Pride

Alerts: June 18 – 24, 2014

0

WEDNESDAY 18

 

Glenn Greenwald: Snowden, the NSA and the US Surveillance State

The Nourse Theatre, 275 Hayes, SF. (773) 583-7884 tinyurl.com/glengreenwald. 7-9pm, $6. Greenwald, who received the Pulitzer Prize for Public Service along with his UK Guardian colleagues, will recount his Hong Kong meeting with Edward Snowden, discuss new information on the National Security Agency’s abuse of power and examine the bigger picture implications of the NSA’s surveillance. Greenwald will also be signing his new book, No Place to Hide: Edward Snowden, the NSA, and the U.S. Surveillance State. This event is sponsored by Haymarket Books, The Center for Economic Research and Social Change, Metropolitan Books, The Tow Center for Digital Journalism at Columbia Journalism School and KPFA.

 

Film and Discussion: DamNation

The David Brower Center, 2150 Allston, Berk. (510) 809-0900 tinyurl.com/damfilm. 7pm, $10 advance, $12 at door. Award-winning film DamNation explores America’s pride in large dams and the ways that we rely on rivers. The film looks at the effects of dams on fish and landscapes, as well as the values that come along with dams. Guests include Matt Stoecker, DamNation Producer/Underwater Photographer, Jason Rainey, Executive Director of International Rivers, and Steve Rothert, California Regional Director of American Rivers.

THURSDAY 19

 

Labor in the Food System

120 Kearny No. 3100, SF. (510) 654-4400 tinyurl.com/foodsys. 6-8:45, free. This panel will explore all levels of food production, from farm to government, and will have speakers from the various levels. They will discuss wages, food distribution, food processing and more. The panel is put on by Food First, which aims to end hunger-inducing injustices. Speakers include James Cochran, Gail Wadsworth, Margaret Reeves and Paul Ramirez.

 

Do Good Lab’s International Development Trivia Night

Soda Popinski’s, 1548 California, SF. tinyurl.com/oslg7d5 6-9pm, $15 per individual or $60 per team. Trivia is fun, but doing it for a cause with five other friends is even better. On Thursday, Do Good Lab will hold its International Development Trivia Night in collaboration with FUNDAESPRO, a women’s empowerment organization based in Guatemala City. For $60—$10 per person—teams can compete to raise money for the organization, which provides childcare for working mothers and literacy education to women. Better yet, all tips to the bar (staffed by with special guest bartenders) will go toward FUNDAESPRO’s childcare and education centers.

The Selector June 11-17, 2014

0

WEDNESDAY 11

Luke Sweeney

“Miss Me?” Luke Sweeney asks in the lead track from his forthcoming album Adventure:Us, and in response I’d probably deny, avoid eye contact, but then demurely say, “Um…maybe a li’l bit.” Truth be told I’ve been quite won over by the album, maybe because of the apparent shared affectation for Mark Bolan’s swinging shuffle, George Harrison’s weepsy guitar, Jeff Tweedy’s pop twang, and a little bit of Question Mark and the Mysterians mysterious…something or other. Now Sweeney is returning to SF from a California tour with a homecoming show at Monarch (of all places.) Luke, please don’t leave us like that again. (Ryan Prendiville)

With Farallons, Tidelands

9pm, $5 – $8

Monarch

101 6th St, SF

(415) 284-9774

www.monarchsf.com

 

 

 

Guided By Voices

Guided By Voices’ Robert Pollard is one of the most insanely prolific songwriters in rock history. Since its inception in 1983 in Dayton, Ohio, Guided By Voices has released 22 studio albums, 17 EPs, and 39 singles. Each of these records contains around 20 songs, most hovering around the one-minute mark. Within these little vignettes of genius (read: insanity) Pollard explores surrealist narratives, charmingly compact and catchy melodies, and genuine emotional impact. 30 years into their career, GBV play hard, drink hard, and make much younger rockers look washed-up and tame. The band also rarely tours, so don’t miss tonight’s show. There’s no knowing what they’ll play, but it’s going to be a night to remember. (Haley Zaremba)

With Bobby Bare, Jr.

8pm, $38

Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

 

THURSDAY 12

 

San Francisco Black Film Festival

At a time when cultural landmarks like Marcus Books are being evicted from the historic Fillmore district, this festival, which celebrates African-American contributions to cinema, might strike a more poignant tone than ever before. Now in its 16th year, the three-day fest aims to present films that “reinforce positive images and dispel negative stereotypes” and connect Black filmmakers from around the Bay Area and beyond. This opening evening features the Life of King, starring Cuba Gooding Jr. as Eugene Brown, who turned his life around after 18 years in prison, funneling his passion for chess into a way to help inner-city youth in Washington, D.C. (Emma Silvers)

Through Sun/15

Prices and showtimes vary, see website for details

Jazz Heritage Center

1320 Fillmore, SF

www.sfbff.org

 

 

FRIDAY 13

 

Alice Glass

Alice Glass is one of the most dynamic frontpeople in the music industry. Half of Toronto’s infamous electro-duo Crystal Castles, Glass’ clear, piercing voice and fiercely frenetic stage presence make her a stunning vocalist and onstage force of nature. Hard-partying and un-compromising, Glass is a born performer, commanding arenas and collecting a following of cult-like fans with ease. Since she ran away at 14 to join a punk squat, fronting an all-girl crust-punk band called Fetus Fatale, Glass has been making a name for herself as a skilled musician and magnetic personality. Combining punk and hardcore aesthetics with harshly catchy electronics, Glass’ music is a unique concoction that will make you dance your ass off. (Zaremba)

With Sad Andy, 28 Mansions, We Are Isis (side room)

10pm, $17.50

1015 Folsom, SF

(415) 431-1200

www.1015.com

 

 

 

Hayes Carll & Bob Schneider

“The World’s Greatest Living Songwriters of All Time” is a pretty cocky name for a tour, but this team delivers. Both singer-songwriters from the state of Texas, Carll and Schneider are performing together for the first time in their careers. Carll, from just outside of Houston, has been lauded as a modern songwriting heavyweight among the likes of Townes Van Zandt, Guy Clark, and Ray Wylie Hubbard. Carl’s songs sound timeless, although his content speaks to a modern world. Bob Schneider has been making music in Austin for decades with various bands: Joe Rockhead, the Scabs, Ugly Americans. Schneider’s output reaches across pop, rock, folk, and country, while his uncensored songwriting has some labeling his music “adult alternative.” This is a show songwriters can’t miss.

8pm, $21

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

 

 

#MyGreatCat Pop-Up Photo Gallery

You’d be lying if you said you’ve never been victim of the Internet black hole dedicated to cats. There’s no denying that the world wide web is the best thing to have happened to our pets. Take a look at the @Cats_of_Instagram account and you’ll find 1.4 million people who are just like you! From the silly to the cuddly to the serious, these fuzzy fellows have a wide range of adorable emotions, which is why @Cats_of_Instagram are hosting a pop-up photo gallery in the middle of Union Square for your viewing pleasure. “What’s so great about a cat” is the theme of the exhibition. Last month, Instagram users were encouraged to post photos and the hashtag #MyGreatCat for a chance to be part of the exhibit. Photos by teenage pet photographer Jessica Trinh will also be on display and the founders of @Cats_of_Instagram will be at the event too. Cat lovers unite for a heart-warming night that (you’ve been warned) may leave you melted into a pile of goo. (Laura B. Childs)

11am-7pm, free

Union Square, SF

www.catsofinstagram.com

 

SATURDAY 14

 

Queer Women of Color Film Festival

Now in its tenth year, the Queer Women of Color Film Festival kicks off Pride Month with 32 short films, all of which are captioned for the benefit of deaf and hearing-impaired audience members — a presentation choice that reflects the festival’s quest to empower (and entertain) its diverse community. Standout programs include the doc-heavy “Seeds of Resistance,” spotlighting themes of cultivation and community organizing; “Girl Power!,” with films celebrating the younger generation; and a panel discussion with queer cinema pioneers Cheryl Dunye and Madeleine Lim on “the art and transformative power of film.” (Cheryl Eddy)

Starts Fri/13, through Sun/15, free ($5-$10 suggested donation)

Brava Theater Center

2789 24th St, SF

www.qwocmap.org

 

 

Phuture

Commercially, the Roland TB-303 was discontinued in ’84. Should have been obsolete, but when a trio from Chicago got their hands on the bass synthesizer the next year, they discovered something else: the sound of the future. On Phuture’s seminal “Acid Tracks” the overdriven sound that gave birth to acid house is unmistakable. Perhaps feeling the impact of their legacy on music more than ever, original members DJ Pierre and Spanky (along with Lothario “Rio” Lee) are prepping a new album and performing together again, on a tour that brings them from a recent gig at the Sydney Opera House to Sunset’s annual picturesque bayside “electronic music picnic.” (Ryan Prendiville)

With Kyle Hall, Beautiful Swimmers, Awesome Tapes from Africa, J-Boogie, Galen, Solar, J-Bird

Noon-9:30pm, $20 – $30

Great Lawn, Treasure Island

www.sunsetmusicelectric.com

 

SUNDAY 15

 

Buzz Osborne

Having earned a well-deserved reputation as one of the heaviest purveyors of down-tuned, sludgy rock as the leader of The Melvins, Buzz Osborne likely turned some heads when he announced he was putting out an acoustic album. That release, This Machine Kills Artists (Ipecac Recordings), which hit stores earlier this month, isn’t as much of a departure as one might think, however — songs like “Dark Brown Teeth” aren’t fluffy folk, they’re still vintage Osborne. When Nirvana thanked him at their Rock N Roll Hall of Fame induction, it was for good reason; he helped shape the sound that defined hard rock in the early ’90s, and he continues to do so today. (Sean McCourt)

8pm, $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

MONDAY 16

Tupac Birthday Celebration

Tupac Shakur lives on — in holograms, in our hearts, and tonight, at the Elbo Room. In honor of what would have been the late rapper’s 43rd birthday, the club is hosting a birthday party featuring the music of Tupac and other special guests, hosted by Bay Area rapper/activist/event producer Sellassie. Enjoy the moving and eloquent music Shakur left behind and celebrate the impact he still has on hip-hop and culture today. (Childs)

9pm, $5

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

TUESDAY 17


Yann Tiersen

Yann Tiersen wants you to know that he is more than just composer of film soundtracks. Perhaps best known for his musical score for the french film Amélie, the Breton musician’s passion lies in touring and recording studio albums. His music just happens to fit seamlessly into films. Though renowned in France for his studio albums, Tiersen remains mostly known as the guy who created the magical accordion and piano driven tunes that fuel Amélie’s imaginative adventures. However, tonight at the Regency Ballroom, Tiersen will play from his own albums, his most recent, “Ï” (aka Infinity) in particular. Those expecting a classical performance will be sorely disappointed. Heavily influenced by punk music, Tiersen’s minimalist tracks range from noisy to melancholic with his five-piece band. The musical influence of each of his nine album varies greatly, but his musical style simple and recognizable. With each album, he shows a new facet to his talent, proving that he is so much more than an orchestral composer. (Childs)

8pm, $25

Regency Ballroom

1290 Sutter, SF

(415) 673-5716

www.theregencyballroom.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 e-mail (paste press release into e-mail 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 we cannot accept listings over the phone.

This Week’s Picks: June 4 – 10, 2014

0

WEDNESDAY 4

 

 

‘Mr. Irresistible’

Multifaceted showman and irrepressible art-dragster D’Arcy Drollinger, the brains and falsies behind such contemporary camp classics as Shit & Champagne and Sex and the City Live!, is poised to deliver on his biggest project since Project: Lohan, or even 2010’s cutting-edge Scalpel!: A sci-fi musical comedy about love and robots and office work entitled Mr. Irresistible. First produced in workshop form last year at New York’s La Mama E.T.C., the Aesop-inspired story of unpopular Eileen Morchinsky and her titular mechanical friend (purchased from a magazine ad and destined to turn her life right around) sails into the fairly exotic Alcazar Theatre for a limited run, aloft on a score by Christopher Winslow, book and lyrics by Drollinger, and some big-wig talent. (Robert Avila)

Through June 8, 8pm; Sun. 7pm only, $25

Alcatraz Theatre

650 Geary, SF

(415) 766-4588

www.mrirresistiblemusical.com

 

 

The Damned

Remember, kid: Heroes get remembered, but legends never die. Yes, we’re talking about THE Damned. Formed in 1976, The Damned were the first punk band in the UK to release a single, a record, or tour the United States. They cut their teeth opening for bands like the Sex Pistols and T. Rex, and are still going strong. Not only were they punk rock pioneers, they also were some of the frontrunners of the goth scene in the ’80s, and now, nearly into their fourth decade, The Damned are still going strong. With an ever-changing lineup and an incredible repertoire of revolutionary tunes, these dudes are incredible at evolving and even better at performing. They’re not to be missed tonight at Slim’s. (Haley Zaremba)

With Koffin Kats, Stellar Corpses

9pm, $30

Slim’s

333 11th St, SF

(415) 225-0333

www.slimspresents.com

 

 

THURSDAY 5

 

 

XV: St. James Infirmary 15-Year Anniversary Party

Lost in the outpouring of accolades in the wake of the great Maya Angelou’s passing last week was her crucial time as a sex worker, which she chronicled, unashamed, in her 1974 book Gather Together in My Name. It’s indicative of the stigma sex workers still face when even the well-documented past of the nation’s literary godmother is scrubbed free of any reference. San Francisco’s own groundbreaking St. James Infirmary, the first occupational safety and health clinic for sex workers in the United States, deals with the damage of that stigma by offering non-judgmental medical and social services. The organization also knows how to celebrate: This huge party and fundraiser boasts one of the city’s best house DJs, David Harness, as well as porn-star-turned-DJ Ricky Sinz, movers and shakers from the international sex workers rights movement, sexy pole dancing, a Kink.com demonstration dungeon, and oodles more. The whole joint will be singin’ and swingin’ and getting’ merry like Christmas. (Marke B.)

9pm-3am, $20 ($40 includes free lapdance)

Temple

540 Howard, SF

www.templesf.com

 

 

Urban Air Market Summer Night Block Party

Urban Air Market’s newest addition to its community-enriched neighborhood events around the city begins tonight. Head on over to Fern Alley — a hidden walkway located between Polk and Larkin Streets — for this one-night affair. In partnership with the Lower Polk Art Walk, Urban Air Market is hosting a summer night block party of sustainable art, fashion, food, and live music at this unassuming Tenderloin location. While occasionally occupied by a small farmers’ market, tonight Fern Alley will be bustling with food trucks, henna tattooing, face painting, interactive fashion film installations, live bands, and countless booths from sustainable and local brands: Oaklandish, Synergy Organic Clothing, Indosole, and Skunkfunk USA to name a few. (Laura B. Childs)

6pm, free

Fern Alley (Fern St. between Polk and Larkin St.)

www.urbanairmarket.com

 

 

Nature For Sale

For the past few years, Bolivian-born artist Javier Rocabado has been producing stunning, icon-like portraits of famed gays like RuPaul, early AIDS activists, and local beauties. All these figures have been posed with gold halos against Rocabado’s signature dollar-bill background, glowing with symbolic meaning. (Rocabado paints only the backside of the dollar.) His new series turns to nature: Beautiful bird specimens, frogs, and weeping monkeys take on aspects of holy saints. “I want to point out the universally ridiculous thinking of ‘economics is first’ under Capitalism. Through this new series of paintings, I strive to create images of animals that allow the viewers to experience the false pride in human civilization to conquer nature and profit from it,” he says. Dark spirits of Chevron, BP, and other disaster-fueling multinationals hover at the borders of his exquisite new works, but their sheer gorgeousness radiates hope as well as guilt. (Marke B.)

Through July 1, opening party 8-11pm, free

Public Barber Salon

571 Geary, SF

www.publicbarbersalon.com

 

FRIDAY 6

 

 

 

‘Test’

Test is not great, but it’s a beautiful, honest film that evokes the mid-’80s, when AIDS was ravaging San Francisco’s gay community, a time when a test had become available but no cure was in sight. The film follows a naïve young man’s coming of age (a splendid Scott Marlow of LEVY Dance) as a gay man and as dancer in a local modern dance company. The film excellently captures what it meant living at the edge of uncertainty, when nothing could be taken for granted and yet, despite of it all, everything seemed possible. Test includes extensive and fine dance sequences choreographed by the remarkable Sidra Bell. Fun to see was just how many other local dancers were involved in this small, but big-hearted movie. (Rita Felciano)

Opens June 6, times vary

Presidio Theater

2340 Chestnut, SF

(415) 776-2388

 

Rialto Cinemas Elmwood

2966 College, Berk.

(510) 433-9730

 

 

The Buzzcocks

It must be punk rock royalty week at Slim’s, because just two days after The Damned grace the SoMa stage the Buzzcocks are coming to town. Part of the Holy Trinity that also includes the Clash and the Sex Pistols, the Buzzcocks are a crucial piece of UK punk history. Bringing the world such killer tunes as “Ever Fallen in Love” and “What Do I Get,” challenging British radio with songs like “Orgasm Addict” and confronting the punk community with an open and serious examination of homosexuality, the Buzzcocks are a tireless and fearless force of nature. Plus, 38 years into their career, they’re still touring regularly and have a new record out this year. Is there anything more punk than refusing to succumb to gray hair or body fat? (Zaremba)

With Doug Gillard, Images

8pm, $35

Slim’s

333 11th St, SF

(415) 225-0333

www.slimspresents.com

 

SATURDAY 7

 

 

Les Claypool’s Duo De Twang

Les Claypool has an amazing eye for weirdness. His band Primus has made a decades-long career out of defying every possible genre classification, wearing monkey masks onstage, and naming their albums things like Pork Soda and Sailing the Seas of Cheese. Now Claypool is going the opposite direction, creating the most minimalist, deconstructed music possible, with one vocal, one bass, one guitar, and one makeshift percussion tool — but don’t worry, it’s still bizarre. In his Duo De Twang, which was originally organized as a one-off for Hardly Strictly Bluegrass, Claypool teams up with longtime buddy and collaborator Bryan Kehoe to play originals and tasty twang covers (including the Bee Gees and Alice in Chains). The show promises down-to-earth, intimate weirdness, plus seriously incredible musicianship. (Zaremba)

With Reformed Whores

9pm, $38

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

 

tUnE-yArDs

What a difference five years makes: Merrill Garbus moved to the Bay around that time, as word quickly spread about the undeniable force of her musical vision, one that draws from African, folk, and electro-acoustic quarters, and her visceral one-woman performances. Since her maiden tUnE-yArDs outing, BiRd-BrAiNs, she’s put out the album that every critic could agree on in 2011, whokill, which scored her the coveted top spot in that year’s Pazz and Jop poll. Her third full-length, Nikki Nack, takes tUnE-yArDs further, into Garbus’s fascination with Haitian artistic traditions, as she turned to the country’s boula drum to lay the groundwork for the recording’s intoxicating call and response. (Kimberly Chun)

With the Seshen

9pm, $26

The Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com


SUNDAY 8


Silent Frisco Beats on Ocean Beach

Summertime throwdowns are the types of shows the brilliant Silent Frisco have made their niche — take a pristine outdoor environment, add groovin’ music and people, let fun ensue. “Scene Not Heard” as the Silent team puts it. The key to making these public shows possible is ditching speakers and substituting wireless headphones, removing complaint-inducing noise, and leaving the amusingly awesome sight of befuddled onlookers observing limbs gyrating to what appears to be silence. For this event, two channels allow movers and shakers to select from a rotation of California electronic music talent throughout the day. Fresh off touring with The Glitch Mob, Ana Sia will bring big, bouncy, driving bass, while Dutch grandmasters Kraak & Smaak headline with two hours of their lush, disco-tinged sound. (Kevin Lee)

With Kraak & Smaak, Ana Sia, Pumpkin, JLabs, Motion Potion, and more

11am, $20; kids and dogs free (all-ages show)

Ocean Beach Great Highway at Balboa Ave, SF

www.silentfrisco.com


TUESDAY 10


Tom Robbins

“If Tibetan Peach Pie doesn’t read like a normal memoir, that may be because I haven’t exactly led what most normal people would consider a normal life,” forewarns writer Tom Robbins in the preface of his first nonfiction book. With that on readers’ minds, Robbins reflects on his colorful adventures, from an accident laden-youth in Depression-era North Carolina in which his mother dubbed him “Tommy Rotten,” to an established literary career in Washington state. Along the way, Robbins studies the weather in Korea, experiments with acid, embarks on international religious journeys, tangos with Hollywood, and discovers some love. Tibetan Peach Pie‘s 41 succinct tall tales crackle with a Robbins’ rare blend of warmth, wisdom, and wit. (Lee)

In conversation with Isabel Duffy

7:30pm, $27

Nourse Theatre

275 Hayes, SF

(415) 392-4400

 

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 e-mail (paste press release into e-mail 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 we cannot accept listings over the phone.

PrEP school

32

Two weeks ago, the Centers for Disease Control and Prevention announced that it was recommending physicians consider Truvada, a medication used to treat HIV/AIDS, to prevent infection for high-risk patients who are HIV negative. Seen as a miracle drug by some and a “party drug” by others, Truvada has struggled to take off as a preventative measure and, prior to the CDC’s endorsement, foundered under its own controversy.

The drug regimen is known as pre-exposure prophylaxis, or PrEP, and involves taking one pill of Truvada daily. The most common side effects are initial nausea and headaches, but even those generally subside after a couple of weeks. Most impressive is the efficacy rate: Studies point to a reduction in risk of contracting HIV that is higher than 90 percent for individuals who take the medicine daily as recommended.

Additionally, the CDC has recommended PrEP only for high-risk patients — meaning gay men who have sex without condoms; intravenous drug users; and couples, gay or straight, where one partner is HIV positive and the other is negative.

“While a vaccine or cure may one day end the HIV epidemic, PrEP is a powerful tool that has the potential to alter the course of the U.S. HIV epidemic today,” said Dr. Jonathan Mermin, director of CDC’s National Center for HIV/AIDS, in a press release.

But PrEP comes with its detractors, the most vocal of whom have come from within the HIV/AIDS and gay community. PrEP users often carry the stigma of being hypersexual gay men, looking to justify their promiscuous sex lives and disavowal of condoms with a daily pill. The label “Truvada whore” soon emerged as a means to shame PrEP users (though the term is now being reclaimed by PrEP activists as a source of pride through hashtags and T-shirts).

However, the loudest critic by far has been the AIDS Healthcare Foundation, a nonprofit organization based in Los Angeles that provides care to HIV positive patients around the globe.

“This is a position I fear the CDC will come to regret,” said AHF President Michael Weinstein in a public statement. “By recommending widespread use of PrEP for HIV prevention despite research studies amply chronicling the inability to take it as directed, and showing a limited preventive effect at best, the CDC has abandoned a science-driven, public health approach to disease prevention — a move that will likely have catastrophic consequences in the fight against AIDS in this country.”

The push for PrEP is playing out like a grand battle between two formidable foes. On one side is the multi-billion dollar pharmaceutical company that produces Truvada, Gilead Sciences, headquartered just a few miles south in Foster City. On the other is AHF, the largest provider of HIV/AIDS medical care in the US. While on the surface it may seem like a massive corporation taking on the not-for-profit underdog, the reality is much more complex.

 

THE TRUVADA TRAIN

When Truvada was first approved by the Food and Drug Administration 10 years ago, it was a revolutionary new pill used in combination with other drugs to help control the virus in HIV-positive patients. At a time when most HIV medications required taking pills throughout the day and carried intolerable side effects, Truvada was a once-a-day godsend.

Since then, Gilead has established itself as one of the leading companies for HIV medications, producing or helping to produce many top drugs, such as Atripla, Complera, and Stribild, all of which use components of Truvada in their formulas.

But Truvada’s truly revolutionary moment came in July 2012, when it became the first drug approved by the FDA to reduce the risk of HIV infection in negative individuals.

Controversy immediately ensued.

Medicating healthy people is not a popular approach, especially when those drugs cost $13,000 annually per patient (most insurance companies, as well as Medicare and Medicaid, cover PrEP). In comparison, the CDC estimates that the annual cost to treat someone who already has HIV is $23,000. If all of the 500,000 high-risk Americans who the CDC recommends use PrEP were to begin the therapy, the gross revenue for Gilead would be $6.5 billion — all for people who aren’t even sick.

Despite the potential for astronomical profits, as of September 2013 only 2,319 unique individuals had been prescribed Truvada as PrEP, according to Gilead. Half of those patients are women, suggesting that gay men are not being aggressively targeted for PrEP. When PrEP users who are part of research studies are included, the total number of patients is still estimated to be under 10,000.

One reason for the slow start is a lack of awareness. Outside of big cities, there is less dialogue surrounding HIV and prevention techniques. And even in metropolitan areas, familiarity with Truvada is often limited to the HIV specialist doctors treating patients who already have HIV and wouldn’t benefit from PrEP.

“We get a fair number of patients here who are rejected for PrEP from other physicians in the city,” said Dr. John Nienow of One Medical Group in the Castro. “I haven’t heard about widespread adoption in other offices, but I have heard of other physician groups not wanting to prescribe Truvada for PrEP.”

When asked whether the recent CDC announcement endorsing PrEP would change that, Nienow was hopeful.

The CDC announcement “will educate and legitimize PrEP’s use on a widespread basis,” he said. “I think physicians might be uncomfortable prescribing it, and this will make them more comfortable.”

Another reason PrEP has failed to gain traction is that Gilead has spent virtually no money on advertising its own drug. Well, sort of. It is true that Gilead has avoided advertising campaigns — drug companies that push their own drugs tend to stir up controversy — but many of the organizations that have come out publicly in favor of PrEP have received grants from Gilead. According to tax forms, Project Inform and the San Francisco AIDS Foundation, two prominent local nonprofits that support PrEP, have both received large donations from the pharmaceutical company.

One such grant was awarded to Project Inform, for the group to produce videos about PrEP targeted toward young gay men, particularly men of color, according to David Evans, director of research advocacy.

Was this donation a part of Gilead’s marketing strategy? It’s tough to say for sure; Gilead did not return Bay Guardian calls seeking comment.

Regardless of money, it is clear that a new approach is needed for combating HIV. New infections in the US have stubbornly hovered at around 50,000 incidences per year since the ’90s, despite pushes for condom usage and education efforts.

“Yes, PrEP is working. It works when it’s adhered to,” Nienow said. “It’s been extensively studied in populations at risk for HIV, and the conclusion was that it is dramatically successful. So much so that one expert even said that the debate about efficacy is now over.”

 

FROM SELF-PROTECTION TO “SLUT”

It’s true that the AIDS Healthcare Foundation is no billion dollar corporation such as Gilead. But with an operating budget this year of $904 million and a presence in 28 countries, AHF is still a force to be reckoned with.

Though the list of organizations that are loyal exclusively to condoms as a method of prevention is dwindling, AHF has been one of the most powerful and resolute allies of latex protection since the very beginning. Even before Truvada was approved by the FDA as PrEP in 2012, AHF campaigned to prevent it from happening. Even though AHF may be growing more and more isolated in its anti-PrEP stance, it is anything but ready to give way.

Though the efficacy rate for using PrEP is upwards of 90 percent reduction in risk, AHF and other critics consistently cite a drastically lower 40 percent reduction. The difference between these two figures lies in patient behavior: When Truvada is taken correctly, that is, every day without skipping doses, then it’s been shown to reduce new HIV infections by over 90 percent. However, when research studies publish data they must include all participants, regardless of whether they took the dosage as instructed. Average out the effectiveness of the drug between participants who adhered religiously and those who didn’t take it at all, and you arrive at about a 40 percent reduction in risk.

But as AHF points out, the outcome for the participants who did not follow instructions is an important reality that should not be overlooked.

“When you read these studies carefully, what they say is that research modeling can be whatever percent effective, but research modeling is not real-world applicable,” said Ged Kenslea, AHF director of communications. “In every study participants were given incentives and paid to participate,” yet still didn’t adhere to instructions consistently.

“We can’t even get people who already have HIV to take their pills as prescribed,” Kenslea added.

Even amid legitimate concerns about health risks associated with improper use of PrEP or its inability to act as a safeguard against other STDs, much of the debate has become infused with anti-PrEP rhetoric rooted in stereotypical assumptions about the promiscuity of gay men. Patients who use it to protect themselves are reduced to “Truvada whores,” men who live capriciously and are always on the lookout for their next fuck.

“The last couple of years that we’ve been prescribing [Truvada], there have been reports from patients who have received negative reactions from some people,” said Nienow. “Some people, particularly online, regard it as a marker for whores and promiscuity, and others as a marker for self-protection. The stigma kind of ranges from, ‘Great, you’re protecting yourself,’ to, ‘Horrible, you’re a slut.’ My patients have seen all of those.”

Just last month, AHF President Michael Weinstein referred to Truvada as a “party drug,” setting off such a fury that a petition to remove him as head of the organization is now circulating around the Internet. It has amassed nearly 4,000 signatures.

AHF’s policy of championing condoms above any other method is strange, considering that it cites poor adherence to Truvada as the drug’s primary downfall. While the efficacy of the drug clearly drops when it is not taken correctly, AHF critics point out that condoms are not used consistently either, and having multiple methods of protection is better than one.

After viewing donations by Gilead to HIV/AIDS groups, the Bay Guardian requested a list of donors from the AHF as well, but the organization provided a 2012 tax form that did not include a donor list.

PrEP does have some efficacy, Kenslea said, and AHF clinicians are free to prescribe Truvada as a preventative drug.

“If an AHF physician feels that prescribing PrEP is appropriate, then we do not stop that,” Kenslea said.

Still, AHF’s uncompromising reluctance to consider endorsing PrEP is puzzling. AHF leaders repeatedly list reasons that the drug will not work, despite mounting scientific evidence stating the contrary. There is no doubt that PrEP should not be taken lightly or with a blasé attitude, but why eschew it with such fervor?

“We are not refuting the science,” Kenslea said. “We are disagreeing on the understanding of human nature.”

 

A DAILY ROUTINE

When Damon Jacobs re-entered the dating game in 2011, it was a completely different playing field from what he remembered. At first, he wasn’t sure what to expect after coming out of a seven-year relationship with his boyfriend, but he quickly realized there were some significant differences since he had last played the field.

“For me, getting back into the dating world and the cruising world, I was realizing that people were not using condoms as they were a decade earlier,” Jacobs said. “And I wasn’t using them like I was in 1990’s San Francisco either.”

But even scarier than Jacobs’ risky behavior was the reasoning behind it.

“I noticed that my thinking had changed,” he admitted. “I started thinking of HIV as a ‘when,’ not an ‘if.'”

It was during that time when the PrEP studies were just beginning to be published. After attending a forum about using an HIV treatment drug to prevent HIV, Jacobs gathered all of the information he could on this unconventional approach and ran back to his doctor. He knew he wasn’t being as diligent to prevent HIV as he once had, and PrEP seemed like an effective way to stay negative.

His physician had never heard of giving Truvada to a patient without HIV, but Jacobs showed him the research and promising results. He began taking PrEP in July 2011, exactly one year before its FDA approval for HIV-negative individuals.

“Those of us using PrEP now, we were the first ones asking for this, so we’ve had to be the educators and the advocates,” Jacobs said. “We even educate the doctors. Some doctors take that and say, ‘yes, I want to work with you.’ Others give tacit dismissal, and then some tell outright lies about it.”

In the past three years, Jacobs has never missed one of his daily pills. He has built it into his everyday routine: eat breakfast, brush teeth, take PrEP. If you can remember to brush your teeth, he postulates, you can remember to take your pills.

Unfortunately, Jacobs has dealt with the stigma that surrounds PrEP as well.

“If I’m on a date with someone who is negative and he finds out, he’ll ask me, ‘Oh, so you’re a whore? Do you have sex with everybody?'” Jacobs lamented. “It’s not a common reaction, but it stems from a misunderstanding of what PrEP is.”

Instead of being offended, embarrassed, or angry, he takes the time to educate, often resorting to the same analogy: that it’s very similar to women taking birth control; it reduces the unwanted consequences of condom-less sex.

Even though Jacobs disagrees with today’s critics of PrEP, he seems to understand where they are coming from. He volunteered with the Stop AIDS Project in San Francisco in 1992, while HIV was crippling the gay community and condoms were considered the only safeguard from a then-fatal virus.

“Michael Weinstein’s message has been that people should use condoms,” said Jacobs. “When I started volunteering at Stop AIDS [Project], we had a marketing campaign where we gave out pins and T-shirts at local bars and clubs that said, ‘100%’ because we knew that if everybody used condoms 100 percent of the time, we could eradicate AIDS by 2000. “Well I ask you, how did that pan out?”

Summer fairs and festivals

0

MAY 24-25

Carnaval San Francisco Festival: Sat/24-Sun/25, entertainment begins at 11am, free, Harrison between 16th and 24th Sts, SF. Parade: Sun/25, 9:30am, free, starts at 24th and Bryant Sts, SF; www.carnavalsf.com. The theme of the 36th annual event is “La Rumba de la Copa Mundial,” so prepare to catch World Cup fever as part of this spangly, sparkly celebration of international music, dance, cuisine, crafts, and more.

San Francisco International Beer Festival Festival Pavilion, Fort Mason Center, SF; www.sfbeerfest.com. 7-10pm, $75 (“Brewmaster” early entry ticket, 5pm, $175). More than 100 international and local craft brewers showcase their wares at this 31st annual event. Plus: pizza, sausages, beer-infused gelato, and other treats to soak up the suds. All proceeds benefit the Telegraph Hill Cooperative Nursery School.

MAY 31

Chocolate and Chalk Art Festival Shattuck between Rose and Vine, Berk. www.anotherbullwinkelshow.com/chocolate-chalk-art. 10am-5pm, free. Chalk artists compete for prizes while turning the sidewalks into eye candy — and speaking of candy, sweet tooth-ers can pick up ticket packs ($20 for 20) to sample chocolate items galore, including exotic treats like picante habañero chocolate gelato.

MAY 31-JUNE 1

Castroville Artichoke Food and Wine Festival Monterey County Fair and Events Center, 2004 Fairground, Monterey; www.artichokefestival.org. May 31, 10am-9pm; June 1, 10am-7pm. $5-10. See why Castroville is “the Artichoke Capital of the World” at this fest, which has grown so big it shifts locations this year to the fairgrounds in nearby Monterey. Try the fan favorite, artichoke cupcakes.

JUNE 7

Philippine Independence Day Celebration: Lumago Lampas (Grow Beyond) Rhythmix Cultural Works, 2513 Blanding, Alameda; www.rhythmix.org. 7pm, $15-25. Celebrate with performances by Parangal Dance Company, musician Ron Quesada, artist Kristian Kabuay, and more. Presented by the American Center of Philippine Arts.

Yerba Buena Art Walk Between Market and Folsom and Second and Fifth Sts, SF; yerbabuena.org/artwalk. 12:30-6pm, free. Yerba Buena Alliance presents this neighborhood showcase, highlighting galleries, exhibitions, and institutions throughout the downtown cultural center.

JUNE 7-8

Union Street Festival Union between Gough and Steiner, SF; www.unionstreetfestival.com. 10am-6pm, free (tasting tickets, $30-35). This 38-year-old festival features tasting pavilions highlighting Bay Area craft beers and wines. Each block of the fest will also have a themed “world,” centered around fashion, culinary arts, tech, locals, crafts, and fitness.

JUNE 7-15

San Mateo County Fair San Mateo County Event Center, 1346 Saratoga, San Mateo; www.sanmateocountyfair.com. June 7-8, 10, and 14-15, 11am-10pm; June 9 and 11-13, noon-10pm, $8-10. All the classics (horse show, the Zipper, funnel cakes), plus modern touches like hip-hop dance performances, poetry readings, pig races, and concessions geared toward health-conscious fairgoers. Evening concerts include Air Supply, Brian McKnight, and War, plus tributes to Neil Diamond, Journey, and the Beatles.

JUNE 8

Haight Ashbury Street Fair Haight between Stanyan and Masonic, SF. www.haightashburystreetfair.org. 11am-8:30pm, free. Live music on two stages, plus over 200 vendor booths, highlight this groovy tradition.

JUNE 14-15

Crystal Fair Fort Mason Center, 2 Marina, Bldg A, SF; www.crystalfair.com. June 14, 10am-6pm; June 15, 10am-4pm. $8. The one-stop shop for all your crystal needs, for both jewelry and healing-arts purposes.

Live Oak Park Fair Live Oak Park, 1301 Shattuck, Berk; www.liveoakparkfair.com. 10am-6pm, free. The 44th annual fest hosts over 100 artists and craftspeople selling jewelry, clothing, contemporary art, quilts, pottery, and more, plus tastings of food by local artisans.

North Beach Festival North Beach neighborhood, SF. www.sresproductions.com/north_beach_festival.html. 10am-6pm, free. Historic North Beach hosts its 60th annual festival, with 125 arts and crafts booths, 20 gourmet food booths, live entertainment, and more, plus the ever-popular blessing of the animals (2-3pm both days at the National Shrine of Saint Francis of Assisi, 610 Vallejo).

JUNE 20-AUG 9

Stanford Jazz Festival Venues and prices vary; www.stanfordjazz.org. Both legends (Chick Corea, Arturo Sandoval, Joe Louis Walker) and up-and-comers (Taylor Eigsti, Meklit, Pacific Mambo Orchestra) fill the schedule at this annual fest.

JUNE 28-29

San Francisco Pride Venues and prices vary; www.sfpride.org. Amid the zillion parties, performances, and events that’ll go down this week, the biggest are the celebration (June 28, noon-6pm; June 29, 11am-6:30pm, $5, Civic Center), and the parade (June 29, 10:30am, starts at Market and Beale). This year’s theme is “Color Our World with Pride.”

JUNE 28-SEPT 21

Free Shakespeare in the Park Venues and times vary; www.sfshakes.org. Free. Get thee to a park (including the Presidio, Aug 30-Sept 14) for a free, professional production of The Taming of the Shrew.

JULY 4

Fourth of July at the Berkeley Marina Berkeley Marina, 201 University, Berk; www.anotherbullwinkelshow.com. Noon-10pm, $15. Family-friendly fun with live entertainment, pony rides, arts and crafts, and fireworks (9:30pm).

JULY 4-5

“The Ripple Effect” Opening weekend: Dolores Park, 19th St at Dolores, SF; www.sfmt.org July 4-5, 2pm, free (donations accepted). Continues through Sept 1 at various NorCal venues. The veteran San Francisco Mime Troupe stays current by skewering San Francisco’s ever-dividing economy; think rising rents, tech-bus protests, and (natch) Glassholes.

JULY 5-6

Fillmore Jazz Festival Fillmore between Jackson and Eddy, SF. www.fillmorejazzfestival.com. 10am-6pm, free. The largest free jazz fest on the West Coast fills 12 blocks with music, arts and crafts, gourmet food, and more.

JULY 17-27

Midsummer Mozart Festival Venues, times, and prices vary; www.midsummermozart.org. Two weeks paying tribute to Wolfgang Amadeus, with highlights like a San Francisco Boys Chorus guest appearance, and (in honor of the fest’s 40th season), a performance of Symphony No. 40 in G minor.

JULY 19-20

Renegade Craft Fair Fort Mason Center Festival Pavilion, 2 Marina, SF; www.renegadecraft.com. 11am-6pm, free. DIY crafters unite at this celebration of indie design. Hey, it’s never too early to get a jump on your holiday shopping.

JULY 25-27

Gilroy Garlic Festival Christmas Park, Gilroy; www.gilroygarlicfestival.com. 10am-7pm, $10-20. Garlic is the pungent star of this annual food fair. Garlic ice cream gets all the press, but don’t sleep on the garlic fries, 2012’s most popular purchase (13,401 servings!)

JULY 26-27

Berkeley Kite Festival Cesar E. Chavez Park, Berkeley Marina. www.highlinekites.com. 10am-6pm, free. Because where else are you gonna see the world’s largest octopus kite?

Vintage Paper Fair SF County Fair Building, Ninth Ave. and Lincoln, SF; www.vintagepaperfair.com. July 26, 10am-6pm; July 27, 11am-5pm. Free. Relive the days before digital ruined everything with this showcase of vintage postcards, photographs, labels, sports memorabilia, and “all manner of curious, beautiful, and interesting old paper.”

JULY 27

Up Your Alley Fair Dore between Howard and Folsom, SF; www.folsomstreetfair.com/alley. 11am-6pm, $7 suggested donation. Folsom Street Fair’s naughty little brother fills Dore Alley with leather-clad shenanigans.

AUG 1-3

Eat Drink SF Fort Mason Center, 2 Marina, SF; www.eatdrink-sf.com. Times and prices TBD. Formerly known as SF Chefs, this Golden Gate Restaurant Association-hosted event brings together food, wine, and spirits. Foodies, start your engines.

AUG 2-3

Art + Soul Oakland Downtown Oakland (adjacent to the 12th St/City Center BART station); www.artandsouloakland.com. Noon-6pm, free. Live music is Art + Soul’s main draw, but a new event — the Oaktown Throwdown BBQ competition — will surely be a popular addition.

Bay Area Aloha Festival San Mateo County Event Center, 1346 Saratoga, San Mateo; www.pica-org.org. 10am-5pm, free. The Pacific Islanders’ Cultural Association showcases Polynesian dance and island cuisine at its annual event.

Nihonmachi Street Fair Post between Laguna and Fillmore, SF; www.nihonmachistreetfair.org. Times TBD. This long-running community event celebrates Asian-Pacific American life with performances, food, activities for kids, and more. Plus: the crowd-pleasing dog pageant and accompanying parade.

AUG 3

Jerry Day Jerry Garcia Amphitheater, McLaren Park, 45 John F. Shelley, SF; www.jerryday.org. 11:30am, free (donate for reserved seating). Live music (lineup TBD) honors the legacy of the Grateful Dead legend, who grew up on nearby Harrington Street in the Excelsior.

AUG 16

Stumptown Brewery Beer Revival and BBQ Cook-off Stumptown Brewery, 15045 River, Guerneville; www.stumptown.com. 1-6pm, $75-100. Over 30 breweries and 30 BBQ teams await at this event, which makes the following claim: “If you can’t have fun at this one … you can’t have fun.” ‘Nuff said. AUG 23-24 Bodega Seafood, Art, and Wine 16885 Bodega Highway, Bodega; www.winecountryfestivals.com. Aug 23, 10am-6pm; Aug 24, 10am-5pm, $8-15. It’s there in the name, folks: tasty seafood, a juried art marketplace, and wine (and beer) tastings. Plus: three stages of live entertainment. Golden Gateway to Gems SF County Fair Building, Ninth Ave. and Lincoln, SF; www.sfgemshow.org. 10am-6pm, check website for price. It’s the diamond jubilee (60th anniversary) of this San Francisco Gem and Mineral Society event, and the 2014 theme is “Heavy Metal” — so prepare for face-melting encounters with rock, gem, and jewelry dealers; educational lectures and demos; and a “stump the expert” mineral ID station. Rock on! *

Sounds of silence

1

arts@sfbg.com

THEATER How we hear — or if we hear — is to some extent a matter of association. We’re inclined to listen to, take seriously, and treat as equal those people with whom we identify and can sympathize, people who seem to share basic things, including certain values, with us. Such is the implication (and provocation) in English playwright Nina Raine’s engaging drama, Tribes, which roots itself in an eccentric London family — one of whose members is deaf — in order to explore wider social questions of affiliation and communication, exclusion and indifference. The play in this way takes on literal and metaphorical deafness, exploring clan-like thinking and behavior in and through the politics of the deaf community.

The serious questions at the heart of the play, however, come agreeably packaged in a very loud and amusing family of cantankerous extraverts headed by a former scholar turned author named Christopher (a gruffly and charmingly expansive Paul Whitworth) and his wife, a novice novelist named Beth (a cheerful yet concerned Anita Carey, in an admirably supple performance). The household has recently expanded to former proportions with the return of grown 20-something children Sylvia (Nell Geisslinger) and Daniel (Dan Clegg), who rejoin their grown and deaf brother, Billy (a sympathetic, impressively complex James Caverly), around the family’s book-lined living room (in Todd Rosenthal’s detailed, naturalistic scenic design, which transforms when necessary into offsite locations or inner spaces via Christopher Akerlind’s mutable lighting and Jake Rodriguez’s evocative sound design).

We meet this dysfunctional, codependent set of oddball overachievers and outcasts around the long table to the left of center stage, where they engage in clearly quotidian bouts of whining and dining. “Why am I surrounded by my children again,” wonders Christopher rhetorically. “When are you going to fuck off?”

Playwright Raine has an ear for the kinds of cruel jabs, off-color remarks, and outrageous propositions that, it seems, only a family can indulge in (let along get away with) without so much as a tremor of trepidation or regret. In this smarty secular Jewish household, that sniping is especially vituperative, colorfully earthy (especially in Dad’s frequent bon mots), and colored over by an intellectual hue: Christopher’s pet theme is the rootedness of feeling and personality in language. Daniel, plagued by a damning superego that has produced condemnatory voices in his head, is writing a thesis more or less arguing the opposite — that language does not determine meaning. His socially awkward sister, meanwhile, has taken up the pursuit of music (where feeling transcends language), singing opera in pubs. Moreover, despite their constant assailing of one another, there’s a collective pride undergirding it all — a satisfied sense of the family’s own positive difference from the rest of the (alternatingly intimidating and pitiable) world.

But, notably, these animated discussions among the family tribe, with which the play begins, rarely include Billy. When he speaks — in the pronounced but muted tones of someone who does not completely hear his own voice — it’s usually to ask what everyone else is talking about. Treated as an equal (with a nonchalance bordering at times on indifference) and yet simultaneously eclipsed by his loudmouthed, self-involved relatives, Billy ironically stands out (to us) by virtue of his quiet remove.

He soon breaks free and into clearer view after meeting a woman named Ruth (a sharp and vital Elizabeth Morton) with whom he falls instantly in love. Ruth is losing her hearing, but coming from deaf parents, she is well acquainted with the community and culture of the deaf. This does not make her transition any easier, however. Indeed, it complicates it in subtle ways. More than any other character, she straddles both worlds: the hearing and the non-hearing. It makes her both threatening and attractive to Billy’s family, who fear Billy’s categorization and cooptation as part of a deaf minority.

Billy, unusually adept at lip reading and emboldened by his love for Ruth and the community she provides access to, takes a job with a law court providing crucial transcriptions from audio-less video for criminal trials. This allows him to move out of the family home for the first time. Ruth teaches him ASL, which he begins to use more and more exclusively. Both he and Ruth meanwhile confront a family that places a premium on the connection between language and feeling. From this constellation of voices and positions, a serious split emerges that throws the family into a tailspin while asking a series of stimulating questions about where, and how, we belong.

Raine’s 2010 play (originally produced by London’s Royal Court Theatre) gets a spirited, involving production from Berkeley Rep and director Jonathan Moscone. Moscone (the artistic director of California Shakespeare Theater who excelled at another contemporary family-social drama when he helmed Bruce Norris’s Clybourne Park at ACT) stirs the hornet’s nest of mad, madcap family living with an expert hand, and his fine cast delivers Raine’s witty (albeit sometimes too thematically forceful) dialogue with precision and ease. If the play wraps up a little abruptly, it also leaves much in the ensuing silence to continue listening to. 2

TRIBES

Through May 18

Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm; no 2pm show May 18), $29-99

Berkeley Repertory Theatre

2015 Addison, Berk

www.berkeleyrep.org

 

Psychic Dream Astrology: April 23 – 29, 2014

0

April 23-29, 2014

ARIES

March 21-April 19

If you slack off this week you’ll find that things get overwhelming pretty quickly. This can be a time of meaningful beginnings as long as you stay true to your vision for the future you want to create. Stay on course even if the road is bumpy or longer than you think it should be.

TAURUS

April 20-May 20

How can you hear your gut instincts with all that chatter in your noggin, Taurus? You’re not doing yourself any favors by arriving at your destination early but frazzled. If you want things to be different you need to be different. Prioritize the cultivation of calm so that your intuition is easier to align with.

GEMINI

May 21-June 21

You are getting ready to birth a whole new part of yourself, Twin Star, and it’s a lot all at once. Manage your fears by obsessing on what you’re grateful for instead of what you’re scared of. You may need to slow down your pace so that your practical twin can catch up with the one who’s ready for action.

CANCER

June 22-July 22

If you could have whatever you want, what would it be? You need a plan, so instead of wringing your hands you can mobilize. You are capable of carving out your desires but it will require you to step up to some of your biggest fears and confront them. Invent a way out so that if you need it, you’ve got it.

LEO

July 23-Aug. 22

Ambition is a good thing but being too willful may kick up more resistance than you intend it to this week. If people feel pushed around by you, no matter how innocent your intentions, you’ll find them putting up a fight or digging in their heels. Work with others and not against them, Leo.

VIRGO

Aug. 23-Sept. 22

You’re not supposed to know the answers. The Universe wants you to act for the love of acting, or at least because you believe in what you’re doing. Have clear intentions but don’t be so attached to them that you are closed to the wide world of possibility outside of your head. Don’t fear the unknown, Virgo.

LIBRA

Sept. 23-Oct. 22

You can’t control anything, but that’s old news, Libra. While your head may be swimming with ‘what ifs’ you need to keep your actions trained on what you’ve already chosen. Follow through on your commitments, even the ones you’ve made to yourself, and the rest will reveal itself in it’s own sweet time.

SCORPIO

Oct. 23-Nov. 21

Acting ‘nice’ can get you into a world of trouble, so be in integrity with your actions this week. Make sure you’re not enabling people or situations by acting all nicey-nice when the truth is much less pleasant than all that. True kindness doesn’t need to feel good but it nurtures the giver and the recipient.

SAGITTARIUS

Nov. 22-Dec. 21

You have some serious decisions to make. If you run around like a chicken with its head cut off you’re likely to achieve nothing good this week. Make a plan, Sag. In order to choose things you need to turn away from others. Clarify what’s most important to you and act as single-minded as you can.

CAPRICORN

Dec. 22-Jan. 19

Don’t confuse your feelings with your situation — or you’ll self-sabotage out of some sort of anxious knee jerk reaction to your fears. Keep your thoughts trained on your hopes and your heart open to having its wishes fulfilled. Be grateful for what you’ve got on your path to what you want.

AQUARIUS

Jan. 20-Feb. 18

You need to decide how much of other peoples’ drama you’re going to take on, Water Bearer. There’s hecka fuss in your sphere and you’d be wise to call your boundaries. Don’t wait for other people to behave as you’d prefer them to; be the change you wish to see in your life and the rest will follow.

PISCES

Feb. 19-March 20

Look at your life, Pisces, and take stock of all you have. Be grateful for the goodness you’re surrounded by, whether your cup is overflowing or there’s only a few drops for you to soak in. This week you can build on your successes but it requires that you first own them with pride and joy.

Want more in-depth, intuitive or astrological advice from Jessica? Schedule a one-on-one reading that can be done in person or by phone. Visit www.lovelanyadoo.com

 

The Milkman delivers

1

esilvers@sfbg.com

LEFT OF THE DIAL It’s a question most musicians are all too familiar with. If you tell someone at a party that you’re a working musician, that person is inevitably going to ask — after a few polite questions about your hardcore band/classical jazz quartet/street-corner performance art where you alternate reading Blake passages with playing the accordion — “So, you have a day job?”

In a city like San Francisco, especially, the answer is almost always “yes.” And there’s no shame in that! Bartender, barista, Whole Foods cashier, teacher, graphic designer, marijuana dispensary employee — I’ve heard all of these in just the last month or so of musician interviews. A person’s gotta eat.

And then there’s Tim Marcus. On a recent, rainy Tuesday afternoon, the guitarist was hunkered down in a small bedroom-turned-electrical engineering workshop in the Lower Haight apartment he shares with his girlfriend. Marcus, 35, is one of the most sought after steel guitar players in the Bay Area. He spent the latter half of the aughts with the now-defunct (but much loved) San Francisco Americana band Or, the Whale. A few hours after this interview, he’ll be playing Amnesia with alt-country rocker Tom Rhodes; two days later he’s heading out on the road for a three-week East Coast tour with San Francisco folk songstress Kelly McFarling. But right now he’s at his day job: Flanked by stacks of glass tubes, fuses, and various tiny metal parts whose purpose we can only guess at, he’s building an amplifier. And not just any amplifier. An amplifier of pedal steel dreams.

amp

As the founder, owner, and sole employee of Milkman Sound, Marcus has created a living from building toys — and he’s the first to call them that — for musicians who are just as choosy as he is.

“I started playing guitar when I was 10, and played in bands all through middle school, high school, college,” says Marcus. “I started doing it professionally in the early 2000s. And there just wasn’t what I’d consider to be a boutique option [for amplifiers] for pedal steel guitars. If you drive a car, most people buy a Ford or a Subaru, but you have the option to buy a Ferrari. As a pedal steel player, in particular, you really wound up shoehorned into buying Fords and Chevrolets, things that are made for [regular] guitar players.”

He gained the technical know-how required to build amplifiers from a couple places. Back East, he worked for a company that did repairs on audio-visual equipment, where he’d hand off old or unused parts to a friend who built amps in exchange for his tutelage. After moving out to San Francisco, Marcus went to work for BBI Engineering, an SF company that installs AV and theatrical systems for museums “and other places that use automated amps, where you walk in, push a button and everything happens,” he says. “I learned a lot about making things that work well, that aren’t going to break if they’re subjected to kids poking at them day, in day out.”

Frustrated at being unable to get the clarity and quality of sound he wanted out of his guitar, Marcus started small, ordering the best parts he could find — some vintage, some new, with a priority on materials made in America — to build one amplifier for himself. He still has it (it’s sitting in a custom Milkman slipcover in the corner of the workshop, which, Marcus notes, is more easily navigated than usual — he just shipped out a bunch of amps) but he’s revamped that first one more times than he can count.

He’s an admitted perfectionist as well as a workaholic, he says, but it runs in the family: the name “Milkman” is a nod to his longstanding family business in Connecticut, starting with a small dairy farm his great-grandfather bought and built out. “The spirit of my great-grandfather was like ‘I’m going to sell something that I make,’ and my family’s always continued that,” says Marcus. “That definitely plays a role in my work ethic.”

Since he built that first amp four years ago, he’s been crafting custom amps for guitar and steel players all over the country. He does every part of production himself — friends have asked to help so they can learn, but he’s “crazy OCD about doing everything” with his own hands — and he builds each amp to a customer’s specifications, one at a time. He’s branched out into amplifiers for regular guitarists, and for bass players. Each amp takes him a couple of days to build, and then he tests it meticulously by (someone’s gotta do it) playing guitar through it lots of different ways.

Marcus still buys parts from small US-based companies where possible, including many in California, which he says is expensive but worth it for the quality. They don’t manufacture the glass tubes that go into amplifiers in the US at all, anymore, he explains, which is a shame, because the ones produced here in the ’50s and ’60s were great — they played an unsung role in creating what we think of as the early American rock ‘n’ roll sound. (Marcus can and will explain the history of amplifiers to you, as well as the differences between every iteration of each part that goes into them, at the drop of a hat.) The majority of his cabinets come from a revered one-man shop in Nashville, though Marcus has just begun working with a family business in Oakland to try to make the operation even more local.

amp

The price for all this care and OCD-level handiwork? Milkman amps run from $900 for a five-watt “half pint” amp to $3000 for the more powerful models. But for the musicians Marcus is catering to, that’s well worth it — last year, he sold 40 amplifiers; this year, by the end of March, he’d already shipped 20. Milkman amps have been out on tour in Eric Clapton’s band, thanks to acclaimed steel player and producer Greg Leisz taking a liking to Marcus’ simple, vintage rock ‘n’ roll aesthetic and careful technical work; they can also be heard on the most recent Daft Punk and Norah Jones records.

Maybe most impressively: Marcus seems to have cracked a code. He’s surviving in San Francisco by doing something he loves — and something that allows him to stay here as a working musician. He stopped working for his old audio-visual company about a year ago.

“I know I’m extraordinarily lucky that I’ve figured out a way to have music be something I can make a living off of,” he says. “I mean, I don’t get rich playing pedal steel. I wouldn’t be able to pay my rent playing pedal steel. If I lived in Nashville, or even LA, maybe; not here.

“But there’s also pride in that,” he says. “That’s why it says ‘Made in San Francisco, USA’ on the front. It’s not easy to do things in San Francisco, so when you do I think it’s just that much more awesome. I kind of got into the pirate ship mentality, and working for myself is great. I get up early — but I haven’t set an alarm clock in a long time.”

Cap and frown

1

joe@sfbg.com

Just in time for baseball season, Giants hats may be allowed back into San Francisco public schools. A new Board of Education resolution may change the school district dress code to allow hats to be worn indoors in classrooms, a resolution that is also sparking conversations about cultural sensitivity.

The resolution, which the board will likely vote on April 8, would eliminate a San Francisco Unified School District no-hats policy, allowing schools to set their own dress codes individually as long as they’ve considered community input.

Some schools currently allow hats in schools in violation of district policy, but others have no-hat rules due to long standing conflation of hats with gang clothing, Board of Education Commissioner Matt Haney, who authored the resolution, told us.

“Our students should not be treated as a threat or a gang member because they wear hats,” Haney said. “If the message we send to them is that the way they dress in their communities is somehow a threat, we should not be sending that message as a school system.”

Hats seem like an unlikely starting point for a discussion about race and social justice, but Haney connects freedom of dress to the story of Trayvon Martin, whose tragic slaying many connected to negative assumptions due to wearing a hoodie, sparking a national “Million Hoodie Movement for Justice.”

Haney said allowing hats in classrooms is one step of many ensuring students know they’re accepted, and not viewed as a threat.

“When I went to a middle school to visit, they asked ‘why we can’t wear hats?’ I said it’s because people may think they’re in gangs,” Haney told the Guardian. “They looked at me like they had never heard anything so crazy or disrespectful in their lives.”

In a world where some people view those dressed in a simple hoodie as a reason to fear a teenager, the change in dress code rules could be seen as rebellious. But not everyone is a fan.

“I’m both ways on it,” Jackie Cohen, co-founder of the student tutoring program 100 Percent College Prep Institute, told the Guardian. “They should be able to express themselves as young people, but I don’t think they’re ready for the consequences that come with it.”

The institute offers many workshops to youth in the Bayview, but one offered last October taught kids to be what Cohen calls a “social chameleon.” The class taught code switching, when Cohen as how people change behavior based on social surroundings.

It’s a concept that youth of color in her neighborhood grapple with every day. Do they wear a hoodie to a job interview? A hat in the classroom? How much slang should be used in any given conversation? How does the media portray them?

boysmeet

Teenage (and younger) members of 100 Percent College Prep Institute learn about code switching from adult peers in a workshop held in October. Photo courtesy of Jackie Cohen.

San Franciscans were treated to a glaring moment of code-switching violation at last year’s NFC championship, when the 49ers were defeated by the Seattle Seahawks, whose cornerback Richard Sherman dissed 49ers player Michael Crabtree loudly in a TV interview, shouting, “Well, I’m the best corner in the game! When you try me with a sorry receiver like Crabtree, that’s the result you gonna get! Don’t you ever talk about me.”

The moment drew fire from football fans and commentators nationally; many called Sherman a thug due to his aggressive speech. In interviews later, Sherman equated the “thug” label with a racial epithet.

The message? Men of color have to act and dress within certain boundaries, and young persons especially can have trouble navigating those social boundaries, just or not. Young people of color’s clothing and speech styles can often be an impediment to breaching white-dominated power structures, Cohen said.

“If you put that resolution on the table, [Haney] should expand that to teach the other side,” she told us. “The code switching class should be part of that resolution.”

Haney, for his part, agrees that families should have a say in how their children dress at school.

“I think it’s a fair point,” he said. “The resolution doesn’t say schools must allow hats, it says it should be up to the school community and can be up to the school staff.”

But in a way, the resolution is pushing back against the need for code switching, and even mentions that the school district should recognize different forms of dress as a part of a community’s culture.

The resolution states: “A District-wide, positive, relationship-based culture is best supported by contemporary, culturally relevant Dress and Appearance standards with consistent application.”

And in San Francisco, as other big cities with pride in their sports team, saying hats are “culturally relevant dress” is an understatement.

Len Kori is a 26-year-old design major at California State University East Bay. But first and foremost, he is a San Francisco native, born and raised — he went to Thurgood Marshall High School, one of the schools affected by the resolution on hats.

He remembers the ban on hats well, which makes sense since Kori owns more than 200 of them, most bearing that unbeatable abbreviation: SF.

lenhat

Kori stands amidst some of his hat collection. Photo courtesy of Len Kori.

“You’d be surprised how deep the philosophy of collecting caps goes, as far as why people collect what they collect,” he told us. “My collection is solely based on who I am, and how important for me it is to acknowledge my roots,” Kori told the Guardian.

Hats defined his identity as a San Franciscan since he was a youngster, and as an adult he channeled his passions into designing hats himself.

One has the peninsula of the city dead center on the front of the cap, half the city aqua blue and the other half a gold dusky land mass. It reads “Bay Era,” a play off of the name of the popular New Era hats. Reflecting a love of city sports, some of his designs hearken back to San Francisco’s original baseball team, the Seals, sporting the original 1903 team colors of blue and white.

He’s happy to see the hat ban lifted because he feels “it’s important for kids to be able to express themselves.” Hats expressing city pride have long been a part of urban San Francisco culture, he said, but they are especially important now.

With so many displaced in the city’s housing crisis, there are too few of his former schoolmates around anymore. It makes the need to declare his love of San Francisco through hats especially poignant.

“It’s just really sad to see so many of my friends who have gone and left elsewhere,” Kori said. “I take pride in my city.”

Ana Tijoux on motherhood, Breaking Bad, and un-learning colonialist history

0

By Rebecca Huval

If you’re tired of mainstream Latin hip-hop — which, right now, is disproportionately made up of reggaeton beats, male MCs, and bitter lyrics — then Ana Tijoux is the lady rapper for you.

The French-Chilean artist upends the genre. Instead of bragging about her millions, she advocates for cultural pride. Instead of barking at her enemies, she weaves a soothing spool of words that remixes the Spanish language into silk. She has evolved from using samples to working with a live band in a textured, colorful sound all its own, incorporating brass, jazz inflections, and a smorgasbord of South American instruments such as Andean charangos and pan-flutes.

You might have heard Tijoux’s origin-story track, “1977,” on Breaking Bad, as Jesse and Mike make deliveries through a desolate Southwestern landscape. The song describes the year she was born in France to parents who were exiled during the military dictatorship in Chile. Her alternating flow and staccato make the mind-numbing road trip seem badass. Following that sophomore record, La Bala, Tijoux is releasing a mature album with lush orchestration March 18: Vengo. The following evening, Wed/19, she’ll hit The Independent.

Calling to mind Erykah Badu, Tijoux is a poet with a low, creamy voice and a call for algre rebelde, or joyful rebellion. Her lyrics will make you feel like the top of your head was taken off, to paraphrase Emily Dickinson. “I come as a child who sought entrance to his/ home, the entrance to his origin, the return to/ his crusade, I come seeking silenced history/ the history of a land pillaged/ I come with the world and I come with the birds,” Tijoux raps in the title track of Vengo. In the shadow of Pinochet’s Chile, Tijoux is rebuilding dignity in her heritage with thoughtful, joyous rap.

Ahead of her show Wednesday night, we caught up with her by phone to talk about why it’s better to protest with beauty, how it felt to move from France to Chile as a teenager, and what it was like to dance with a man in an octopus suit in a music video.

San Francisco Bay Guardian How did you start rapping, and what female rappers influenced you?

Ana Tijoux I think I began when I was 20, very naturally, out of necessity because I needed to communicate. The woman who inspired me first was Bahamadia. And then I began to rhyme and write, and then I began to learn about more female MCs: MC Lyte, and when I was younger, Queen Latifah.

SFBG I’ve read that you consider yourself to be shy. How do you find the strength to perform in front of so many audiences?

AT Because I’m an amazing actress. [Laughs] On stage, I’m singing, I’m communicating, so I forget about the audience. It’s energy, and you begin a dialogue with people. That’s one of the moments when I feel free. It doesn’t matter what happens, I just do it.

SFBG Why did you move to Chile in 1993?

AT Because my parents were exiled in France, and I’m from there, and when refugees could come back I came with my parents. It was hard, very hard. I was a teenager and you’re in the construction of a personality. You’re fighting between a child and an adult in one personality, and then to change continents was hard. It was also one of the most amazing moments in my life. And it was a moment of a lot of lessons, but I understood about them more later, not immediately. I understood about friends, and about how the North robs so many things from the South. It was a political education.

SFBG Your 2007 video for “Eres Para Mi” with Julieta Venegas is goofy and delightful. It looks like you had a lot of fun making it. What was it like dancing with a man in an octopus suit and a nun?

AT The most hilarious moment in my life. When she made the video she didn’t tell me an octopus would be there, so it was a surprise. And I’m shy, like I told you, so I tried to act the best that I could. I didn’t know I would have an octopus near to me.

SFBG How did you write an album with your young children around?

AT It was an amazing moment, but very hard with time. I learned so much, like trying to be a mother with the [artistic] creation and no sleeping. At the same time, it was amazing. I learned time is a precious treasure and so valuable. I can’t lose time anymore in stupidity. The time I have is for creation or friends and family. It was hard to be honest, but really amazing.

SFBG Why did you decide to work with a live band instead of using samples?

AT I work with the best musicians I could have imagined. The songs have different vision with drums because it can be longer, or if the bassist has a solo, each instrument sings and gives a different color. It feels so organic and every instrument can give one texture to a song, and different movement and weather in the songs.

SFBG In “Vengo,” you say “Without fear you and I decolonize/what we were taught.” How have you unlearned what you were taught about Chile’s history?

AT I feel like everything I learned in school was with a colonized vision. You become interested in your roots, you understand that how you learned history is so different than what happened. In Chile, we live in a country with people with brown and black hair, and in publicity they have women with blond hair. All this publicity is about who we should be, and I’m saying we should be proud of who we are as a society and a community.

In America, they say it’s been 500 years since they discovered the continent. They didn’t discover it, people were here before the colonizers arrived. We’re changing the vision and vocabulary.

SFBG I loved Somos Sur, and I think your lyric “alegre rebeldía” captures the spirit of your music. In your calls for social justice, I sense more beauty than anger. What inspires you to call for equality with your gorgeous lyrics instead of just shouting at a protest?

AT Protests in general are protests for life. When you see fights around the world, it’s a fight for life. To have a fair life, it’s about dignity. We’re so used to protests with anger. We want a better future for us our kids and community. So that’s what I’m saying, it’s a fight for happiness.

SFBG How did it feel to hear “1977” on Breaking Bad?

AT Funny. I’m glad. It’s an amazing series, and I’m glad that there is a mainstream series that’s taking a risk. It’s a good series with amazing characters.

SFBG In “1977,” you say “Caminas en crucijadas/ Cada cual es su morada” (“You walk in crossroads/ each one is your home”). Where do you consider your home now?

AT Chile, totally Chile. It’s where my family is, my parents, my kids, my garden, and my refugees.

SFBG What advice would you give to young female rappers out there?

AT Do not listen to advice at all. Everybody wants to give advice about how to make stuff. Don’t listen to advice. Try to make music and be free.

@rhuval

Gimme 5: Must-see shows this week (Noise Pop edition)

0

Like sands through the hourglass, so are the festivals of San Francisco. Or something like that. SF Beer Week is over, dear readers, but fret not! It’s the end of February, which is undoubtedly the cruelest month, no matter what T.S. Eliot said, when the darkest days of winter (in places that have that season) are finally over, and the first blossoms of spring are testing their sea legs like so many trepidatious Bambis. In these parts, that means one thing: Noise Pop is upon us.

This the year NP turns 22, so the festival is definitely old enough to hang with the big kids. And there are indeed some big kids in this year’s lineup — Lord Huron, Real Estate, and Dr. Dog, to name a few. But our favorite part about this festival is what it means for up-and-coming Bay Area acts, for whom playing Noise Pop is something of a rite of passage. We’ll be highlighting a few of our favorites over the course of this week, but for now, here are some suggestions for places to show some local pride. As per usual, the tightly-packed schedule presents some tough choices — so yes, we know there are more than five options here. Life’s tough. T.S. Eliot got that one right.

Wed/26

Papercuts and Vetiver @ The Chapel
This is a dreamy package deal if I’ve ever seen one. Papercuts‘ Jason Robert Quever’s melodic, melancholy sighs have never sounded as subtlely polished as on his upcoming album, Life Among the Savages, his first for the brand-new LA-based label Easy Sound Recording Co. Labelmates and fellow San Franciscans Vetiver‘s breezy folk-pop is music for a spur-of-the-moment afternoon drive up the coast. Throw in San Diego opener The Donkeys and you’ve got yourself the sonic landscape of a California we’re in the habit of relegating to car commercials where someone in the passenger seat is grinning and sticking their hand out the window playfully, a California where everyone’s fresh-faced and it never rains. Noise Pop-goers, you can have it all! Especially that last part.
With EDJ, and Vinyl selections by Britt Govea
8pm, $18
The Chapel
777 Valencia, SF
www.thechapelsf.com

(Plan B: Strange Vine/French Cassettes at Bottom of the Hill, or CCR Headcleaner/Skate Laws at Benders)

Thu/27

Jel @ Sparc
Forget the music, watching Jel repeatedly punch drum machine pads and twist sampler knobs on bulky, last-gen machinery would be worth the price of admission. The East Bay-based electronic hip-hop producer manages to keep his appendages intact while stabbing out a dizzying array of kick drums, snares, and percussion in ever-shifting breakbeat arrangements and tempos. On his latest LP, Late Pass (Anticon), Jel balances bass with shoegaze melodies, hints of psychedelia, electric guitar chords and some of his own emceeing. In line with the political undertones throughout the album (“Don’t get comfortable,” the title track advises), this show marks the two-year anniversary of the San Francisco Patient and Resource Center, a medical cannabis nonprofit. — Kevin Lee
7pm, free (RSVP req. for non badge-holders)
Sparc
1256 Mission, SF
www.sparcsf.org

(Plan B: Social Studies, Aan, Farallons, Max and the Moon at the New Parish)

Fri/28

Painted Palms, Dirty Ghosts, Happy Fangs @ Slims
Sure, Cold Cave is technically the headliner, but calling these three local bands supporting acts just seems wrong. SF duo Painted Palms are the darlings du jour of the psych-rock world, for good reason — Forever, released just last month, is one of the most lush, layered debut albums we’ve heard in a while. Dirty Ghosts‘ Allyson Baker is a frontwoman and a half, drawing from punk, blues, experimental rock, and electronica, and the band has promised a new record in 2014, so we wouldn’t be surprised to hear some fresh material. And Happy Fangs, featuring boundless, rough-around-the-edges, sweet n’ salty energy from former members of My First Earthquake and King Loses Crown, will be playing their first show with a live drummer (check back here for a Q&A with them later this week).
7pm, $16
Slim’s
333 11th St, SF
www.slimspresents.com

(Plan B: Soft White Sixties/The She’s at the Chapel, Bleached/Terry Malts at the Rickshaw Stop)

Sat/1

Black Map, Free Salamander Exhibit, Lasher Keen, Happy Diving @ Bottom of the Hill
Yes, there’s a lot going on Saturday night. No, you shouldn’t go see that band you’ve seen a million times before. If you’re in the mood to get super-heavy and excellently weird, this is a solid lineup of newish Bay Area talent running the gamut from Black Map‘s epic, guitar-driven, smart-art-rock-meets-anthemic-metal sound to upstart Happy Diving‘s soft-grunge-leaning, head-bobbing power pop. Lasher Keen’s earthly psychedelia seems to be from another century, you just can’t tell if it’s the future or the past — we’re pretty sure they’d say that’s a good thing. And Free Salamander Exhibit is, of course, the new project from former members of the elaborately theatrical, cultishly loved experimental noise-rock outfit Sleepytime Gorilla Museum. Let’s just say you’re not going to be bored.
8pm, $15
Bottom of the Hill
1233 17th St, SF
www.bottomofthehill.com

(Plan B: Mikal Cronin at the Chapel, Mark Kozelek at Great American Music Hall — look for our feature on the latter in this week’s paper.)

Sun/2

Rogue Wave, Trails and Ways, Wymond Miles @ The Chapel

Oakland’s Rogue Wave set the tone for lo-fi, indie pop-rock way back in the mid-aughts, with an onset of popularity so sudden it seemed unsustainable. Not so — the lineup may change, but the band’s talent for crafting jangly earworms needs no further proving, as of last year’s Nightingale Floors. Trails and Ways, whose members met at Cal, make danceable, Bossa Nova-infused dream-pop that broadens and deepens with repeated listens, but doesn’t take itself overly seriously; oh yeah, they also sing in three languages. And Wymond Miles, still probably best known as the Fresh and Onlys’ guitarist, put out his second solo work late last year — a dense, thoughtfully arranged post-punk gem of a record. Note: This is an afternoon show and, with a bloody Mary on the side, would probably be an excellent hangover soother.
3pm, $20
The Chapel
777 Valencia, SF
www.thechapelsf.com

The layout

0

SUPER EGO “A man, a plan, a gram: anal canal!” Why some queen just shrieked this quasi-palindrome in my earhole at 5am outside the 7-Eleven — not the Castro one, I have my pride — absolutely no idea. But the poor, bedraggled dear has a point: BE PREPARED.

Next week is the Guardian’s fab annual Goldies issue, a wall-to-wall celebration of up-and-coming artists. And there’s no room in it for your beloved Super Ego (old). So here’s looking ahead to the next hot fortnight’s-worth of shindigs. Of course, the biggest hoot of all will be the Guardian 25th Annual Goldies party (Fri/21, 8-11pm, $10. Folsom Street Foundry, 1425 Folsom, SF.) DJs Primo and Wam Bam Ashleyanne will do a special soul-groove “golden oldies” set — and it’s $10 for all the beer you can drink. Plus, duh, the coolest people. Stick it in your calendar, already.

 

QBERT

Last week’s SFBG cover star, scratch legend Qbert, joins with Dan The Automator, Del The Funky Homosapien, and more local hip-hop/turntable heroes for a wild time, in support of his crowdsource campaign for his new album, Extraterrestria/Galaxxxian (www.djqbert.com).

Thu/13, 9pm, $10 advance. Mezzanine, 444 Jessie, SF. wwww.mezzaninesf.com

 

SLOW HANDS

Talk about heartthrobs, yum. This cutie brought major sexy back to dance floors when he slowed tempos down to a crawl and let everyone stretch out. Now he’s all about crooning live and steaming things up with Tom Croose as the Worst Friends duo — also appearing at this As You Like It lovefest.

Fri/14, 10pm-4am, $10–$20. Beatbox, 314 11th St, SF. www.ayli-sf.com

 

JOHN TALABOT

That thing where a DJ is also a magician, creating a whole new psychedelic-ecstatic universe out of common sounds, rearranging how you hear music forever. He’s also Spanish and wears a lot of tinfoil over his face for photos. At the Icee Hot party.

Sat/15, 10pm-4am, $10 advance. Public Works, 161 Erie, SF. www.publicsf.com

 

DISCO DADDY

There is a thing called Bear Weekend with a long and dramatic history (let’s not get into it) — and here’s this year’s fun-furry climax: DJ Bus Station John turns the Eagle leather biker bar into a glorious old school gay disco evening t-dance. Bring your own chic towel, but no Schick razors, please. “Endorsed by the Tamale Lady,” fyi.

Sun/16, 7pm-midnight, $5. SF Eagle, 398 12th St, SF. www.sf-eagle.com

 

HONEY SOUNSYSTEM PRESIDENTS EVE

Celebrate the presidents with Honey’s lovely residents: P-Play, Kendig, Josh Cheon, and Robot Hustle give the cute queer boys, girls, and others steamy techno all night long. (Hot straight people also eligible.)

Sun/23,10pm-4am, $10 advance. Beatbox, 314 11th St, SF. www.beatboxsf.com

 

GILLES PETERSON

“Rare groove” would be nothing without this absolutely incredible, omnivorous DJ. And neither would Diplo. Experience a Whole Earth Catalog of sounds in his mindblowing sets. I love him.

Fri/21, 10pm-3am, $20. Mighty, 119 Utah, SF. www.mighty119.com

 

CARL CRAIG + FRANCOIS K

If you know anything about dance music, you have probably just wet yourself. If not, let’s be clear: One of Detroit techno’s most poetic innovators and one of the best disco, house, and dub producers of all time will be on the decks, as part of Red Bull Music Academy Bass Camp 2014.

Sat/22, 9:30pm-3:30am, $15–$20. Public Works, 161 Erie, SF. www.publicsf.com

 

KEVIN SAUNDERSON

Happy eighth birthday to the Lights Down Low party. And happier birthday to us dancers! LDL’s bringing in this true legend, basically one of three guys who invented techno — from Detroit, duh — and changed the world forever.

Sat/22, 9pm-3am, $15–$20. Monarch, 101 Sixth St, SF. www.monarchsf.com

 

PUT ON THE BREAKS

I’ve been wondering when this would happen. A breakbeat revival has been hitting the underground rave and techno connoisseur scene for a couple years. Now there’s an official dedicated party. Noice. With Kapt N Kirk, Tamo, Nerd Nate, and more.

Sat/22, 10pm-3am, free before midnight (RSVP at www.mighty119.com). Mighty, 119 Utah, SF.

 

HONEY DIJON

Beloved and classic DJ Nikita is headed off to London. But first he’s counting down eight monthly London Calling parties with incredible special guests, like NYC banging house royalty Honey Dijon and Tedd Patterson.

Sun/23, 2pm-2am, $10 advance. Audio, 316 11th St, SF. www.audiosf.com

 

Mumble, mumble, murder

1

cheryl@sfbg.com

FILM Joe Swanberg’s latest film to play the Roxie, 24 Exposures, isn’t actually his newest. That’d be family drama Happy Christmas, which just premiered at Sundance. Going by festival reviews, Christmas sounds like it’s in the vein of Swanberg’s Drinking Buddies — last year’s Olivia Wilde-starring tiptoe into the mainstream, a departure for the indie writer-director-actor — with a marquee cast that includes Buddies‘ Anna Kendrick and hipster queen Lena Dunham.

24 Exposures is the busy artist’s 15th flick to play the Roxie in a year (the list includes Buddies, 2012’s acclaimed All the Light in the Sky, 2007 breakout Hannah Takes the Stairs, and the only public screening to date of short Privacy Settings). In some ways, 24 Exposures marks another departure, being an “erotic thriller” (scare quotes needed, because it’s highly aware of its genre) — though it also incorporates Swanberg’s affection for relationships that aren’t working out, no matter how much the principals talk about their problems. His interest in horror (see: his participation in 2012 anthology film V/H/S and 2011 cult hit You’re Next, etc.) flavors 24 Exposures‘ plot: Parallel lives collide when photographer Billy (Adam Wingard), who snaps cute, topless women posed in gruesome death scenes, meets depressed cop Michael (Simon Barrett), who happens to be investigating the actual murder of a cute, topless woman.

Yep, this film stars director Wingard and writer Barrett of You’re Next and V/H/S fame. That slurping sound you hear is the mumblecore snake eating its tail, and not for the first time. (Is there anyone in that scene who hasn’t appeared in or worked on a peer’s film? The answer is no.) In 24 Exposures, it’s less of an in-joke than expected, since Billy and Michael don’t achieve BFF mode until the film’s coda. The relationships that form the core of the film are between Billy and the various women in his life, including girlfriend Alex (Caroline White), who is totes cool with his artistic pursuits as long as she’s included in the process, and any three-ways that occur after the shoots. Inevitably, there’s tension when she returns from a weekend away and realizes Billy’s been “taking smutty pictures when I’m not here.”

Billy is a sleaze, but otherwise he’s basically a harmless dude in a cardigan. If 24 Exposures had been made in early 1980s Europe, the film would pump out more bloody bodies for Michael to find; there’d be way more POV creeping and probably a chase involving an unseen killer wearing black leather gloves. Despite a sleek credit sequence illustrated with pulpy artwork, this is no lo-fi giallo. A better reference point is one from the script itself: Silk Stalkings, that 1990s epitome of basic-cable sexy thrillerdom. That it’s brought up jokingly (as in, “Do you feel like a character in Silk Stalkings right now?”) only enforces 24 Exposures‘ aspirations toward meta-ness.

The self-consciousness doesn’t end there. The film’s synthy score, which swells knowingly during suspenseful moments, is another obviously obvious choice. But if you’re expecting 24 Exposures to descend into full-on camp, you’ll come away disappointed. Lurid is perhaps a better descriptor, since 24 Exposures is bulging with “boobies” — a word Billy uses moments after explaining to a skeptical model that he practices “dress-up mixed with fine art.” Earlier, he’s described his work as “personal fetish photos,” clarifying that they’re “classy.” (Truly, they’re not.) We never see the results displayed anywhere, yet this is apparently his profession, not a private hobby, since the photo shoots involve makeup artists and assistants.

Clearly, 24 Exposures is poking fun at the erotic-thriller genre, and itself by extension. Any haters who cry “misogyny!” — because Swanberg’s camera ogles just as much as Billy’s does — are answered in a scene that’s been planned with them in mind. Photographing death is “way more interesting than taking a picture of a fuckin’ tree in your front yard,” Billy tells Michael, who counters by asking, “Why is it always dead women? Why not a dead old guy?” It’s not about that, Billy insists. “It’s ridiculous for me to try and explain this, because it’s not something that I even think about. You can’t say, ‘Why am I doing this?’ You just have to say, ‘OK, I’m attracted to this, and that’s what I’m gonna do.'”

That’s vague, and — again — Billy is a sleaze, but Swanberg’s careful to make his underlying point visually. When Michael asks Billy, “Have you ever seen a real dead body?”, it foreshadows the film’s second cute-girl murder. A distinction is made when a character we’ve come to sympathize with is brutally killed, and hers is the only crime scene that doesn’t invite us to leer at the victim.

The film’s last act cuts some months ahead; we see aspiring memoirist Michael receiving feedback from a book agent (played by Swanberg), who advises him to rewrite his manuscript. There are too many loose ends, he says, and not enough strong connections between the cop and the photographer. Oh, and the ending needs work, too. 24 Exposures, you’re talking to yourself — and you know it, and we know it, and you know we know you know.

Up next for the prolific, probably sleep-deprived Swanberg, who’s likely also got a dozen or so new movies in the pipeline: helming an episode of the San Francisco-set HBO series Looking. Wonder if there’ll be a scene set at the Roxie? *

 

24 EXPOSURES opens Fri/31 at the Roxie.

 

META WORLD PIECES: CATCHING UP WITH 24 EXPOSURES DIRECTOR JOE SWANBERG

 

SF Bay Guardian How’s Sundance?

Joe Swanberg It’s been amazing. [Happy Christmas] is a pretty small, personal movie, so it’s nice that people seem to be liking it.

 

SFBG When will it be coming out theatrically?

JS We’re probably gonna follow the Drinking Buddies (2013) release pattern of doing VOD and theatrical sometime around July, and then having it come out on DVD around Thanksgiving.

 

SFBG You’ve had 15 movies screen at the Roxie Theater in the past year, which is a pretty astonishing number.

JS They did a retrospective, which was incredible. Not only was it a great chance to hang out in San Francisco for a week, but it was amazing for me to look back at a lot of movies that I hadn’t seen in a long time. It’s also crazy to think that there’s that much stuff. I sort of forget that I’ve made that many movies.

 

SFBG Do you not consider yourself prolific?

JS Because I don’t write, I can very quickly jump from one project right into the next. The first six years I was making movies, I was making around one a year, because I had a day job and that was all the time I could spend on it. As soon as I was able to support myself as a filmmaker, I really was making a lot of them [laughs] — there was one year where I made six, which was really too many by anyone’s standards. It made the following year really strange, trying to actually get all of those out into the world. And also, while they’ve all had some form of distribution, there’s really only four or five of my movies that people have heard of. There’s all of these others that only the hardcore cinephiles have checked out.

 

SFBG When you say you don’t write, do you mean because your films are improvised?

JS Yeah, exactly. I do write, but it’s just an outlining process. I’m working so collaboratively with the actors that it’s not the sort of difficult screenplay process that a lot of filmmakers go through.

 

SFBG With this long filmography, is it weird for you to be suddenly known as “the director of Drinking Buddies”?

JS It’s totally fine. I tend to like the newest film the best, just because it’s the closest to where my head is at. Drinking Buddies would be the one that I would recommend to people, and talk about as well. And probably Happy Christmas will very quickly become the next center of conversations. I haven’t watched a lot of those early ones in a long time, so I don’t even know if I would like them anymore [laughs]. Hopefully, they’re all leading toward something. Getting better. Let me put it this way: It’s great that people are talking about Drinking Buddies and not some movie I made six years ago.

 

SFBG You mentioned that Happy Christmas is a personal movie, and obviously Drinking Buddies ties into your much-documented love of beer. So what inspired 24 Exposures?

JS I had been acting in genre movies a lot, especially with Adam Wingard and Simon Barrett. I was really interested in what motivated them to make those kinds of movies instead of romantic comedies or something [laughs]. Also, I think a lot of what 24 Exposures is about is the responsibility and ownership of that stuff. I wanted to investigate where the women fit in. Are they passive models who are being exploited, or are they willing participants? Are they co-authors of the art? Is it a little bit of all of those things? It’s something that I’ve made other movies about, too. I’m genuinely interested in the collaborative process. Who ends up taking the credit, and who ends up feeling taken advantage of?  

SFBG The film is very meta.  

JS Definitely. I was reading Richard Brody’s book on Jean-Luc Godard at the time, so meta was very much on my mind. I was interested in the way that Godard played around with genre movies, but very atypical genre movies. They were always much more like Godard movies than they were genre movies. It was fun to sort of dabble in that space. The other thing that was exciting to me was how my generation’s sexuality was informed by late-night Cinemax and very cheesy, soft-focus, heavy-music kind of stuff. (I’m 32.) When all of us were in junior high, that was the most erotic thing we had access to. That aesthetic is such a joke now. It’s so dated. So I wanted to investigate that as well.  

SFBG Do you worry that someone will come across the film and not pick up on that subtext?

JS This is an interesting one for that question. Pretty much all of my movies have existed very squarely in the art-house audience, so I haven’t really thought much beyond that sort of space. But that’s changing these days, especially with Drinking Buddies, and, I’m assuming, with Happy Christmas too. So maybe 24 Exposures will be seen by considerably more people than some of those earlier ones. But I feel like the movie’s sort of subverting the genre at every turn. It never fully gains momentum as a pure exploitation thriller. Every five minutes it reminds you that you’re watching a movie, and puts in some sort of criticism or other unsexy thought into your head.  

SFBG Totally changing gears, but I noticed you directed an episode of HBO’s Looking, which all anyone here can talk about right now.  

JS Yeah! It was one of the most fun things I’ve done as a filmmaker. I really like the show, too, so I’m just happy to have had some little piece of involvement. I live in Chicago, so I have hometown pride, but San Francisco is without a doubt the most beautiful city in America. I spent three weeks trying to find a bad view, and I couldn’t. *

Locals Only: The American Professionals

0

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 22 – 28, 2014

0

 

WEDNESDAY 22

JD Wilkes and The Dirt Daubers

As the wild frontman for The Legendary Shack Shakers, Col. J.D. Wilkes brought

together a wide array of blues-infused and swampy sounding rock n’ roll, earning them

the admiration of fans and invitations to tour with noted performers such as Robert Plant.

Wilkes—a bonafide Kentucky colonel, hence his title—formed The Dirt Daubers in

2009 with his wife, Jessica, and added guitarist Rod Hamdallah and drummer Preston

Corn for the band’s most recent album, Wild Moon (Plowboy Records). Produced by

iconic punk rocker Cheetah Chrome (The Dead Boys), the album finds them back in the

vein of mixing traditional sounds with an infectious rock attitude and approach. (Sean McCourt)

8pm, $10-$12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

Sweat Lodge

Spend a minimal amount of time on the stretch of Mission between El Rio and The Knockout, and you’ll probably hear of these lo-fi punks. Not simply since one member is a fixture at the former bar, cooking up Indian tacos and sweet frybread on the back patio. No, it’s because Sweat Lodge seems to be a favorite of discerning music aficionados and drunkards alike. The last unprompted recommendation came from a guy who had literally just picked himself off the sidewalk (his back hurt) and said, “That dude’s band fucking rocks” as Rocky passed. Perhaps sensing jaded skepticism he added, “and I don’t give praise lightly.” But I’ve checked the tumblr and the tapes, and can’t disagree. (Ryan Prendiville)

With Giggle Party, Nasty Christmas

9pm, $8

Bottom of the Hill

1233 17th, SF

(415) 612-4455

www.bottomofthehill.com

 

THURSDAY 23

Napoleon Dynamite 10th anniversary screening

Flippin’ sweet! It’s time to polish up your dance moves, sketch out some ligers, and get out the vote for Pedro — and if you have no idea what I’m talking about, clearly you’ve never seen the 2004 cult comedy classic Napoleon Dynamite. As part of this year’s SF Sketchfest, join actors Jon Heder, Jon Gries, and Efren Ramirez for a 10th anniversary screening of the film and a live, in-person Q&A session, where you can ask them anything you ever wanted to know about the oddball movie, or perhaps even life in general&ldots;like, “Do the chickens have large talons?” (Sean McCourt)

7pm, $25

Castro Theatre

429 Castro, SF

http://www.sfsketchfest.com/

 

FRIDAY 24

Dave Alvin

First displaying his formidable guitar chops as a member of The Blasters in the early

1980s, singer/songwriter Dave Alvin has also played with X and The Knitters, and has

gone on to a distinguished solo career, with his most recent record, Eleven Eleven (Yep

Roc) coming out in 2011. Hailing from the working class town of Downey, the Grammy Award-winning Alvin absorbed a host of musical influences growing up,and his soulful songwriting exudes the best of that Americana and roots-based music — he comes to the city tonight for a special acoustic show with Nina Gerber and Christy McWilson. (Sean McCourt)

8pm, $25

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

Dent May

Over three albums, Dent May has been a bit of a indie pop chameleon. Take the fabulous lounge kitsch of The Good Feeling Music Of Dent May & His Magnificent Ukulele. Or the drum machine disco revival on Do Things. And May’s latest, Warm Blanket, is predictably unpredictable: see the Bowie styled “Let’s Dance” intro that quickly upshifts into an afrobeat groove on “Let Them Talk.” Still, one thing May shares with his label bosses Animal Collective is a shared affinity for Brian Wilson, and it’s the biggest referent, with a track like “Corner Piece” sounding like it could have spun off of Pet Sounds, and it’s the perfect opportunity for May to get increasingly open-hearted and romantic. (Ryan Prendiville)

With Chris Cohen, Jack Name

9pm, $12

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Francesca Lombardo at Heart Phoenix’s HIGHER

Sometimes it feels like watching reruns. The one where the DJs idle behind the decks, doing their best to seem effortlessly cool, making adjustments with a cigarette in hand (and another drooping from their bottom lip). Worse than than that, the occasional amped up excitement, hiding the fact that the webcast probably won’t translate 100 percent, and in any case, the scenester crowd will look bored. Francesca Lombardo’s recent Boiler Room run avoided both pitfalls. Centered around her vocals, and orchestrated with strings, Lombardo’s music took a middle path through deep house — somewhere between Maya Jane Coles and Nicolas Jaar — confident but with enough of a nervy edge befitting her recent addition to Crosstown Rebels. (Ryan Prendiville)

With Christian Martin, Galen, shOOey, Gravity, Layne Loomis, Ding-Dong, and more

9pm-4am, $15-20

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SATURDAY 25

 

Jessy Lanza

We’ve seen a major resurgence of UK R&B-circa-’89 over the past few years, but while songstresses like Jessie Ware tackle those Lisa Stansfield-ish stylings with showy emotivity, Canada’s Jessy Lanza takes a borderline-shoegazer’s approach to her vocals, filtering ambiguous yearnings and half-confessions through delay and echo until they’re just another instrument in the mix, as stark and percussive as they are ethereal and melodic. Released on the much-fetishized Hyperdub imprint, and produced/co-written by Junior Boys’ Jeremy Greenspan, Lanza’s icy, prickly, spacious debut LP, Pull My Hair Back (2013), updates a flashy throwback genre for introverted, LCD-immersed times, in which the people can’t quite be trusted to say what they mean, or vice versa. This Saturday’s Popscene-curated show marks Lanza’s second-ever West Coast appearance, and might elucidate a persona that, similarly to those of labelmates Hype Williams and Laurel Halo, remains well concealed. (Taylor Kaplan)

With Running in the Fog

9pm, $10

Amnesia

853 Valencia, SF

(415) 970-0012

www.amnesiathebar.com

 

SF Mr. Transman 2014 Competition

Be a part of San Francisco history as the Elbo Room hosts the city’s first ever Mr. Transman Competition! Six local FTM transmen of diverse backgrounds will compete in the categories of platform, swimsuit, interview, talent, and evening wear for a chance to be crowned the first Mr. Transman San Francisco. Hosted by Murray Hill, the creator of the first Mr. Transman competition in New York in 2011, this vibrant showcase will be judged by a panel of stars, including Shawna Virago, Michelle Tea, Ashley Fink, and Brontez Purnell. The contestants are James Darling, Mason J, Lynne Breedlove, Loren Mattia, Andrew Onthago, and Dawson Montoya. One of them will receive a huge trophy, a cash prize, and a spread in Original Plumbing magazine! (21+). (Kirstie Haruta)

8pm, $15-20

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

Project Agora’s Mother Tongue

When Kara Davis was actively dancing, she seemed to be everywhere, performing (superbly) with choreographers as different as Janice Garret, Margaret Jenkins, Robert Moses, and Kathleen Hermesdorf. Then she started to choreograph not solos and duets like most beginners, but (excellent) company pieces of a dozen dancers more. That’s before she traveled to the Middle East. Now she is working with an international cast of a visual artist, dancers, and musicians to find a common language — both culturally and artistically — with which to create a piece. The largely improvised Mother Tongue was a hit at the Museum of Performance and Design last fall. It’s now back at the same venue on Friday before traveling a couple of blocks South to the Garage for the Saturday performance. (Rita Felciano)

Fri/24: 8pm, $10-15

Museum of Performance and Design

893B, Folsom, SF

(415)255-4800

www.mpdsf.org

Sat/25: 7pm and 8:30pm, $15

The Garage

715 Bryant, SF

http://715bryant.info

 

SUNDAY 26

Wootstock

While nerds have been picked on and made fun of for generations, with the advent of

the 21stcentury computer age and the mainstream success of all manner of tech-related

products (and even the acceptance of watching sci-fi movies and reading comic books!) we can now proudly come together for a celebration of our collective inner geek! Join

special effects guru/TV host Adam Savage from Mythbusters, singers Paul and Storm and author Pat Rothfuss for a night of comedy, music, readings and much more that embrace geek pride. Turn off that re-run of Big Bang Theory, get off the couch, and nerd out! (Sean McCourt)

1pm, $35

Marines Memorial Theatre

609 Sutter, SF

www.sfsketchfest.com

An Evening with Mike Mills

History, says artist Mike Mills, inspired his three-part Project Los Altos. But the past isn’t all that Mills is getting at — our present and future make up history before they happen, and currently, technology is happening. This Sunday at the Roxie, Mills gives a Q&A on the “future” third of his piece, a documentary entitled A Mind Forever Voyaging Through Strange Seas of Thought Alone: Silicon Valley Project (2013). The film interviews children of tech industry workers about their predictions of the future. It’s dark, even spooky, to hear this envisioned world, which has less intelligence and fewer plants and animals, because ultimately, the children’s imaginations reflect a world we don’t realize we might already be living in. (Kaylen Baker)

7pm, $10 

Roxie Theater

3117 16th St, SF

(415) 863-1087

www.roxie.com

 

MONDAY 27

Noir City

Set in a world of murder, mystery and mayhem, the film noir genre of movies blasted their way across theater screens in the 1940 and 50s, often pitting wrongly accused men against femmes fatales, or gangsters against unscrupulous lawmen. Celebrating these often overlooked Hollywood gems for the 12th year in a row is Noir City, a festival that features both those pictures considered to be classics, along with the long lost, nearly forgotten B-movies that rounded out matinees. Look for a variety of foreign films on this year’s program: Jan. 27 brings us to Germany for The Murderers Are Among Us and Berlin Express, known as “the first German film to directly deal with the wounds of WWII” and the first American film shot on location in Allied-occupied Berlin, respectively. (Sean McCourt)

Times vary, $10 per program, $120 for festival pass

Castro Theatre

429 Castro, SF

www.noircity.com

 

TUESDAY 28

Open Mic Night at Bottom of the Hill

Open mic nights at cafes can be great, but if you’re a musician craving more of a real show experience, don’t miss Bottom of the Hill’s open mic night. For one night only, the popular venue will open its stage to musicians of all genres to play one song – originals and covers both welcome! Worried your setup is too complicated? Fear not! Bottom of the Hill will set you up for a beautiful performance, with the help of sound engineer Dan Foldes and House Drummer Trent. Drum kits are not allowed, but light percussion is fine, and the venue can provide mics, cables, and a keyboard. Sign-ups are first come, first serve, starting at 7pm. Don’t miss out! (21+). (Kirstie Haruta)

7pm, Free

Bottom of the Hill

1233 17th St, SF

(415) 626-4455

www.bottomofthehill.com

 

Robert DeLong

How do you gauge the frequently overreaching world of one-man bands, when pushing multitasking to its limit is part of the draw? Seemingly taking compulsive loopster Merrill Garbus’ cue (and facepaint), Robert DeLong is a live-sampling and track-layering singer with an alternative pop bent, as likely to switch over to drums as he is to a modified Wii-mote or Sidewinder joystick in his performances. It’s an approach that puts him at least in distinctive territory: Neither the minimalist and, despite all the effort, not quite a maximalist, DeLong is more likely to get featured in Wired than written up on Pitchfork, and doesn’t quite fit into the EDM arena, where going alone is more ordinary. At the moment he seems to be orbiting in a little world of his own. (Ryan Prendiville) With Mystery Skulls, DJ Aaron Axelsen

8pm, $15

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

Spiking the box office

0

arts@sfbg.com 

YEAR IN FILM It’s tough to remember much of the ’90s — what with the air horns and kindercore, flannel and Flavor Flav — but I seem to recall Spike Lee giving the orders that seemed to finally, fully come to pass in 2013: “Make black film.”

Irony of ironies, when it seemed like so many black filmmakers were following through and doing just that — telling their communities’ stories, visualizing their own histories, and fearlessly unlocking troubling and painful key themes — Lee sidled away from Red Hook Summer, last year’s murky return to the fabled Brooklyn stomping grounds of 1989’s Do the Right Thing, and seemed to move toward a fallback position as actioner-for-hire with his redo of Park Chan-wook’s Oldboy, as if to prove that, testify, he can crush skulls just like his old Amerindie-boys-club rival Quentin Tarantino.

Yet isn’t Lee’s Oldboy a “black film” concerning unjust incarceration or bondage, as much as Steve McQueen’s 12 Years a Slave and Hunger are? Perhaps. The connections were in place, if you cared to look: the stasis of 12 Year‘s near-still opening shot, as Solomon Northup (Chiwetel Ejiofor) and other slaves facing the audience, waiting and listening to a white foreman’s directions, has its corollary in the multiple shots in Lee Daniels’ The Butler, of Forest Whitaker’s butler Cecil Gaines, face frozen. He’s the veritable “invisible man,” instructed to disappear into the background at White House dinners and forever listening for direction. And waiting — as if wondering when the moviemaking establishment will move on from its habit of bestowing statuettes for African American portraits in servitude, à la The Help (2011) and Driving Miss Daisy (1989).

It’s been a long time coming — much like a certain African American president that butler Gaines had waited a lifetime to meet. Five years into that presidency, the man who tried to “do the right thing” has, intentionally or not, changed the conversation on black representation on screens both big and small. The country’s ready to look at its past and break down the codes, whether they concern slavery, birthers’ loaded allegations about Obama’s “un-American-ness,” Paula Deen’s alleged workplace racism, or Julianne Hough’s wrongheaded Halloween costume — a blackface tribute to “Orange is the New Black” character Crazy Eyes.

This year’s contenders looked to not only historical role models like Jackie Robinson in 42 and Nelson Mandela in Mandela: A Long Walk to Freedom) — in movies made by white filmmakers — but also lighter, aspirational figures such as Tyler Perry (who laid siege on the box office with two efforts, A Madea Christmas and Peeples), as well as the glossy buppies populating popular comedy sequel The Best Man Holiday. Fans blew up the Interwebs with indignation when some misbegotten USA Today editor came up with the headline “Holiday Nearly Beats Thor as Race-Themed Films Soar.”

The Best Man Holiday is bourgie worlds away from Spike Lee favorite Fruitvale Station. (One wonders if the acclaimed indie will serve as a model for Lee’s own Kickstarter-fueled Trayvon Martin project.) Filling out the many shades of his protagonist’s story, and leading with cell phone footage of the fatal shooting, director Ryan Coogler never overplays the naturalistic narrative centered on Oscar Grant, so often writ larger than life all over Oakland in posters and street art. Though it was released at height of Martin-related outrage, the film keeps sensation and sentimentality at bay, apart from a foreboding scene of a stray dog’s sudden death. Like that hound on the run, Michael B. Jordan’s Grant is a driving, hustling, partying study in movement. Fully immersed in a multicultural Bay Area where racism operates in subtler and more complex ways than ever before, he, like any other restless rider, is just trying to get home.

Whitaker threw his weight behind Fruitvale Station as a producer — but his Gaines and The Butler seem wildly different on their stiff, sad surfaces. So much is simmering within Whitaker’s stocky form, his steadfast servant with access to power that he’s forbidden to use, and those blank looks. “We got two faces: ours and the ones that we got to show the white folks. Now to get up in the world, we have to make them feel non-threatened,” mentor Maynard (Clarence Williams III of The Mod Squad) offers. Surrounded by Daniels players like Mariah Carey and Lenny Kravitz, Gaines has one leg in a horrifying sharecropper past and another in upwardly mobile mid-century America, which filmmaker Daniels emphasizes by juxtaposing lynched black men with the stars and stripes at The Butler’s start.

The director goes on to unfurl his showiest stylistic flourishes in a series of jump cuts aimed at the spectacle of hypocrisy perpetually unfolding in the White House, as a table is carefully laid for a excruciating formal state dinner, and the Freedom Riders — Gaines’ son among them — are humiliated while staging a stoic sit-in at a Southern lunch counter. Passive resistance, in all its many forms, is the locus of both tragedy and heroism in The Butler.

Nature, with its dripping moss, strange sunsets, and even Biblical pestilence, provides brief snatches of beauty in 12 Years a Slave, as McQueen foregrounds the mechanistic business of slavery in the tools used for cutting cane, the wheels of a river boat. Free-born violinist Northup is beaten into a kind of tool after he’s kidnapped and sold into slavery. His body, nude and exposed to traffickers and buyers, is transformed into a commodity that doesn’t belong to him. His talents are also forced into new uses, as when he fiddles frantically while a mother is torn from her children in a horror-show of a salesroom floor — and later, during a torturous, late-night dance staged by Michael Fassbender’s damaged, sadistic slave owner. The effect of seeing familiar white actors (like Fassbender, and the stars who play The Butler’s various commanders in chief) reel by in a parade of status quo perpetrators, not saviors. In both 12 Years and The Butler, it’s disorienting — as if everyone in Hollywood is also aching to “make black film.”

12 years a slave

Lupita Nyong’o in 12 Years a Slave

Bridging McQueen’s explorations of physical and psychological abjection, Hans Zimmer’s slow-burning, string-laden score picks up where it left off in McQueen’s 2011 Shame, about Fassbender’s sex addict enchained to his confused desires. In terms of desire, it’s all too clear where Ejiofor’s Northup stands (“I don’t want to survive — I want to live!” he declares), and to his credit, McQueen makes his nightmarish 172-year-old descent all too relevant, especially at a time when the Obama administration addresses the persistent crime of human trafficking. It’s just a small leap of imagination to think of one’s story, name, and legal status blotted out and turned around by force and a gnawing “you’re nothing but a Georgia runaway” counter-narrative, reminding the viewer that no one is truly free when others are enslaved. *

 

KIMBERLY CHUN’S US-DOMINATED 10 FOR ’13 

 

 (in alphabetical order)

Best second time around: 12 Years a Slave (Steve McQueen, US/UK)

Luxe clucks: The Bling Ring (Sofia Coppola, US/UK/France/Germany/Japan)

Best off-base SF-by-way-of-Jersey: Blue Jasmine (Woody Allen, US)

Finest funny-sad threesome: Enough Said (Nicole Holofcener, US)

Bay pride: Fruitvale Station (Ryan Coogler, US)

Best flouting of the laws of physics: Gravity (Alfonso Cuarón, US)

Best use of entire songs: Inside Llewyn Davis (Ethan and Joel Coen, US/France)

Best tortured threesome: The Past (Asghar Farhadi, France/Italy)

Inspired grills and thrills: Spring Breakers (Harmony Korine, US) Rapturous apocalypse: This Is the End (Evan Goldberg and Seth Rogen, US)

Suspending judgment

40

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.

stats

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.

missionprincipal

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.

La ho-hum vita

1

arts@sfbg.com

FILM Paolo Sorrentino has only been directing features for 12 years, so perhaps it’s premature to expect a masterpiece from him — although he probably doesn’t think so. Amid generally tepid post-millennium Italian cinema, he’s been consistently ambitious and bold, from 2001’s One Man Up onward. That facility has won a lot of acclaim (most notably for 2008’s Il Divo), but also attracted a certain amount of skepticism: Is he more style than substance? What does he have to say?

The Great Beauty, aka La Grande Bellezza, arrives as a high-profile contender for the Best Foreign Language Film Oscar, already anointed a masterpiece in some quarters, and duly announcing itself as such in nearly every grandiose, aesthetically engorged moment. Yes, it seems to say, you are in the presence of this auteur’s masterpiece. But it’s somebody else’s, too. The problem isn’t just that Fellini got there first, but that there’s room for doubt whether Sorrentino’s homage actually builds on or simply imitates its model.

La Dolce Vita (1960) and 8 1/2 (1963) are themselves swaying, jerry-built monuments, exhilaratingly messy and debatably profound rather than “perfect” works of art. But nothing quite like them had been seen before, and they did define a time of cultural upheaval — when traditional ways of life were being plowed under by a loud, moneyed, heedless modernity that for a while chose Rome as its global capital. The mood there was giddy and alienating, magnetizing celebrities (especially as the Italian film industry found itself hosting myriad international productions), virtually creating “paparazzi” — a term introduced in 1960 by Fellini to describe the ambushing photographers buzzing like flies around movie stars and pop idols.

The films were so striking and influential that even (or most of all) Fellini himself couldn’t escape them. For the most part his later works were increasingly pale imitations, risking self-parody even as other artists waxed “Fellini-esque” on their own terms.

Sorrentino announces his intention to out-Fellini Fellini in an opening sequence so strenuously flamboyant it’s like a never-ending pirouette performed by a prima dancer with a hernia. There’s statuary, a women’s choral ensemble, an on-screen audience applauding the director’s baffled muse Toni Servillo, standing in for Marcello Mastroianni — all this and more in manic tracking shots and frantic intercutting, as if sheer speed alone could supply contemporary relevancy. Eventually The Great Beauty calms down a bit, but still its reason for being remains vague behind the heavy curtain of “style.”

Servillo’s dapper Jep Gambardella is turning 65, a never-married playboy who once wrote a well-regarded novel, then ever since has done nothing but interview other famous people and stay at the center of the Eternal City’s uppermost social whirl. Somehow he’s remained rich and famous himself, bearing the bored-with-it-all air that precludes discussion of what (if anything) he ever did to become either. He’s still invited everywhere, still occasionally beds the requisite younger women attracted by power. But it’s all getting old — not that Jep seems like someone to whom it was ever new, or who’d be able to find fulfillment elsewhere now that he’s drunk his fill of privileged excess.

As if to externalize the emptiness he feels, Beauty‘s Rome is all exquisitely framed but (aside from several lavish-party set pieces) underpopulated elegant rooms and grand exteriors. Has he simply forgotten the city’s teeming everyday life, or has Sorrentino? The supporting cast of available (albeit troubled) women, backbiting colleagues, and miscellaneous grotesques are right out of the Fellini handbook of “fabulous” faces. Yet when Jep (let alone the director) was coming of age, the “dolce vita” had already ended, degenerating into the political chaos of the 1970s, the tacky coke binges of the ’80s, then the crass, tawdry conspicuous consumption of Berlusconi and company — a decadence no longer divine but merely depressing. So why does this hangdog-faced protagonist’s world seem so little changed from the ones Mastroianni inhabited half a century ago?

Even the “shocking” novelties Jep is unimpressed by feel old-hat: a child artist whose violent tantrums create Pollock-like action paintings; a Marina Abramovic-type performance artist who solemnly bangs her head against a pillar for suitably worshipful patrons. We grok his superiority to such nonsense, but just what does he have to offer that’s any better? In a notably cruel sequence, Jep demolishes the pride of a prolific, idealistic female writer, calling her a fraud in both private life (she’s married to a closeted homosexual) and artistic endeavors (she’s acclaimed only by fellow Communist Party sympathizers). His smug satisfaction in doing so seems to be shared by the film itself. Yet when the film finally gets around to offering up what Jep can grasp as a core redemptive truth, it’s ye olden mother/whore equation: a sequence cutting between a 104-year-old Mother Teresa-like “modern saint” crawling up a staircase to a Madonna painting, and a flashback to the moment when his first love exposed her boobs to Young Jep. Seriously, 142 minutes of pretentious bravado leads to that?

Servillo is a chameleon, far more than Mastroianni was, but the latter had a soulfulness both contemporary actor and film sorely lack. (Admittedly, some of the latter’s layers may be inaccessible for foreign viewers, just as the equally over-amped but more focused Il Divo required familiarity with the never-ending scandalousness of Italy’s political circus to be fully grasped.) As for Sorrentino, he’s such a natural filmmaker on the surface that at times even the most skeptical will be seduced into The Great Beauty‘s sweeping gestures. But for all their panache, it’s reasonable to worry the movie’s “statement” may be no more than (to quote Jep’s favorite all-purpose dismissal) “Blah, blah, blah.” *

 

THE GREAT BEAUTY opens Fri/29 in Bay Area theaters.