amount of lights on stage, he might be in for a wait.

Matthew Dear, the headliner for the night under his Audion moniker, is wandering around the club. Seems typically calm and collected, but I wonder if there’s panic behind the scenes. The show — complete with a custom visual installation — was originally scheduled to be at the Regency Ballroom but was moved to this much smaller venue due to poor ticket sales. (You could see the marketing urgency increasing with each email, first listing the show discreetly as “Audion,” and then “Audion Live: Subvertical,” before finally throwing all the names out in a final push with “Matthew Dear Presents Audion Live: Subvertical.”) After changing venues and dropping the ticket price, Noise Pop also announced all previously issued tickets would now come with a +1. Maybe it’s the rainy weather, but there’s hardly anyone on the dancefloor yet.

Except for squeaky-shoes, which is a good sign. A ubiquitous figure around SF clubs, in my experience if squeaky-shoes is at a show, you’ve made a good decision about your evening entertainment. (We call him squeaky-shoes because his shoes are really squeaky, especially when he’s dancing, in an individual style that involves leaping sideways/backwards a solid five feet at a time, pausing just before colliding with someone, and then walking away as if nothing happened.) He also always wears a comparatively silent ballcap. Look for him. He may be your spirit guide.

As far as I’m concerned, Matrixxman can not go on soon enough, as the same track has been playing over the P.A. for nearly 45 minutes. Aside from the dull bass, the music is drowned out, as if coming from the Chinese restaurant next door. Enduring this together, the woman besides me strikes up a conversation. She doesn’t know Matrixxman, Audion, or even Matthew Dear: she’s here for the lights, knowing that the visual setup was designed by the same team who did the mind-bending work on Amon Tobin’s ISAM.

WhenI last saw Matrixxman, it was at the same venue, and he was doing a closing set for Le1f. One track he played — “C.U.N.T.” by Tronco Traxx — is permanently lodged in my brain. Google it. Your expectations will be met. Tonight he’s keeping things a bit more in pocket, setting up the headliner with a less potentially alienating mix dominated by jacked up house, chopped diva vocals, and something that sounded like Prince (and may well have been Prince).

When the main event starts, all I can think of is packaging. Maybe it’s the corrugated plastic material that Matthew Dear is encased in, a neat sphere made up of interlocking LED-lit triangles; if Amon Tobin had a spaceship, Dear has a shipping container. It’s even branded in a way: the press release pointed out the resemblance between the triangles and the A in Audion. To me they look like a swirl of tracking buttons, with larger “reverse” and “play” arrows on each side of the stage. Like the comprehensive 10-year-spanning collection Audion X, this production seems designed to deliver Dear/Audion in an iconic form.

Tobin once impressed on me that not all electronic music is meant for dancing, so having a visual production like ISAM made sense. But while Tobin via ISAM warped around to places feet can’t easily follow, this isn’t really the case with Audion. Dear, particularly in this format, is clearly making dance music, heavily indebted to Detroit. (Not just the techno, but the car industry: his set drives along with little pause, frequently punctuated by a slow pulsing swell, revving and switching gears. See: “Mouth to Mouth” or “Motormouth.”)

A lot of the crowd dancing up front seems capable of following along unfazed, as if it’s just another night at Mighty. I’m more conflicted and end up with the ones in the back, stunned in place, not sure which
way to go. From back there, it could be a jaded rock show.

I look for the support beam molester from earlier, but don’t see him at all under the lights.

He’s probably fine.

Goldies 2014 Performance/Music: Brontez Purnell

Michael Redmond

February 18, 2014

Goldies 2014 Performance/Music: Brontez Purnell

GOLDIES After being informed that Bay Guardian editors and a theater critic vetted his Goldie nomination, Brontez Purnell reacts. “I think it’s fuckin’ rad. I’m pretty into it. A theater critic? Was I criticized?”

Sitting in the backyard of his Mission District apartment, braced leg extended with crutches at his side, Purnell reflects on roughly 12 years of living in the Bay Area (his Mission digs are temporary; he’s about to move back to Oakland). A storyteller of many mediums, his injury prevents him from dancing until mid-March, which is no good since he’s the founder of the Brontez Purnell Dance Company. If you’ve lived here a minute, you might recognize him as a former Sparky’s Diner waiter, working the “drunk tank” every Saturday night.

“When I was 24, my entire dating pool had seen me dance naked or in my underwear — literally get fingered at a Gravy Train!!!! show. They’d see [me] there and think they could be mean to me like, ‘Gimmie my fries!'” He recalls this, along with other illicit memories from his time in the Oakland-based, exclamation point-loving electro clash band.

But like fans of that fad, he’s moved on. He’s 31 now and for the past 10 years the music he writes, records, and performs live is for his band Younger Lovers. Its newest record, Sugar In My Pocket, recently came out on Southpaw Records.

“I don’t think anyone knew I had this background of a punk that had been playing in bands since I was a teenager,” he says, explaining there was overlap between the two music projects with distinctly different flavors, though Younger Lovers’ first album initially received a “hateful response from a lot of the gay boys around.

Everyone thought it was this flash-in-the-pan thing, but it’s something I was actually working on for a long time. It was cool to smash a lot of assumptions with Younger Lovers. People would say, ‘Wow, we didn’t know you played an instrument. We thought you were just kind of drunk and danced around.'”

*Guardian photo by Saul Bromberger and Sandra Hoover*

People still ask him about those old shows, but he admits to not

remembering a lot of it and that some of that life bleeds over to now. “I would call myself an alcoholic.

I would never call myself a drug addict. I feel like the next set of Younger Lovers’ songs will probably be about addiction.”

Purnell is nothing if not self-aware; he points out his own patterns of over-consumption, whether it be food, men, drugs, or alcohol. But his ability to turn weakness into strength is artistry in itself. In his dance company’s The Episodes, universal themes of struggling with identity and finding oneself are apparent, but being black and gay only makes the search for acceptance that much harder.

“I romanticize the outsider. There’s always going to be this running theme of me versus the world, but it’s never so personal to me because I feel like I’m embodying the story of 100 of my friends in one voice.”

In one sequence, “Tub,” Purnell soaks a new pair of jeans while talking on the phone to a friend. The veil of humor is used to deal with heavier topics, as he segues from commentary on butch gays (or “bearded ladies,” as he likes to call them) with their trendy “Hitler Youth haircuts” and how he’s disappointed when they think he’s too effeminate for them, to his own T-cell count, to some suspiciously descriptive-drug scenarios that involve snorting heroin. Another segment recalls a “redneck teacher bitch” from his home state of Alabama, giving the class scientifically incorrect and insensitive, to say the least, explanations of where AIDS comes from.

“I never let humor interfere with what is definitely a message,” Purnell says. “Underneath it all, there is going to be that point where somebody is like, ‘Oh shit. He’s not joking. He’s joking, but he’s totally not joking.’ Humor is actually a really dangerous tool.”

His truth, he says doesn’t always set him free, but as the saying goes — sometimes it hurts. And that’s the beauty of what Purnell does: He looks at his reality, his disappointments, and his personal achievements, and he’s able to persist. He remains one of the more resilient creative forces on the scene he helped make, despite oftentimes receiving second-tier ranking to some of his contemporaries.

Does he play the victim? Well, he gets accused of it a lot, but that’s because of “people’s fucked-up views on what a victim is.” He recites a James Baldwin quote he loves: “The victim who is able to articulate the situation of the victim has ceased to be a victim: he or she has become a threat.”

In short: Purnell is not a victim — he’s a fighter. And as a singer, songwriter, musician, choreographer, dancer, and performer, he proves himself by doing all these things … and then some.

This Week’s Picks: February 5 – 11, 2014

Michael Redmond

February 4, 2014

WEDNESDAY/5

Action Bronson

Action Bronson lives life large. Imposing both physically and lyrically, the Queens native and former gourmet chef draws upon his joys in life — food, drugs, and women — to construct poetically intricate and technically impressive rhymes. His mix tapes are full of love songs, both highly eloquent and frequently offensive, written about the grit of urban life and the beauty of a great meal. Lines about “pissing through your fishnets” are sprinkled among odes to “bone marrow roasted/spread it on the rosemary bread/lightly toasted,” all delivered with Bronson’s sure, sharp-tongued talent. At his live shows, Bronson is extremely interactive with his (extremely devoted) fans, passing back and forth joints, liquor, and jokes from the stage to the audience. With the brand-new addition of Odd Future thrash punks Trash Talk to the lineup, this show is sure to be insane. (Haley Zaremba)

With Trash Talk

9pm, $25

Slim’s

333 11th Ave, SF

(415) 255-0333

www.slimspresents.com

Alejandro Murguia

In a city overflowing with Google bussers and tech transplants, San Francisco’s newest poet laureate, Alejandro Murguía, seeks to revive a marginalized community through the written word. He’ll be honored at City Lights Bookstore with a reading from his new book, Stray Poems. The bilingual poet is the first Latino laureate, paving the way for the city’s poesía en español revival — not only through his poems but also through his activism. Marguía is the voice of the city’s forgotten residents, the voice of “the waitresses the norteños trios the flowers sellers / the blind guitarist wailing boleros at a purple sky / the shirtless vagrant vagabond ranting at a parking meter / the spray paint visionary setting fire to the word” (from the laureate’s poem “16th and Valencia”). (Laura B. Childs)

7pm, free

City Lights Bookstore

261 Columbus, SF

www.citylights.com

SF Bicycle Coalition’s Dating Game: Love On Wheels

This year’s Love on Wheels fundraiser is back with a ’90s twist. In a modern-day version of MTV’s dating show, Singled Out, bike-lovers looking for a mate will get paired up and sent off to a first date in time for the big V-day. Be sure to look the part — ’90s attire is encouraged. Find love in fellow midriff-bearing, flannel-sporting cyclists, or show off your best Tootsee Roll on the dance floor. Proceeds benefit the SF Bicycle Coalition’s work to make the city more bicycle-friendly. (Childs)

6:30pm, $10

DNA Lounge

375 11th St., SF

www.dnalounge.com

THURSDAY/6

Academy of Sciences Lunar New Year Celebration

Saddle up and celebrate the Year of the Horse at the California Academy of Sciences Lunar New Year Nightlife. The contemporary museum will be decked out with traditional occidental activities and performances. Let your inner wildcat out on the dance floor or watch an authentic lion dance routine. For a little wisdom, participate in a traditional Chinese tea ceremony and if you believe in making your own luck, check out the customized fortune cookie booth. Workshops will teach the lion dance or martial arts moves, but leave most of it to the pros. Throughout the night, live shows will feature authentic lion dance, a martial art demonstration and an ancient Chinese mask performance. (Childs)

6pm, $12

Academy of Sciences

55 Music Concourse

www.calacademy.org

Throwing Shade Live

Throwing Shade is a weekly podcast by LA comedians Bryan Safi and Erin Gibson in which the pair address queer and feminist issues in the news. Though the topics are often heavy, Gibson and Safi’s goofy back-and-forths, impressions, and gimmicks strike the perfect balance. Both hilarious and extremely insightful, Throwing Shade is the ideal way to hear about important and often under-reported topics without getting too blue — although your sides may ache by the end of the segment. Putting their show on the road for SF Sketchfest, the duo will be recording the show at the Punchline for the podcast. Endorsed by both Maximum Fun and Funny or Die, Throwing Shade is a serious laughing matter. Don’t miss this rare live appearance. (Zaremba)

8pm, $20

Punch Line

444 Battery, SF

(415) 397-7573

punchlinecomedyclub.com

Oneohtrix Point Never

Picking up on the ’90s era abstract, contemplative side of Warp Records, recent signee Oneohtrix Point Never’s R Plus Seven is thoroughly brain busting. The elements are disparate: vocals that begin without reference and depart without finishing, gamelan reminiscent rhythms seemingly performed on the Cosmic Key, and an ever-present effect best described as the stuttering sound of audio on an overburdened CPU. Partly playful, with New Age and stereotypically “world” music samples ripped off of Pirate Bay (where, to be fair, R Plus Seven gets the “plunderphonics” genre tag), the album still manages to sound wholly reverent. To what? Let me get back to you on that. (Ryan Prendiville)

With Holly Herndon (Live A/V), Marco de la Vega, DJ Will, Chad Salty

10pm-3am, $17.50-20

1015 Folsom

1015 Folsom St., SF

www.1015.com

FRIDAY/7

ASKEW

Performance art, visual art, and experimental film collide with boundary-pushing results at ASKEW, a Festival of Film and Performance Art, presented by the similarly edgy, female-focused Femina Potens Art Gallery. Three nights of themed events spotlight a variety of unique, fearlessly curious talents; tonight’s “We All Live Here: Primal Expressionism” includes SF Fringe Festival hit Fish Girl, by Siouxsie Q with Sean Andries. Tomorrow, it’s “Breaking Stones: Defining New Roles of Masculinity,” with a performance and screening by fest curator Madison Young, among others. Saturday’s “The Sacred and the Profane” features an appearance by sex-positive icon Annie Sprinkle, plus I Am Lady Samar, a work that mixes dance with “flesh hooks” — an act not for the faint-hearted, or close-minded. (Cheryl Eddy)

Through Sat/8, 7pm, $8-$10

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

Liquid Hymn

Feast your eyes! First Amendment Gallery presents the opening of Liquid Hymn, a solo exhibition of kaleidoscopic multimedia ink paintings by Oakland-based artist J.S. Weis. With wild animals pouring out of splashes of color, Weis’ projects seem like a 1970s acid trip — see: purple elephant, two-headed tiger, and a sea of crab legs; the artist uses ink, pencil, and intricately stacked paper to create a detailed 3D effect on his multimedia creations. Multicolored plants and ethereal animals roam through the psychedelic ink paintings, creating a fantastical symphony where nature and art become one. (Childs)

6:30pm, free

1AM SF

1000 Howard, SF

www.1amsf.com

SATURDAY/8

Top Secret

Continuing in the same zany and hilarious vein of comedy as seen in their earlier films Kentucky Fried Movie and Airplane!, writers and directors Jim Abrahams, Jerry Zucker, and David Zucker decided to spoof both 1960s cold war/spy movies as well as rock n’ roll musicals with 1984’s Top Secret! Featuring Val Kilmer (in one of his very first starring roles) as fictional American rocker Nick Rivers battling the evil empire of East Germany, the flick parodies a host of genre clichés and plays on pun after side-splitting pun. Join Abrahams and the Zucker brothers for what promises to be an unpredictable 30th anniversary screening, audience discussion and Q&A. (Sean McCourt)

1pm, $20

Castro Theatre

429 Castro, SF

www.sfsketchfest.com

Aszure Barton

When Mikhail Baryshnikov’s Hells Kitchen Dance troupe performed at the Zellerbach Play House in 2006, he looked fabulous — at 58, a self-effacing, masterful dancer. He also brought works by two barely known choreographers. Benjamin Millepied, at the time a dancer with New York City Ballet, now runs the Paris Opera Ballet; the Canadian Aszure Barton’s two pieces immediately marked her as someone with chops to burn and a fascinating individual voice. She hasn’t stopped working — all over the world. Now SF Performances is bringing her back with Awáa, a piece inspired by an underwater dream, in which Barton, apparently, explores the masculine and feminine traits we all have. I’ll take her word for it — anytime. (Rita Felciano)

Feb. 7/8. 7:30pm. $35-50

Aszure Barton + Artists

Lam Research Center, YBCA

700 Howard St. SF

415-978-2787

www.sfperformances.org

Thu/6-Sat/8

SUNDAY/9

Shakes The Clown Live

Although it was critically panned and considered a financial flop when it was first released, the 1991 movie Shakes The Clown has gone on to achieve a loyal cult following over the years. Comedian Bobcat Goldthwait wrote, directed, and starred in the dark comedy that follows the life of an alcoholic and depressed clown that shows up for kids’ parties drunk, sees his career going down the toilet, and even eventually gets framed for murder. Join Goldthwait, along with original film cast members Julie Brown, Tom Kenny, and Florence Henderson as they bring the under-appreciated story back to life in all its debaucherous glory, live on stage! (Sean McCourt)

4pm, $25

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

www.sfsketchfest.com

TUESDAY/11

Kid Congo

Helping form the influential roots-rock/punk band The Gun Club when he was still a teenager, Kid Congo Powers was quickly persuaded by the Cramps to join as their second guitar player in 1980 before he eventually went on to play with Nick Cave and the Bad Seeds for a time. Continuing to harness the power of American roots music and twist it into a warped web of perverse sounds over the ensuing years with his latest band, The Pink Monkey Birds, Kid Congo ventures further down the deliciously demented path on his latest record, Haunted Head (In The Red).

With Wax Idols, Dancer. (Sean McCourt)

8pm, $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

Hospitality

This trio’s debut S/T album was essentially a collection of undeniable indie-pop hooks matched by songwriting that combined Belle and Sebastian’s wittiness with the urban social unease of a Shirley Jackson story. Still it didn’t quite capture the appeal as a live band, where I found them to be most endearing. On its freshly minted second album, Trouble, Hospitality has set out to prove their mettle as simply a rock (drop the indie, drop the twee) group as well. While Amber Papini’s voice is still endlessly charming — listen to the way her double esses fill in some hissing hi-hat on The Who-styled percussion on “I Miss Your Bones” — but the band seems in less of a hurry, giving the guitar and bass its due. (Ryan Prendiville)

With Air Waves, Matt Kivel

8pm, $10-12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian, 225 Bush, 17th Flr., SF, CA 94105; or email (paste press releasea into email body — no attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret w cannot accept listings over the phone.

Q up

Michael Redmond

February 4, 2014

MUSIC “I always wanted to know how music sounded in outer space. And with certain types of crystals you can supposedly tune into different frequencies, receive other transmissions. Often I meditate with crystals, go to sleep, and dream about music from outer space. Then I wake up, make stuff like that on the turntables, and take it from there.”

That’s a lot of there to take it from, but DJ Qbert is no stranger to mixing the cosmic with the underground. A legendary emissary of scratch who became the international representative of turntable culture in the 1990s along with his “band” Invisibl Skratch Piklz, Q has always mixed a heavy dose of Bay Area flavor into his masterly sets — which aren’t typical DJ sets by any means, but untethered, jazz-like flights during which a set of turntables and a crossfader, manipulated lightning-fast, become their own kind of spaceship. His polyrhythmic scratch concertos summon white noise, radio interference, oceanic undertow, Looney Tunes quick cuts, vintage advertising jingles, embryonic hip-hop, Big Brother menace, and fiendish, childlike glee. Great beauty, too, especially when you think of them as pure sonic expression, floating free of time and space. Not that you can’t dance your ass off to most of it, mind you.

We were talking about his new album Extraterrestria, dropping in March on the Thud Rumble label and backed by a huge Kickstarter campaign that aims not just to fund the disc, a marketing campaign and a tour, but also typical Qbert innovations like amazing touch-sensitive digital album packaging that simulates DJ controller equipment. (More details at www.djqbert.com)

“The album is actually two albums in one, two different discs,” Qbert, looking tight in a buttondown shirt and track pants, told me. “Extraterrestria is music from another galaxy, hip-hop beats from other planets, collected by the Galactic Scratch Federation. It’s as bizarre and unique as I could make it, a collection of weird noises and different time signatures with as much scratching as possible. The second disc is called Galaxxxian, which is hip-hop from earth beamed into space: raw, primitive. It features a bunch of MCs — Kool Keith, Del Tha Funky Homosapien, Mr. Lif, Soul Khan, Bambu — doing their thing, which a lot of time, you know, means going for the sex, drugs, and hip-hop and roll. We’re not quite on the extraterrestrial level, yet.”

Other biggies like Dan the Automator, Chad Hugo of the Neptunes, cellist-trombonist Dana Leong, and rapper El-P (here a producer) also contributed. “What with the recession and everything, a lot of us have been trading with each other, so we can continue collaborating. Like I’ll do a beat for your album if you do a verse on mine. Something where the money’s phased out, a barter thing. It’s put us back in touch with what’s real,” Qbert said.

TWIST THE FORCE

As we talked on the second floor of the California Academy of Sciences, the first floor was rapidly filling up for the Academy’s weekly Nightlife party, this week a launch celebration and fundraiser for Extraterrestria — and a reunion of sorts for turntablism heads, albeit one bursting with fresh young faces. As b-boys and fly girls made their way through exotic landscapes, whale skeletons, stuffed giraffes, a butterfly-flooded rainforest dome, and aquarium displays including live stingrays, giant octopi, frisky penguins, Claude the albino alligator, and phosphorescent jellyfish, I couldn’t help but be reminded of the deliciously loopy, phantasmagorical animated movie version of Qbert’s era-defining previous album Wave Twisters, released 16 years ago.

That’s a long time between official releases, but it wasn’t like Qbert had been kidnapped by aliens. Although his live performance schedule was less-than-usual bonkers, he still made regular appearances, by himself or as part of his extended Bay Area scratch crew family. He popularized turntable techniques in a series of instructional videos and launched online educational community Qbert Skratch University, in 2009. He also went all in on the equipment tip, putting out his own brand of turntable cartridges and needles, an Invisibl Skratch Piklz-branded mixer, “and of course our own vinyl to scratch with — which is really vinyl on one side and a digital interface on the other, for use with DJ software like Traktor.”

Fifteen years has also seen the rise of social media and a more user-friendly Internet. Has that changed the way he produces beats or performs at all? “Of course it’s been great for finding new sounds to use,” Qbert said. “If I want to hear, say, a tarantula farting, I can look it up instantly and hear that. On the other hand, most of my old sets are up there now, with all their mistakes, and a lot of times I’m cringing and say in a small voice, ‘Please, please let them delete that.’ It keeps me on my toes now, knowing everything can be recorded in all its glory. But because I’ve actually been working on this album for seven years, all that’s been incorporated — it’s not like a shock. I use what I can use.

“But I try not to be trapped in the present. I often think back to the past, to cats like Sun Ra, Miles Davis, Louis Armstrong. That timeless, improvisational jazz feeling where you practice and practice, but when the time comes you’re just an instrument connecting with the god-force, channeling the sound through you, swinging through that ocean of feeling. When you’re in that zone, that’s the most wonderful thing. It’s a meditation, a spiritual thing. We’re all spirits, so we have to connect to other spirits and the most high, whatever you want to call it — God, Allah — connect to that creator source and use it because it’s yours to use. Like how some writers just flow and do that automatic writing, they’re just instruments. We’re just instruments you know, it all flows through us.”

SKRATCHING ROOTS

When Qbert, raised in SF’s Excelsior neighborhood, astonished the DJ world by winning its spun-out version of the Olympics, the DMC World Championships, not once (solo, 1991) but three more times in a row after that (as part of Rocksteady DJs with Mixmaster Mike and Apollo) it was an unparalleled triumph not just for local scratch and hip-hop community, but for Bay Area Filipino American culture as well.

http://www.youtube.com/watch?v=u2ZFsQjaOTI

As music critic and Guardian contributor Oliver Wang details meticulously in his forthcoming book Legions of Boom: Mobility, Identity and Filipino American Disc Jockeys in the San Francisco Bay Area (Duke University Press), a vibrant scene of Filipino mobile DJ crews — independent groups of teenage sound and lighting specialists hired to provide entertainment for weddings, graduations, and parties — thrived here since the 1970s. When hip-hop eclipsed disco on the request lists in the 1980s, the mobile crews defined streetwise Bay Area Filipino youth culture and provided a fertile training ground (and sometimes needed cash) for young DJ up-and-comers.

Qbert’s domination of the DJ world could be read as the apex of that scene, which faded in the 1990s with the rise of digital technology. And of course Qbert went on to create his own crew of fellow Filipino DJs: The Invisibl Skratch Piklz, with Shortkut, Apollo, Mix Master Mike, and several others. The Piklz went on to become insanely popular, establishing scratching and other turntable manipulations as a form of art and a highly marketable genre — turntablism — that changed the sound of hip-hop and dance music. Mix Master Mike went on to become, in essence, the fourth Beastie Boy; one early ISP member was A-Trak, current turntable-wielding heartthrob of the superstar EDM crowd.

In fact, the current popularity of turntable-rooted DJs like A-Trak and the burgeoning trip-hop and late ’90s revival makes the timing of Qbert’s return auspicious. “A-Trak runs a dance music scene and I think it’s great that he brings the scratching into it, he’s really unique in that field — so more power to him for turning on a different crowd to the sound. But for me it’s never really gone away, pure scratching. There’s a zillion underground cats who are genius at what they do — Quest, Deeandroid and Ceslkii, Disk, tons more. And maybe the widespread recognition isn’t there, maybe it isn’t in your face like it once was, but they’re all around. It’s like the guys who still do yo-yo tricks. They don’t know things have moved on. They keep practicing and practicing and doing incredible things, regardless of how many people are following. They’re always battling, always progressing. Never put down your yo-yo, man,” he laughs.

As for connecting to a new generation, working with (gasp!) turntables and (double gasp!) vinyl at this stage of DJ history is a deliberate artistic choice. Even with a resurgence of interest in analog techniques — a specific reaction to digital overload — does Qbert fear that scratching will be seen as merely a retro novelty?

“I think no one can deny that, whether you’re old or young, using a turntable to make a scratch sound — well, you can’t deny that it sounds really bugged out. How else are you going to make that sound unless you’re actually moving the sound with your own hand? Just to hold the sound and grab it, move it back and forth — that’s unique and fascinating to people. It’s like a sci-fi movie in real life, a sound that people have heard since maybe they were little kids, but one that also points to a future where man meets machine. It’s a real manipulation, a sound design in itself. What other instrument can do that?”

The return of Pyno Man

Steven T. Jones

February 4, 2014

LEFT OF THE DIAL As legend has it, there was a time when you couldn’t walk the streets of Berkeley without running into him. He accosted you from posters adorning bar bathroom doors; he lurked around corners, plastered to telephone poles. He was mischievous, sometimes foul-mouthed, usually up to no good, but he always meant well. He wanted you to rock out. He was Pyno Man, and he was everywhere.

“Pyno Man was basically just the dream anybody has of being great, but instead of working a regular job and having fantasies about doing crazy rockstar things, he’s actually trying it all the time and failing. So he’s out there on the street acting like a rockstar, but everyone just thinks he’s crazy,” explains John Seabury, artist, creator of Pyno Man, and bass player for the relatively short-lived but locally legendary East Bay garage-punk outfit Psycotic Pineapple, for which the wild-eyed, mohawked, anthropomorphized pineapple served as mascot. “To me, that was logical.”

A staple of the East Bay punk club scene of the late ’70s, Psycotic Pineapple held court at the Keystone in Berkeley, sometimes playing SF’s fabled Mabuhay Gardens with friend bands, like the (underrated) power-pop maestros the Rubinoos. PP songs were about youth and drugs and sex, and you could count on them for an insane live show. But something in the band’s demeanor set them apart from the prevailing punk attitudes of the time: There wasn’t much they took seriously — least of all themselves.

“We didn’t really call them punks at that time, because that just wasn’t what we would call people who played music like them. They were just outlaws in a way, because they brought this sort of pop aesthetic to punk music. They were thumbing their nose at it and wrapping their arms around it at the same time,” says John Cuniberti, a producer, mastering engineer, and longtime friend of the band who helped the guys finally re-issue Psycotic Pineapple’s sole album, Where’s the Party?, on CD in 2012 — something that led to the band playing its first live show in more than two decades, which inspired Cuniberti to make a documentary about the band in the process.

There was something determinedly fun about Psycotic Pineapple, says Cuniberti. “I was working with the Dead Kennedys at the same time [’70s], and it was political, straight-up social commentary, songs about death and war and all these things. These guys played pop songs about relationships — really well-written pop songs, the songwriting was always very compelling to me — but they were rowdy, and they did it with an ‘I don’t care if you like us or not’ kind of attitude. There was an outrageousness to it.”

The band put out its lone record 1980, packed with 11 gleefully irreverent tracks that ran just over 25 minutes altogether. In 1981, something happened that no one could have predicted: Guitar player Henricus Holtman suffered a brain aneurysm, hindering his dexterity on his right side. The band stopped playing live. While most members remained involved in the local music scene — Seabury’s art adorns posters and t-shirts for a ton of other bands — Psycotic Pineapple mostly became the stuff of Bay Area folklore. But the fans were still out there. More than 30 years after PP disbanded, about a year after the band’s official reunion show at Bottom of the Hill, the music somehow doesn’t sound dated at all. They’ll headline the Gilman this week for the first time, with Pinole’s own Bobby Joe Ebola and the Children MacNuggits (whom could be said to follow in PP’s footsteps in terms of ethos, if not sound) opening.

“I don’t think the music feels old, but I’ve always thought that,” says Seabury, whose art fills a booklet that accompanies the re-issue CD. “By the time we broke up a lot of bands were starting to imitate that kind of attitude — Camper Van Beethoven, some others. I think we would have fit right into the alternative rock scene. We were kind of like these New Wave clowns making fun of punkers&ldots;which, as far as bands we gigged with go, their fans didn’t really like it. I remember opening for 999 and the Dickies, and both of their fans just hated us. They were booing us already, so we decided to close the set with ‘We’re an American Band,’ and that’s when the bottles started flying.”

They haven’t gotten to play together too often since the official reunion — for one, keyboard player Alexi Karlinski lives in Eastern Europe for most of the year. But while he’s back in the Bay for this stint, the guys plan to record a few new songs.

Maybe don’t call it a comeback just yet, says Cuniberti. But “I think they’re worth listening to, and there’s a lot of music being made that I can’t say that about. The songwriting is so good, and it’s timely, it still sounds fresh. You can hear in this record that they really love what they’re doing.”

While we’re immersed in the warm glow of East Bay punk history: 1-2-3-4 Go! Records, the independent record store, label, and all-ages venue housed in a deceptively small couple of rooms on 40th Street in Oakland, is expanding into the recently vacated space next door. From their crowdfunding campaign:

“A few weeks ago we were told our next door neighbors would be leaving and we could take a section of their space for an expansion. The catch is that we need to take the space by February 1st or it would go to someone else. As a small business with employees to take care of and regular bills to pay we don’t tend to have a lot of extra expansion capital on hand, especially on short notice. So we come to you, the good people who have supported us all these years and ask for you to join us in bringing the store to this next level and to continue to offer the great music and art we have been in our venue space.

In order to complete this expansion we need to do the following;

Knock out the adjoining wall.

Paint the interior and exterior to match our existing space

All new lighting that will stretch the length of both spaces.

Build additional custom fixtures; record bins, shelving etc.

Purchase new product; Records, books, supplies, turntables etc.

Purchase new Mic’s, Cords and Stands for the venue.

Close the store for 7 to 14 days (oof!)

Our plan is to have our Grand Re-Opening on March 15th to coincide with our 6th anniversary. We will have a sale during the day and a private event from 7pm to 10pm with food, drinks and music for supporters who come in at the $50 and above level who RSVP.”

As of this writing they have just under a week to go and still need to raise about $7,000. Want your as-of-yet unborn kids to know what actual record stores are? You know what to do: 1234gorecords.com.

Back here on this side of the Bay, A Million Billion Dying Suns — the psych-rock project of busy guitar virtuoso Nate Mercereau, who tours with Sheila E., among others (last week he was backing Dave Chappelle at the SFJazz Center) — have embarked on a mini-residency of sorts at the Knockout, starting with a Feb. 11 show. They recently had a song featured in a GoPro commercial, accompanying Shaun White as he blasts through snow-covered hills, but the band’s had my attention for about a year now, especially since the arrival last November’s Strawberry EP, with its slow-building, expertly crafted wall of spaced-out guitar fuzz, particularly on “Strawberry Letter 23,” a cover/homage to Shuggie Otis.

“I record a lot of stuff by myself, and Shuggie Otis has been a huge inspiration in that respect,” says Mercereau, who recently moved to LA, though he finds himself back in SF “every two weeks or so” — the band’s studio is still here. “Though it was also for our friend [manager and friend to many an SF musician] Steve Brodsky, who passed away last year. He really loved that song, and it felt like a way to do something for him.”

The Knockout feels a little small for the seriously powerful five-piece, Mercereau will acknowledge, but he wanted a residency at “a place our friends can walk to, a down-home punk rock spot that’s in the neighborhood.” If all goes well, he says, AMBDS will have another few shows here shortly, regardless of his new home base. “It’s easier than you might think,” he says. “We just live on Highway 5.”

PSYCOTIC PINEAPPLE
With Rock N’ Roll Adventure Kids, Bobby Joe Ebola and the Children MacNuggits, and the Gregors
Friday, Feb. 7, 7:30pm, $10
924 Gilman Street
924 Gilman, Berkeley
www.924gilman.org

A MILLION BILLION DYING SUNS
With What Fun Life Was and Lemme Adams
Tuesday, Feb. 11, 8:30pm, $6
Knockout
3223 Mission, SF
www.theknockout.com

Gimme 5: Must-see shows this week

Steven T. Jones

February 4, 2014

The Bay Area music-related Internets was ablaze this week with the rumor that whiskey-fueled nights at the Mission’s belovedly divey Elbo Room may be numbered, thanks to everyone’s favorite new word to pronounce like it’s an epithet: Condos. The Elbo Room’s current owners and management say they’re just that — rumors — and until we hear more, we refuse to panic. A factual statement, however: If you don’t want your local music venues and endearingly gross watering holes to go the way of the dinosaurs (first victims of the Ellis Act, obviously), you should probably get out and see some live music. Now. Some options:

WED/5

Action Bronson
Action Bronson lives life large. Imposing both physically and lyrically, the Queens native and former gourmet chef draws upon his joys in life — food, drugs, and women — to construct poetically intricate and technically impressive rhymes. His mix tapes are full of love songs, both highly eloquent and frequently offensive, written about the grit or urban life and the beauty of a great meal. Lines about “pissing through your fishnets” are sprinkled among odes to “bone marrow roasted/ spread it on the rosemary bread/ lightly toasted,” all delivered with Bronson’s sure, sharp-tongued talent. At his live shows, Bronson is extremely interactive with his (extremely devoted) fans, passing back and forth joints, liquor, and jokes from the stage to the audience. With the brand new addition of Odd Future thrash punks Trash Talk to the lineup, this show is sure to be insane. (Haley Zaremba)
With Trash Talk
8pm, $25
Slim’s
333 11^th Ave, SF
www.slimspresents.com
https://www.youtube.com/watch?v=yfP7qK0khuQ

THU/6

Marcus Shelby
It’s tough to think of a harder working man in the Bay Area’s jazz scene than Marcus Shelby. The upright bassist and 15-piece band-leader is a force to be reckoned with in his own right; the people he surrounds himself with take live shows to the next level. At this special Black History Month performance, the band will be joined by Martin Luther, Kev Choice, Tiffany Austin, Valerie Trout, and Howard Wiley, with legendary, Mississipi-born jazz and blues vocalist Faye Carol in a featured role. The orchestra will draw from past compositions, including “Harriet Tubman,” “Soul of the Movement: Meditations on Dr. Martin Luther King Jr.,” and “Port Chicago,” as well as performing some of a new musical work called “Walls,” which celebrates the 50th anniversary of the Civil Rights Law.
8pm, $20
Yoshi’s SF
1330 Fillmore, SF
www.yoshis.com
https://www.youtube.com/watch?v=UrSBoArCUJ0

Oneohtrix Point Never
Picking up on the ’90s-era abstract, contemplative side of Warp Records, recent signee Oneohtrix Point Never’s R Plus Seven is thoroughly brain busting. The elements are disparate: vocals that begin without reference and depart without finishing, gamelan reminiscent rhythms seemingly performed on the Cosmic Key, and an ever-present effect best described as the stuttering sound of audio on an overburdened CPU. Partly playful, with New Age and stereotypically “world” music samples ripped off of Pirate Bay (where, to be fair, R Plus Seven gets the “plunderphonics” genre tag), the album still manages to sound wholly reverent. To what? Let me get back to you on that. (Ryan Prendiville)
With Holly Herndon (Live A/V), Marco de la Vega, DJ Will, Chad Salty
10pm-3am, $17.50-20
1015 Folsom
1015 Folsom St., SF
www.1015.com

FRI/7

Lucius
Do you ever enjoy feeling like your life is the end credits of a coming-of-age movie, wherein you loved and lost and learned and are now careening down the highway, wind in your hair, on to new adventures? No? Well then don’t go see Lucius, because that’s how this refreshingly earnest, uber professional indie-pop five-piece from Brooklyn makes us feel. Considering how big Lorde got last year, it’s almost confusing that lead vocalists Jess Wolfe and Holly Laessig, with their clear, sweet harmonies and Berklee-bred sensibility aren’t huge yet, but you get the feeling that they’re more concerned with having fun on stage than “blowing up.” Still: Catch ’em before it costs an arm and a leg.
With You Won’t
8:30pm, $16
Independent
628 Divisadero, SF
www.theindependentsf.com

SAT/8

Tony Molina

He’s perhaps still best known as a veteran of SF’s hardcore scene (fronting Caged Animal, among others), so Tony Molina surprised a few people with last October’s Six Tracks EP. Solo, he’s still loud, electric, full of restless energy — but there are also nods here to ’80s hair bands, with a sweet, angsty, hook-heavy frame that riffs off the poppiest Guided By Voices and Dinosaur Jr. songs. It’s no surprise, then, that Molina told Spin: “To me, hardcore is about being in a band, and pop’s more about writing and recording. I’m always going to want to try playing in a new hardcore band. But I also love the idea of trying to make something that gives you the feeling you get when you hear a Teenage Fanclub record.” Mission accomplished.
With Life Stinks, Violent Change, and Swiftumz
9pm, $5
Hemlock Tavern
1131 Polk, SF
www.hemlocktavern.com

Locals Only: The American Professionals

Steven T. Jones

January 28, 2014

Locals Only is our shout-out to the musicians who call the Bay Area home — a chance to spotlight an artist/band/music-maker with an upcoming show, album release, or general good news to share.To be considered, email esilvers@sfbg.com.

With all the CDs that come across my desk, the American Professionals‘ latest, We Make It Our Business, caught my attention for a rather weird reason — it looked incredibly boring. At first glance, it seemed like a software or PR company had accidentally sent me some sort of business portfolio in disc form. Upon further review (i.e., actually reading the accompanying materials and listening to the music…this is why they pay me the big bucks) I realized it was anything but. The SF-based trio makes danceable, upbeat but never overly slick power pop with a little gravel in it; the new record should please anyone who can’t afford to see the Replacements at Coachella this year (or even those who can). The band also licenses its music to a couple of shows on Nickelodeon, via a process lead singer Chuck Lindo (also of Noise Pop veterans Action Slacks) still finds mysterious. Ahead of the American Professionals’ record release this Wednesday, we checked in with Lindo to hear about his influences, the music biz, and how he gets his seafood fix.

SF Bay Guardian: How long have you been in San Francisco? How did the band form?

Chuck Lindo: Cheryl [Hendrickson, the bass player/vocalist and also Lindo’s wife] and I moved here from St. Louis in 1991 with my old band, The Nukes. We left behind the humidity, crappy wintertime produce, and a pretty impressive fan base for the possibilities and romance of this freakshow of a place. Still here, but for a brief four year stint in Los Angeles 2003-2007. We got a chance to dry our bones out and re-learn how to drive cars. We met Adam White through another band I play bass and sing with, The Real Numbers. He had just moved out here from Indianapolis and we hit it off like crazy. There’s something about those midwesterners that just feels right. I think there’s some kind of code or dog whistle in there. It’s hard to describe.

SFBG: How would you describe your sound? There are obviously a lot of power-pop influences, some post-punk stuff going on.

CL: There is a lot of power pop in there, but we do come from the “power” side of that spectrum. I’ve always had a deep desire to hear Black Sabbath playing Squeeze songs. Somebody said we sounded like Cheap Trick on the Foo Fighters’ instruments playing Smithereens’ songs. I’ll take that. My first “real” band, The Nukes, was pretty damn close to being punk really, but not quite. I could never wear the attitude comfortably, but I do like it loud, fast, and crunchy. Cheryl and I have a funny mixture of influences. We both love heavy rock stuff, but she’s an Elton John freak and grew up on the Monkees and all those musicals like “Oliver!” and “Bugsy Malone.” I got into things like The Descendents and Dead Kennedys and The Clash in my teens and early twenties , but I have a gooey soft spot for early ’70s singer-songwriter stuff, and I’m cuckoo for Cocoa Puffs about Stevie Wonder.

SFBG: How did the “business” aesthetic come about? Where does the band name come from?

CL: There’s an endless trough of funny stuff in the the faceless corporate ogre world. A lot of the aesthetic comes from observing my sister Nancy’s work. She’s a good old-fashioned family doctor in Wisconsin, and I’ve witnessed the evolution of how big pharma reaches physicians and now the general public itself. At first, I think they couldn’t say exactly what some of these drugs were intended to do, so they used all sorts of evocative imagery to produce the warm-fuzzy take-away. So much of that stuff was just pure creative genius, it’s impossible to not be impressed, even if it is sort of insidious. I just think it’s funny to overlay that ethos on a little three-piece rock band.

The name “The American Professionals” was coined by our friend David Reidy. He was a charter member of the band when I first started writing songs back in the late 1990s. He’s Irish and was working on getting his US citizenship at the time, and he was thoroughly enamored with the gumption, optimism, and resilience of the American people. We were backing an amazing singer-songwriter, Pamela Martin, and at a live show, right before soundcheck, he pointed back at his guitar rig and said something like “Chuck, you see that? That’s the American professional setup right there.” He had his spare guitar, rack tuner, slide, combo amp with road case, pedal board, extra strings, a white towel, the whole deal. It became this sort of rallying ethic: “How do we do it? Think ‘what would The American Professional do?’, and that’s what you do.” So, of course it became the name of the band. That’s what “The American Professional” would do. David’s a partner at Reed Smith now. Not even the least bit surprising.

SFBG: How did you start licensing your music to TV shows? Does it change your writing to be thinking about the possibility of a show wanting to use a song? Are there bands whose model you’re following here? I’m thinking about They Might Be Giants, who’ve done stuff for The Daily Show and Malcolm in the Middle but not, say, beer commercials.

CL: I get to approach that from two angles. We’ve licensed our existing music to several indie films and network TV shows, but I also founded a boutique music house (we call it a “music cottage” sometimes) Jingle This! with my longtime friend John Schulte. We make bespoke music for all sorts of stuff. I love hearing a well-thought out placement, especially when it’s a semi-obscure song or a deep album track, but I do tire of people attaching really famous, popular songs to products. I totally understand the power of it, but it makes me sad to hear people relying on the spectrum of emotions that accompanies a particular song and then sort of jump its train. I think it’s much more challenging, and if it works, rewarding, to make an original piece.

They Might Be Giants are a perfect example of doing it right, yes. They’re so insanely creative and versatile, but there’s always a thread of their sound in there, however intangible that may be. I like the way The 88’s music gets used. They do the theme for Community and they’ve had a ton of stuff licensed, all to great effect, I think.I still don’t know how we initially got approached by Nickelodeon to use our stuff in Zoey:101 and Drake and Josh. It was kind of like manna. Very mysterious. Very, very nice, but still mysterious. So that said, I don’t feel like it serves anybody to go chasing after licensing opportunities by attempting to make music that you think will be in demand. I feel like if you keep your head down, dig in, and make something that truly is a reflection of your own take on things, even if it’s done in character sometimes, it’s going to resonate with somebody, somewhere, and that will make it attractive for total, mind numbing, wealth-creating exploitation.

SFBG: Do you think there’s such a thing as “selling out” anymore, as a musician?

CL: I can’t conjure up what would constitute “selling out” these days, especially for somebody just hitting the scene now. I guess if a band got sponsored by Eli Lily and started writing songs cryptically about the benefits of Cymbalta and passing it off as a real band, that might be a little screwed up. Actually, that kind of sounds like fun to me. Don’t steal that idea.

I do, however, get a little sick of hearing The Who’s songs in every version of CSI, but hey, that’s their business.

SFBG: What’s next for the American Professionals? Touring?

CL: Yes. We like to take little quick and dirty regional excursions. We’re hitting the midwest in the spring, and then up and down our lovely coast after that.

SFBG: What other SF/Bay Area bands do you admire?

CL: There’s an insane amount of world class music here right now. Even just in the circle we run in we have The Real Numbers, The Corner Laughers, The Bye Bye Blackbirds, Agony Aunts, and my band crush, Trevor Childs and the Beholders. Those fuckwads are so ridiculously good, and they keep getting together, breaking up, blah blah blah. It’s maddening. It’s hard not to get puffed up with pride that we have Chuck Prophet walking among us here. I got all fanboy on him and clammed up when I was standing next to him at the Great American a few months ago. I had just been on a Temple Beautiful jag and was in awe.

SFBG: What’s the #1 San Francisco meal you couldn’t live without?

CL: Oh, that’s a toughie. I used to be in food and bev so we ate out a lot. I have so many food memories seared into my brain, it’s hard to pick even ten of those. We live right up the street from Swan Oyster Depot. If I had to nail it down to one experience, it’d have to be just plopping down at that little corner of heaven and strapping on the feed bag. Cheryl doesn’t like any seafood at all (nothing! zip!) so any time we have out of town guests and she’s at work, I grab them by the collar and drag them down there.
The American Professionals
With Felsen and the Tender Few
Wed/29, 8:30pm, $10
Bottom of the Hill
www.bottomofthehill.com

This Week’s Picks: January 15 – 21, 2014

Michael Redmond

January 14, 2014

Word spears to pierce the stoniest of hearts

THURSDAY 1/16

“Ravishing, Radical, and Restored: The Films of Jack Smith”

Legendary underground filmmaker Jack Smith gets the Technicolor-red carpet treatment in this series co-presented with the San Francisco Cinematheque, which screens sparkling 16mm restorations of his films, plus two Smith-centric documentaries. First up is his best-known work, Flaming Creatures (1962-63), a film so “obscene” and “orgiastic” it was, of course, banned upon release. Upcoming programs include Jack Smith and the Destruction of Atlantis (2006), Mary Jordan’s excellent doc, and unfinished extravaganza Normal Love (1963-65), which just may convert you to the church of Maria Montez — Smith icon and star of 1944’s lavishly camp Cobra Woman. (Cheryl Eddy)

Through Jan. 30

Flaming Creatures tonight, 7:30pm, $8-$10

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

Reflecting China in a California Vision

Tired of hearing the same old techno-dystopian nay-saying about San Francisco’s growth? Get thee to our dear city’s urban planning think tank, SPUR, for some solutions-oriented and original thoughts about how we might skim some brilliant urbanization ideas for another booming place — China. For anyone who’s keeping score on high-speed rails: China, more than 6,000 miles of active tracks; California, zero, but maybe 520 miles in 2029 if we’re lucky? With our state’s population projected to grow about 30 percent by 2050, it’s time we start taking notes. (Rebecca Huval)

6pm, $10 for non-members/free for members

SPUR Urban Center

654 Mission, SF

www.spur.org

Fresh and Freaky Fiction

George Saunders sits on a make-believe throne as the king of the short story of our time. His writing often takes us into a futuristic, dystopian Midwestern America, where completely average and unusual events converge in dry, hilarious, and sometimes disturbing ways. Karen Russell dances ahead of the Pied Piper to the lyrical composition of her own prose, which flows and sings and rushes like water. Her writing lures readers into her wild imagination, be it the marshes of the deep South or the thorny forest behind Madame Bovary’s backyard. Together, these authors create dynamite, discussing their out-of-bounds genres, surreal realities, and literary inspirations. (Kaylen Baker)

7pm, $25-45

JCCSF Kanbar Hall

3200 California, SF

www.jccsf.org

FRIDAY 1/17

YBCA presents Wayne McGregor

I can’t think of a choreographer, besides Mark Morris, who so easily moves between Ballet — SFB will reprise his Borderlands on Feb. 18 which is influenced by Josef Albers’ color studies—and Modern Dance—he has his own Random Dance Company—as Wayne McGregor. His work is conceptually so far out that your brain begins to vibrate; his dancers are out of this world and yet so very human. It’s a fascinating approach to what the human body—the complete dancer—can do. For its second SF appearance, Random will present the West Coast premiere of Far, based on McGregor’s reading of a historical analysis of the Enlightenment. No need to get out your history books, just stay tuned. (Rita Felciano)

Jan.17/18, 7:30pm, $30-60

Jan. 19, 2pm

Lam Research Theater, YBCA

700 Howard, SF

www.sfperformances.org

Bad News

Replicant Presents’ electronic and experimental noise reaches into Oakland again with a dose of “weird core,” industrial and straight-up sounds out of a horror-film soundtrack. BR-OOKS will have the home-court advantage and push the boundaries of any genre, then the more palpable Names will bring a dancier, more rhythmic approach, while maintaining roots in the realm of noise. But the true industrial strength will be heard when Bad News takes over. This commanding SF/LA guitar and synth duo, composed of Sarah Bernat and Alex Lukas, should whip you into shape with sounds of precision and perfection. But before they totally slay you, you’ll reflect on any angst past or present and why it feels so right. Look for their new material in 2014! (Andre Torrez)

With Names and BR-OOKS

9pm, $7

The Night Light

311 Broadway, Oakland

www.thenightlightoakland.com

Big Trouble in Little China

Once upon a time, a big-mouthed big-rig driver named Jack Burton (Kurt Russell) barreled into San Francisco’s Chinatown on the Pork Chop Express — and blundered into a strange world controlled by Lo Pan (James Hong): crusty old businessman by day, evil magician by night. And thus begins Big Trouble in Little China, John Carpenter’s wacky, Western-comedy-martial arts extravaganza, which was way too high-concept (or just too insane) for audiences in 1986 but achieved immortality thanks to the wonders of home video and late-night cable. Fittingly, it has a three-night stand in the Clay’s midnight series, so you’ll have plenty of time to prep your favorite quotes. “The check is in the mail!” (Eddy)

Through Sun/19, midnight, $10

Clay Theatre

2261 Fillmore, SF

www.landmarktheatres.com

SATURDAY 1/18

Edwardian Ball

Legendary illustrator Edward Gorey created a delightfully ominous world full of creepy curiosities out of pen and ink, inspiring and entertaining generations of fans. Celebrating and honoring his work, the 14th Annual Edwardian Ball & World’s Faire offers revelers the chance to travel back in time. Partygoers dress in fantastic Edwardian period fashion, gothic attire, and steam punk costumes that look like they could have stepped from the pages of Gorey’s books. Expect a wide variety of live entertainment, including music, dancing, games, circus performances, and even a stage show re-creation of one of his stories at this truly one-of-a-kind event. (Sean McCourt)

8pm, $40-$95

The Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

www.edwardianball.com

An Evening with Big Tree, Idea the Artist, and The Parmesans

They may hail from Brooklyn, but Big Tree members have taken root in the Bay Area if the latest single off of their EP My, How You’ve Grown is anything to go by. With the song recorded at Tiny Telephone and the music video shot and edited by local media group Three Thirds Visual, “Like a Fool” is the product of an inspiring setting, as well as the inspiring emotion of frustration. The band is releasing the track for the low price of free, and what better way to say thank you than to join them for a night of some of the best indie music the Bay Area has to offer? With Idea the Artist’s tremulous, heartfelt melodies, and The Parmesans’ harmonious, bluesy folk on strings, listeners are in for an evening of moving tunes. (Kirstie Haruta)

8pm, $7-10

Brick & Mortar Music Hall

1710 Mission, SF

www.brickandmortarmusic.com

SUNDAY 1/19

“In the Name of Love”

Music played a key role in Dr. Martin Luther King Jr.’s teachings, and today, amid his legacy of nonviolent protest and charismatic speechmaking, songs like “We Shall Overcome” remain an important part of his civil rights message. Appropriately, much joyful noise will ensue at Living Jazz’s 12th annual tribute to the humanitarian. Talents on tonight’s bill: “rebel soul” singer-songwriter Martin Luther McCoy; the acclaimed Marcus Shelby Jazz Orchestra with guest vocalist Faye Carol; the 55-member Oakland Interfaith Gospel Choir; the 300-member Oakland Children’s Community Choir; and the Oaktown Jazz Workshops. (Eddy)

7pm, $8-$23

Oakland Scottish Rite Center

1547 Lakeside, Oakl.

www.mlktribute.com

Queer/Trans* Night

Celebrate being queer in the New Year with Gilman’s first Queer/Trans* Night of 2014, when MC Per Sia hosts a night of hard-hitting punk from some of the coolest queers in Bay Area music. The show features masked trio Moira Scar, San Cha, DADDIE$ PLA$TIC, Oakland punks Didisdead, post-punk duo Bestfriend Grrlfriend, and Alice Cunt all the way from LA. Show goers can also look forward to DJ Johnny Rose and a video booth by Lovewarz. This is a safe and sober show, so leave the booze and drugs at home, as well as any racism, misogyny, transphobia, or homophobia. (Kirstie Haruta)

5pm, $5 + $2 membership

924 Gilman St.

924 Gilman, Berkeley

www.924gilman.org

MONDAY 1/20

Winter Fancy Food Show

Three Twins sea salt caramel ice cream. Fava Life hummus. Bacon Hot Sauce. Camembert from Caseificio Dell’Alta Langa. Moon Dance biscotti. Amella caramels. Drooling yet? We’ve only just begun — these food items represent just a handful of the 13,000 producers coming from all over the globe to display their edible wares at the 39th annual Winter Fancy Food Show. This year, 360 food artisans represent California, showing off everything from luscious micro-greens to rainbow-colored, homemade kombucha. Whether you’re a home cook or a Michelin-starred-restaurant buyer, this market is great for stocking up on strange, rare, and quality food items, discovering in-state artisans, and creating new ideas for your next cooking adventure. (Kaylen Baker)

10am-5pm Sun-Mon, 10am-4pm Tues, free entrance

Moscone Center 747 Howard, SF www.specialtyfood.com Bringing the Noise for Dr. Martin Luther King Jr. If you want to feel the power of King’s legacy on MLK Day, look no further than the fierce spoken word from literary organization Youth Speaks. These teens spin rhymes that will make you bristle at the sorry state of the world and might even inspire you to start a protest. They’ll also have you wanting to smack your younger self around for playing video games instead of forging word spears sharp enough to pierce the stoniest of hearts. See the future of activism for yourself at this annual celebration. (Rebecca Huval) 7-9pm, $5 youth/$10 adults Nourse Theater 275 Hayes, SF www.youthspeaks.org TUESDAY 1/21 Armistead Maupin “Mary Ann Singleton was twenty-five years old when she saw San Francisco for the first time.” So begins the famed Tales of the City series by Armistead Maupin, originally a serialized fiction project for The San Francisco Chronicle, depicting the impressions and day-to-day discoveries of a fresh young newcomer to San Francisco in the ’70s. Amassing fans through its humor, quick chapters (the perfect Muni bus-stop read), and on-point depictions of diverse, vibrant characters in three decades and eight novels, Maupin has finally drawn the story to a close, in the recently published The Days of Anna Madrigal. Find out how 92-year-old transgender landlady Anna Madrigal has been keeping busy by coming down to Book Passage, and get a copy signed by Maupin himself. (Kaylen Baker) 12:30pm, free Book Passage 1 Ferry Building, SF www.bookpassage.com

Gimme 5: Must-see shows this week

Steven T. Jones

January 13, 2014

Happy Monday, kids! If you’re feeling the comedown from a solid week of shows celebrating the Rickshaw Stop’s 10th anniversary (read our feature on it here), quit yer whining. Here are a handful of rad upcoming shows to get you out of the house. It’s winter, you’re pale, you need to.

Tues/14
Black Cobra Vipers

Black Cobra Vipers are an SF-based art-rock trio in which two of three members were jazz majors (bassist Julian Borrego and drummer Rob Mills), a fact which announces itself both through the band’s technical abilities, and through its (mostly) controlled chaos. There are slowed-down funk numbers here; there are nods to ’70s psyche masters; there’s hard-driving, danceable rock and roll, with singer/guitarist Gregory DeMartino’s howls at the helm. Weird enough to keep you guessing, but just poppy enough to get their riffs stuck in your head, the guys are a quarter of the way through a monthlong residency at the Chapel, so you have three more chances to become a fan.
With French Cassettes, The Netherfriends
The Chapel
777 Valencia, SF
www.thechapelsf.com

http://www.youtube.com/watch?v=3ZTGhgtaW2U

Wed/15

Connan Mockasin
Listening to Connan Mockasin’s “Forever Dolphin Love” (in particular the post-climax/comedown attuned “Rework” by Erol Alkan) for the first time gave me a strange sense of primed nostalgia: it wasn’t that I’d heard the song a hundred times in the past, but the instant recognition that I would be listening to it for the inevitable future. A couple of years later I certainly have, along with the album it came off of and Mockasin’s latest platter of psych pop, Caramel, a Moebius strip of a concept album (based around the concept of what an album entitled “Caramel” would sound like.) But the New Zealand weirdo musician/Ariel Pink doppelganger is only now popping up on a US tour, seemingly having been on an extended European engagement supporting Charlotte Gainsbourg following his underrated guitar work on her Stage Whisper album. (Ryan Prendiville)
With Disappearing People, Faux Canada
9pm, $10-12
Bottom of the Hill
1233 17th St, SF
www.bottomofthehill.com

Thurs/16

Parquet Courts
Though the band may reside in NYC, the lyric “there’s billionaire buses on my unlit street” should hit close enough to home (if not right on the nose) to remind that Brooklyn isn’t that far away. Full of riffs both frenetically punk and spaciously melodic, Parquet Courts’s Light Up Gold is one of last year’s best. A deceptively effortless mix of slacked out rock songs, it’s a witty blend, with thankfully enough cleverness to know when to be dumb (while doing the inevitable references to Messrs. Reed, Richman, and Malkmus justice.) “Stoned and Starving” has got all the necessary hooks to deliver on a subject that needs no further explanation, but it’s “N. Dakota,” a probably unnecessary but totally enjoyable state-wide diss (with lines like “in Manitoba they call it boring / at night we hum to Canada snoring”) that’s still on replay. (Ryan Prendiville)
With White Fence (co-headliner), CCR Headcleaner
8pm, $16
Great American Music Hall
859 O’Farrell, SF
www.slimspresents.com

http://www.youtube.com/watch?v=iWAdh4YIpd8

Fri/17

Bad News
Replicant Presents’ electronic and experimental noise reaches into Oakland again with a dose of “weird core,” industrial and straight-up sounds out of a horror-film soundtrack. BR-OOKS will have the home-court advantage and push the boundaries of any genre, then the more palpable Names will bring a dancier, more rhythmic approach, while maintaining roots in the realm of noise. But the true industrial strength will be heard when Bad News takes over. This commanding SF/LA guitar and synth duo, comprised of Sarah Bernat and Alex Lukas, should whip you into shape with sounds of precision and perfection. But before they totally slay you, you’ll reflect on any angst past or present and why it feels so right. Look for their new material in 2014! (Andre Torrez)
With Names and BR-OOKS
9pm, $7
The Night Light
311 Broadway, Oakland
www.thenightlightoakland.com

Sun/19

Queer/Trans* Night
Celebrate being queer in the New Year with Gilman’s first Queer/Trans* Night of 2014, when MC Per Sia hosts a night of hard-hitting punk from some of the coolest queers in Bay Area music. The show features masked trio Moira Scar, San Cha, DADDIE$ PLA$TIC, Oakland punks Didisdead, post-punk duo Bestfriend Grrlfriend, and Alice Cunt all the way from LA. Show goers can also look forward to DJ Johnny Rose and a video booth by Lovewarz. This is a safe and sober show, so leave the booze and drugs at home, as well as any racism, misogyny, transphobia, or homophobia. (Kirstie Haruta)
5pm, $5 + $2 membership
924 Gilman St.
924 Gilman, Berkeley
www.924gilman.org

Homeless for the holidays

Erica Hanna

December 24, 2013

news@sfbg.com

As temperatures dropped in recent weeks, those who care for San Francisco’s homeless snapped into action.

Shelters stopped requiring reservations, making any beds still open after 8pm available to anyone who needed them. General Hospital’s Emergency Room treated the annual uptick of hypothermia cases, working closely with the city’s Homeless Outreach Team. Seven people in the Bay Area died as a result of cold weather in the last month — mercifully, none in San Francisco.

“Just one homeless person passing from being cold is way too many,” Carol Domino, program director at Mother Brown’s Drop-In Center, told the Guardian.

When the cold hit, Mother Brown’s staff could be found scouting encampments near its location in Bayview. Besides a respite from the weather, it offers bathrooms, showers, access to case management services, and other resources, as well as two hot meals a day in its dining room. But there’s one thing it can’t offer: a warm bed.

But that may change. A proposal for a 100-bed homeless shelter next door to Mother Brown’s gained political footing this year, despite controversy and a divided neighborhood.

SHELTER IN BAYVIEW

Behind the shelter effort is Gwendolyn Westbrook, director of the United Council of Human Services. Westbrook says the idea didn’t come from her, but from Barbara J. “Mother” Brown, the local legend who served hot meals out of the back of a Cadillac Seville before founding Bayview Hope Homeless Resource Center and Mother Brown’s Dining Room in 2001.

“People have come in here needing a place to sleep for as long as it’s been open,” Westbrook said. Brown’s solution was to set out folding chairs where people could sleep. Nowadays, 80 people rest in the chairs on a typical night.

Before Brown died in 2005, Westbrook remembers, she made it clear to her successor how much she wanted shelter beds where clients could lie down.

Of her clients, Westbrook says, “it’s a lot of people who are from this area, grew up in this area. Some people never leave this district. Their homes might have gone into foreclosure, or somebody died that set them back and triggered something mentally, and now they’re on the street. So this is a safe haven for them. This is a place where they can come and just relax.”

Even as the cost of living soars and the neighborhood changes, Westbrook says, her clients hold on.

“Most of our clients won’t leave the Bayview,” she said. “Some of them have told me, ‘well if I die, just cremate me and put my ashes up on Third Street. Spread them on Third Street.’ That’s how much they love this neighborhood.”

Human Services Agency (HSA) director Trent Rhorer witnessed the chair arrangement during an August 2011 visit to Mother Brown’s. He called the sight “simply not acceptable from a view of humanity.”

When Rhorer learned that a warehouse next door had recently been put up for rent, the shelter idea was born. The HSA applied for a forgivable loan from the state’s Emergency Housing and Assistance Program (EHAP). In January 2012, the project was approved for $978,000.

On Nov. 19, the Board of Supervisors voted to accept the grant, and on Dec. 10, it assigned the next two steps: city adoption of the lease for the property and creation of a special use district. The rezoning process could take six months to a year at the Planning Commission, and if the shelter ultimately goes through, construction is not likely to begin before 2015.

Until then, shelter options in Bayview-Hunters Point will stay slim. There is no single adult shelter with beds in the neighborhood. The closest thing is Providence Baptist Church at 1601 McKinnon. There, staff lay out mats on the gym floor each night.

“In Bayview-Hunters Point, that’s it. Providence is the shelter,” said Nick Kimura, shelter client advocate with the San Francisco Coalition on Homelessness.

In Mayor Ed Lee’s 2013 State of the City address, he said he was “proud to support” efforts to expand services for the homeless in Bayview—specifically “Sup. Cohen’s effort, aided by a federal grant — to build a new 100-bed shelter”

The only problem: that was the first Cohen said she had heard of it.

“My first concern was how the proposal came about,” Cohen told us. “I wasn’t made aware of it until it was announced.”

SHIFTING POLITICS

After Lee’s announcement, there were two community meetings, one in March at the police station and one in April at the YMCA. The idea gained support from the Southeast Community Facility Commission and the San Francisco branch of the NAACP.

A wave of opposition also grew, including the neighborhood organization Bayview Residents Improving Their Environment (BRITE), and a handful of businesses led by David Eisenberg, president of Micro-Tracers, a food testing company next door to Mother Brown’s.

On July 16, Cohen herself came out against the shelter. Cohen said her decision came after “meeting with residents about their concerns and fears.”

Neighborhood residents are a shifting demographic. The African American population has declined by 10 percent since Mother Brown’s was founded in 2001. The Asian population increased slightly in the same time period, and the white population has more than doubled.

Homelessness in the neighborhood has also increased. According to the city’s biannual homeless count, the number hovered around 400 until January 2011, when the number jumped to 1,151. It had 1,278 homeless people in 2013.

After Cohen declared her opposition, the meetings went back behind closed doors. In September, David Curto, director of contracts at the HSA, said that “[city homeless czar] Bevan Dufty and other folks in the Mayor’s Office are trying to revive it.” On Oct. 9, Lee met with a group of neighbors. And on Oct 30, the shelter proposal made its public reappearance.

Sups. John Avalos, Eric Mar, and Mark Farrell of the city’s Budget and Finance Committee heard the issue. They were tasked with voting on whether to accept the EHAP loan, a question that would be put to the Board of Supervisors if it passed.

Out in the gallery, the two sides sat divided down the aisle like squabbling families at a wedding. House left were the shelter’s supporters, a mix of residents and community leaders and staff of Mother Brown’s and their clients, some with their shoes pulled on only half way over feet swollen from sleeping in their chairs. On the right, BRITE members, an ad hoc group called Protect MLK Pool and Playground, Eisenberg, and other community members in opposition.

The shelter became a vehicle for a debate about larger changes in Bayview. BRITE member David Armagnac saw no need for shelter beds in the neighborhood that he has “seen transform and emerge into an ever-increasing vibrant area.” Bayview business owner Carla Eagleton wanted economic and quality of life impact reports on the proposed shelters “as it relates to the city’s only remaining blue collar industrial area, MLK Park, surrounding neighborhoods and the Third Street corridor, which the city of San Francisco has spent billions of dollars to revitalize.”

Meanwhile, resident Sandy Thompson testified that “for you guys to move in and make yourself comfortable,” many of her neighbors have been displaced. “Make the homeless comfortable, just like you guys are making yourself comfortable, because they need a place too,” Thompson said.

A client of Mother Brown’s talked about being homeless in the neighborhood her family had been in for generations. “My grandparents are the ones that migrated from the south, that came up here to work on those shipyards,” she said. “Think about that parent who is working at McDonalds, or working a low, minimum-wage job. They can’t afford the new housing that’s coming in, that’s being developed. Yes, we love it. We love to look at the property that we cannot live in.”

Both sides made passionate pleas, but shelter supporters won over the Budget and Finance Committee.

“It’s very rare that I get moved from hearing public comment. I hear a lot of public comment, and sometimes I feel like my heart is hardened to everything. But not today,” Avalos said.

Farrell agreed: “It’s rare that you get touched here, because we do hear so much public comment all the time. And the personal stories are pretty incredible.”

INSIDE MOTHER BROWN’S

Inside Mother Brown’s cool blue walls, there’s no shortage of incredible personal stories. Lonnel McCall took a break from helping to cook dinner at Mother Brown’s kitchen to describe what the place has meant for him.

“I didn’t have nothing, not even ambitions. I felt I was a loser. I had no self-esteem,” he remembers. “I was smoking crack under the bridge and all that stuff.”

He now has a job as a hotel chef and lives in a HOPE House home. He rolled up his sleeves to reveal cuts and burns, the battle scars of a chef.

“These are my cook wounds,” he said, “instead of dope wounds.”

But for a period, McCall slept in the chairs. “It’s hard. Your ankles swell up,” he said.

Wade Verdun also slept in the chairs and went through HOPE House.

“I’ve got my own place now, got my own car. I’m no longer on drugs. And I’ve got a two-year-old son,” Verdun said. “This place saved my life, to tell you the truth.” Smiling, he patted his belly. “I’ve never been this fat. Trust me.”

If the shelter does get built, Westbrook hopes, it can lead to more happy endings like McCall’s and Verdun’s.There are already too many sad stories.

On Dec. 19, candles lit the dusk on the steps of City Hall in a vigil for the homeless people who have died in San Francisco. The vigil was organized by Night Ministry, a crisis intervention and counseling service that operates in the Tenderloin from 10pm to 4am. Reverend Lyle Beckman, director of Night Ministry, said that he got the names of 22 deceased homeless people from the Department of Public Health, but knew it was low. During the vigil, attendants came forward with the names of more dead, until the number reached 100.

Beckman said the crisis line gets busy this time of year. “We always see more conversations around holiday time,” he said. “When people have memories of it being a family time and then they’re not connected with their family in some way, it can bring isolation and loneliness.”

In a city of chosen families, Mother Brown’s “children” have found a way to heal that kind of loneliness. Perhaps McCall put it best when he described the first time he came back to his native Bayview and found Mother Brown’s after decades of isolation.

“When I came in through the door — this is God’s truth — I felt like I was at home,” he said. Soon, people like McCall may find a bed, too, when they walk through that door. Maybe for Christmas 2015.

Real tech worker says SF homeless “grotesque,” “degenerates,” “trash”

Erica Hanna

December 11, 2013

224

Real tech worker says SF homeless “grotesque,” “degenerates,” “trash”

Just a day after a fake tech worker blew up the Internet with class hatred, an actual tech worker spewed hatred for real — and it’s worse than anything that our political thespian had to say.

As first reported by tech blog Valleywag, AngelHack founder and CEO Greg Gopman posted this gem on his Facebook yesterday:

Just got back to SF. I’ve traveled around the world and I gotta say there is nothing more grotesque than walking down market st in San Francisco. Why the heart of our city has to be overrun by crazy, homeless, drug dealers, dropouts, and trash I have no clue. Each time I pass it my love affair with SF dies a little.

He has since deleted the post and apologized, but it’s hard to come back from the rest of what he wrote:

The difference is in other cosmopolitan cities, the lower part of society keep to themselves. They sell small trinkets, beg coyly, stay quiet, and generally stay out of your way. They realize it’s a privilege to be in the civilized part of town and view themselves as guests. And that’s okay.

In downtown SF the degenerates gather like hyenas, spit, urinate, taunt you, sell drugs, get rowdy, they act like they own the center of the city. Like it’s their place of leisure… In actuality it’s the business district for one of the wealthiest cities in the USA. It a disgrace. I don’t even feel safe walking down the sidewalk without planning out my walking path.

You can preach compassion, equality, and be the biggest lover in the world, but there is an area of town for degenerates and an area of town for the working class. There is nothing positive gained from having them so close to us. It’s a burden and a liability having them so close to us. Believe me, if they added the smallest iota of value I’d consider thinking different, but the crazy toothless lady who kicks everyone that gets too close to her cardboard box hasn’t made anyone’s life better in a while.

Emphasis added by Valleywag. The Internet machine didn’t take long in shaming him. Cue social media shaming in 3, 2, 1….

“Sorry” doesn’t erase a believe that it is a “privilege to be in a civilized part of town.” @Gopmania: I’m sorry. https://t.co/aMqfJ2LYNU

— Jason Evan Mihalko (@jaypsyd) December 11, 2013

Read the comments to see his awful asshole friends support his original position. RT @Gopmania: I’m sorry. https://t.co/qYk8nMG8F3“

— Darren Mckeeman (@tjcrowley) December 11, 2013

The CEO of @AngelHackLive , Greg Gopman, is emblematic of a “disruptive” cancer upon empathy in San Francisco (& their account will RT this)

— Kill Tim Faust (@crulge) December 11, 2013

Today’s Insensitive Startup Douchebag: http://t.co/0qMXIJJBcl (And his immediate apology: http://t.co/EUmHNlnCUb ) Maybe we *are* terrible.

— Laurie Voss (@seldo) December 11, 2013

Greg Gopman, you are the pompous fuck bag of the day! http://t.co/8n8sbNaegE

— Dale Sande (@anotheruiguy) December 11, 2013

ouch > “Greg Gopman, and his company, AngelHack, offer no apparent utility or value to our planet.” http://t.co/VyWU6irdp5

— Jon Price (@jonprice) December 11, 2013

Still a massive douche https://t.co/wh8UMs3fkB

— Enda Crowley (@endac) December 11, 2013

I can think of one way Angelhack CEO Greg Gopman could help solve SF’s “human trash” problem. Move. (Not to Seattle.) http://t.co/z01JNunLAc

— Matt May (@mattmay) December 11, 2013

Greg Gopman is the very worst kind of person.

— George Bailey Smith (@GeorgeBaileyDog) December 11, 2013

The plot thickens, though, as it appears AngelHack has a Twitter bot that scours the Internet for anyone writing about the company, and instantly retweets them.

It’s already retweeted many of the hate tweets towards Gopman. His own company is throwing fuel in the flames of his Internet hate.

This is his apology, written just this morning:

Last night, I made inappropriate comments about San Francisco and its less fortunate citizens on Market st. I’m really sorry for my comments. I trivialized the plight of those struggling to get by and I shouldn’t have. I hope this thread can help start an open discussion on what changes we can make to fix these serious problems. Again, I am deeply sorry.

It’s this kind of class hatred from tech workers that made performances like that of union organizer Max Bell Alper yesterday totally believable, leading to one important question: Can you hack empathy?

Music Listings: December 4-10, 2013

Jesse Hawthorne Ficks

December 4, 2013

WEDNESDAY 4
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. Odd Owl, James Leste, Andrew Blair & Graham Patzner, Ghost Parade, 9 p.m., $8.
El Rio: 3158 Mission, San Francisco. Alabaster & The Original Bastards, Devon McClive & Sons, Tall Fires, 8 p.m., $10.
Hemlock Tavern: 1131 Polk, San Francisco. Sea Knight, Moon Honey, Build Them to Break, 8:30 p.m., $6.
Milk Bar: 1840 Haight, San Francisco. Vandella, Lee Gallagher & the Hallelujah, Fritz Montana, 8:30 p.m., $5.
Rickshaw Stop: 155 Fell, San Francisco. Crash Kings, The Struts, King Washington, 8 p.m., $10.
DANCE
The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Bondage A Go Go,” w/ DJs Damon, Tomas Diablo, & guests, 9:30 p.m., $5-$10.
Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance night with Terravita, 9 p.m.
The EndUp: 401 Sixth St., San Francisco. “Tainted Techno Trance,” 10 p.m.
F8: 1192 Folsom St., San Francisco. “Housepitality,” 9 p.m., $5-$10.
Harlot: 46 Minna, San Francisco. “Qoöl,” 5 p.m.
Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10 p.m.
Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9 p.m., free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10 p.m., free.
Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9 p.m., $3.
HIP-HOP
Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9 p.m., $5.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Kapali Long, 7 p.m.
Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7 p.m., free.
Cafe Du Nord: 2170 Market, San Francisco. The Gundersen Family Holiday Special featuring Le Wrens, 8 p.m., $10-$12.
The Chapel: 777 Valencia St., San Francisco. Brendan Canning, Holly Miranda, 8 p.m., $15.
Club Deluxe: 1511 Haight, San Francisco. Happy Hour Bluegrass, 6:30 p.m., free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, Every other Wednesday, 9:30 p.m., free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Jamie Kent, Cyndi Harvell, 8 p.m., $10.
Plough & Stars: 116 Clement, San Francisco. Jeanie & Chuck’s Bluegrass Country Jam, First Wednesday of every month, 9 p.m., free.
JAZZ
Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
Revolution Cafe: 3248 22nd St., San Francisco. Michael Parsons Trio, Every other Wednesday, 8:30 p.m., free/donation.
Savanna Jazz Club: 2937 Mission, San Francisco. “Cat’s Corner,” 9 p.m., $10.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30 p.m., $5.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. The Wee Trio, 8 p.m., $17-$21.
Zingari: 501 Post, San Francisco. Anne O’Brien, First Wednesday of every month, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. Timba Dance Party, w/ DJ WaltDigz, 10 p.m., $5.
Boom Boom Room: 1601 Fillmore, San Francisco. Cha-Ching, First Wednesday of every month, 9 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10.
Pachamama Restaurant: 1630 Powell, San Francisco. Aguabella, 8 p.m., $10-$12.
Pier 23 Cafe: Pier 23, San Francisco. David Correa & Cascada, 6 p.m., free.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Chris Cain, 7:30 & 9:30 p.m., $20.
SOUL
Lexington Club: 3464 19th St., San Francisco. “Secret Lovers,” w/ DJs Ponyboy, Lil MC, Katie Duck, and Durt, First Wednesday of every month, 9 p.m., free.

THURSDAY 5
ROCK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Guy Fox, Bonnie & The Bang Bang, Growwler, Benefit show for Public Arts Workshop., 9 p.m., $7-$10.
The Chapel: 777 Valencia St., San Francisco. Escondido, Young Moon, 8 p.m., $12-$15.
S.F. Eagle: 398 12th St., San Francisco. The Intelligence, Dylan Shearer, 9 p.m.
Hemlock Tavern: 1131 Polk, San Francisco. The New Mummies, Books on Fate, Kristian Rodriguez, 8:30 p.m., $5.
The Independent: 628 Divisadero, San Francisco. The Long Winters, Sean Nelson, 8 p.m., $15.
The Knockout: 3223 Mission, San Francisco. Cash Pony, Surplus 1980, BreakArts, 9 p.m.
Mezzanine: 444 Jessie, San Francisco. “Club NSSN,” w/ Portugal. The Man, Chvrches, NoNoNo, The Colourist, Aaron Axelsen, Miles the DJ, 7:30 p.m., $30.
Milk Bar: 1840 Haight, San Francisco. Li Xi, Little Sister, Momotaro, Mashi Mashi, 8:30 p.m., $5.
Red Devil Lounge: 1695 Polk, San Francisco. Dishwalla, Oceanroyal, 9 p.m., $15-$20.
Rickshaw Stop: 155 Fell, San Francisco. Penguin Prison (DJ set), Double Duchess, The Frail, DJ Nick Williams, 9 p.m., $15.
Thee Parkside: 1600 17th St., San Francisco. Rock Bottom, Chrome Eagle, Sweet Chariot, Cop Out, 9 p.m., $5.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. “A Light in the Attic,” w/ Kaminanda, Kalya Scintilla, Birds of Paradies, Alia, Kitty-D, VNDMG, Balance, Boats, more, 10 p.m., $10 advance.
Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10 p.m., free.
Audio Discotech: 316 11th St., San Francisco. “Phonic,” w/ Designer Drugs, Non Sequitur, 9:30 p.m., $10 advance.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9 p.m., $5-$7.
Cafe Du Nord: 2170 Market, San Francisco. Hi Fashion, Bright Light Bright Light, 8 p.m., $10-$12.
The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9 p.m., $5.
Cat Club: 1190 Folsom, San Francisco. “Throwback Thursdays,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9 p.m., $6 (free before 9:30 p.m.).
The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10 p.m., $5.
Club X: 715 Harrison, San Francisco. “The Crib,” 9:30 p.m., $10, 18+.
Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and live guests, 9:30 p.m., $5-$8.
Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10 p.m., $10.
Lookout: 3600 16th St., San Francisco. “Fluff: A Queer Night of House,” w/ DJs Sissyslap & Dr. Sleep, First Thursday of every month, 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9 p.m., $5 after 10 p.m.
Pork Store Cafe: 3122 16th St., San Francisco. “Back & Forth,” w/ Ryury & Mr. Rise, 10 p.m., free.
Public Works: 161 Erie, San Francisco. “Black Magic Disko,” w/ Trickski, Shiny Objects, Trev Campbell, Hi-Tem (in the OddJob Loft), 9 p.m., $10-$15.
Q Bar: 456 Castro, San Francisco. “Throwback Thursday,” w/ DJ Jay-R, 9 p.m., free.
Raven: 1151 Folsom St., San Francisco. “1999,” w/ VJ Mark Andrus, 8 p.m., free.
The Tunnel Top: 601 Bush, San Francisco. “Tunneltop,” DJs Avalon and Derek ease you into the weekend with a cool and relaxed selection of tunes spun on vinyl, 10 p.m., free.
Underground SF: 424 Haight, San Francisco. “Bubble,” 10 p.m., free.
Vessel: 85 Campton, San Francisco. “Base,” w/ Tone of Arc, Ean Golden, 10 p.m., $5-$10.
HIP-HOP
Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9 p.m., free.
The EndUp: 401 Sixth St., San Francisco. “Cypher,” w/ resident DJ Big Von, 10 p.m., $5-$10.
John Colins: 138 Minna, San Francisco. “The Premiere,” video hip-hop party with VDJ T.D. Camp, First Thursday of every month, 9 p.m., $5.
Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10 p.m., free.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. KRS-One, Duckwrth, 10:30 p.m., $25.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. Misisipi Mike & The Midnight Gamblers, Mipso, 9 p.m., $7.
Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7 p.m.
Hotel Utah: 500 Fourth St., San Francisco. Highway Hymns, Willy Tea Taylor, Jason Eady, 9 p.m., $10.
The Lost Church: 65 Capp St., San Francisco. Mr. Andrew, J.J. Schultz, 8 p.m., $10.
Musicians Union Local 6: 116 Ninth St., San Francisco. San Francisco Singer-Songwriters’ Workshop, hosted by Robin Yukiko, First Thursday of every month, 6:30 p.m., $25 (free for AFM members).
Plough & Stars: 116 Clement, San Francisco. The Shannon Céilí Band, First Thursday of every month, 9 p.m., free.
Slim’s: 333 11th St., San Francisco. Gaby Moreno, David Garza, Cazadero, Irene Diaz, 8 p.m., $15.
Swedish American Hall: 2174 Market, San Francisco. Kaki King, Jerome Holloway, 8 p.m., $15-$17.
JAZZ
Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30 p.m., free.
Bottle Cap: 1707 Powell, San Francisco. The North Beach Sound with Ned Boynton, Jordan Samuels, and Tom Vickers, 7 p.m., free.
Cigar Bar & Grill: 850 Montgomery, San Francisco. Jimmy Grant Quartet, First Thursday of every month, 8 p.m., free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, First and Third Thursday of every month, 7:30 p.m., free.
Pier 23 Cafe: Pier 23, San Francisco. Dick Fregulia Band, 7 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with Eddy Ramirez, 7:30 p.m., $5.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30 p.m., $10.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. NaJe, in Yoshi’s lounge, First Thursday of every month, 6:30 p.m., free; Aga Zaryan: “Remembering Nina & Abbey,” 8 p.m., $19-$25.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10 p.m., $5.
Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8 p.m., free.
Red Poppy Art House: 2698 Folsom, San Francisco. The Nightingale Trio, Tre Sisters, 7:30 p.m., $10-$15.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8 p.m.
Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9 p.m., $10-$15.
REGGAE
Neck of the Woods: 406 Clement St., San Francisco. Natural Vibrations, Native Elements, on the upstairs stage, 9 p.m., $15-$20.
Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9 p.m., free.
BLUES
50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30 p.m., free.
Biscuits and Blues: 401 Mason, San Francisco. Greg Nagy, 8 & 10 p.m., $18.
The Saloon: 1232 Grant, San Francisco. Chris Ford, First Thursday of every month, 4 p.m.
COUNTRY
The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7 p.m., free.
EXPERIMENTAL
The Luggage Store: 1007 Market, San Francisco. Cartoon Justice, The Pascucci-Oppenheim Duo, Cloud Shepherd, 8 p.m., $6-$10.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. West Grand Boulevard, 9:30 p.m., $5.

FRIDAY 6
ROCK
50 Mason Social House: 50 Mason, San Francisco. Turn Me On Dead, Staring@Stars, Mary Jones’ Lights, Ultra Violent Rays, Waiting Room, 8 p.m.
Amoeba Music: 1855 Haight, San Francisco. Toad the Wet Sprocket, 6 p.m., free.
The Chapel: 777 Valencia St., San Francisco. Patterson Hood, 9 p.m., $22-$25.
DNA Lounge: 375 11th St., San Francisco. Everything Goes Cold, Sorrow Church, Roadside Memorial, DJ Decay, Crashfaster, 9 p.m., $8-$13.
El Rio: 3158 Mission, San Francisco. Friday Live: Boats!, DJ Emotions, 10 p.m., free.
Hemlock Tavern: 1131 Polk, San Francisco. Steel Cranes, Oceanography, Turtle Rising, 9:30 p.m., $6.
Milk Bar: 1840 Haight, San Francisco. High Cliffs, The Wave Commission, Little Smoke, 9 p.m., $8.
Slim’s: 333 11th St., San Francisco. The Aquabats, Kepi Ghoulie, Mike Park, 8 p.m., $20.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. The Tubes, 10:30 p.m., $29-$33.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. Oliver, Classixx, Shy Girls, Lando Kal, Richie Panic, J-Boogie, DeeJay Theory, Justin Milla, Shawn Steele, 10 p.m., $17.50 advance.
Amnesia: 853 Valencia, San Francisco. “Brass Tax,” w/ resident DJs JoeJoe, Ding Dong, Ernie Trevino, Mace, First Friday of every month, 10 p.m., $5.
Audio Discotech: 316 11th St., San Francisco. Nitin, Silky, J. Remy, 9:30 p.m., $10 advance.
Cafe Flore: 2298 Market, San Francisco. “Kinky Beats,” w/ DJ Sergio, 10 p.m., free.
The Cafe: 2369 Market, San Francisco. “Boy Bar,” w/ DJ Matt Consola, 9 p.m., $5.
Cat Club: 1190 Folsom, San Francisco. “Strangelove: Germany Calling,” w/ DJs Tomas Diablo, Joe Radio, Xander, and Unit 77, 9:30 p.m., $7 ($3 before 10 p.m.).
The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10 p.m.
The EndUp: 401 Sixth St., San Francisco. “Fever,” 10 p.m., free before midnight.
The Grand Nightclub: 520 4th St., San Francisco. “We Rock Fridays,” 9:30 p.m.
Infusion Lounge: 124 Ellis, San Francisco. “Escape Fridays,” 10 p.m., $20.
Lookout: 3600 16th St., San Francisco. “HYSL,” 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Dirty Rotten Dance Party,” w/ Kap10 Harris, Shane King, guests, First Friday of every month, 9 p.m., $5.
Manor West: 750 Harrison, San Francisco. “Fortune Fridays,” 10 p.m., free before 11 p.m. with RSVP.
MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9 p.m.
Mighty: 119 Utah, San Francisco. “Throwback,” Mighty 10-year anniversary party with DJ Rooz, Tyrel Williams, Miguel Solari, Jayvi Velasco, Lance DeSardi, DJ Gunz, Ren the Vinyl Archaeologist, 9 p.m., free before midnight with RSVP.
Monarch: 101 6th St., San Francisco. “As You Like It,” w/ George FitzGerald, J.Phlip, Galen, Bells & Whistles, 9 p.m., $15-$20 advance.
OMG: 43 6th St., San Francisco. “Release,” 9 p.m., free before 11 p.m.
Powerhouse: 1347 Folsom, San Francisco. “Nasty,” First Friday of every month, 10 p.m., $5.
Public Works: 161 Erie, San Francisco. “Haçeteria,” w/ Cherushii, Glenn Jackson, Ben Deploy, Jason P, Smac, Tristes Tropiques, and Nihar, 9 p.m., $5-$10.
Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9 p.m., $3.
Rickshaw Stop: 155 Fell, San Francisco. Trapeze X, Featuring music by DJs Delachaux, The Klown, and The Speakeasy Syndicate, plus burlesque by Vienna La Rouge, Kara La Fleur, Fou Fou Ha, and Ze SexBombe Danzeurs., 9 p.m., $10-$15.
Underground SF: 424 Haight, San Francisco. “Bionic,” 10 p.m., $5.
Wish: 1539 Folsom, San Francisco. “Bridge the Gap,” w/ resident DJ Don Kainoa, Fridays, 6-10 p.m., free; “Depth,” w/ resident DJs Sharon Buck & Greg Yuen, First Friday of every month, 10 p.m., free.
HIP-HOP
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Nate the Great, The Kid Rated R, Supreme, plus DJs West Kraven, Beatknoxx, and Okeefe, 9 p.m., $10.
Elbo Room: 647 Valencia, San Francisco. “Swagger Like Us,” w/ Cakes Da Killa, Queens D. Light, plus DJs Lady Ryan, DavO, and Boyfriend, 10 p.m., $8.
EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9 p.m.
F8: 1192 Folsom St., San Francisco. “Some Type of Way,” w/ MicahTron, Nanosaur, Sean G, Kool Karlo, Roost Uno, 9 p.m., $9.99 (free before 11 p.m.).
Nickies: 466 Haight, San Francisco. “First Fridays,” w/ The Whooligan & Dion Decibels, First Friday of every month, 11 p.m., free.
Public Works: 161 Erie, San Francisco. Big K.R.I.T. (DJ set), DJ D-Sharp, 9 p.m., $10 advance.
Slate Bar: 2925 16th St., San Francisco. “Remix,” w/ Lando 1, 9:30 p.m.
ACOUSTIC
Atlas Cafe: 3049 20th St., San Francisco. Zach Hing, 7:30 p.m., free.
Dolores Park Cafe: 501 Dolores, San Francisco. StringQuake, 7:30 p.m.
Hotel Utah: 500 Fourth St., San Francisco. Danielia Cotton, RonDre., Venetia Pristavec, Johnny Marnell, 9 p.m., $8-$10.
Plough & Stars: 116 Clement, San Francisco. Avery County, 9 p.m.
The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10 a.m., $5.
St. Cyprian’s Episcopal Church: 2097 Turk, San Francisco. First Fridays Song Circle, First Friday of every month, 7 p.m., $5-$10; Alasdair Fraser & Natalie Haas, 8 p.m., $19-$22.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. An Acoustic Evening with Al Stewart, 8 p.m., $24-$28.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Johnny Smith, 8 p.m., free.
Bird & Beckett: 653 Chenery, San Francisco. Don Prell’s SeaBop Ensemble, First Friday of every month, 5:30 p.m., free.
Cafe Royale: 800 Post, San Francisco. Wrapped in Plastic, First Friday of every month, 9 p.m.
Center for New Music: 55 Taylor St., San Francisco. Festivus 2013: Night One, w/ Rent Romus’ Life’s Blood, Adam Shulman & Katy Stephan, The Klaxon Mutant Allstars, Patrick Cress’ Telepathy, 7 p.m., $8-$10.
Cliff House: 1090 Point Lobos, San Francisco. John Kalleen Group, 7 p.m.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
SFJAZZ Center: 205 Franklin St., San Francisco. Giulia Valle, 7 & 8:30 p.m., $15-$20.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9 p.m., $10.
Zingari: 501 Post, San Francisco. Joyce Grant, 8 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30 p.m., $15 (free entry to patio).
Croatian American Cultural Center: 60 Onondaga, San Francisco. “Beyond the Borders,” w/ Galbeno Band, 8 p.m., $15.
Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15 p.m., $15-$18.
Red Poppy Art House: 2698 Folsom, San Francisco. Camille Mai Trio, Blind Willies, 7:30 p.m., $10-$20.
REGGAE
Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30 p.m., free.
Showdown: 10 Sixth St., San Francisco. “How the West Was Won,” w/ Nowtime Sound, First Friday of every month, 10 p.m., free.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Greg Nagy, 8 & 10 p.m., $20.
Tupelo: 1337 Green St., San Francisco. Jinx Jones & The KingTones, First Friday of every month, 9 p.m.
COUNTRY
Thee Parkside: 1600 17th St., San Francisco. Eddie Spaghetti, The Gravel Spreaders, Benjamin Brown, 9 p.m., $10.
FUNK
Amnesia: 853 Valencia, San Francisco. Swoop Unit, First Friday of every month, 6 p.m., $3-$5.
The Independent: 628 Divisadero, San Francisco. Dragon Smoke (featuring Stanton Moore, Ivan Neville, Eric Lindell, and Robert Mercurio), Mike Dillon, DJ Matt Haze, 9 p.m., $35.
Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, & Tom Thump, 10 p.m., $5.
SOUL
Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10 p.m., free.
The Knockout: 3223 Mission, San Francisco. “Oldies Night,” w/ DJs Primo, Daniel, Lost Cat, friends, First Friday of every month, 10 p.m., $5.

SATURDAY 7
ROCK
50 Mason Social House: 50 Mason, San Francisco. Chronic Town, Gang of Forty, 9:30 p.m., $6.
Bender’s: 806 S. Van Ness, San Francisco. Swiftumz, Violent Change, Tony Molina, 10 p.m., $5.
Boom Boom Room: 1601 Fillmore, San Francisco. Roem & The Revival, Kingsborough, Steven Roth Band, 9:30 p.m., $10.
Bottom of the Hill: 1233 17th St., San Francisco. The Flatliners, Living with Lions, Culture Abuse, 9:30 p.m., $12-$15.
Cafe Du Nord: 2170 Market, San Francisco. The Hundred Days, Dangermaker, Bang Bang, Aaron Cuadra, 9 p.m., $8-$10.
El Rio: 3158 Mission, San Francisco. Vulturegeist, Secrets of the Sky, Broken Cities, 9 p.m., $6-$10.
Hemlock Tavern: 1131 Polk, San Francisco. Primitive Hearts, Big Tits, Adam Widener, The Shanghais, 9 p.m., $6.
Hotel Utah: 500 Fourth St., San Francisco. That Ghost, Golden Drugs, Dante Elephante, Crime Novels, 9 p.m., $8.
The Lost Church: 65 Capp St., San Francisco. Castles in Spain, The Unfortunate Bastard, Stella Royale, 8 p.m., $10.
Make-Out Room: 3225 22nd St., San Francisco. Benefit for Alan Forbes with Harderships, Hot Lunch, The Freeks, Ethan Miller, DJ Jello Biafra, 5 p.m., $10.
Milk Bar: 1840 Haight, San Francisco. The Bad Jones, Super Adventure Club, The Stages of Sleep, 9 p.m., $10.
Neck of the Woods: 406 Clement St., San Francisco. People Get Ready, The Trims, Conquistador, on the downstairs stage, 9 p.m., $12.
Slim’s: 333 11th St., San Francisco. The Mowgli’s, Blondfire, Hunter Hunted, 8 p.m., $16.
DANCE
Audio Discotech: 316 11th St., San Francisco. Bixel Boys, Tropicool, 9:30 p.m., $10 advance.
Cafe Flore: 2298 Market, San Francisco. “Bistrotheque,” w/ DJ Ken Vulsion, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Leisure,” w/ DJs Aaron, Omar, & Jetset James, First Saturday of every month, 10 p.m., $7.
DNA Lounge: 375 11th St., San Francisco. Bootie S.F.: Hubba Hubba Revue Holiday Show, 9 p.m., $10-$15.
The EndUp: 401 Sixth St., San Francisco. “Play: 1-Year Anniversary Party,” w/ Danny Howells & Nikita, 10 p.m., $15-$20.
Harlot: 46 Minna, San Francisco. Lauren Lane, Bones, Troy Kurtz, Shae B, Burn Unit, 9 p.m., $10.
Infusion Lounge: 124 Ellis, San Francisco. “Volume,” First Saturday of every month, 10 p.m., $10-$20.
The Knockout: 3223 Mission, San Francisco. “Debaser,” w/ resident DJs EmDee, Jamie Jams, and Stab Master Arson, First Saturday of every month, 10 p.m., $5 (free before 11 p.m. if wearing flannel).
Lookout: 3600 16th St., San Francisco. “Bounce!,” 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “The Prince & Michael Experience,” w/ DJs Dave Paul & Jeff Harris, First Saturday of every month, 9 p.m., $5.
Mezzanine: 444 Jessie, San Francisco. “Wonder-Full S.F. X,” w/ DJ Spinna, Proof, Hakobo, King Most, 9 p.m., $25-$35.
Mighty: 119 Utah, San Francisco. Mighty 10-Year Anniversary, w/ 2manydjs, Eug, 9 p.m., $25 advance.
Monarch: 101 6th St., San Francisco. “Lights Down Low,” w/ Deniz Kurtel, Pictureplane, Tyrel Williams, Richie Panic, Marco de la Vega, 10 p.m., $15-$20.
Public Works: 161 Erie, San Francisco. Distrikt: Holidaze – The Koktail Edition, With DJ Kramer, John Early, and more., 9 p.m., $10-$15.
Q Bar: 456 Castro, San Francisco. “Homo Erectus,” w/ DJs MyKill & Dcnstrct, First Saturday of every month, 9 p.m., $5.
Ruby Skye: 420 Mason, San Francisco. Project 46, Carl Kennedy, 9 p.m., $20 advance.
The Stud: 399 Ninth St., San Francisco. “Go Bang!: Celebrating Five Years of Atomic Dancefloor Disco Action,” w/ DJs Ken Vulsion, Nicky B, Steve Fabus, and Sergio Fedasz, 9 p.m., $7 (free before 10 p.m.).
Temple: 540 Howard, San Francisco. D:Fuse, Tall Sasha, Vodka Soda, Ks Thant, Self Destrukt, Mr. Kitt, Jai Unda, Babymuah, 10 p.m., $20.
Underground SF: 424 Haight, San Francisco. “Push the Feeling,” w/ residents Yr Skull & Epicsauce DJs, First Saturday of every month, 9 p.m.
Vessel: 85 Campton, San Francisco. “Swank,” w/ Pheeko Dubfunk, DJ Nile, Lorentzo, 10 p.m., $10-$30.
HIP-HOP
John Colins: 138 Minna, San Francisco. “N.E.W.: Never Ending Weekend,” w/ DJ Jerry Ross, First Saturday of every month, 9 p.m., free before 11 p.m.
Slate Bar: 2925 16th St., San Francisco. “Touchy Feely,” w/ The Wild N Krazy Kids, First Saturday of every month, 10 p.m., $5 (free before 11 p.m.).
ACOUSTIC
Amoeba Music: 1855 Haight, San Francisco. Lissie, 3 p.m., free.
Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco & Meredith Axelrod, Saturdays, 4-6 p.m., free.
Bazaar Cafe: 5927 California, San Francisco. Jamie Purnell, 7 p.m.
Great Star Theater: 630 Jackson, San Francisco. One Man Band Extravaganza, w/ Jordan B. Wilson, 1 Man Banjo, Shovelman, The Slow Poisoner, Cello Joe, 8 p.m., $5.
The Independent: 628 Divisadero, San Francisco. Lissie, Kopecky Family Band, 9 p.m., $18-$20.
Plough & Stars: 116 Clement, San Francisco. “Americana Jukebox,” w/ The Naked Bootleggers, Kemo Sabe, 9 p.m., $6-$10.
Revolution Cafe: 3248 22nd St., San Francisco. Seth Augustus, First Saturday of every month, 9 p.m., free/donation.
The Riptide: 3639 Taraval, San Francisco. The Low Rollers, 9:30 p.m., free.
Swedish American Hall: 2174 Market, San Francisco. Pomplamoose, Steve Poltz, Griffin House, 8 p.m., $20-$25.
JAZZ
Amnesia: 853 Valencia, San Francisco. Broken Shadows Family Band, 6 p.m.
Center for New Music: 55 Taylor St., San Francisco. Festivus 2013: Night Two, w/ John Shiurba’s 5×5, Lisa Mezzacappa’s Bait & Switch, Noah Phillips, Michael Coleman’s Enjoyer, 7 p.m., $8-$10.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
SFJAZZ Center: 205 Franklin St., San Francisco. Giulia Valle, 7 & 8:30 p.m., $15-$20.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9 p.m.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Mike Stern Band featuring Randy Brecker, Anthony Jackson, and Keith Carlock, 8 & 10 p.m., $22-$28.
Zingari: 501 Post, San Francisco. Lisa Lindsley, 8 p.m., free.
INTERNATIONAL
1015 Folsom: 1015 Folsom St., San Francisco. “Pura,” 9 p.m., $20.
Amnesia: 853 Valencia, San Francisco. Fanfare Zambaleta, Broken Shadows Family Band, 9 p.m.
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5.
Old First Presbyterian Church: 1751 Sacramento, San Francisco. Veretski Pass, 8 p.m., $14-$17.
Pachamama Restaurant: 1630 Powell, San Francisco. Peña Eddy Navia & Pachamama Band, 8 p.m., free.
Roccapulco Supper Club: 3140 Mission, San Francisco. Jowell & Randy, 8 p.m., $40 advance.
Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30 p.m.
REGGAE
Red Devil Lounge: 1695 Polk, San Francisco. One Drop, Midnight Raid, Dewey & The Peoples, 9 p.m., $10.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Karen Lovely, 7:30 & 10 p.m., $22.
AMERICANA
Plough & Stars: 116 Clement, San Francisco. “Americana Jukebox,” First Saturday of every month, 9 p.m., $6-$10.
FREE
Pier 23 Cafe: Pier 23, San Francisco. Danilo y Universal, 8 p.m., free.
SOUL
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Kendra Morris, Binky Griptite, Jordan & The Ritual, DJ heyLove, 9 p.m., $12-$15.
El Rio: 3158 Mission, San Francisco. “Hard French,” w/ DJs Carnita & Brown Amy, First Saturday of every month, 2 p.m., $7.
Elbo Room: 647 Valencia, San Francisco. “Saturday Night Soul Party,” w/ DJs Lucky, Phengren Oswald, & Paul Paul, First Saturday of every month, 10 p.m., $10 ($5 in formal attire).

SUNDAY 8
ROCK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Rio Rio, Coo Coo Birds, Mission Bells, Koruscant Weekend, Jared Cohen & The Future Proof, 7 p.m., $10.
El Rio: 3158 Mission, San Francisco. Benefit for San Francisco Community Land Trust with Future Twin, Annie Girl & The Flight, Baby Alpaca, 8 p.m., $10-$15 suggested donation.
Thee Parkside: 1600 17th St., San Francisco. My Jerusalem, Know Secrets, High Water, 8 p.m., $10.
DANCE
The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9 p.m., free.
The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8 p.m.
Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ King I-Vier, DJ Sep, Maneesh the Twister, 9 p.m., $6 (free before 9:30 p.m.).
The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.; “Sunday Sessions,” 8 p.m.; “The Rhythm Room,” Second Sunday of every month, 8 p.m.
F8: 1192 Folsom St., San Francisco. “Stamina Sundays,” w/ DJs Lukeino, Jamal, and guests, 10 p.m., free.
The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10 p.m., free.
Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8 p.m., $2.
MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10 p.m.
Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9 p.m., $5 (free before 11 p.m.).
The Parlor: 2801 Leavenworth, San Francisco. DJ Marc deVasconcelos, 10 p.m., free.
Q Bar: 456 Castro, San Francisco. “Gigante,” 8 p.m., free.
The Stud: 399 Ninth St., San Francisco. “No Parking on the Dancefloor,” w/ resident DJs Dutchboy & Gehno Aviance, 11 p.m., $5.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30 p.m., free.
ACOUSTIC
Cafe Du Nord: 2170 Market, San Francisco. Ed Kowalczyk, Callaghan, 8 p.m., $30-$35.
Hotel Utah: 500 Fourth St., San Francisco. Rust & Whiskey, Pirate Radio, The Tough Brothers, 8 p.m., $6.
The Lucky Horseshoe: 453 Cortland, San Francisco. Sunday Bluegrass Jam, 4 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Spike’s Mic Night,” Sundays, 4-8 p.m., free.
Make-Out Room: 3225 22nd St., San Francisco. Carolyn Mark, Peter Case with Deep Ellum, Happy Family Singers, 7:30 p.m.
Neck of the Woods: 406 Clement St., San Francisco. “iPlay,” open mic with featured weekly artists, 6:30 p.m., free.
Plough & Stars: 116 Clement, San Francisco. Dave Cory & Friends, 9 p.m.
St. Luke’s Episcopal Church: 1755 Clay, San Francisco. “Sunday Night Mic,” w/ Roem Baur, 5 p.m., free.
JAZZ
Chez Hanny: 1300 Silver, San Francisco. Noel Jewkes Quintet featuring Steve Heckman, 4 p.m., $20 suggested donation.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10 p.m., free.
Martuni’s: 4 Valencia, San Francisco. Madame Jo Trio, second Sunday of every month, 4-6 p.m., free.
Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4 p.m., free/donation.
The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30 p.m., free.
SFJAZZ Center: 205 Franklin St., San Francisco. SFJAZZ High School All-Stars Orchestra & Combo, 2 p.m., $5-$20.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Mike Stern Band featuring Randy Brecker, Anthony Jackson, and Keith Carlock, 7 & 9 p.m., $20-$25.
Zingari: 501 Post, San Francisco. Brenda Reed, 7:30 p.m., free.
INTERNATIONAL
Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($18-$25 with dance lessons).
Balancoire: 2565 Mission St., San Francisco. “Tardeadas Tropicales,” 3 p.m.
Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30 p.m., free.
El Rio: 3158 Mission, San Francisco. “Salsa Sundays,” Second and Fourth Sunday of every month, 3 p.m., $8-$10.
New Dehli Restaurant: 160 Ellis St., San Francisco. Bollywood Dance Party, Benefit for the Tenderloin After-School Program with DJ Amar, Dholrhythms dance troupe, Indian food buffet, and more., 6-9 p.m., $50 suggested donation.
Pachamama Restaurant: 1630 Powell, San Francisco. Georges Lammam Ensemble, 8 p.m.
Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30 p.m.
REGGAE
The Independent: 628 Divisadero, San Francisco. Black Uhuru, Mike Pinto, Revival Sound System, 9 p.m., $25.
BLUES
Revolution Cafe: 3248 22nd St., San Francisco. HowellDevine, 8:30 p.m., free/donation.
The Saloon: 1232 Grant, San Francisco. Blues Power, 4 p.m.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8 p.m., free.
Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9 p.m.
COUNTRY
The Riptide: 3639 Taraval, San Francisco. Joe Goldmark & The Seducers, Second Sunday of every month, 7:30 p.m., free.
EXPERIMENTAL
Musicians Union Local 6: 116 Ninth St., San Francisco. Daniel Pearce/Teddy Rankin-Parker Duo, Lasqo/Adams/Bennett, 7:30 p.m., $8-$10.
SOUL
Delirium Cocktails: 3139 16th St., San Francisco. “Heart & Soul,” w/ DJ Lovely Lesage, 10 p.m., free.
Rickshaw Stop: 155 Fell, San Francisco. Gavin Turek, Midtown Social, DJ Carnita, 8 p.m., $10-$12.

MONDAY 9
ROCK
The Chapel: 777 Valencia St., San Francisco. Basia Bulat, Haunted Summer, 9 p.m., $13-$15.
Elbo Room: 647 Valencia, San Francisco. Capsula, City of Women, 9 p.m., $8.
The Independent: 628 Divisadero, San Francisco. American Authors, The Royal Concept, Misterwives, 8 p.m., $13-$15.
The Knockout: 3223 Mission, San Francisco. Wooden Indian Burial Ground, 9 p.m., $5.
DANCE
DNA Lounge: 375 11th St., San Francisco. “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30 p.m., $3-$5.
Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9 p.m., free.
Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10 p.m., free.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. The Pick Bluegrass Jam, Second Monday of every month, 6 p.m., free; Toshio Hirano, Second Monday of every month, 9 p.m., free.
Cafe Du Nord: 2170 Market, San Francisco. Hayden, DonCat, 8 p.m., $15.
The Chieftain: 198 Fifth St., San Francisco. The Wrenboys, 7 p.m., free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30 p.m., free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Open mic with Brendan Getzell, 8 p.m., free.
The Lost Church: 65 Capp St., San Francisco. The Royal Oui, Big Eagle, 8 p.m., $10.
Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7 p.m., free.
The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4 p.m.
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7 p.m., free.
Pier 23 Cafe: Pier 23, San Francisco. Terry Timberlake, 6 p.m., free.
SFJAZZ Center: 205 Franklin St., San Francisco. Monday Night Band Showcase with Adam Theis, 7:30 p.m., free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8 p.m.
The Union Room at Biscuits and Blues: 401 Mason, San Francisco. The Session: A Monday Night Jazz Series, pro jazz jam with Mike Olmos, 7:30 p.m., $12.
Zingari: 501 Post, San Francisco. Kitt Weagant, 7:30 p.m., free.
REGGAE
Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10 p.m., free.
BLUES
The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30 p.m.
SOUL
Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8 p.m., free.

TUESDAY 10
ROCK
Hemlock Tavern: 1131 Polk, San Francisco. 3 Leafs, American Cream, 8:30 p.m., $5.
Hotel Utah: 500 Fourth St., San Francisco. Va Va Blume, Watch for Rocks, Worth, 8 p.m., $8.
The Knockout: 3223 Mission, San Francisco. Tender Buttons, Scraper, Silver Shadows, DJ Grody Cody, 9:30 p.m., $7.
DANCE
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10 p.m., $2.
Harlot: 46 Minna, San Francisco. “Tutu Tuesday,” w/ resident DJ Atish, Second Tuesday of every month, 9 p.m., $7 ($2 in a tutu before 11 p.m.).
Monarch: 101 6th St., San Francisco. “Soundpieces,” 10 p.m., free-$10.
Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9 p.m., $3.
Underground SF: 424 Haight, San Francisco. “Shelter,” 10 p.m., free.
Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8 p.m., free.
HIP-HOP
Brick & Mortar Music Hall: 1710 Mission, San Francisco. “The Show: Holiday Edition,” w/ Smoovie Baby, Show Banga, Troy, Symba, Deltrice, Lyrical Tone, Tonka Boy Dre, more, 8:30 p.m., $10-$15.
Double Dutch: 3192 16th St., San Francisco. “Takin’ It Back Tuesdays,” w/ DJs Mr. Murdock & Roman Nunez, Second Tuesday of every month, 10 p.m., free.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Kate Kilbane, 7 p.m. continues through Dec. 31.
Cafe Du Nord: 2170 Market, San Francisco. Erin McKeown & Her Anti-Holiday Spectacular, 9 p.m., $18-$20.
The Chapel: 777 Valencia St., San Francisco. Aiofe O’Donovan, Evie Ladin, 8 p.m., $12-$15.
The Independent: 628 Divisadero, San Francisco. The Lone Bellow, Ivan & Alyosha, 8 p.m., sold out.
Plough & Stars: 116 Clement, San Francisco. Seisiún with Barry O’Connell & Vinnie Cronin, 9 p.m.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7 p.m.
Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7 p.m.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m.
Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free.
Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9 p.m., $10-$12; “Tuesday Night Jump,” w/ Johnny Boyd, Stompy Jones, Victor & Penny, 9 p.m., $15.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Tommy Igoe Big Band, 8 p.m., $22.
Zingari: 501 Post, San Francisco. Amanda King, 7:30 p.m., free.
INTERNATIONAL
Cafe Cocomo: 650 Indiana, San Francisco. “Descarga S.F.,” w/ DJs Hong & Good Sho, 8 p.m., $12.
The Cosmo Bar & Lounge: 440 Broadway, San Francisco. “Conga Tuesdays,” 8 p.m., $7-$10.
F8: 1192 Folsom St., San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9 p.m., $5 (free before 9:30 p.m.).
REGGAE
Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10 p.m.
FUNK
Madrone Art Bar: 500 Divisadero, San Francisco. “Boogaloo Tuesday,” w/ Oscar Myers & Steppin’, 9:30 p.m., free.
SOUL
Boom Boom Room: 1601 Fillmore, San Francisco. Soul Mechanix, 9:30 p.m., free.
Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free. 2

Suspending judgment

Michael Redmond

December 3, 2013

joe@sfbg.com

The Guardian is publishing only the first names of minors and their relatives named in this story, to protect their privacy.

In San Francisco public schools students can be sent home for talking back to a teacher, wearing a hat indoors, or sporting sagging pants. These infractions sound like the daily life of a kid, but the state calls them “willful defiance,” a category of suspensions that are nebulous to define at best.

Like the old saying about pornography, teachers say they know it when they see it, but students and parents alike are now calling foul on the practice.

The suspensions are so abundant in the San Francisco Unified School District that a movement has risen up against it. Sending kids home not only is an ineffective punishment, opponents say, it also can lead youth into the criminal justice system.

Now San Francisco Board of Education Commissioner Matt Haney is proposing a resolution that would ban willful defiance suspensions in San Francisco schools altogether.

“There will still be situations where we need to send a student home, but willful defiance will not be one of those reasons,” he told the Guardian. “Change is hard, complicated, and messy. But we can no longer deal with discipline or interactions with our students in that sort of way.”

He plans to introduce the resolution at the Dec. 10 Board of Education meeting, and if it passes, he said full implementation may take until the next school year.

There’s a fight to ban willful defiance suspensions statewide as well, but so far it’s been stymied. Just last month, Gov. Jerry Brown vetoed Assembly Bill 420, a bill mirroring aspects of Haney’s proposal. Those advocating for such a ban say it’s an issue of racial justice.

San Francisco’s African American and Latino students together suffer 80 percent of willful defiance suspensions, according to SFUSD data. The nonprofit student group Coleman Advocates for Children and Youth decried this statistic as an injustice, supporting the ban.

The San Francisco Board of Education took tentative steps to reduce suspensions as a whole in 2010, voting to introduce a new disciplinary system called Restorative Practices district wide. It’s complex, but basically asks students to talk things out in what are called “restorative circles” that include everyone involved in an incident, like a fight.

It’s also about changing the culture around discipline. It encourages teachers and students to establish a rapport, turning around the way some schools have practiced authority for decades.

At the time, there was hope. Fast forward three years, and that hope has dwindled.

Early evidence shows that Restorative Practices work better than suspensions, and prevent behavioral problems down the road, too. But out of SFUSD’s more than 100 schools, less than half of them started to implement the new reform.

Few schools have fully integrated the change, officials told us. Haney’s resolution addresses this with a mandate: SFUSD must implement Restorative Practices throughout the San Francisco school district.

The program is important, proponents say, because the majority of the 55,000 students a year moving through San Francisco schools still face school discipline that can set them way back in school and later may lead to incarceration. And suspensions can be levied for the smallest of infractions.

Cupcakes and justice

Xochitl is a 15-year-old SFUSD sophomore with long brown hair. She watches the TV show Supernatural (Dean is cuter than Sam) and yearns to one day live with her relatives in Nicaragua. Years ago on her middle school playground, she once faced a hungry child’s ultimate temptation: Free cupcakes.

The baked goods sat in a box on the cement by the playground, unattended. The frosting sat un-licked, the wrappers unwrapped.

She and her friend looked around, searching for a possible pastry owner nearby. Runners circled around the track in the distance, but no one else was around. The cupcakes met a satisfying fate inside Xochitl’s belly. The next morning went decidedly downhill.

As she walked into school, the counselor told her to go home: she was suspended.

“The cupcakes belonged to this girl because it was her birthday,” Xochitl said, something she found out only once she was being punished. “They went straight to suspension, they didn’t even let me speak.”

Restorative practices would have sat her with the birthday girl to explain her mistake and apologize. Maybe she would’ve bought the girl new cupcakes. That wasn’t what happened.

Suspended, Xochitl spent the day at her grandparents’ house. Not every suspended student has a safe place to go. Some turn to the streets.

In October a group of mostly black young students marched to the Board of Education to protest willful defiance suspensions. The group, 100 Percent College Prep Institute, formed in the ashes of violence.

“I drive a school bus for a living, and I had a boy on my bus who was not bad, but not good,” said 100 Percent College Prep Institute co-founder Jackie Cohen, speaking with the Guardian as she marched with her students. “When we got back from Christmas break, he wasn’t back on the bus. Turns out he decided to ‘live that life.’ Three days later, I found he was shot and killed.”

In some communities the jaws of crime and drugs are forever nipping at their children’s heels. A child inside school is safe. Suspensions throw the most vulnerable students into the wild.

“Preventing crime in San Francisco begins with keeping children in the classroom,” SFPD Chief Greg Suhr wrote in a letter to the SF Examiner last year. “Proactive policies, such as the ‘restorative practices’ implemented by the SFUSD, emphasize the importance of building positive relationships while holding kids accountable for their actions.”

Black students make up about 10 percent of SFUSD’s population, but they represented 46 percent of SFUSD’s total suspensions in 2012, according to SFUSD data. Latino students represented about 30 percent of suspensions.

The racial disparity of suspensions mirror the disparity of incarceration. A study by nonprofit group The Advancement Project found that in 2002, African American youths made up 16 percent of the juvenile population but were 43 percent of juvenile arrests.

Xochitl sees that with her own eyes every day.

“Some kids turn to the streets, you know. I’ve seen people younger than me go to jail,” Xochitl said. “I was on Instagram and saw a friend locked up. I knew that girl, she’s in my PE class.”

It’s one of our country’s many shameful open secrets. Nearly half of all adult men in the United States serving life sentences are African Americans, and one in six is Latino, according to data from the nonprofit group the Sentencing Project.

Fathers and sons, mothers and daughters, all trapped in a cycle of poverty to prisons that for some starts at school.

“As a school district, when that’s staring us in the face, we can’t not do something about it,” Haney said.

Sometimes it begins when students are still learning their ABC’s.

Bruises inside and out

Restorative Practices are implemented from kindergarten to high school.

“If [students] don’t have a sense of belonging… that’s going to prevent schools from addressing behavior,” Kerry Berkowitz, the district’s program administrator of Restorative Practices, told us. The seeds of mistrust are planted when students are young.

Desamuel could not yet spell the world “police” when he first met them.

He was five years old, and as kindergartners sometimes do, he threw a temper tantrum. In the school’s desperation to contain him, officials called the SFPD.

“The police only came one time,” Desamuel, now seven, told the Guardian. Sitting in his San Francisco home with his uncle Lionel, Desamuel sounded ashamed. “But I didn’t go to jail because they only put kids in jail for being bad, like kids taking guns to school.”

The memory angers Desamuel’s uncle, who feels restorative practices would have prevented the misunderstanding. His home is a testament to bridge building.

Lionel, his brothers and mother all pitch in to take care of Desamuel while the boy’s father makes what he calls “a transition.” The home is large by San Francisco standards. Drawings of Spiderman and Batman line the wall, equal in number only to the portraits of their family, most of whom live in the city. There’s a lot of care in Desamuel’s life. That hasn’t stopped his tantrums, though.

The family tried to get him therapy, psychological analysis, anything to help. But as any parent can tell you, sometimes a child just needs love.

Lionel struggled with the school’s administration, and asked them to try less punitive ways of handling his nephew. “I told them to just hug the boy. Their response was ‘it’s hard to hug someone swinging at you.'”

The last time Desamuel fought a student he was tackled to the ground by a school security guard. The now-second grader came home with a bruise on his face.

“When I was bad I hurted the children. I wasn’t supposed to get up, and couldn’t get up off the ground. He took me by the arms and legs,” Desamuel said.

The problem with outsize use of suspensions and punitive action, Berkowitz said, is that it breeds a fear of school that shouldn’t exist. Desamuel is no different.

“I got sent to the office and I had to go to the principal’s office and they talked about me being bad,” Desamuel said. “I think because I make too much trouble I have a lot of problems and they don’t want me to be there.”

Cat Reyes is a history teacher who is now a Restorative Practices coach at Mission High School. She said transformation in behavior is the whole point.

She told the Guardian about a student recorded a fight on film. The two fighting teenagers tried to let the incident go, but with the video online for all to see their pride came between them. If the school suspended the girl who recorded the fight there may never have been resolution. The wounds would fester.

But now the girl will join a restorative circle and explain her actions to those involved in the fight, and their parents. That’s far more daunting to kids than simply going home for a day, Reyes said. It doesn’t just stop at the talk though. “On one end she has to say sorry,” Reyes said. “But now she may go to the media center and create a [movie] about it on our closed circuit TV. The consequence fits the crime.”

As students talk out their differences enemies can become friends, she said. After all, the goal is to correct bad behavior and break destructive cycles. Yet less than half of the schools in SFUSD are employing Restorative Practices.

Slowly but surely

One of the biggest critiques of Restorative Practices is that it removes consequences. That’s the wrong way to look at it, Berkowitz said: “When people say consequences, they mean punishment. We want to work with students to find root causes.”

The numbers back her up: 2,700 SFUSD staff members have trained in Restorative Practices, according to data provided by the district. This consequently led to a strong reduction in suspensions, the district says, from more than 3,000 in 2009 to about 1,800 last year.

SFUSD recognized a good thing when it saw it, growing the Restorative Practices budget from $650,000 in 2009 to $900,000 in 2013.

But only about 25 schools started measurable implementation, Berkowitz said. She put it plainly, saying the program is in its infancy. “Are they ‘there’ yet?” she said. “No.”

“Our team is pretty maxed out,” she said. “To really bring this to scale and implement Restorative Practices, there’d need to be a lot of discussions around that.”

Asked how much she’d need to fully fund the program across all schools, she was evasive. Haney was more direct. When asked if his resolution tied funding to the mandate of implementing Restorative Practices district-wide, he admitted that a funding source hadn’t yet been identified.

“Mostly we hear there needs to be more: more support, more social workers, more people in schools to make this functional,” he said. “It’s a longer term challenge.”

That solution may emerge as the resolution goes through the approval process, but the program faces other problems besides funding.

Teachers have depended on suspensions as a tool for years. Money is one thing, but changing educators’ minds about discipline is another.

The “R” word

Martin Luther King Jr. fought for the integration of schools, but in a speech about Vietnam he said something that could apply to the SFUSD today.

“Life and history give eloquent testimony to the fact that conflicts are never resolved without trustful give and take on both sides,” the southern preacher said in one of his last speeches before his death.

There is one issue simmering under this entire debate, festering, unspoken. Why are black and Latino students suspended more than other groups? Is this system inherently racist?

It’s a tough question. Teachers are notoriously underpaid, overworked, under supported, and asked to enforce the newest policies at the drop of a hat. The teachers the Guardian spoke to all described a packed year filled with new methods to learn, all with a common purpose — a love of their profession and a love of their students.

“There’s a hesitancy to talk about race with this,” said Kevin Boggess, civic engagement leader for Coleman Advocates, the group leading the charge for the willful defiance ban.

Nevertheless the question of racism permeates the discussion. Xochitl felt persecuted as one of the few Latinas in a mostly Asian middle school.

In the case of Desamuel, the young black child who had the police called on him at age five, his uncle stressed the need for culturally aware teaching. Lionel said Desamuel was well-behaved when he had an authoritative, elderly black female teacher, but acted up in the hands of substitutes who weren’t black and whom he characterized as “young and new” to teaching. Then again, the principal who called the police to handle Desamuel was herself black.

Norm “Math” Mattox is a former James Lick Middle School math and science teacher, and he said from his perspective as an African American he’s seen the issues Haney’s resolution addresses clear as day.

“My sense is that teachers might be blowing the alarm a little bit too soon as far as their brown and black students are concerned, especially the boys. They don’t know how to manage them,” he said. In his experience, misbehaving children are sent out of the room too soon.

In the short term, suspensions are an expedient tool, but punishment without communication does long lasting damage. “The dynamic between teacher and student did not get resolved inside of the class,” he said.

One SFUSD school tackled the specter of racism head on. Mission High School is at the vanguard of what its principal calls “anti-racist teaching.”

Mission High has a higher African American student college placement rate than many SFUSD schools, a group that struggles to perform elsewhere. And as a designated “newcomer pathway” for new immigrants, the school has 40 percent English language learners.

Mission High’s principal, Eric Guthertz, is energized by the challenge. He revamped the way the school teaches to address race and ethnicity directly.

The geometry teachers use Bayview district planning data to illustrate mathematical lessons, and teachers look at grades by ethnicity and address disparities directly.

Guthertz credited Restorative Practices with lowering the school’s suspensions. SFUSD data shows Mission High’s steady suspension decline, with a 14 percent suspension rate in 2009, before the program started, and down to a 0.4 percent suspension rate by 2012.

Mission High School Principal Eric Guthertz. Guardian photo by Brittany M. Powell

“We’ve deeply embraced Restorative Practices,” he said.

Next week San Francisco will see if the Board of Education will take the same leap Gutherz did. As he is quick to point out, shifting the culture at Mission High School took years.

The Guardian contacted members of the school board, but did not hear back from them before press time to see how they may vote.

Either way, it’s time for SFUSD to change its ways, Haney said. But no matter what side of the matter you fall on, he said, it’s important to remember one thing.

“Everyone involved in this conversation wants to do better by these students,” he said.

The San Francisco Board of Education will vote on the ban of willful defiance suspensions and full implementation of Restorative Practices at their Dec. 10 meeting.

Meat is murder

Michael Redmond

November 27, 2013

arts@sfbg.com

TOFU AND WHISKEY Of course Morrissey would name his long-awaited memoir Autobiography (Putnam Adult, 464 pp., $30). The legendarily morose British pop singer and former Smiths leader has always seemed a bit larger than life.

The book already came out in the UK (and France) in October and was a huge sensation, topping best-seller lists, but US audiences have been forced to wait for the precious tome, twiddling their thumbs for its arrival, much like the infrequent uncancelled Morrissey live performance. The hardcover finally arrives stateside Dec. 3.

That said, the book on the life of the “Meat is Murder” singer-activist is worth the twiddling, if only for morbid curiosity. It’s lengthy, uncanny, and packed with daggering insults toward other musicians (Johnny Marr), ex-presidents and royals (George W., Sarah Ferguson), and himself, along with drawn-out sections on his favorite poets, court cases, and desire to die. It covers his life from birth to present day.

People go crazy over Morrissey — there’s even a Mozipedia book, published in 2010, so clearly the desire to hear it all in his own voice is there. I’ll claim to be a Morrissey novice, comparatively. At least, I’ve never worn a bedazzled jean jacket to a fever-pitched Moz convention, so some revelations in the book were still eye-opening, though needing to be extracted from verbose prose.

The long-time vegetarian, proudly outspoken against the meat industry, writes instead mostly about his suicidal depressive past and his dreary youth — and he finally speaks to those rumors of his sexuality. Yup, he loved a man named Jake Owen Walters. Though he later released this statement about those sections of the book: “Unfortunately, I am not homosexual. In technical fact, I am humansexual. I am attracted to humans. But, of course … not many.”

So Steven Patrick Morrissey, as he was known at birth, recounts a dark and uncomfortable childhood in Manchester, much of which was spun into early Smiths songs. But if we’re comparing horrific childhoods, another recent memoir might outweigh every aspect of Morrissey’s sad complaints: that of D.H. Peligro, whose own bio, Dreadnaught: King of Afropunk (Rare Bird Books, 280 pp., $13) came out in October.

Peligro — the complex, wild-man drummer of SF’s Dead Kennedys, as well as (briefly) Red Hot Chili Peppers, and guitarist in his own band, Peligro — grew up “dirt poor” in St. Louis, Mo., where he was born in 1959. (He literally eats dirt as a punishment in one section.) Like Moz, he now eats a veg-heavy diet. “All that food we had growing up in the ghetto was poison, drained of any nutritional value. Being forced to eat that food was one of the reasons that later in life, even when I was strung out on heroin, I remained a fanatic vegan,” he writes.

While the book opens with an extremely upsetting and grotesque strung-out hospital stay in a room with “puke green walls,” one of many incidents for the drug-addicted musician, it quickly falls backward in time to his beginnings as a “Satan’s Child,” the name by which he was known as around town. He never met his father, was mercilessly beat by his oft-drunk stepfather, and lived in a hotbed of violence and racial segregation in his early years.

And yet, despite all this, growing up in St. Louis also greatly influenced Peligro’s interest in music, and fostered a space in which to learn rhythm and blues. His beloved Uncle Sam Carr, who introduced him to musical instruments, was the son of blues guitarist Robert Nighthawk (who supposedly was the first to play slide guitar). Peligro recalls playing Carr some Dead Kennedys music years later and Carr “really listening” and nodding his head along to the noisy, Jello Biafra-led punk band.

Written in a poetic and reflective yet conversational style, Peligro’s tale stands out above most fast-living memoirs. The stories are vivid and disturbing, and the experiences run the gamut from the epicenters of Southern blues, to the influential early SF punk scene, to the costumed LA rock ‘n’ roll lifestyle. And yet, Dreadnaught still follows much of the standard course for the musician’s book tale: grew up poor, found shining beacon influencer, rose above, partied too hard, came down, and reflected.

And while there have been countless rocker memoirs in the past, only a small handful are worth your time — and there’s no time like now: It’s Thanksgiving week, and you’re likely itching for some quiet downtime, away from TVs filled with screeching sportscasters and your aunt asking you (if you’re in line with Moz and Peligro’s dietary habits) one more time: “Just how do you get protein?”

The top of any list should be Patti Smith‘s 2010 Just Kids. It’s eloquent and nonetheless gritty, with sinuous stories tumbling from her recollections and minute details beautifully recounted. The end made me ugly-cry crocodile tears while on Muni.

Like Smith, some musicians take the more introspective approach to their writing, revealing inner strength through the written word. For more of that nature, see Ronnie Spector‘s 1990 memoir, Be My Baby: How I Survived Mascara, Miniskirts, and Madness; or Bob Dylan‘s 2004 Bob Dylan: Chronicles, Volume One.

And then there’s Pamela Des Barres‘ groupie classic I’m With the Band. Oh, the torrid, gushy love tales within that book, of Ms. Pamela’s exploits with famous rock ‘n’ rollers from the 1960s right on up through the decades. Many years ago, over breakfast at a diner in Haight-Ashbury, Des Barres told me: “As far as wanting to meet the guys, I just couldn’t sit in my room and get all horny over Mick Jagger … it was just inside me to see where all that amazing stuff was coming from, that music.” If you’re in the mood for more scandalous tales of sex, drugs, and rock ‘n’ roll, these memoirs come highly recommended as well: Slash‘s Slash or Keith Richards‘ Life.

If you’re looking for an ironic, jokey, or food-based story, there’s Ian Svenonius‘ Supernatural Strategies for Making a Rock ‘N’ Roll Group, which I reviewed in an earlier column — noting that the book holds séances with dead rock stars to glean important information for the reader — and Cookin’ with Coolio: 5 Star Meals at a 1 Star Price, which includes a section called “How Coolio Became the King of Kitchen Pimps.” (Hint: his mom.)

Or there’s this year’s insta-classic “cookbook” — which really came as a download with the B.O.A.T.S 2 #Metime album — Cooking With Two Chainz. It includes cooking tips like, “Put on your Versace apron.”

LIFE STINKS

Here’s all I know about Life Stinks: The band has a great name, was described as “brutal and mysterious” after SXSW last year; and makes throwback snotty punk songs. It also just released a self-titled debut LP on S.S. records. Listen to “Cemeteries” off said album for more reasons to see the live show. That’s all you need to know. This album release gig is the Friday after Thanksgiving; you’ll be stuffed, sick of family, and most definitely ready to shake along. Plus, one of the openers is messy and awesome high-pitched SF band Quaaludes — they sound like ’77 punk on helium meets ’92 riot grrrl, which is perfect. With Dancer. Fri/29, 9:30pm, $5. Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com.

BREAD & ROSES BENEFIT

I was discussing the upcoming Kathleen Hanna doc The Punk Singer with a musician pal, and we got on the topic of the very real healing power of music. While Hanna is certainly not playing this event (sorry), that power translates broadly. Bread & Roses is a Northern California-based organization that knows this well, producing hundreds of free shows a year at hospitals, nursing homes, shelters, and treatment centers. This benefit is full-circle, benefiting the org so it can put on more shows, and offering up live local talent for you: sparkly piano rocker Marco Benevento (of Tea Leaf Green), acoustic folk singer-songwriter Megan Slankard, along with her band, the Novelists, and (((folkYEAH!))) Presents DJ Britt Govea. Sun/1, 8pm, $20–<\d>$50, Chapel, 777 Valencia, SF. www.breadandroses.org. *

Alerts: November 20 – 26, 2013

Michael Redmond

November 19, 2013

WEDNESDAY 20

Photographic journey through modern-day slavery The Commonwealth Club, 595 Market, SF. 5:30-7pm, $20. Photographer Lisa Kristine will share photographs from her travels to over a hundred countries on six different continents. The photographs document the daily lives of some of the millions of people who live in slavery around the world today. Kristine’s presentation will be preceded by a reception where attendees can connect with one another. The reception will be followed by a book signing.

Thu/21.

Forum on America’s workers First Unitarian Universalist Society of San Francisco, 1187 Franklin, SF. tinyurl.com/WorkersFighting4Dignity. 7-9pm, free. Californian domestic workers recently won a landmark Domestic Bill of Rights after a long and trying struggle. This result, coupled with the nationwide fast-food strike in August, has launched the fight for livable wages into the realm of public debate. Join activists Katie Joaquin and Andrew Dadko as they discuss what’s next for some of our nation’s most exploited, lowest-paid workers. For more information, please email Dolores Priem at doloresmp@gmail.com.

SATURDAY 23

History of Market Street walking tour Plaza across from Ferry Building near southern Millennium Tower, SF. shaping@foundsf.org. 1-3pm, $5-10. RSVP required. Market Street has long been San Francisco’s most prominent boulevard. It’s where residents congregate in public, and has been the site of countless protests, celebrations, riots, festivals, and more. Uncover the hidden histories during this two-hour walk through the heart of the city. Tour ends at UN Plaza, Seventh and Market streets.

SUNDAY 24

Film Screening: The House I Live In Russian Center of San Francisco, 2450 Sutter, SF. 7-9:30pm, free. City Hope is screening the Sundance award-winning documentary on the War on Drugs. The film examines the forty-year war that our country has waged against narcotics and the results it has produced: 45 million arrests, making the U.S. the world’s largest jailer, and damaging poor, minority communities at home and abroad. Meanwhile, drugs have only become cheaper, stronger, and easier to obtain. By demonstrating how this war has been fueled by political and economic corruption and showcasing the individual lives that it affects, from the street dealer to the narcotics officer to the prison inmate, the film makes the case for the total failure of the War on Drugs. Refreshments will accompany the screening.

Subversive film screening on drones outside the San Francisco Jazz Center, 201 Franklin, SF. 6pm, free. CODEPINK, World Can’t Wait and others plan to host a film screening on drone strikes, projecting one or two films about drones outside the SF Jazz Center. It’s part of a protest against President Barack Obama, who is scheduled to visit the city and attend a luncheon at the Jazz Center on Nov. 25. Protesters plan to march to the Jazz Center at 11:30am on Mon/25 to protest drone strikes.

This Week’s Picks: November 13 – 19, 2013

Michael Redmond

November 12, 2013

WEDNESDAY 11/13

Chinese American Film Festival

San Francisco has a number of film series that pluck programming from recent international runs and festivals (see “New Italian Cinema” write-up elsewhere in Selector), but the Chinese American Film Festival is unique in its embrace of genre and popcorn movies. Where else are you gonna see Dante Lam’s MMA drama Unbeatable, starring the sweaty torsos of Nick Cheung and Eddie Peng, or NBA-sanctioned sci-fi Tron-meets-hoops mash-up Amazing? Also featured: rom-coms, historical dramas, crime thrillers, a disease-epidemic disaster movie, and a haunted-elevator horror flick. All films in Chinese with English subtitles. (Cheryl Eddy)

Wed/13-Tue/19, $6–$8

Four Star Theater

2200 Clement, SF

www.lntsf.com

WEDNESDAY 11/13

Cults

In 2010, two New York art students posted three songs on their Bandcamp page under the name Cults. Their insanely catchy glam earworm “Go Outside” immediately began catching the attention of the blogosphere, landing them on “Bands to Watch Out For” lists everywhere. Now, three years and one successful album later, they’re facing the second-album hurdle and a breakup. After four years of being romantically involved, Madeline Follin and Brian Oblivion have ended their relationship for the sake of the band. After post-breakup depression (Follin) and a soul-searching drug binge in Japan (Oblivion) the pair has reunited to focus on music, and the result is not the breakup album you might expect, but a fuzzed-out dreampop gem. (Haley Zaremba)

With Sacco, Mood Rings

8pm, $25

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

WEDNESDAY 11/13

New Italian Cinema

The San Francisco Film Society continues its autumn of international showcases with “New Italian Cinema,” unspooling new works by Paolo Sorrentino (whose The Great Beauty opens theatrically later this month), Silvio Soldini (Garibaldi’s Lovers), and others, plus a Neapolitan cinema spotlight that includes Napoli 24, an omnibus film composed of 24 three-minute shorts about the iconic city. Bobbling alongside the mini-fest’s many selections set in contemporary Italy is Mario Martone’s star-studded costume drama We Believed, which celebrates the country’s 150th anniversary. (Eddy)

Wed/13-Sun/17, $10-25

Clay Theater

2261 Fillmore, SF

www.sffs.org

THURSDAY 11/14

Feminism in Action Open Mic

Here’s your chance to speak out against domestic violence during Feminism in Action’s first ever open mic night. FIA, an SF State organization, is working to break silences and to heal and support through artistic expression. Bring your music, poetry, or prose and share in a safe, positive space. The pieces you share do not have to be explicitly about domestic violence, as FIA recognizes art in general as a way to transform and heal. The event includes musical performances by local artists Bedroom Witch and Zamora. FIA will also use the evening to debut their first zine on domestic violence. Get vocal and get involved. (Kirstie Haruta)

7pm, $3–$5

Dolores Park Cafe

501 Dolores, SF

(415) 621-2936

www.doloresparkcafe.com

THURSDAY 11/14

Theatre Flamenco’s “Con Nombre y Apellido”

While flamenco will always be associated with Spain despite its roots in Gypsy, North African, Jewish, and Indian traditions, it has truly become part of world culture. Go to any flamenco school in Sevilla — more than half of the students will be from abroad. There is something about that tension, the give and take between the music — both melodic and percussive — and the dancer that is irresistible no matter where you are born. This is what Theatre Flamenco, now in its 47th year and the oldest company of its kind in the country, is exploring in its newest show, “Con Nombre y Apellido” (“With Name and Surname”). Carola Zertuche and Marién Luévano learned their first rhythms in Mexico; Cristina Hall at SF’s High School for the Performing Arts. (Rita Felciano)

Thu/14-Sat/16, 8pm; Sun/17, 2pm, $34–$40

Southside Theater

Fort Mason Center, SF

brownpapertickets.com/event/454980

THURSDAY 11/14

“Remembrance of Things Proust: 100th Anniversary of Swann’s Way“

Though our material landscape drastically technologized since Marcel Proust’s Belle Époque, the manner in which we humans digest and respond to our world remains the same. Music, be it Pandora or a live string quartet, continues to mold our emotions; art, found on Pinterest or in Beaux Arts museums, still disguises the ordinary through resemblance; parties, in the elusive Sub or Villeparisis’s salon, let us get wild and loose; and words, on Twitter or in novels, allow us to capture a present and cling to the past. In honor of Swann’s Way‘s 100 year anniversary, Mrs. Dalloway’s hosts an evening featuring readings from William C. Carter’s new translation, live period music, signed copies of painter David Richardson’s Resemblance: Portraits of Characters from Marcel Proust’s In Search of Lost Time, and tea with madeleines, to take you back. (Kaylen Baker)

7pm, $10

St John’s Presbyterian Church

2727 College, Berkeley

(510) 704-8222

www.mrsdalloways.com

THURSDAY 11/14

“The Intergalactic Nemesis: Book One: Target Earth“

The planet is in the crosshairs of a slimy race of extraterrestrials and only valiant reporter Molly Sloan and trusty sidekick Timmy Mendez, with help from an enigmatic librarian, can save it in this family-friendly multimedia spectacular from Austin, Texas. First performed in an Austin coffee shop in 1996, Jason Neulander’s live-action radio serial cum graphic novel has grown in size and following, but still has a spare quality leaving room for the imaginations of its audience to do the really heavy, CGI-type lifting. To get you going: three versatile actors, a hard-working Foley artist, a keyboard accompanist (delivering an original score by composer Graham Reynolds), a period-style narrative in the vein of Raiders of the Lost Ark, and over a thousand illustrations by Tim Doyle projected onto a 20-foot screen. The program includes a children’s one-hour school-time performance on Wed/13, as well as Cal Performance’s second annual arts learning forum for educators, administrators, and policy makers. (Robert Avila)

8pm, $18–$42

Zellerbach Hall, UC Berkeley

Bancroft Way at Dana Street, Berk.

(510) 642-9988

www.calperformances.org

FRIDAY 11/15

“Miles’ Wish To Be a Superhero”

The Make-A-Wish foundation transforms San Francisco into Gotham City for a day, and suddenly the entire city is caught in its own worst nightmare — fatal accidents occur on the cable cars, while an evil villain by the name of the Puzzler robs a bank and takes the fate of the San Francisco mascot Lou Seal into his own treacherous hands. But fear not, denizens! Batkid, also known as five-year-old Miles, infamous for his heroic battle against leukemia, comes to save the day. Join your fellow terror-stricken neighbors at specific lookout spots throughout the day (see the website below for details) to watch the action and cheer Batkid on. (Baker)

12:45am and 2pm, free

Various locations in SF

(415) 402-2775

sf.wish.org

FRIDAY 11/15

Cass McCombs

For most people, the idea of wandering around, homeless and aimless, surrounded by drugs, drug addicts, and general debauchery for the duration of your adult life sounds like some sort of nightmare. For Cass McCombs, this is reality. The nomadic singer-songwriter thrives on the alternative nature of his existence and anchors himself not to a home, family, or possessions, but to music. Lots of music. This year sees the release of his seventh studio album, and it’s a doozy. At 22 songs long, Big Wheel and Others is an enormous undertaking. Filled with his trademark flair for imaginative storytelling, compelling characters, and black humor, Big Wheel is a delicious slice of Americana and skilled songwriting. (Zaremba)

With Meg Baird

9pm, $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

SATURDAY 11/16

Bay Area Rainbow Symphony Concert

Continuing the tradition of “community and visibility through artistic excellence,” the Bay Area Rainbow Symphony, formed in 2008, brings its newest performance to the St. Mark’s Lutheran Church this weekend. Led by guest conductor Cyrus Ginwala, this group of talented musicians tackles Kenton Coe’s Ischiana Overture, Mendelssohn’s Violin Concerto, and Britten’s Variations and Fugue on a Theme of Purcell with readings from “Letters from a Life.” Acclaimed violinist Jassen Todorov joins symphony for the Mendelssohn and Coe pieces. Join BARS for a weekend of music in a space that is safe and welcoming for musicians of all sexual orientations, gender identities, and gender expressions. (Haruta)

11/16, 7pm, 11/17, 4pm, $15-35

St. Mark’s Lutheran Church

1111 O’Farrell, SF

(415) 578-4652

www.bars-sf.org

SATURDAY 11/16

“Fashioning Women”

San Francisco fashion designer Kate Mitchell’s lifelong dedication to dance, combined with her wry take on culture and academic interest in American history manifests in her most recent work, “Fashioning Women.” Both a mock-magazine book and a faux couture collection, this project parodies the contemporary fashion industry while exploring the boundaries between women’s bodies, movement, and the absurd constrictions of the feminine ideal. Featuring several guest artists, 25 women in a dance and theater performance, a catwalk of the couture collection, and copies of the book, this show is sure to fabricate an interesting trend story. (Baker)

8pm, $25

SOMArts Cultural Center

934 Brannan, SF

(415) 863-1414

www.fashioningwomen.com

TUESDAY 11/19

“Light Up the Night 2013: March for Inclusion and Tolerance”

In observation of Transgender Day of Remembrance, head over to City Hall and join the march to the Castro in loving memory of the transgender people we have lost to senseless violence and transphobia. The organizers emphasize that this event is about visibility rather than protesting, so lend your support and let the silenced be heard. Come together as a community and celebrate by stomping out transphobia all the way to Midnight Sun, where the festivities will continue. And to show its support, Midnight Sun will donate 10 percent of its bar sales that evening to the Transgender Law Center. (Haruta)

5pm, free

SF City Hall

1 Dr. Carlton B. Goodlett, SF

(415) 621-2936

www.doloresparkcafe.com

Break on through

Michael Redmond

November 12, 2013

arts@sfbg.com

I drive up into the East Oakland hills, past 19th century “Poet of the Sierras” Joaquin Miller’s odd little cabin, to visit Michael McClure. Based on his youthful good looks, you’d never guess he was a few days shy of 81, but the trail McClure has blazed through literary history testifies by length, stretching back to 1955 when — alongside Philip Lamantia, Philip Whalen, and Gary Snyder — he was the youngest participant in the famous Six Gallery reading at which Allen Ginsberg debuted “Howl.” It was a seminal moment in postwar American poetry. “We all put our toes to the line that night and broke out,” he says. “And we all went our own directions.”

Beginning with his first book of poems, Passage (1956), McClure would find himself going in many directions, writing novels, essays, journalism, and even Obie-award-winning plays like The Beard (1965). As a countercultural figure, he could roll with the times, reading at the Human Be-In in 1967 in Golden Gate Park; associating with high-profile rock acts like Bob Dylan, the Doors, and Janis Joplin (for whom he co-wrote the 1970 classic “Mercedes Benz”); and appearing in movies like Peter Fonda’s The Hired Hand (1971) and Martin Scorsese’s The Last Waltz (1975). In the mid-’80s, he even began performing with the Doors’ Ray Manzarek on piano, releasing such CDs as last year’s The Piano Poems (Oglio Records). And though I’ve come to discuss Ghost Tantras, his 1964 self-published book of “beast language” reissued this month by City Lights, we inevitably touch on the recently deceased keyboardist with whom McClure played over 200 gigs.

“Ray died at a very wonderful time,” McClure says. “He’s 74 and at the height of his powers. People say, ‘You must feel broken up about Ray,’ but I’m actually happy to know someone who stepped out in his own glory. The last time I saw him was [last] November. We had just done a performance at the Sweetwater in Mill Valley. That night Bobby Weir sat in. It was like the Doors and the Grateful Dead embraced.”

THE LANGUAGE OF THE BEAST

But Ghost Tantras predates most of these famous exploits. The origins of what McClure calls its “beast language” can be traced back to his early play The Feast, performed in 1960 at SF’s Batman Gallery.

“The walls had Jay DeFeos and Bruce Conners on them,” he recalls. “The actors were dressed in Indian blankets and torn white tissue paper beards, seated before a long table that carried black plums and white bread, black wine. Thirteen of them performed a Last Supper-like rite and spoke in beast language and English of the melding of opposites and the proportion of all beings, from the incredibly tiny to the cosmic.”

“Beast language” might be described as a roaring deformation of language into something less oriented toward signification and more toward the physicality of the body, poetry as “a muscular principle,” as he writes in the original introduction, rather than as a mimetic text conveying images and ideas. Take, for example, these lines from tantra 46: “NOWTH / DROON DOOOOOOOOR AGH ! / Nardroor yeyb now thowtak drahrr ooh me thet noh / large faint rain dreeps oopon the frale tha toor / glooing gaharr ayaiieooo.” Signification isn’t the prime motivation here, nor is it entirely absent, as snippets of sense emerge and dissolve amid a sea of syllables. Such moments almost suggest reading Chaucer or Finnegans Wake, texts in some distant version of our own tongue, but they just as quickly vanish into phrases that resist intelligibility (“gaharr ayaiieooo”).

Yet despite this resistance, the writing of Ghost Tantras was also bound up in visionary experience. McClure began Ghost Tantras in 1962 while working for the Institute for Personality Assessment and Research, for the University of California.

“My role with IPAR was to give psilocybin to artists and to film them in that timeless state of the high,” he says. “I was probably an ideal person because I had given up the use of psychedelic drugs myself. Already, after a lot of experimentation in psychedelics and several essays that had been published by City Lights in Meat Science Essays (1963), I wanted to write a deep exploration of these highs after reading Henri Michaux’s gorgeous Miserable Miracle (1956), which was his — I felt personally — inaccurate description of the mescaline high. That inspired me to want to write clearly about this experience. Meanwhile, I had begun practicing Kundalini yoga, which is a chakra-centric yoga, and I was beginning to have powerful experiences.”

“ART WITH NO EDGES”

This desire to convey visionary experience might seem at odds with Ghost Tantras‘s frequent resistance to signification, yet the apparent paradox might be resolved through Abstract Expressionism, which McClure insists was “one of my most profound sources, the art with no edges, the art with no limits.” Viewed thusly, Ghost Tantras aspires to the degree of autonomy accorded to nonrepresentational art by not referring to experience but rather offering it.

“Allen Ginsberg had introduced me to Mark Rothko, and I got Rothko’s phone number,” McClure recalls. “I had Ghost Tantras and I wanted to show them to him but in the meantime I lost his number, as you did in those days. I always thought Rothko would be the right person to see the fields of letters in Ghost Tantras, as you see in one of his field paintings. If you look at Ghost Tantras in a different way, you see that each one is a field, a work of visual substance. Or nonsubstance.”

“I knew I was tangoing with my own personal ridiculousness when I wrote these. I don’t mind that, because in my writing when it’s at its most intensely serious it’s also at its most comic. And I call to mind what I think are some of the most important poems of the 20th century, Federico García Lorca’s ‘Gacela of Unforeseen Love,’ which is among the most intense love poetry I’ve ever experienced. It’s also kinda comic. My own poetry, when I believe in it the most, also has an edge to it that is not serious, or it’s serious, all right, but real seriousness has an edge that breaks on through to the other side.”

“It was part of the massive and inspired creativity that was rushing around me,” he concludes. “That’s probably the best clue I can give to anyone who wants to understand the sources behind Ghost Tantras, as part of the huge energy that was amassing itself and pouring through California at the time.” *

MICHAEL MCCLURE

Nov 20, 7pm, free

City Lights Bookstore

261 Columbus Ave, SF

www.citylights.com

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