Volume 47 [2012–13]

Street Fight

218

(Editor’s Note: Welcome to our new monthly transportation column by Jason Henderson, an urban geography professor at San Francisco State University and the author of Street Fight: The Politics of Mobility in San Francisco (UMass Press, 2013). Onward!)

San Francisco is in a mobility stalemate that is becoming increasingly inequitable.

In this supposedly “transit-first” city, the political establishment can’t bring itself to just say “no” to vocal minorities of over-entitled motorists. In the process, it is breaking decades-old promises to improve Muni, enhance bicycling, and make the city more walkable — creating dysfunction on the streets of San Francisco.

This dynamic is on vivid display in several planning initiatives now underway, including the SFMTA’s Transit Effectiveness Project (for which public comments on the EIR are due Sept. 17) and the overly complicated efforts to establish Bus Rapid Transit on Van Ness Avenue and Geary Boulevard and cycletracks on Polk Street.

In each case, officials are dancing around the sensitivities of a handful of motorists and merchants — even to the point of ignoring actual data showing that San Franciscans just aren’t as dependent on the automobile as some believe. For example, studies show 85 percent of people arrive to the Polk Street corridor without a car.

Not only does this disconnect leave San Franciscans stuck in traffic, it is making our city less equitable for car-free households (which make up 30 percent of the city), as well as bicyclists and transit passengers who own cars but use them sparingly.

On Van Ness Avenue, buses crawl along at 5.2 miles per hour, on average. Mixing with cars slows buses, causes bunching and irregular reliability for the 16,000 passengers boarding along this two-mile corridor, and the 38,000 who ride the 47 & 49 routes daily.

Half of the households on Van Ness between Market and Lombard are car-free, yet they have poor transit service and are saturated with other people’s car traffic and pollution.

Franklin and Gough are car sewers and Van Ness is not much better, as the city historically prioritized moving cars over all else. Now the city plans to modernize the corridor by creating bus-only lanes in the middle of Van Ness, providing extensive pedestrian improvements and landscaping, and large, visible bus stops that dignify the transit experience.

Buses will be faster and more efficient, carrying 36 percent more people than each mixed traffic lane and cutting operating costs by 30 percent. Giving a lane to buses will also smooth traffic flow for cars and trucks, because buses would no longer be shifting in and out of mixed traffic in the third outside lane, a classic win-win solution.

But for the plan to work, it also comes with a tradeoff of limiting left turns from Van Ness (except at Broadway) and removing 105 parking spaces, causing a small minority of car activists to howl.

Yet these are the sorts of tradeoffs it takes to become a functional city. Will San Francisco prioritize the wishes of a few dozen drivers over tens of thousands of transit riders? That’s the choice, along this and other key corridors.

On the 5-Fulton, it now takes 50 minutes to go from the Transbay Terminal to Ocean Beach, about the same time it takes to get from San Francisco to Pittsburgh/Bay Point on BART. During rush hour, the buses are often jam-packed, so the 20,000 daily passengers on that line receive less than dignified service.

Muni proposes to fix the 5-Fulton with a practical, modest approach to re-allocate street space. By reworking bus stops and removing some curbside parking, the 5-Fulton pilot proposal will improve reliability and make the bus 10 minutes faster, and add 20 to 30 percent more capacity to the route during rush hour.

Improving the 5-Fulton would relieve traffic on the parallel Fell and Oak corridor. Like Van Ness BRT, this is the transit we were promised when the Central Freeway was removed and the city approved massive amounts of new housing in its place.

The 5-Fulton pilot is critical for the 60 percent of households in the Western Addition that are car-free, and the project would remove just 30 parking spaces. Assume that each of those parking spaces turns over four times per day (a generous assumption considering that cars sit for days in some parking spaces), that’s 120 car owners. Compare that to the 20,000 bus passengers on the 5-Fulton, and we start to see the glaring inequities in the effort to preserve street parking.

At two recent public meetings on improving the 5-Fulton, motorists predictably protested the lost parking. Like the “Save Polk” debacle that sank cycletracks on that street, some of the opponents of the 5-Fulton plan tried to block the Fell-Oak bicycle improvements last year and are currently trying to sink safety improvements on Masonic.

The city will likely bend over backward to placate these motorists. Already it has considered introducing angled parking, as was done at the Panhandle on Baker, to ensure no motorist is inconvenienced. But that makes no sense given the goals that the city has set for itself of 30 percent of all trips by transit and 20 percent of all trips by bicycle in the next decade.

The city should consider the tens of thousands of car-free households and hundreds of thousands of transit passengers before caving in to the automobile extremists.

If the city caves to a minority of parking enthusiasts, as it did on Polk Street, there really is no hope for improving Muni for the majority. Ask any parent, rewarding whiners only leads to more whining — and in this case, more gridlock.

Pumped up

3

marke@sfbg.com

ON THE MOVE The epic Pacific Crest Trail winds 2,650 miles from Mexico to Canada, through sun-roasted desert expanse and snow-covered mountain pass, past rushing waterfalls and over wildflower-studded Alpine plateau, roughly tracing the Sierras and Cascades, always out of sight of civilization. It takes most hikers roughly half a year to make the whole trip, an isolating, immersive communion with nature that foregrounds self-reliance, endurance, and more than a little ingenuity when it comes to where you’re going to sleep and what you’re going to eat.

On June 21, Alex Falcioni, a massage therapist and teacher, took to the 1,230-mile leg of the trail running from Tuolumne Meadow, Yosemite, to Portland. In high heels.

“I’d always dreamed of doing the trail — but the most I could take off would be three months, so I knew I couldn’t do the whole thing” he told me over a “beat-up” phone from Ashland, hitchhiking his way back to the Bay Area after completing his high-heeled hike on Aug. 31st at Cascade Locks, Ore. “And then I heard that my dear friend Sarah had been diagnosed with multiple sclerosis and was having trouble covering her medical bills, so I decided to make the hike a fundraiser.

“I needed a gimmick, though, to draw attention. And that’s where the pumps came in — it really just came to me one day. I’d start in Yosemite, and wear the pumps to Portland. Mostly for the alliteration, ha ha.”

Falcioni’s project, Pumps 2 Portland, was partly inspired by Hiking26, a 2012 performance art piece by Ron Ulrich, who completed the entire PCT wearing 26 wedding dresses along the way. So far, Falcioni has managed to raise over $2,500. (Interested parties can still donate and read firsthand about Falcioni’s adventures at www.pumps2portland.com.)

The first obvious question: What kind of pumps were they? “Oh, a strappy white pair of size-12 slingbacks from a drag queen shoe store. They’re completely destroyed,” Falcioni said. “My toes look like little Vienna sausages. But my calves are rocks.”

The second obvious question: Come on, did he really wear high heels the whole time?

Falcioni laughs. “No way! There are ascents up to 10,000 feet and sometimes I felt afraid for my life in hiking shoes. Plus, often ‘trail’ is a relative word — it’s not like clicking down a paved sidewalk. But I wore them when I could, and I strapped them on my backpack for all the other hikers to see when I couldn’t.

“They were there to keep me inspired and add a little spark when the trail got so monotonous it was like sensory deprivation — like, ‘if I see another Ponderosa pine I’m going to go insane!'” With the heels it all became a outdoor runway.

“The pumps really opened doors, too,” Falcioni continued. “People I’d encounter on the trail would ask about them and that would help along a conversation. Or when I’d go into town… One of the ways you survive the trail is to mail food ahead for yourself. (You learn little tricks, like mixing spicy ramen with a spoonful of peanut butter equals Thai food!) So I’d have to go down into towns to pick that up, and I hadn’t bathed in a week — same shirt, same pants, covered in dirt and smoke. But showing off these huge pumps.

“That not only got the attention of the Trail Angels — people who dedicate themselves to opening their homes and helping out PCT hikers — but of random strangers, too. I made so many real friendships, had so many actual conversations about real things in these places of enormous beauty. Not to mention some free showers.

“It was an incredible experience to just put yourself out there at the mercy of nature, other people, and even yourself. I’d urge anyone to do it, giant man-heels or no.”

Nevertheless: Hey, Rupaul — I think we have your next location for Drag Race.

Where’s my car?

8

By Rebecca Bowe

rebecca@sfbg.com

There’s a great scene in The Big Lebowski that my friend reminded me of when I lamented that the San Francisco Police Department didn’t seem to care that my car had been stolen.

Of course they don’t, silly, this friend responded with a hearty laugh. It’s like when The Dude asks a Los Angeles cop whether there are any “leads” on the whereabouts of his stolen car (along with the briefcase full of money inside).

“I’ll just check with the boys down at the crime lab,” the cop responds, a grin spreading across his face. “They’ve got four more detectives working on the case. They’ve got us working in shifts!” Then he bursts into peals of laughter.

When a San Francisco police officer arrived to take a report three hours after my initial call reporting a stolen vehicle, he seemed sympathetic. And he was totally honest: “We’re not going to look for it,” he assured me. “But we’ll let you know if we find it.”

Fair enough, I thought. It was a Saturday night in San Francisco. The SFPD probably had bigger problems on its hands, like shootings or armed robberies or naked acrobats. Clearly, the last thing SFPD was going to focus on was ferreting out my poor little mid-’90s Honda Civic.

Car theft, it turns out, is extremely common in San Francisco. Crime stats provided by SFPD show that from March 1 to Aug. 31 of 2013, a grand total of 2,784 cars were either stolen or almost stolen in San Francisco (the stats include attempted theft). The Ingleside District was the most heavily impacted, while the Mission and the Bayview weren’t far behind.

Why do people drive off with other people’s cars? “Suspects that steal cars have used them for other crimes,” SFPD spokesperson Gordon Shyy explained. “There are also suspects that steal cars simply to ‘joy ride.'”

Another lesson learned the hard way: If you think your car will not be stolen just because it looks like crap, you are mistaken. Shyy said that, nationwide, Hondas made in the 1990s are the most stolen vehicles.

“The reason being that the ignition is worn out over time, and a shaved key or other similar apparatus can be used to start the vehicle easily,” he explained.

Becoming a victim of car theft was an eye-opening experience. For one, it appears that the closed circuit cameras blanketing my neighborhood were basically functioning as seagull perches, taken out of commission the day before for maintenance. So those expensive-looking security cameras served neither as a deterrent for car theft, nor a crime-fighting tool. At least I can rest easy in the knowledge that Big Brother has not, in fact, been recording my every movement.

SFPD stats show just 139 vehicles were stolen and recovered from March 1 to Aug. 31, roughly 5 percent of the total stolen (or almost stolen) in the same time frame. I got lucky, mine was recovered.

SFPD gave me just 20 minutes to retrieve it before calling for a tow truck, notifying me that my Honda had been located as I was on Muni. Looking for an exercise in futility? Promise that you’ll be somewhere in 20 minutes, and then rely on Muni to get there.

But here’s where faith in humanity was restored. Not only did the officers agree to accommodate me by staying put until I could get there, but a random fellow bus passenger — by the name of Carma (for real!) — offered me a lift.

And just as I got to the place where my Civic had been found, a neighbor who lived in an apartment just above the street popped his head out the window to ask if it was my car. I told him it was, and he said it had been sitting there abandoned for days, so he’d phoned the police. Lesson learned: Forget surveillance cameras. If your car gets stolen, just hope somebody out there is paying attention.

Waiting for BRT

18

By Joe Fitzgerald Rodriguez

joe@sfbg.com

You’re on Muni’s underground line, the train stalled just shy of your stop, just stuck there, the light at the end of the tunnel right in front of you. It’s a frustrating feeling, right?

With more than six years worth of delays in three major transit overhauls — the Van Ness, Geary and Geneva Bus Rapid Transit Projects — it’s beginning to feel just like that.

The projects are designed to speed up the most trafficked transit routes in the city by making the buses run like trains. For the Van Ness Bus Rapid Transit, the 47 and 49 would drive in dedicated bus-only lanes shuttling riders north and south, reducing travel time by a third, according to project estimates.

Van Ness BRT was initially announced in 2004 with a planned unveiling of 2012. Eight years later, the new debut is set for 2018. The Geary Project is even worse, with a completion date slated for 2020.

The Van Ness BRT is finally getting its wheels turning this month, with the Environmental Impact Report set to be approved by a number of governmental bodies: the Van Ness BRT Citizen’s Advisory Committee, the Transit Authority board, and the San Francisco Municipal Transportation Authority.

Why the hell has this bus project taken nearly a decade to start its engine? As is customary in politics, fingers are pointed at all sides.

At a citizen’s meeting for the Van Ness BRT on Sept. 4, two angry factions gathered in the Old First Church Fellowship Hall on Van Ness. The SFMTA’s spokesperson for the project, Lulu Feliciano, wrapped up her presentation to the crowd of about 100, and that’s when they pounced.

“Van Ness’ three lanes will be limited to two, but it’s a highway, isn’t it?” asked Carole Holt, owner of Russian Hill Upholstery. “Why do cars have no consideration?” She told the Guardian she worried her customers from Marin would have trouble getting to her store.

Another Polk Street activist, Kelly Gerber, walked right up to Feliciano’s face and gestured with his hand like an angry schoolteacher. “Why has no one ever heard of this?” he bellowed, telling us he opposes the loss of parking spaces.

Ironically, transit planners say car traffic would move faster, partially because of the elimination of all left turns along Van Ness except Broadway.

“They’re just angry and zooming in on every little detail,” Mario Tanez, spokesperson for the SF Transit Riders Union, said of BRT’s opponents.

The mostly younger crowd of transit activists showed up in equal force to counter the Polk Street merchants, hoping to stem the tide of NIMBYism.

“We’re the generation that will actually see these improvements,” Teo Wickland told us. He’s an urban planning student who hopes to see Muni running on time.

Feliciano said the project was complicated by having to coordinate multiple city agencies, all with their own goals.

Instead of digging up the same stretch of concrete a dozen times in a decade, San Francisco tries to include as many agencies as possible when cement is broken in any part of the city, she said. Since the Van Ness project is a two-mile stretch between Lombard and Mission streets, many are involved.

infographic showing different city agencies involved in the reconstruction of Van Ness

Graphic by Brooke Robertson

Peter Gabancho, the project manager for Van Ness BRT, said that the San Francisco Public Utilities Commission will put in new water lines, institute a rainwater catch system, and do sewer work. The Department of Public Works plans to repave, and the SFMTA will replace overhead bus lines and light poles.

When asked how much the city would save by combining work, he couldn’t give an exact dollar amount but said it was in the tens of millions, at least.

He also said that the process requires community meetings at many steps in the process. City officials visited Mexico City to see how they planned and built its BRT in just three years, and Gabancho said it’s because that city didn’t really consult the community.

“We can’t do business like that in San Francisco and I don’t think we want to do that in San Francisco,” he said.

All of that governmental insanity had a member of the Geary BRT’s Citizen Advisory Council calling it quits in a fury — he even wrote about it in his blog.

“What I’ve seen in the past six years has been a severe disappointment during which I have lost trust in America’s regulatory framework to enact effective transit improvements,” Kieran Farr, the CEO and co-founder of VidCaster, wrote. He described the process as fraught with starts and restarts, slips and delays, mostly due to a lack of leadership. And that’s the rub: There is no point person on this project with strong political will, according the SFTRU. “The mayor is not saying this is high priority,” Tanez told us. “He’s at all the Central Subway events, but getting political clout behind this by writing to our supervisors is the only way to do this.” The Van Ness project runs through the districts of Sups. Mark Farrell and David Chiu, who were both unavailable at press time. The SFMTA is slated to approve the Van Ness BRT EIR on Tue/17 at 1pm in City Hall, Room 400.

A bridge so far

46

By Steven T. Jones

steve@sfbg.com

Pedaling onto the Bay Bridge over the weekend, I was suspended between our industrial past and sleek present. But my ride into the future was abruptly stopped just before I reached the island.

All the experts say we should all just be happy with the world’s longest bike and pedestrian pier, and it certainly is a wondrous thing to behold, this spacious and beautiful two-mile path that pasted big grins on the dozens of faces that I rode past on its sunny first Friday in operation.

But just as the duality of riding between the old Bay Bridge and the new invoked myriad metaphors, so too did the fact that my fellow taxpayers and I just spent $6.4 billion on a bridge from Oakland to San Francisco built almost exclusively for the private automobile.

Is this the future we’ve embraced? Are global warming, economic equity, and collective responsibility such distant abstractions that we can fill this beautiful new bridge with people sitting alone in expensive, deadly, polluting, space-hogging machines?

I looked into their work-weary eyes as I rode my bicycle out from Oakland with a few of my friends during rush hour, on a path wide enough to facilitate conversations among a pair of cyclists in each direction and strolling pedestrians, six abreast. It was lovely, like we had finally arrived in the civilized, people-powered present that we Guardianistas have been working toward for decades.

And then it ended, a vivid reminder that we’re not there yet.

 

SHARING THE ROAD

The past is blocking our progress, literally and metaphorically, at least for now.

The old Bay Bridge stands between the stubbed-off end of the new bike/pedestrian path and its intended touchdown spot on natural Yerba Buena Island, the conjoined twin of the artificial Treasure Island, where developers dream of building high-rise condo towers buffered against the rising sea.

Officials tell the Guardian that the path will likely be completed in early 2015, after the old bridge comes down. Then, we’ll be able to ride our bikes onto the island and cruise our way to the west side, with its beautiful views of our beloved city, San Francisco, shimmering just out of reach.

Next month, the Metropolitan Transportation Commission will release its latest study of how to complete the ride/walk, examining the placement of pathways balanced on either side of the Bay Bridge’s western span, their added weight compensated for with lighter decks for the cars, all at a cost approaching a billion bucks, with a capital B.

“Everything about this is going to be hard,” MTC spokesperson John Goodwin told me when I asked about allowing cyclists and pedestrians onto the Bay Bridge’s western span, citing an array of engineering, financial, and political obstacles.

“It’s a 10-year project even if a local billionaire decides to put up the money,” Goodwin said, noting that there is no public funding identified for the project except for maybe raising automobile tolls again, which would be a tough sell to voters for a bike and pedestrian project. “It’s an uphill climb and I’m not sure it will ever reach its intended goal.”

But completing this journey is really only as difficult as we make it. Just ask local activist/author Chris Carlsson, who says that he and some of his buddies could fix the problem in a day for a few thousand dollars. All we need to do it take the righthand lane, install some barriers, done.

“The bridge is more malleable than people treat it as and we need to have this discussion publicly,” Carlsson, a founder of Critical Mass and author of Nowtopia, told us. “Let’s solve this problem today. The idea that they would open this bridge without completing this path is insulting.”

To Carlsson and others of his radical ilk, this is an equity issue, and the opening of a car-only bridge is symbolic of our societal myopia. To believers in the automotive status quo, the idea of giving up one of five traffic lanes for the final, two-mile-long descent into San Francisco makes their heads explode.

“That’s just wildly unrealistic,” Goodwin said of Carlsson’s idea, even instituted on a temporary basis, noting that the Bay Bridge handles more than 270,000 cars per day, by far the busiest state-run bridge in California.

To many modern minds, automobiles are essential to our personal freedom and economic vitality — bikes are toys, public transit is for the poor, walking is what you do in your neighborhood or on the treadmill at the gym — but San Francisco is a voter-approved “transit-first” city that supposedly gives each of these modes priority over cars.

“The idea that the five lanes of automobile traffic is inviolable is ridiculous,” Carlsson said, calling it a relic from the days before the freeway revolts of the 1950s and ’60s, when San Franciscans rejected the conception of The City as just another stop along the fast and efficient interstate highway system.

In fact, it was that cars-first vision — before it was rejected by a populist revolt — that helped lead officials to remove the passenger trains that operated on the lower decks of this New Deal/WPA bridge for its first 17 years of life, turning the whole Bay Bridge over to cars, trucks, and the occasional bus.

The era of unfettered automobility had begun, and the idea that capitalism/industrialism and the health of our world might someday, somehow come into conflict with one another also seemed wildly unrealistic.

 

BRIDGING THE GAP

The Bay Bridge was my bridge growing up in the East Bay, our link to the big city that I traversed while safely cocooned in the backseat of my parents’ car, windows up, car filled with what we’d later call secondhand smoke, buffered against the wilds of West Oakland as we launched over the bay.

Today, my perspective has changed and so has my access through the old industrial waterfront, which has been opened up to all by a pair of new paths leading bikers and hikers to the bridge, both short rides from the West Oakland BART station.

One starts on Maritime Street, near the Port of Oakland and the remnants of the old railyard on what the Realtors have started calling Oakland Point; the other starts on Shellmound Street right across from Ikea, best accessed from West Oakland along 40th Street, where crews were in the process of placing tall cones to protect the bike lane as we rode past.

After the trails merge, it proceeds past the yards for the government agencies set up to serve the motoring public: CalTrans and its freeway maintenance facilities, and the California Highway Patrol, which has doubled its local bicycle brigade (which had worked just the Golden Gate Bridge) to police the new path.

“Best job in the world,” a smiling Officer Sean Wilkenfeld told me as he arrived at the end of the Bay Bridge path, where a couple dozen people stood watching the new Bay Bridge and the old, which took on a ghostly feel as we hovered next to its newfound lifelessness.

Personally, I really like the new Bay Bridge, with its elegant modern architecture and unobstructed bay views. But some of the friends and strangers that I chatted up there at the end of the line disagreed, singing the praises of the old, industrial, seismically unsound original.

“The new bridge is beautiful, but in some ways I like the old bridge better because you can see its functionality,” Joel Fajans, a physics professor at UC Berkeley, told me.

Conversation among the cyclists turned to our beautiful new path and its untimely end. “What a dream come true to have a bike path on the Bay Bridge. I already wrote to my representatives about completing the route to San Francisco,” said Kurt Vogler, a 47-year-old environmental consultant from Oakland who rode the bridge with Fajans.

That was the phrase that everyone used, this notion of completion, conveying the sense that we’re somehow stuck between where we were and where we should be, suspended between the old and the new, waiting to catch up.

“I think it’s beautiful. It’s an engineering marvel, a miracle,” Garris Shipon, a engineer from Berkeley, said halfway through his bike ride on the Bay Bridge. “I’m glad they launched with a bike path at all, and I hope they finish it because I’d love to ride all the way across.”

 

 

TWO BRIDGES

The San Francisco-Oakland Bay and Golden Gate bridges were built at the same time, started in 1933. But the Bay Bridge — the industrial, utilitarian bridge connecting The City to its biggest, most diverse nearby population centers — was done first. The tall, pretty one — with its Art Deco flourishes and tourist appeal — took longer.

On its opening day, the Golden Gate Bridge was filled with pedestrians, while the Bay Bridge hosted its first traffic jam as it was unveiled, “with every auto owner in the Bay Region, seemingly, trying to crowd his machine onto the great bridge,” the San Francisco Chronicle reported.

It’s been the same story ever since, with cyclists and walkers crowding onto the Golden Gate daily, salty winds howling through their hair, while travelers on the Bay are caged behind steel and glass.

But not anymore. In fact, it’s far more pleasant to ride on the Bay than the Golden Gate, where the bike path is narrow and cluttered. Now, it’s the golden one that seems to belong to another age, with the Bay Bridge designed to be personally experienced.

“It’s really a spectacular excursion,” Renee Rivera, executive director of the East Bay Bicycle Coalition, told me. “I was taken by surprise by what fun it is to be on a bike on that bridge.”

But the stirring sensation of riding or walking the Bay Bridge only accentuates its main shortcoming; at least the noisy, harrowing Golden Gate Bridge goes all the way across.

“We just spent $6 billion on that,” Fajans said, gesturing to the new Bay Bridge, “and you’re saying we can’t spend a little more to complete the bike lane? That’s not fair.”

Goodwin and others say that motorists paid for the new Bay Bridge with their tolls, but Fajans calls bullshit, noting that BART passengers pay more than drivers for a round trip across the bay without buying exclusive access in the future.

In this age of austerity, with government funding for transportation projects drying up and people reluctant to raise their own tolls or taxes, it’s hard to do what’s needed. That’s one reason cycling advocates take what they can get, such as an expensive western span proposal with one of two paths reserved for maintenance vehicles to smooth the automotive flow.

“If we have to sell it to the public to increase tolls, we’ll have to show that it benefits everyone,” Rivera said.

Completing this path, somehow, is a top priority for the cyclists.

“It was a little tough to get people’s attention on the western span for the last couple years, but now is the time,” Leah Shahum, executive director of the San Francisco Bicycle Coalition, told us.

Neither director seems willing to embrace Carlsson’s radical approach of simply seizing a lane.

“Like Chris, we feel strongly about equity on the bridge,” Rivera said. “At the same time, it needs to function smoothly as a bridge and I would be concerned about it bottlenecking at Treasure Island.”

Carlsson rejects the neoliberal approach of begging for scraps as we ride into a future that simply can’t continue to be dominated by automobiles. He says the Bay Pier must not rest there for another decade.

“Both bike coalitions have a resistance to appearing anti-car,” Carlsson says, “so they aren’t willing to say the obvious thing.”

Carlsson talks about the Bay Bridge as part of the free Shaping San Francisco lecture series at 7:30pm, Sept. 11, Eric Quezada Center for Culture and Politics, 518 Valencia, SF.

 

 

 

 

 

 

 

 

 


Still secret

22

news@sfbg.com
A high-profile local civil rights ordinance passed last year to shine light on the San Francisco Police Department’s joint activities with the FBI has been undermined by the SFPD’s refusal to disclose its surveillance activities. This comes at a time when the public is learning more than ever about the federal government’s intrusion into the privacy of law-abiding US citizens.

In May 2012, the Board of Supervisors unanimously passed the Safe San Francisco Civil Rights Ordinance, which Mayor Ed Lee signed in a photo-op ceremony with Police Chief Greg Suhr and the activists who supported it. They claimed the board’s passage of the ordinance ushered in a new era of transparency over the SFPD’s previously secretive work with the FBI-led Joint Terrorism Task Force.

“The ordinance basically requires three things,” Nasrina Bargzie, a civil rights attorney at the Asian Law Caucus who worked on the measure, told the Bay Guardian. “The first part requires that the Police Department work with the JTTF has to follow the California constitutional rights of privacy, so they’re not following the lax standards of the [US] Department of Justice. The second part is that they can no longer enter into any secret agreements with the FBI; it has to go before the Police Commission in a public setting. The final part of the ordinance exists to make sure the rules are being followed, so there is a requirement for a yearly report.”

At the time of its passage, activists told the Guardian that the ordinance was only as strong as the SFPD’s willingness to disclose its activities (see “Mayor Lee signs watered-down limits on SFPD spying,” 5/9/12). But the SFPD’s refusal to disclose even minimal, basic information calls into question the ordinance’s value.

After the release of multiple reports earlier this year that activists called inadequate, Suhr is now maintaining silence regarding the JTTF, while claiming the department is in full compliance with the ordinance. According to Bargzie, Suhr told her the FBI is barring him from disclosing the requested information.

Following multiple efforts by the Guardian to get a comment out of SFPD about the ordinance and whether the department was indeed taking a subservient role to the FBI, SFPD Sgt. Dennis Toomer told us, “We’re not talking about that at all.”

LACK OF RESPONSE

Activists have sparred with Chief Suhr over implementation of the ordinance and its required annual report since at least the beginning of 2013.

Deputy Chief John Loftus presented the first report to the Police Commission on Jan. 23, which claimed the SFPD was in “full compliance” with the ordinance without providing any details. Activists and the public quickly demanded a real response.

“The commission presented this short oral report, which was a little short of two minutes long,” Bargzie told us. “There was no data that we were not already aware of. It was just basic statements claiming that they were complying with the ordinance.”

Suhr apologized for the omissions while stating his department was still in compliance with the ordinance’s guidelines, pledging to be more forthcoming. At this time, SFPD Sgt. Michael Andraychak told the Guardian: “The Chief’s Office is in the process of scheduling meetings with Nasrina Bargzie [of the Asian Law Caucus] to develop a report with more detail so those concerned and the public can be as informed as possible. Chief Suhr is committed to remain in compliance with the ordinance.”

The Coalition for Safe San Francisco, an activist group consisting of Muslim Legal Fund of America, Asian Law Caucus, and dozens of other groups, met with Suhr to discuss setting up a template for the reports.

Suhr then released a second report, which contained more relevant information, stating that SFPD officers did not act as informants in 2012 and three full-time SFPD officers were assigned to the JTTF.

But the report still omitted key oversight information, such as whether any prosecutions resulted from JTTF and SFPD investigations, which would allow the Muslim Legal Fund of America and other groups to determine who the SFPD is arresting and why.

Last year, Suhr told a San Francisco Examiner reporter that his officers followed up on 2,000 tips regarding counterterrorism activities. However, this information curiously did not make it into the official report.

“We contacted the chief to let him know we were not okay with this. We had another meeting with him and he said he’d think about it and get back to us and now he is claiming he cannot honor a basic component of the ordinance,” Bargzie told us. “He asserts in writing this is because the FBI will not let him share the basic information.”

WEAKENED LEGISLATION

The weak efforts behind the implementation of the SSFCRO date back to Mayor Lee’s veto of a stronger ordinance in April 2012, which would have codified privacy protections and given the Police Commission more power to stop FBI-SFPD activities that did not comply with Department General Order (DGO) 8.10, the 1990 policy aimed at protecting First Amendment activities. After Lee’s veto, the Board of Supervisors passed a weaker version. Both were sponsored by Sup. Jane Kim.

John Crew, a former police practices expert with the Northern California American Civil Liberties Union, raised concerns to the Guardian about the weakened legislation. “It is a step in the right direction, there’s no doubt it’s progress,” Crew told us at the time. “But whether it’s real progress depends on the implementation. Ultimately, it will come down to political will at the Police Commission to enforce privacy protections.”

Much of the ordinance’s failure stems from the apparent lack of real intent to disclose what the activists sought. Critics painted the SSFCRO signing ceremony as a hollow symbolic act, a way for Mayor Lee and Chief Suhr to publicly promote civil rights and progressive ideals with an ordinance they purposefully weakened.

“My sense is that [the SFPD] is not taking this seriously,” Bargzie told us. “I think they probably believe that they are providing as much information as the FBI will let them and Chief Suhr thinks it’s fine that the FBI can tell him to share what they tell him to.”

The lack of transparency regarding the JTTF’s work with the SFPD requires the public to trust the federal government to safeguard civil liberties. But in the wake of whistleblower Edward Snowden’s leak exposing the expansive surveillance system by the National Security Agency and the SFPD’s notorious history of illegal surveillance and racial profiling, the public has little reason to trust the authorities.

HISTORY OF SPYING
The passage of the SSFCRO is the latest effort to counter a long history of racial profiling, spying on radical political groups, and other constitutional violations, episodes that have been followed by progressive reforms in San Francisco.
Prior to the passage of DGO 8.10 in 1990, the SFPD notoriously participated in the surveillance of non-criminal, pacifist political organizations. During the 1984 Democratic National Convention, the SFPD carried out surveillance on law-abiding organizations and, throughout the 1980s, it created files on civil, labor, and special interest groups in the Bay Area, revelations that led to the adoption of DGO 8.10.
But even after that, disclosures surfaced showing that the SFPD was blatantly violating its own rules. They included then-Police Chief Tony Ribera admitting that files on non-criminal political activity were not destroyed (as required by the ’90s reforms), the selling of confidential intelligence material to foreign governments and private entities, and the actions of SFPD Intelligence Officer Tom Gerad, who informed on local political groups for the FBI.
In the subsequent years following the Gerad scandal, San Francisco sought to strengthen DGO 8.10, requiring more transparency and oversight. But this progress was undercut in 2007 when the SFPD secretly signed a secret JTTF Memorandum of Understanding (MOU) undermining DGO 8.10.
San Francisco’s Human Rights Commission held hearings in which the community voiced concerns over illegal police and federal surveillance. In response, the SFPD said they were unable to discuss arrangements with the JTTF without the permission of the FBI.
In 2011, the previously secret MOU was unearthed by the ACLU (see “Spies in blue,” 4/26/11), prompting Suhr to issue Bureau Order #2011-07, which reinforced that SFPD personnel were under the jurisdiction of local and state privacy protections and did not spy on law-abiding groups. SFPD Public Information Officer Albie Esparza said the order reversed the language of the 2007 memo.
Part of Suhr’s amendment to SFPD policy at the time included the necessity of a predicate offense in all SFPD investigations. Thus, the SFPD could not investigate or spy on those who were not suspected of violating the California Penal Code or federal law.
Activists wanted those protections enshrined in city law, which resulted in last’s vetoed ordinance and passage of the watered down Safe San Francisco Civil Rights Ordinance in 2012, which activists now say they feel duped by.
“We have been extremely disappointed at the lack of information that has been included in the reports,” Summer K. Hararah, Regional Director for the Greater San Francisco Area Muslim Legal Fund of America told us. “If the SFPD is going to violate rights of Arab-Americans, the police chief has a responsibility to stand up to the FBI.”

POST 9/11 WORLD
Lax federal guidelines for counterterrorism have been building since the Bush Administration began implementing emergency measures after 9/11 terrorist attacks in 2001. In San Francisco’s case, the FBI has subjected local law enforcement to these rules.
Since 9/11, both the ACLU of Northern California and the Human Rights Commission have publicized cases of racial profiling and surveillance of pacifist, non-criminal Muslim and Middle-Eastern groups in San Francisco. A 2007 FBI memorandum illustrated a prominent instance of this profiling in which FBI agents attended Ramadan Iftar dinners in San Francisco purportedly as part of the FBI’s mosque outreach program. Under this guise, the agents collected data on certain attendants, including names, the content of conversations, and other information covered by the First Amendment. According to the FBI Domestic Investigations and Operations Guide, the JTTF is permitted to conduct surveillance of this nature, by identifying “locations of concentrated ethnic communities in the Field Office’s domain, if these locations will reasonably aid in the analysis of the potential threats and vulnerabilities, and, overall assist domain awareness for the purpose of performing intelligence analysis.” These policies directly contradict SSFCO, DGO 8.10, and the California Constitution’s privacy protections. In Portland, Ore., the local government successfully fought this issue by bifurcating local law enforcement from the JTTF after the public and the ACLU raised concerns over similar constitutional violations and racial profiling. This Portland model is now a precedent for activist groups nationwide, seeking to end the lack of oversight permeating their local police departments. “Portland has been a great model,” Hararah told us. “When the FBI began to interview Muslim men in mass after 9/11, Portland was one of the few that said ‘absolutely not.'” But in San Francisco, Lee (whose office also didn’t respond to our request for comment) and Suhr’s symbolic promotion of civil rights has diminished into a case of them basically bullshitting the public. “Civil rights is not a symbolic issue,” Hararah told us. “The mayor backed this legislation and we want to see that the commitment is put forth with global insurance. The first step is having info about what the JTTF is doing to be sure it abides by human rights protections and is appropriate.”

Mass. transit

1

arts@sfbg.com

THEATER Marin Theatre Company’s season opener, David Lindsay-Abaire’s Good People, tackles issues of class and solidarity in the context of a small circle of South Boston peers. It’s an issue the play explores with some subtlety, if not always with the full weight of a historical moment as dire as any when it comes to the stratification of income, power, privilege, and status.

Margaret Walsh (Amy Resnick) is a scrappy, middle-aged single mom with a grown but severely impaired daughter. A quick but harried working-class woman (persuasively played with underdog vigor and a complex moral makeup by Resnick), Margaret is a high-school dropout confined to both menial jobs and her old Southie neighborhood — an Irish enclave ringed by creeping poverty and the cyclical violence and dysfunction that can cling to it.

Perennially late, Margie (as she’s usually called) is about to be sacked from yet another job, this one at the local dollar-store register, where her young manager, Stevie (Ben Euphrat), is the quietly striving, just-tolerant son of a deceased friend from the neighborhood.

Significantly, Stevie’s late mother lives on among her peers in the form of a beloved and oft-repeated anecdote, in which she attempts to cover up in the moment for a brazen act of grocery-store shoplifting. But the story, which Margie tries to leverage to advantage in her bid to keep her job, has a contested aspect: Was it Margie, working a register then too, who turned her in for it?

It turns out this question — with its suggestions of tenuous loyalty, honesty, and honor among Margie’s hard-bitten peer group — is just a warm-up for a larger moral contest looming ahead.

Soon Margie moves in with longtime friend Dottie (a comically boisterous and truculent Anne Darragh), but Dottie’s new position as fretful, bullying landlady is never far from their interactions. With encouragement from her pal Jean (a sure Jamie Jones), Margie — desperate to find work but too proud to return to the Gillette factory (perpetual employer of last resort) — seeks out an old classmate, Mike (an excellent, subtly shape-shifting Mark Anderson Phillips). He once briefly dated Margie in high school, before going off to college and medical school, ultimately escaping Southie for upper-middle-class Chestnut Hill.

It’s Margie and Mark’s reunion that provides the meat of the drama. Margie is a proud but desperate interloper in Mike’s now thoroughly bourgeois world, and needles him about his class pretensions as a method of maneuvering to some advantage in her quest for his help. She’s also haunted by an idea of what might have been her life if she had escaped Southie, like (or with) Mike. At the same time, in his new milieu, Mike draws heavily on a macho, street-smart, bootstraps image he has fashioned from his past — ostensibly to make up for a certain effete status vis-à-vis his wife, Kate (ZZ Moor in a bright, well-measured and quietly ferocious performance), the sophisticated, upper-middle-class African American daughter of Mike’s old boss and mentor.

Mike and Margie’s reunion, therefore, seesaws on a fulcrum of status, class advantage, street cred, and secrets. And if class tends to trump race in the play’s particular admixture of power, race remains a crucial part of the story — rushing back from Mike’s Southie past in a way that drives another wedge between the married couple’s already strained partnership.

Despite being initially top-heavy with self-conscious Boston accents, director Tracy Young’s admirable cast soon stretches out into some extended and nuanced scenes. Particularly impressive are Resnick, Phillips, and Moor who, in the second act’s opening sequence in Mike and Kate’s luxurious Chestnut Hill home, bring the play’s themes into full swing with slow-burning intensity.

Interestingly, opening night saw by far the biggest laugh go to a seemingly throwaway line. After Margie crashes an evening at Mike and Kate’s home, Mike idly asks his unwanted guest if she likes the wine his wife has offered her. “How the fuck should I know?” retorts Margie, not unkindly.

Wine, and especially the appreciation of wine, is of course heavily class-coded, and the whole scene is an understated class rumpus of sorts. But the rolling laughter this line provoked among the generally comfortable Marin County audience probably spoke to more than just knowingness on that score. It sounded like a genuine, joyful release — an acknowledgement, maybe, that class is a burdensome masquerade, and in its pretense and hidden anxieties it’s exhausting, including for those with passes and pretensions to a certain elevation on the ladder. Although that burden is incommensurate to the physically and psychically wrecking demands, degradations, and insecurities saddling those on the lower rungs, it’s in the “conceit” of class that the play opens common ground with the audience. *

GOOD PEOPLE

Through Sept. 15

Tue and Thu-Sat, 8pm (also Thu/5, 1pm; Sept 14, 2pm); Wed, 7:30pm; Sun, 2 and 7pm, $37-$58

Marin Theatre Company

397 Miller, Mill Valley

www.marintheatre.org

 

Snap Sounds

0

 

KING KRULE  

6 FEET BENEATH THE MOON

(TRUE PANTHER/XL, AUG. 26)

Archy “King Krule” Marshall may look like a callow school-kid, dressed up in his father’s suit, but the South Londoner has the soul and voice of a wise, world-weary bluesman three times his senior. 6 Feet Beneath the Moon — his long-awaited debut LP — is an astonishing achievement, displaying Marshall’s nuanced storytelling, exceptional jazz-based guitar work, and versatility. Over the album’s 14 tracks, he weaves affecting tales of urban ennui, malaise, and disaffection, balanced by fleeting moments of ardent love and nostalgic surrender. Though he wears his influences on his ill-fitting sleeve (Drury, Strummer, Morrissey, Dilla), the finished article sounds like nothing else out now — with dark wave, blues, punk, indie, and electro all thrown into the mix. It is all filtered through Marshall’s singular lens and mature perspective, creating a fresh, cohesive sound while painting an engulfing portrait of his London. — Daniel Alvarez

 

BELLE AND SEBASTIAN

THE THIRD EYE CENTRE

(MATADOR RECORDS, AUG. 27)

Belle and Sebastian, ’90s twee sweethearts, are at it again — kind of. This time, the band is serving the general public a tray of audible assorted snacks featuring b-sides from the latter half of its career. Dubbed The Third Eye Centre, no song sounds the same — one track will boast a rockabilly twang (“Last Trip”) and another will be a previously unreleased remix of fan-favorite “Your Cover’s Blown (Miaoux Miaoux Remix).” It’s a solid album, but it’s easy to suss out the dated songs, such as “Suicide Girl,” an anxious love song about the object of singer-guitarist Stuart Murdoch’s affections, an alternative girl that wants him to take nudes of her for the famed early-2000s “punky” soft-core porn site of the same name. But in all, the fun of The Third Eye Centre is getting the chance to hear songs you may have not had the chance to listen to from the back end of Belle and Sebastian’s jam-packed catalog. — Erin Dage

 

KING KHAN & THE SHRINES

IDLE NO MORE

(MERGE, SEPT. 3)

For those who have oft pondered “What if a soul band and a Southern rock group got together and made sweet, beautiful music?” weirdo psychedelic soul band King Khan & the Shrines has the answer with its latest release, Idle No More. Featuring dancey soul numbers like “Luckiest Man,” Stooges-esque songs such as “Thorn in Her Pride,” ditties with ’60s girl group-esque guest spot vocals like “Pray for Lil” — Idle No More combines many genres and musical elements to form a cohesive, well produced album. The album can easily be separated into three acts: dance numbers, slow-ballad interlude, and soul revival resolution. Six years have passed since previous album, What Is!?, and Idle No More has definitely been worth the wait. — Dage

 

CHELSEA WOLFE

PAIN IS BEAUTY

(SARGENT HOUSE, SEPT. 3)

There’s always been this brutal, animalistic thread woven throughout Chelsea Wolfe’s output, and Pain is Beauty is no exception. The LA-via-Sacramento artist’s otherworldly vocals tend often to translate into a wild creature elegantly whipping through a foggy forest. (Indeed, Wolfe described her newest LP as a “love-letter to nature.”) Her powerful soprano hollers are matched to ethereal whispery echoes, maintaining a balance between lightness and darkness, which has become a common theme in her work, as it is in nature. And this vocal balance is a mainstay in Wolfe’s music, no matter what’s backing it instrumentally. Her previous release, 2012’s Unknown Rooms: A Collection of Acoustic Songs, was, obviously, acoustic, but the sparse record is still deeply unsettling. With Pain is Beauty, the singer-songwriter returns to a darker, grittier sound. And yet, there’s a more electronic twist on her early doomy experimental guitarwork (as with breakout 2011 record Apokalypsis), bursting with both synths and strings this time, without missing the black-hearted emotional core rooted in all living things. — Emily Savage

 

JOANNA GRUESOME

WEIRD SISTER

(SLUMBERLAND, SEPT. 10)

Jangly noisepop cacophony with pro-feminist and anti-homophobia lyrics — this Cardiff band’s debut full-length, Weird Sister, hits all the right hot spots and makes them tingle. Plus there’s the name, Joanna Gruesome, a cheeky play on a gentle fellow musician. But Weird Sister speaks for itself, with standout tracks like opener “Anti Parent Cowboy Killers” matching dissonant guitars and pounding drums with lovely melodious vocals that rise into screams at the hook, akin to the Vaselines in bed with L7. There’s also classic K Records-evoking twee ode “Wussy Void,” and jagged noiseball “Graveyard,” which starts off with what sounds like helium seeping out of a balloon. The record includes songs from a 2011 EP, “Sugarcrush,” “Madison,” and “Candy,” further deepening the getting-to-know-you state of the Welsh quintet, a group to which you do need to start paying attention. —Savage

 

Elegant alchemy

0

cheryl@sfbg.com

MUSIC Though San Francisco musician Jill Tracy is deeply fond of the macabre, “gloomy” is not an accurate word to describe her personality. The day I speak to her, she’s in exceptionally high spirits, having just wrapped up a hugely successful Kickstarter campaign.

“It’s really special to feel like it’s a big group effort,” she says. The funds will help complete a pair of videos lensed by Jeremy Carr, who directed Tracy in the 2006 thriller Ice Cream Ants. Appropriately, key scenes were filmed on a spooky night in Red Hook, Brooklyn — former ‘hood of horror author H.P. Lovecraft.

“[Carr] wanted to shoot me walking through these mysterious alleyways, but there was this sudden, intense thunderstorm. Hail coming down the size of golf balls, flooding — it was so dangerous it was like, how are we gonna do this?” she recalls. “But the universe intervened, and the rain finally tapered off. And it was so gorgeous, because there was still lightning in the sky. A lot of that will be kept in the video.”

Also caught on tape was intervention of another kind. “At one point there was this glowing amber light swirling around. I look over — and it was the cops, wondering what we were up to,” she says. “They were really nice and let us keep going, and it turned out that they were responsible for the most beautiful shot.”

Happy accidents, strange coincidences, unexplained phenomena: These are all things the composer-singer-pianist welcomes with delight. Her distinctive sound — she’s often described as a “neo-cabaret artist” — sparked a recent twist of fate, when Showtime contacted her about using a song to promote the final season of Dexter.

“That came out of the blue,” she says. “They said, ‘We think that your music would be perfect for this.’ That’s when being an independent musician is a great thing — because I own my song and my publishing. They just have to contact me and I can give permission [to use it].”

She continues. “I didn’t know what they were going to do with the song. I was so excited — are they just gonna use five seconds of it? But it ended up that it’s almost like a music video. I sing, ‘I’ll tie you up,’ and you see [star] Michael C. Hall tying up a body! I was really thrilled with what they did.”

It’s a testament to Tracy’s unique style that the Dexter song, “Evil Night Together,” dates back to her 1999 sophomore album, Diabolical Streak. (Her diverse discography also includes 2002’s Into the Land of Phantoms, a score for 1922 silent film Nosferatu; and last year’s holiday-themed Silver Smoke, Star of Night.)

“I strive for timelessness in my music,” Tracy says, noting that the Dexter exposure made some listeners assume that “Night” was a brand-new song. “It meant a lot to me because that’s [my intention], that it could be played at any time and still sound unique.”

Without trends to guide her, Tracy has sought inspiration elsewhere. After years of incorporating on-the-spot compositions (she calls it “spontaneous musical combustion”) into her live shows, she had an idea: why not test the vibes at a more off-kilter venue? At one memorable gig, both performer and audience experienced something … extraordinary.

“I was in Victoria, BC at Craigdarroch Castle, which is supposedly haunted,” she says. “At one point, someone in the audience is like, ‘Look at that lamp!’ And this old, brocade-shaded lamp had just started to flicker. So who knows! Strange things will happen like that.”

Tracy’s repertoire also includes “musical séances,” in which audience members bring in objects of personal significance to help her channel music. Along with violinist Paul Mercer, she hosted one such event earlier this year in Los Angeles, “at the mansion of a murderer from the 19th century.” (Clearly, she ain’t no fraidy-cat.) She’s hosted similar events at the Conservatory of Flowers in Golden Gate Park.

“We did a beautiful night tour of the Conservatory, followed by a performance,” she says. “People bring these items — we’ve had everything from cremated remains, to antlers, to a toothbrush. Swords! Haunted portraits! It’s almost like Antiques Roadshow for the netherworld. But the one thing I’ve learned through all of this is that every object, every place, and every person has a story to tell that will break your heart.”

Some of her most memorable tales come courtesy of the Mütter Museum, a medical-oddities collection that’s part of the College of Physicians of Philadelphia. She’s the first musician to receive a grant to compose inside the museum.

“This whole project is, like, the total goth girl dream come true,” Tracy laughs. “I was able to spend nights alone in the museum, writing music among the collection, and I just fell in love with the place. You look around, and you see all these skeletons and specimens in jars, but you don’t realize at first that these were all lives — brave souls who endured these rare afflictions, many of which you never see today. I was so moved, and I wanted to know their stories.”

Not only did the museum allow Tracy overnight access, it also let her do research in its library. She hopes to to spend the next year transforming her Mütter encounters — with subjects like conjoined twins Chang and Eng, and “Ossified Man” Harry Eastlack — into an album as well as an accompanying storybook. “It will probably be the biggest project that I’ve done to date,” she says. “It’s been almost like an excavation, digging into this information and creating pieces to honor these individuals. I want to give emotional context to the people in the collection.”

With all of her site-specific events and ongoing endeavors — in brief: a perfume line; a 7-inch split with Blixa Bargeld based on the writings of a 19th century Polish occultist; a set at Sat/7’s “ManulFest” benefit for wild cats held at a temple in Geyserville; a speaking engagement at LA’s Death Salon later this fall — it’s advisable for SF fans to hit up Café du Nord for what’s becoming an increasingly rare rock-club gig.

“I’m doing fewer shows at places like the du Nord, because I want to do more of a theatrical performance,” she says. “Today, my work is all about honoring the mystery, the beauty, and the romance of the dark side. I strive to transport people into what I refer to as ‘the elegant netherworld,’ and I find that music, that emotion, creates the portal for you to go there. Doing what I do, I feel like kind of a gatekeeper to this other place.”

JILL TRACY

With This Way to Egress and Vagabondage

Sun/8, 7:30pm, $12

Café du Nord

2170 Market, SF

www.cafedunord.com

 

Art 111

2

arts@sfbg.com

NIGHTLIFE In 1993, before SOMA officially became one of San Francisco’s big art districts, 111 Minna Gallery opened for business on a quiet downtown backstreet. Eiming Jung, a young entrepreneurial student of rhetoric, had ambitious plans, “I had an idea for a rather unconventional gallery,” recalls Jung on the eve of 111 Minna’s 20th anniversary, “I wanted to support local artists but I also wanted to create an environment for the broader art community.”

The original gallery space had a bar serving wine and beer and a monthly schedule of exhibitions which attracted curious scenesters. By night, the gallery transformed into a much needed venue for the underground music scene, with raucous parties that fostered some of SF’s biggest talents. It was a crossover concept that breathed new life into San Francisco’s art agenda, perfect for showcasing more “urban” styles like those of soon-to-be-famous spray paint artists Doze Green and Chor Boogie, and members of the Mission School.

The expense of running an art gallery was daunting but Jung was innovative and diversified further, offering the space for one-off events: film screenings, award ceremonies, book signings, product launches, and even weddings.

In 2000, the next-door retail unit became available and Jung took the plunge, tripling the size of the gallery. The new space was renovated to include a fully licensed bar and a luxurious expanse of pristine white walls. Looking in through the gallery’s large shop windows on Second Street, passersby see the high-ceilinged gallery awash with natural light, patrons comfortably viewing the art, having meetings or working on their laptops while enjoying the gallery’s latest offering: Fourbarrel coffee and Josie of the Mill’s scrumptious hot toast.

“We thrive on creativity and work hard to create new possibilities for the space,” says Michelle Delaney, the gallery’s longtime manager, of 111’s latest rep as a laidback idea incubator for the downtown tech and business crowd.

A close collaboration with Last Gasp, the lauded local publishers of graphic art and comics, has been especially rewarding, bringing recognition and exposure to artforms marginalized in more conventional galleries. Legends were made here: During the first dot.com boom, the Wednesday night mixer, Qoöl, was the essential meeting-place for newcomers who networked and partied from happy hour until closing. Pumping underground techno tunes and attracting scrappy art world figures helped save the place from any dot-com tackiness.

The quintessential 111 Minna event is Sketch Tuesdays, a monthly happening since 2006: Artists come and make art in the gallery, finished pieces are pinned to a board and priced affordably from $5 to $30. Passing by tables cluttered with paints, inks, and brushes on a recent evening, one could hear experimental jazz from the turntablist mingle with the sociable clink of glasses and hum of conversation. On the board a little pen and ink study’s price tag read, “Yours for a whiskey on the rocks.” Perfectly cheeky, and epitomizing 111 Minna’s unpretentious ethos.

111 MINNA 20TH ANNIVERSARY SHOW AND PARTY with DJ Toph One and Hyper D Fri/6, 5pm-late, free. 111 Minna, SF. www.111minnagallery.com

 

Fall, out

1

arts@sfbg.com

GAMER Gamers who’ve grown weary of blasting aliens and other generic supervillains need not worry: the Bay Area’s indie video game designers share your pain. There’s an indie game revolution being birthed right here in our backyard, led by a cadre of designers who really couldn’t give two flying flamethrowers about making another first-person shooter. The best part? The games are all (mostly) free.

 

 

DY5PHORIA

By Anna Anthropy, music by Liz Ryerson

Available via Steam Fall/Winter 2013, price TBD

 

Video games go to alien worlds all the time, but rarely have they explored a transgender person’s identity until Dys4ia. The 2012 Adobe Flash game traced designer Anna Anthropy’s hormone replacement therapy journey, guiding the player through trying on women’s clothing for the first time, dealing with the agony of shaving, and correcting all the people who call you “sir” instead of “ma’am.”

It only takes a moment before you want to slap each pixilated person who blurts out “sir” — and that moment personifies gaming’s unique power to make a player experience someone else’s life. Anthropy (www.auntiepixelante.com) runs with that concept, yanking and pulling the player (willingly) along the transition into her new gender identity.

Anthropy’s new release, Dy5phoria (note the subtle title change), is not quite a sequel to the original, she says. It’s a rerelease of the original game with a brand new chapter, one where she tells the story of finally learning to be comfortable with her new self. The new scenes have more detailed animations than the first release, and though Dy5phoria shares the original’s nebulously retro pixel style, the character you control on screen is a fully formed person. This was a conscious choice, Anthropy explains.

“In (the original) the avatar you controlled changed depending on the context. You might be a blobby thing, a shield, or a little munchie mouth thing,” she says. “My body and identity were going through a lot of flux at the time, and it made sense for the game to represent that by not having a consistent avatar.”

Clearly, this is a new frontier for games; a girl who recently started her journey transitioning told the Bay Guardian that Dys4ia gave her the confidence to make the decision to begin hormone therapy and come out to her parents. Though Anthropy notes that hormones aren’t necessarily the central experience of being trans, she was touched Dys4ia could help people.

D5sphoria will be available via download service Steam “when it’s done,” Anthropy said, which will likely be at the end of fall or slightly later. The original Dys4ia flash game is available at www.newgrounds.com, a website stuffed full of indie games. It’s free to play, and simple enough for even casual gamers to get through in less time than an episode of the Big Bang Theory.

Read our Q&A with Anna Anthropy and hear our audio interview with her here

 

CLIMBING 208 FEET UP THE RUIN WALL

By Porpentine

Available at aliendovecote.com; free to play in any web browser

 

“Leave the tomb behind, and with all your stolen riches, return to the land of the living.” Once you click “return,” you’ve started your climb. Where do you go next?

That’s a question most Twine games ask, as the text-based games mostly resemble the choose-your-own-adventure books of a 1980s childhood. Climbing is one of the better, briefer ones, and though the adventure ultimately is linear, the branching paths will make you chuckle and make you think.

Climb. Climb. Climb. And when you’re done, check out twinehub.weebly.com for even more text-based Twine games. You can also learn how to make your own.

 

 

HUGPUNX

By Merritt Kopas, music by SCRAPS/Laura Hill

Available at www.mkopas.net; free to play in Flash-enabled web browsers

 

Have you ever sat with someone playing Halo, and heard the TV calling out “triple kill, KILLING SPREE!” and other lovely hyper-masculine achievements? Well, now’s your chance to go on a hugging spree.

HUGPUNX is described as a “fluoro-pink queer urban hugging simulator” — and indeed, players basically run around doing just that. Hugging. People. Lots of them. The music is fun and light, and you’ll be shimmying in your seat while you play. The game is simple to control — use the arrow keys to move, and Z to hug. Plus, you can hug giant cats. The world needs more games where you can hug giant cats.

CRYPTWORLDS: YOUR DARKEST DESIRES COME TRUE By Cicada Marionette Available at www.cicadamarionette.com; free in PC, MAC, and LINUX versions Missed Burning Man? This game may be a nerdy substitute to the insanity of the desert. Played a bit like The Legend of Zelda, the game (created by a Texas-based developer) begins with the player talking to the folks in surrounding towns and crypts, performing fetch quests and collecting inventory items. Unlike Zelda, though, a crypt filled with human sacrifices (who all sort of look like Indiana Jones), a horse-god, and a “programming hell” await you. Hundreds of nerds in plaid pants stand by their desks around a flame, or a volcano, I can’t quite tell. But don’t worry — once you escape, there’s a pulsating monster that resembles somebody’s liver just above you. Bring your favorite Burning Man party favors and play this game in the dark for hours. * For a podcast interview with Dy5phoria‘s Anna Anthropy, visit www.sfbg.com.

Blah lust

1

arts@sfbg.com

FILM Despite its intensely collaborative, top-heavy, organizationally complex nature, commercial filmmaking can still be primarily instinctual rather than thoughtful, let alone intellectual. This is not necessarily a good thing. We’re accustomed to displays of corporate group-thinking or sheer willful, proud stupidity (hiya, Michael Bay!) in mainstream movies today. But those are exercises of market conformism, whether the makers recognize them as such or not. What about populist filmmakers who go their own way yet grow increasingly dumb and dumber? Should we applaud their auteurist individuality even as all artfulness, taste, and entertainment value rushes toward the drain?

Of course we’re talking about Brian De Palma, who at age 73 should deserve more respect — if he hadn’t spent decades scuttling it so completely. His new movie is called Passion, and one doubts he thinks its lame third-generation lez-ploitation is any less of a passion project than he’s made in the past. That is so, so sad.

It’s important to remember that this guy once looked like a prince, as promising as Scorsese, through at least the mid-1970s: clever shorts, avant garde flirtations, exceptionally edgy, and inventive indie comedies (1968’s Greetings and 1970’s Hi, Mom!), guaranteed future cult classics (1974 rock musical Phantom of the Paradise), and tentative major-studio efforts that misfired yet were stylistically compelling (1972 absurdist Get to Know Your Rabbit, 1976 mystery thriller Obsession). Sisters (1973) — his first explicit Hitchcock homage — was a black-comedy horror knockout undervalued at the time because it was distributed by a minor studio (American International) that didn’t know how to sell it up-market.

Then came Carrie (1976), a brilliantly cast, shot, and scored improvement on Stephen King’s wobbly debut novel. It’s a succubus movie: no matter how many times you’ve seen it, you can’t watch the opening scenes without getting sucked into the whole thing. Its misanthropy could be excused as cunning satire, undercut by the empathy Sissy Spacek’s titular figure evoked. (De Palma never gave a leading female actor such sympathetic free rein before or since.) A commercial success nonetheless considered disappointing due to cheesy publicity better suited to a drive-in horror flick, Carrie boosted De Palma to the A list … where he wanked.

The Fury (1978), Dressed to Kill (1980), Body Double (1984), and Raising Cain (1992) reprised elements of Carrie and Hitchcock to guiltily-pleasurable but increasingly inane, sexist, baldly derivative ends. He was still capable of pulling off the odd big, splashy action picture — notably 1983’s Scarface and 1987’s The Untouchables, with Carlito’s Way (1993) and Mission: Impossible (1996) enjoyable if distant second-placers — while 1989’s Casualties of War was a decent stab at serious-issue cinema, dealing with Vietnam War atrocities.

But, argh: Bonfire of the Vanities (1990) turned Tom Wolfe’s easily-sussed satirical novel into a full-on embarrassment of overt Hollywood stupidity toward anything faintly literary or complex. After the brief, barely redeeming pause for OK style-over-substance exercise Snake Eyes (1998), De Palma delivered the monumentally dull Mission to Mars (2000), shuddersome old-man-salivating Femme Fatale (2002), starry-dreadful noir mystery The Black Dahlia (2006), and 2007’s Redacted — a fictionalized “found footage” reenactment of actual American war crimes that was one of the most inept and offensive movies ever made by a once-important US director. While similarly themed Casualties communicated just-enough horror at its similarly fact derived misdeeds, here De Palma appeared to take far too much pleasure in the loutishness of our soldiers abroad — not to mention their graphically depicted rape-murder of a teenage Iraqi girl.

I’ve left little space left to discuss Passion because it is so depressingly unworthy of discussion. Even at this late, dire point, the notion of DePalma directing a remake of Alain Corneau’s 2010 hit Love Crime suggested camp guilty pleasure at the very least. The original film was a clever if implausible psychological thriller in which a corporate boss (Kristin Scott Thomas) and junior-executive protegee (Ludivine Sagnier) come to fatal comeuppance blows over a particularly cruel abuse of power in the name of love (or heterosexual lust). It was a stereotypical girlfight par excellance, dressed up via reasonably smart treatment.

You’d expect De Palma to ramp up the lurid and tawdry-violent aspects to delightfully tasteless degrees. (Remember, this is the director whose refined sensibility once showcased a killer’s floor-perforating electrical drill thrusting phallically into Janet-Leigh-in-Psycho substitute Deborah Shelton in Body Double.)

But perhaps what’s most depressing about Passion is that the life has gone out even from his love of violence and sexploitation. It’s a tepid movie, and not even a stylish one. In contrast to Scott Thomas’ formidible strength through-negativity (amplified in the recent Only God Forgives), Rachel McAdams’ villain is just another yuppie princess with a snit fit in store. Sagnier might well be the Gallic answer to Chloe Sevigny, yet her waxy inexpressiveness is still better than another horribly awkward English language performance (see: last year’s Prometheus) by Swedish star Noomi Rapace.

Hilariously, De Palma has opined that Passion lacks his trademark excesses because he targeted it primarily toward female viewers who (market research says) dislike graphic sex or violence. As if most women would enjoy his use of primary female characters as bimbos, prostitutes, bitches, rape victims, backstabbers, and climbers … if toned down a bit.

Passion (which notably took a full year to secure any US release after a festival debut) commits a sin he’s seldom attained previously: it is just dull. It promises titillation. Yet real people and real sex are so plastic and cartooned here they seem the last call of an old-school playboy horndog who can’t get it up anymore. *

PASSION

Wed/4-Fri/5, 2:45 and 7pm, $8.50-$11

Castro Theatre

429 Castro, SF

www.castrotheatre.com

Put the Warriors Arena atop CalTrain

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OPINION Numerous problems with the proposed location of a new Warriors stadium and surrounding complex are obvious. What we need is a better solution, not just laments about the folly of it all. Is there a better solution for everyone?

We can take a page from Warriors co-owner Peter Guber’s book, “Tell To Win.” He explains how a business proposal lives or dies in terms of the story it embodies. The story trumps piles of statistics or litanies of problems. This is what tries men’s souls and glazes eyes. But there is an alternative story to tell in this case, one that is win-win for everyone.

Let’s create a great sports complex at the heart of our public transportation system. We don’t need to clog the waterfront when we can build a great sports mecca elsewhere. Let’s take a cue from New York City and how Madison Square Garden perches directly above Penn Station.

Right now CalTrain has an ideally located terminus in the core of the city, but it’s unsightly. Why not put the new stadium directly above the CalTrain station? The same solution is being applied right now to the new Time Warner headquarters at Hudson Yards on the west side in New York: several skyscrapers will rise on platforms above an existing rail yard.

Consider the advantages: CalTrain passengers can walk upstairs to see a game! Muni and BART riders can take a short walk to the stadium. Soon they’ll be able to ride the Central Subway to it as well. It’s the perfect place for a major indoor arena that could host diverse events.

AT&T Park is just a block away and already lends enormous appeal to this entire area. The train yard extends from 4th to 7th St and the space above this great expanse could house a sizeable parking garage, less than a block from the 280 access ramp, as well as a hotel, restaurants, condos, offices and perhaps a shopping complex.

It’s everything Peter Guber and his partners dream of, that the city needs, and that we can embrace, now that it’s in the right place.

Let’s welcome the Warriors by all means. But do we want a Titanic on the waterfront when we can have a jewel above the CalTrain station that will simultaneously overcome the gulf that now exists between the western part of SOMA and Mission Bay?

This location could establish a sports complex the rival of any in the country. An essential, but dreary space turns into a great sports oasis, like Cinderella at midnight but in reverse. Perhaps the city will even want to include a large, well-equipped community recreation center for all of us who like to play as well as watch.

Bill Nichols is a consultant for documentary filmmakers and has published a dozen books related to the cinema. He lives in San Francisco.

Slipping away

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By Amy Yannello

Note: This article has been corrected from an earlier version.

As she had done countless times before, Gloria Davidson sat and waited for her son to be brought into the courtroom. His hands and feet were shackled, and his blue uniform branded him as different — someone to be judged apart from the rest of the crowd in this room.

His crime? Aaron Davidson has schizophrenia.

On that day earlier this year, which Gloria recounted and shared with the Guardian in a recent interview, he faced charges for violating one of five restraining orders against him — but he didn’t understand what he’d done to deserve them, his mother said.

“The neurons and synapses in his brain fire inappropriately and he sees and hears things that are not really there,” Gloria explained. “As a result, his responses to his perceived reality are often unwarranted or make no sense,” she continued, “or frighten the people around him.” Aaron could neither speak coherently nor acknowledge that his actions had led to restraining orders, she said.

In his case, the judge deemed Aaron “incompetent to stand trial” and sent him to Napa State Hospital for treatment. He remains there, where he’ll turn 36 later this month.

Davidson is one of three Bay Area mothers with adult sons at NSH to push for full, statewide implementation of Laura’s Law.

Known formally as “assisted outpatient treatment” (AOT), the law is named for Laura Wilcox, a 19-year-old college student who lost her life when Scott Harlan Thorpe, a man with a persistent and severe mental illness who had stopped taking his medication, shot and killed her and a coworker at a Nevada City mental health clinic.

While Thorpe, then 41, was in too deep of a state of psychosis to benefit from AOT at the time of the shootings, his family, psychiatrist, and the Wilcoxes all believed that if the legislation had been in effect even six months earlier, when Thorpe’s family first noticed he’d stopped taking medication, the tragedy could have been averted.

 

DEBATE ON INVOLUNTARY TREATMENT

Through AOT, an individual’s family, doctor, or trusted third party may advocate to a judge that a patient is at risk of decompensation — serious psychological deterioration making it impossible to function independently — if left untreated. In very narrow circumstances, a judge may order a person to receive AOT as a condition of being allowed to continue living independently.

Currently, only Nevada, Los Angeles and Yolo counties have embraced the law, which allows courts in very limited circumstances to compel into treatment those residents who are too ill to know they are ill.

This “lack of insight” — a neurological condition known as “anosognosia” — is said to affect upward of 40 percent of people with serious mental illnesses.

Gloria Davidson and Teresa Pasquini, another mother of a mentally ill NSH patient, are now pushing for Laura’s Law implementation in Contra Costa County. They’re joined by a third mother, Candy DeWitt, who founded a project called Voices of Mothers Project to bring together parents of people suffering from anosognosia. Alameda County’s Behavioral Health Care Services has issued a report recommending to its Board of Supervisors that it approve a one-year AOT pilot project. The issue is expected to be taken up at the BOS’ Oct. 28 meeting, where it would need a majority vote to be approved, DeWitt said. 

Laura’s Law isn’t without its detractors. “Where does it end?” asked Dan Brzovic, an attorney based in the Oakland office of Disability Rights California. “Pretty soon, we’ll have people saying that anyone with a mental illness cannot think for themselves.”

“The moral issue is that people who are competent to make choices for themselves must be given that right,” he continued. “That’s if they have the capacity. If they don’t, then there are involuntary treatment options already on the books, like conservatorship.”

But the debate surrounding Laura’s Law and mental health service delivery goes deeper, since underlying questions remain about whether dedicated funding has translated to sufficient levels of care. Each of the three mothers told the Guardian that their sons — all deemed to be suffering from “serious mental illness” — never received adequate treatment as they moved through California’s fragmented and broken public mental health system, despite the advent of Proposition 63, the 2004 ballot initiative that created California’s Mental Health Services Act.

A staggering report released in mid-August by State Auditor Elaine Howle brings this claim into focus. According to the audit, the California Department of Mental Health and the Oversight and Accountability Commission have exercised such “minimal oversight” since MHSA went into effect that the state has “little assurance” that $7.4 billion has been used “effectively and appropriately.” That amount represents the total funding generated by the MHSA — which imposes a 1 percent tax on personal income in excess of $1 million — from 2006 to 2012.

In response to these revelations, Rose King, a co-author of Prop. 63 who previously served as a consultant for then-Attorney General Bill Lockyer, stated, “No county has been required to demonstrate its accountability for any spending or program choices. The public — and state officials — have no idea whether counties have improved county mental health systems, whether spending complies with the law, and whether private contractors have delivered promised services.”

 

“WASTE, FRAUD, MISMANAGEMENT”

The MHSA ramped up services for some 600,000 adults and children in the public mental health system, bringing in $1 billion per year in dedicated funding for the treatment of serious mental illness.

But beyond patients tracked via Medi-Cal, no one tracks the true number of uninsured patients served. There isn’t a data system capturing all the clients or services tied to MHSA funds, making outcomes impossible to track with accuracy.

Some funding has gone to client advocacy groups who actively oppose Laura’s Law. Disability Rights California and the California Network of Mental Health Clients, both opponents of AOT, received $3 million and $1.5 million in MHSA grants respectively. These groups believe voluntary services should be the only programs to receive funding through MHSA and have actively threatened to sue counties that have tried to implement Laura’s Law.

Some of the very people who campaigned hardest for MHSA have since become watchdogs monitoring its implementation. They include King, who lost both a husband and son to suicide due to lack of treatment for their severe mental illnesses, and Pasquini — whose only son is languishing in NSH with a diagnosis of schizophrenia and a felony charge for an alleged assault on a fellow patient while on the incorrect medication.

These embattled mothers say they’ve observed a system awash in “waste, fraud and mismanagement.” They also charge that the system results in disproportionate services for what King terms the “worried well” — people merely experiencing life’s ups and downs — in many cases to the neglect of those struggling with what’s classified as “serious mental illness.”

 

MISSPENDING OF FUNDS DESIGNATED FOR PREVENTION?

Under the MHSA, only a specified population may receive treatment using these funds. Patients must have been diagnosed with “serious mental illness,” amounting to psychological problems that are severe enough to prevent an individual from functioning independently without assistance should they go untreated.

But critics like King and DJ Jaffe of the Mental Illness Policy Org. (MIPO), a national think tank that has been critical of California’s management of MHSA monies, contend that the 20 percent of MHSA funds designated for Prevention and Early Intervention (PEI) programs are instead being funneled into programs with little connection to mental illness treatment.

The MHSA specifically limits PEI dollars to programs that “prevent mental illnesses from becoming severe or disabling” or that “limit the duration of untreated mental illness.”

Yet King contends that these funds have been used instead to underwrite social service programs ranging from domestic violence prevention and parenting classes, to social skills for disadvantaged youth — all good causes that are nevertheless “not legitimate recipients” of money intended for mental illness treatment, King says.

 

CONFLICT-OF-INTEREST ALLEGATIONS

Jaffe’s organization has seized on the PEI expenditures as a violation of the MHSA, turning a skeptical eye on the 16-member Mental Health Services Oversight and Accountability Commission.

In 2011, according to a MIPO analysis, more than $23 million in PEI grants went to advocacy organizations and service providers with direct financial ties to both OAC commissioners and committee members. MIPO characterized it as “insider dealing” and a violation of California conflict-of-interest laws.

OAC committee member Rusty Selix, a lobbyist and Prop. 63 co-author, dismissed the MIPO report, saying, “I don’t see any conflict.”

Selix added that unpaid OAC board members recuse themselves from voting whenever it’s deemed to be necessary. And he defended a system where stakeholders, such as consumers and family members, also serve on committees, saying, “You can’t expect to include them in the process without crisscrossing some stakeholders who also receive MHSA grants.”

Jaffe took a different tack. “The problem, besides the blatant conflict-of-interest,” countered Jaffe, “is how these PEI monies are being spent. And they’re not being spent to help the seriously mentally ill,” he continued. “Yet year after year, they’re getting approved. Millions and millions of taxpayer dollars that were supposed to go to treat the sickest among us are being spent on social programs.”

 

NOT ENOUGH BEDS

Some believe the broad issue of funds not making it to the intended target population might be playing out within the microcosm of San Francisco. In 2010-11, the most recent available data, San Francisco County received $23 million in MHSA funding, 75 percent of which was earmarked for direct services.

But that money hasn’t gone toward ensuring that there are enough beds for treating mentally ill patients, according to Geoff Wilson, president of the Physicians’ Organizing Committee. Wilson’s organization reported that as of August, San Francisco General Hospital had dropped to 19 emergency psychiatric beds, down from 88 two years ago.

“It’s unconscionable. We’ve got the highest 5150 rate in the state,” Wilson told The Guardian, referring to 72-hour psychiatric holds imposed by law enforcement. We’re not saying ‘lock everyone up,’ we’re just saying that for people who need it, the beds need to be there, and there’s barely any left in the city.”

Wilson explained the cuts by saying that when Medi-Cal stopped paying for the care — essentially “raising the bar” for what it took to keep someone in a psychiatric inpatient bed — the county slashed the number of beds because it “simply wasn’t profitable” to keep them open.

Asked to respond to this claim, SFDPH spokesperson Eileen Shields told the Guardian that only Barbara Garcia, the agency director, was in a position to respond. But Garcia was out of town and unavailable for comment.

According to the POC’s Dr. Cameron Quanbeck, it costs $250 per day to house inmates in jail, compared with $1,700 per day for hospital care. In March, Sheriff Ross Mirkarimi testified before the Mental Health Board that the jail system had become the “default” place for people with mental illness, identifying more than 70,000 contacts with Jail Psychiatric Services in 2012 alone.

 

LAW ENFORCEMENT AND LAURA’S LAW

According to the U.S. Department of Justice, 16 percent of inmates have a severe mental illness, making jails and prisons the largest de facto psychiatric treatment facilities. The National Sheriff’s Association has come out in support of AOT laws in all 50 states.

Pasquini says her son could have benefited from AOT, and she believes that “AOT should be a mandated MHSA program in every county to prevent tragedy and intervene with the criminalization of mental illness.”

Since his initial diagnosis of schizo-affective disorder at 16, Pasquini’s 31-year-old son has had more than 70 emergency contacts with law enforcement and/or ambulance personnel, most of them resulting in 5150 holds.

He is now a patient at NSH, where “he wants to die every day, and I don’t blame him,” continued Pasquini. “It’s a reality for him. His illness has progressed, because every time you have a ‘break,’ you get a little worse. He’s the perfect candidate for Laura’s Law.”

 

Forget the Willie Brown Bay Bridge

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EDITORIAL As the California Legislature prepares to wrap up before fall recess, a resolution is working its way through the approval process to rename the western span of the Bay Bridge the “Willie L. Brown Jr. Bridge.”

Brown, who formerly served as mayor of San Francisco and speaker of the California Assembly, is known for boasting about his hobnobbing with the rich and famous in his San Francisco Chronicle column, “Willie’s World.” But to longtime progressive San Franciscans who spent decades trying to stem the tide of gentrification, he was the powerful figure that rolled out the welcome mat for high-end developers and corporate interests, whose interests in San Francisco revolved around profit alone.

As mayor, Brown presided over land-use policies that resulted in high-end developments at a time when evictions were rampant, a trend that rings familiar in today’s tech-saturated San Francisco. Once, when pressed on the idea that his approach was making the city increasingly unaffordable, Brown’s famous retort was: “If you don’t make $50,000 a year in San Francisco, then you shouldn’t live here.”

It’s not just Brown’s insensitivity to struggling tenants, deep ties to corporate interests and high-end real-estate developers, or continued behind-the-scenes influence in San Francisco politics that cause us to squirm when we think about the San Francisco-Oakland Bay Bridge bearing this politician’s name. There’s also the key question of whether Bay Area residents actually want to see this happen — and, given Brown’s historic role as a divisive figure, the idea that there is universal support for such an idea is laughable.

A legislative analysis presented to the Assembly Committee on Transportation a few weeks ago noted that lawmakers actually came up with ground rules for big decisions like whether a bridge ought to be named after someone, to “promote fairness.” The rules stipulate that such a proposal “must reflect a community consensus” — and guess what? Even Brown’s editors over at the Chronicle issued a June editorial opposing the idea.

Not only that, but proposals like this are only supposed to come from representatives of the district where the thing being renamed is located — yet this scheme came from Assemblymember Isadore Hall, a Democrat from Compton. But despite clear failure to adhere to these basic rules, only a single committee member voted against naming the bridge after Brown.

Interestingly enough, the bill even includes a request for Caltrans to determine the cost of posting signs commemorating Brown, which would evidently be funded by donations from unspecified private sources.

If the San Francisco-Oakland Bay Bridge is going to be named after anyone, we agree that the honor should be reserved for beloved 19th-century San Francisco eccentric Joshua Abraham Norton, the Scotsman who proclaimed himself Emperor of the United States in 1859 and printed his own currency.

So far, a Change.org petition calling on Gov. Jerry Brown to name it the Emperor Norton Bay Bridge has garnered 1,800 signatures. “He was a champion of racial and religious unity, an advocate for women’s suffrage [and] a defender of the people,” the petition notes. That sounds more like something motorists can be proud of when they drive back and forth across the bay.

 

Where the art is

4

arts@sfbg.com

FALL ARTS If advance schedules and press releases are any indication, this fall we’ll see a resurgence of nuanced, informed abstract painting in galleries around the Bay Area. Thoughtful formalist and abstract painting is always percolating somewhere beneath the flashier strata of the art world, and I’m heartened to see the number of galleries prepping shows that allow it some spotlight.

Another welcome development is the migration of four solid programs from downtown locations to within a block of each other in Potrero. Epicenter shift? Maybe not. But the Brian Gross, Catharine Clark, Jack Fischer, and George Lawson galleries — along with Hosfelt gallery — definitely give you a reason to add Potrero to your gallery route.

 

Christopher Burch, Aggregate Space

Christopher Burch offers darkly skewed takes on Song of the South allegories. His installation puts familiar and invented characters into terse psychological situations, recasting and heightening blues music lyrics in ways familiar to fans of Kara Walker. Through Sept. 21. 801 West Grand, Oakl; www.aggregatespace.com.

 

Alice Cattaneo, Romer Young

The Milanese sculptor starts with fairly modest materials — cardboard, felt, wire — to make precise, fragile assemblages in precise, contradictory ways that recall both Richard Tuttle and Fred Sandback. She’ll be in residency at Romer Young during September creating site-specific work for the Potrero space. Sept. 5—30, 1240 22nd St, SF; www.romeryounggallery.com.

 

Sandy Kim, Ever Gold

Sandy Kim’s hot, post-Vice photographs mine the now-familiar tropes of confessional, in-your-face documentary much better than most. Her flashy work communicates an immediacy and offhand confidence along with great attention to color and texture. Sept. 5—Oct. 5, 441 O’Farrell, SF; www.evergoldgallery.com.

 

Linda Geary, Steven Wolf Fine Arts

Linda Geary’s intuitive formalist paintings strike an assured balance of rigor and looseness, clarity and experimentation. Accompanying her paintings will be the group show “Hotbox Forever,” which she curated to include abstract painters Wendy White, Lecia Del-Rios, Jeffrey Gibson, and Maria Weatherford. Sept. 7—Oct. 19, 2747 19th St, Ste A, SF; www.stevenwolffinearts.com.

 

Erin Lawlor, George Lawson (Potrero gallery)

Parisian Erin Lawlor’s lush, nuanced abstract oil paintings evoke both Baroque dynamism and a cool, contemporary repose, all within a focused manner of execution and fairly subdued color palette. This show inaugurates George Lawson’s expansion into a second SF gallery in Potrero, a very welcome development for fans of abstract painting, as Lawson has a honed eye and a pretty deep stable. Sept. 7—Oct. 5, 315 Potrero, SF; www.georgelawsongallery.com.

 

Ward Schumaker, Jack Fischer

Ward Schumaker makes loose, gestural, mixed-media paintings, sculpture, and collage that tend to mix formal and narrative concerns by way of text, brushwork, and color field painting. His moody, ruminative compositions display a sure hand and questioning but unfussy approach. Sept. 7—Oct. 12, 311 Potrero, SF; www.jackfischergallery.com.

 

2012 SECA Art Award: Zarouhie Abdalian, Josh Faught, Jonn Herschend, David Wilson

With its building under construction, the San Francisco Museum of Modern Art is setting up four different site-specific projects to highlight its 2012 SECA Art Award winners, bestowed biennially on the Bay Area’s breakout artists. Zarouhie Abdalian will install programmed bells to ring in front of City Hall in Oakland; Josh Faught will create new woven sculptures for the Neptune Society Columbarium; David Wilson will create multidimensional experiences along walking routes at six outdoor locations; and Jonn Herschend will premiere a short film on the museum’s rooftop taking the building’s closure as a point of departure. Sept. 14—Nov. 17, various locations; www.sfmoma.org.  

Edward Burtynsky, Rena Bransten

Burtynsky is famous for his arresting landscape photography which, like Richard Misrach, interrogates the way humans have irrevocably interrupted natural processes. His Rena Bransten show will feature aerials and large format shots related to water consumption and control in nine countries. Oct. 24—Dec. 14, 77 Geary, SF; www.renabranstengallery.com.  

“David Hockney: A Bigger Exhibition,” de Young Museum

Hockney is one of those artists that on paper ought to be talked about more: prolific, likable, a pioneer in his day, author of a mildly controversial art history book, and all that. His large-scale landscapes from the last decade get the retrospective treatment here, hopefully reminding us why at one point he was one of the world’s most famous living artists. Oct. 26—Jan. 20, 50 Hagiwara Tea Garden Dr., SF; deyoung.famsf.org.  

Chris Fraser, Highlight

Chris Fraser uses splintered and filtered beams of light in installations that recast space in terms of mathematical rigor, reworked scale, and pregnant narrative. Nov. 28—Jan. 18, 17 Kearny, SF; www.highlightgallery.com.

Get to the show, weirdos

2

FALL ARTS There are so many things competing for your precious time: long lines for pricey gourmet coffee, civic responsibilities and volunteer work, actual work, glazed fake cronuts or whatever the kids are into these days. Make live music a priority as well — your days will float by on a pink cloud of fuzzy, hangover-fueled memories.

As we’re lucky enough to live in a region stuffed with musicians and venues that take in touring acts, the options for every week are damn near endless. Here are some shows to take note of this season, one for (nearly) every day of the upcoming months. (Note that dates and locations are subject to change, so always check the venue site.)

>>READ MORE FALL ARTS GUIDES HERE

Plug them in to your Google Calendar. Better yet, stick this list to your wall with chewed-up bubblegum. Either way, impress your friends with superior show knowledge:

Aug. 30 [UPDATE: postponed due to illness] Icona Pop: As silly as it’s always been, bubbly Swedish electro-pop duo Icona Pop is in the running for the arbitrary media-hyped “song of the summer” (or as Slate puts it, the yearly “Summer Song–Industrial Complex”) thanks to party track, “I Love It,” featuring fellow up-and-comer Charli XCX. And, get this, the album from which “Love It” springs, This Is… (Record Company Ten/Big Beat Records), isn’t even out until Sept. 24. Squeeze out the last bits of this very poppy season and hold out for the recorded versions by taking in this live set. Fillmore, SF. www.thefillmore.com

Aug. 31 [Here’s another to make up for that cancellation above] Rin Tin Tiger, French Cassettes Great American Music Hall, SF. www.slimspresents.com

Aug. 31 Sonny and the Sunsets, Shannon and the Clams Chapel, SF. www.thechapelsf.com

Sept. 2 Ty Segall Great American Music Hall, SF. www.slimspresents.com

Sept. 3 Superchunk and Mikal Cronin Fillmore, SF. www.thefillmore.com

Sept. 4 Zomby (live) Public Works, SF. www.publicsf.com.

Sept. 5-6 “UnderCover Presents Bob Dylan’s Highway 61 Revisited:” For this event, the UnderCover Presents collective dives deep into the introspective, folk-rock world of Bob Dylan’s ’65 gem (which gave us “Like a Rolling Stone”) with covers by Carletta Sue Kay, Quinn DeVeaux, Whiskerman, Beth Lisick, and guest music director Karina Denike, among others. Freight & Salvage. www.thefreight.org. Also Sept. 8, Contemporary Jewish Museum. www.cjm.org.

Sept. 6 Mission Creek Oakland: The month-long fall music and arts festival packs a punch with dozens of local bands playing 15 East Bay venues, including the Uptown, the Stork Club, and Children’s Fairyland (!). It kicks off with a free opening party tonight at the Uptown with Naytronix, Clipd Beaks, YNGBMS, and Safeword. Various venues, Oakl. www.mcofest.org.

Sept. 7 Push the Feeling with Exray’s Underground SF, www.undergroundsf.com

Sept. 8 Lil Bub book signing with Nobunny: So Lil Bub is this famous Internet cat and Nobunny is the infamous IRL punky masked Bunny-Man; together they’ll claw through the Rickshaw Stop all day and night. This multipart Burger Bub Mini-Fest includes a Lil Bub book signing and doc film screening, plus live sets by Nobunny, Colleen Green, the Monster Women, and the Shanghais. Paws up, everyone. Rickshaw Stop, SF. www.rickshawstop.com.

Sept. 9 Sex Snobs Elbo Room, SF. www.elbo.com

Sept. 10 Bleeding Rainbow Rickshaw Stop, SF. www.rickshawstop.com.

Sept. 11 Moving Units DNA Lounge, SF. www.dnalounge.com.

Sept. 12 Julie Holter Great American Music Hall, SF. www.slimspresents.com.

Sept. 13 120 minutes presents Death in June Mezzanine, SF. www.mezzaninesf.com.

Sept. 14 Rock the Bells: the annual touring hip-hop fest returns, headlined by Kid Cudi, A$AP Mob. feat. A$AP Rocky, E-40, and Too $hort, Common, and Bone Thugs-N-Harmony on Sept. 14; Wu-Tang Clan, Black Hippy feat. Kendrick Lamar, and Deltron 3000 on Sept. 15. Shoreline Amphitheatre, Mtn View. www.livenation.com.

Sept. 16 Kate Boy Rickshaw Stop, SF. www.rickshawstop.com.

Sept 17 Julie Ruin: Kathleen Hanna returns to her pre-Le Tigre output but beefs it up with a full band including fellow Bikini Kill bandmate Kathi Wilcox and is set to release bouncy feminist dancepop record Run Fast Sept. 3. A few weeks later the Brooklyn band lands in SF. Slim’s, SF. www.slimspresents.com.

Sept. 18 Berkeley Old Time Music Convention Various venues, Berk. www.berkeleyoldtimemusic.org

Sept. 19 Hard Skin 1-2-3-4 Go!, Oakl. 1234gorecords.com.

Sept. 20 Foxygen Independent, SF. www.theindependentsf.com

Sept. 21 Tape Deck Mountain and Battlehooch El Rio, SF. www.elriosf.com.

Sept. 22 “Radio Silence presents: Doe Eye performing Arcade Fire” Brick and Mortar Music Hall, SF. www.brickandmortarmusic.com.

Sept. 24 Wax Tailor Mezzanine. www.mezzaninesf.com.

Sept. 26 Zola Jesus Palace of Fine Arts, SF. www.palaceoffinearts.org.

Sept. 27 Peter Hook and the Light Mezzanine, SF. www.mezzaninesf.com.

Sept. 28 “Station to Station:” This train-travelin’ art and music experiment, organized by artist Doug Aitken, pulls a stop in Oakland with live performances by Dan Deacon, Savages, No Age, Sun Araw and the Congos, Twin Shadow, and more. And the train itself is designed as a moving kinetic light sculpture, so expect a bright show. 16th St. Station, Oakl. www.stationtostation.com.

Sept. 30 Chelsea Wolfe Great American Music Hall, SF. www.slimspresents.com

Oct. 1 Peach Kelli Pop Hemlock Tavern, SF. www.hemlocktavern.com.

Oct. 3Brick and Mortar Music Hall, SF. www.brickandmortarmusic.com.

Oct. 4-6 Hardly Strictly Bluegrass: Bonnie Raitt, Bettye LaVette, Nicki Bluhm & the Gramblers, Devil Makes Three, Chris Isaak, Mark Lanegan, First Aid Kit, Sallie Ford & the Sound Outside. As the free annual fest releases lineup names in glorious song medleys, this is who we know for sure will fill GG Park with folk-country-hardly-strictly-bluegrass notes this year, as of press time. There will be more added in the coming weeks, so check the site. Golden Gate Park, SF. www.hardlystrictlybluegrass.com.

Oct. 5 Har Mar Superstar Bottom of the Hill, SF. www.bottomofthehill.com.

Oct. 7 No Joy Brick and Mortar Music Hall, SF. www.brickandmortarmusic.com.

Oct. 8 Fucked Up Terror Oakland Metro Opera House, Oakl. www.oaklandmetro.org.

Oct. 9 Iceage Rickshaw Stop, SF. www.rickshawstop.com.

Oct. 10 Thee Oh Sees Chapel, SF. www.thechapelsf.com

Oct. 11 Extra Action Marching Band Mezzanine, SF. www.mezzaninesf.com

Oct. 12 Marky Ramone with Andrew W.K.: Is this pairing crazy enough that it just might work? While Joey Ramone has sadly passed on to punk rock heaven (lots of leather and skinny jeans), drummer Marky Ramone is carrying on the legacy by enlisting pizza guitar-having party rocker Andrew W.K. as his frontperson. The band known as Marky Ramone’s Blitzkrieg performs classic Ramones songs. Independent, SF. www.theindependentsf.com.

Oct. 13 Legendary Pink Dots DNA Lounge, SF. www.dnalounge.com.

Oct. 14 Langhorne Slim Great American Music Hall, SF. www.slimspresents.com

Oct. 15 Tim Kasher Rickshaw Stop, SF. www.rickshawstop.com.

Oct. 16 Dustin Wong Great American Music Hall, SF. www.slimspresents.com.

Oct. 17 CHVRCHES Fox Theater, Oakl. www.thefoxoakland.com.

Oct. 18 Robert Glasper Experiment SFJazz Center, SF. www.sfjazz.org.

Oct. 19 Treasure Island Music Festival: the forward-thinking two-day fest out on windswept Treasure Island includes Atoms for Peace, Beck, Major Lazer, Little Dragon, Animal Collective, James Blake, Holy Ghost!, Sleigh Bells, and more. Giraffage, and Antwon are the locals on the bill. Treasure Island, SF. www.treasureislandfestival.com.

Oct. 20 Goblin Warfield Theatre, SF. www.thewarfieldtheatre.com.

Oct. 21 Hunx & His Punx Chapel, SF. www.thechapelsf.com.

Oct. 22 Brian Wilson and Jeff Beck Paramount Theater, Oakl. www.paramounttheatre.com.

Oct. 23 Oh Land Independent, SF. www.theindependentsf.com.

Oct. 24 Woodkid Regency Ballroom, SF. www.theregencyballroom.com.

Oct. 25 The Blow Bottom of the Hill. www.bottomofthehill.com.

Oct. 26 Airfield Broadcasts: For this large-scale event, composer Lisa Bielawa will turn Chrissy Field into a giant “musical canvas” in which listeners can interact with broad sounds floating through the area with the help of nearly a thousand professional and student musicians including orchestras, choruses, bands, and experimental new groups. The musicians will begin in the center of the field then slowly move outwards, playing Bielawa’s original score. Chrissy Field, SF. www.airfieldbroadcasts.org.

Oct. 29 The Jazz Coffin Emergency Ensemble El Rio, SF. www.elriosf.com.

Oct. 30 Save Ferris Regency Ballroom, SF. www.theregencyballroom.com.

Oct. 31 Danzig Warfield, SF. www.thewarfieldtheatre.com.

Nov. 1 Janelle Monáe: Futurist soul crooner Janelle Monáe has had a big year, releasing “Q.U.E.E.N.” with Erykah Badu in the spring, and more recently she fired off Miguel duet “PrimeTime.” The last time the pompodoured singer made it to SF she was dancing down the aisles at the SF Symphony’s Spring Gala (earlier this year), but a darkened venue is much more her speed. Think she’ll be wearing black and white? Warfield Theatre, SF. www.thewarfieldtheatre.com.

Nov. 7 Wanda Jackson: The stylish rockabilly queen, and former real life Elvis paramour — and crackling vocalist behind tracks like “Fujiyama Mama” and “Let’s Have a Party” — is still brash and still touring at age 75. And she’s still putting out new tunes too, with her own 2012 LP Unfinished Business, and just before that a collaboration with Jack White on The Party Ain’t Over (2011). Yes, the party continues. Chapel, SF. www.thechapelsf.com.

Nov. 8 Of Montreal Great American Music Hall, SF. www.slimspresents.com.

Nov. 13 Those Darlins Chapel, SF. www.thechapelsf.com.

Nov. 14 Kayhan Kalhor and Ali Bahrami Fard SFJazz Center, SF. www.sfjazz.org.

Nov. 16 Melt Banana Oakland Metro Opera House, Oakl. www.oaklandmetro.org.

Nov. 17 Rhys Chatham: This is vastly bigger than your average rock concert. See, avant-punk composer Rhys Chatham will perform the West Coast premiere of his “A Secret Rose” with an orchestra of 100 electric guitars. That’s right, 100-times the shred. The Other Minds-presented hourlong performance will include musicians from Guided By Voices, Akron/Family, Tristeza, and more. Craneway Pavilion, Richmond. www.brownpapertickets.com.

Nov. 18 Misfits Oakland Metro Opera House, Oakl. www.oaklandmetro.org.

Nov. 22 Kate Nash Fillmore, SF. www.thefillmore.com.

 

Big game hunting

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arts@sfbg.com

FALL ARTS As summer slips away for another year, our consolation prize is that we are about to witness one of the most jam-packed seasons gaming has ever seen. Not only are we welcoming two spiffy new game consoles for the first time in six years, but here are six games that prove those suddenly less-shiny systems you already have are not going quietly.

 

 

GETTING IN EARLY

Before bidding summer a true farewell, we can enjoy a few releases that sneaked in at the tail end of August.

Saints Row IV  (Volition, Inc.; out now) is the best Saints game so far, marrying the gritty crime-sandbox foundation of its past with the incongruity of superpowers. As president of the United States, you’re tasked with entering the computer simulation of a small city to fight aliens with super-speed and telekinesis, as well as with novel alien weapons like the Inflato-ray, the Abduct-O-Matic, and the Dubstep Gun, which shoots actual rays of concentrated dubstep. It’s all very silly, but the series has found the sweet spot between funny and stupid and manages to remain there for the length of the game.

Similarly, The Bureau: XCOM Declassified (2K Marin; out now) seeks to join the strategy tactics of its past with the in-vogue third-person shooter — albeit with less successful results. Set in America of the 1960s, The Bureau is meant to divulge the humble beginnings of an alien-busting government organization known as the XCOM (Extraterrestrial Combat) unit. Unfortunately, the game’s publicly turbulent development is reflected in its rough-edged, bland shooter mechanics. Still, for franchise devotees there’s fun and horror in seeing the XCOM franchise try on a new hat.

 

GANGBUSTERS

Telltale Games’ The Walking Dead was undoubtedly last year’s breakout success. A zombie game more interested in the bits that didn’t involve mowing down hordes of the undead, the series of five short “episodes” forced players to make quick life-or-death decisions with no single correct answer. Season one made a good case for video games as a viable storytelling medium and, with The Walking Dead Season Two  slated for this fall (release date TBD), we’re about to find out if Telltale can make a nation of gamers cry twice.

You probably already knew there was a new Grand Theft Auto coming: it’s kind of a big deal. This year’s Grand Theft Auto V  (Rockstar North; Sept. 17) brings the series back to Los Santos, the faux-Los Angeles setting last seen in 2004’s Grand Theft Auto: San Andreas, and boasts a healthy three simultaneously playable protagonists (compared to most games’ paltry one). GTA V will no doubt give us beaucoup gunfights and explosions — but it’s the little diversions like deep-sea diving, tennis, yoga, shopping, and bike riding that make this one look special. Finally, a version of The Sims that involves committing felonies!

 

NEW IPS

If one word could describe this generation of blockbuster gaming, it would likely be sequels. So it’s encouraging to see a pair of promising new titles offering diversions that haven’t been iterated upon a billion times before.

Beyond: Two Souls  (Quantic Dream; Oct. 8) is from the studio that brought you Heavy Rain, the ultra-cinematic choose-your-own adventure detective game about a serial killer who drowns his victims in rainwater. Beyond, too, seems intent on imitating film, sporting a convincing, motion-captured performance by Ellen Page as a young girl who has spent her life linked to a ghost. Willem Dafoe also stars? Sold!

Finally, much-buzzed-about WATCH_DOGS (Ubisoft Montreal; Nov. 19) draws on our fear of surveillance and technology’s overwhelming dominance of our everyday lives, and takes that fear to the extreme. As an uber-hacker capable of manipulating the technology around him — from street lights to ATMs to your social media profile — using his cellphone, WATCH_DOGS might be the rare sci-fi game with brains.

Choose your own adventure

4

arts@sfbg.com

THEATER For fans of experimental performance, there’s nothing quite like the San Francisco Fringe Festival. Now a venerable 22 years old, the Fringe still retains its freewheeling nature, where anything goes and expecting the unexpected is the best approach. It’s also served as a vital incubator for many now-established theater companies — including Cutting Ball, Crowded Fire, Mugwumpin, and Thrillpeddlers — and no other festival prepares theater artists for the business realities of self-producing quite like the Fringe. The fest makes them responsible for every detail of their show’s success, including play creation, technical design, transportation, and audience outreach.

Hosted at the EXIT Theatre, which holds down the edge of the downtown theater district, the SF Fringe is the final stop on the annual Canadian Association of Fringe Festivals circuit (which stretches east to west across the North American continent). Over the years, it has welcomed artists from as nearby as the Mission District and as far away as Mauritius, drawing their names (literally) out of a hat during a public lottery to ensure that all applicants get an equal shot at participating.

This commitment to non-curation is what sets the Fringe apart from other theater festivals, as even the organizers don’t know what to expect from a given show until the curtain goes up. With that caveat in mind, here’s a sampling of shows that look promising for one reason or another — though your best bet, as always, is to see as many shows as possible and discover what stands out for you.

Solo shows are a Fringe staple, since technical considerations are skewed in favor of minimalist productions. With Held offers a glimpse inside the mind and method of a local artist, John Held Jr.; playwright-performer Jeremy Greco (of The Thrilling Adventures of Elvis in Space infamy) spent over a year interviewing Held about his life, and another year creating a show out of the material. Rebecca M. Fisher (2007’s The Magnificence of the Disaster) takes her audiences down south with Memphis on My Mind, while local comedian and circus school alumna Jill Vice brings them to the bar to pour everyone a (metaphorical) round in The Tipped & the Tipsy. Triple threat musician, actor, and improv artist Jeff England promises to combine all of his talents in his solo offering Tale Me Another, while another triple threat (singer-dancer-actor) Movin’ Melvin Brown brings his well-traveled performance piece A Man, A Magic, A Music to SF for the first time.

Shows which topically involve sex are another time-honored Fringe tradition, and this year’s selection seems especially wide-ranging. There’s 52 Letters, by Regina Y. Evans, which delves into the tricky territory of sex-trafficking with a performance poetry format; and The Women of Tu-Na House, a solo show by Nancy Eng, who portrays eight women working the “massage parlor” circuit.

One sexy show that breaks into the territory of the fantastical is Fish-girl, co-created and performed by Siouxsie Q, creator of the popular sex worker podcast and blog the WhoreCast. A mermaid grapples with “the feeling of being half in one world and half in another,” a common sentiment among sex workers, many of whom also “identify strongly with the mermaid myth,” according to Q.

For lovers of the purely experimental there are always a few Fringe shows that are best categorized as impossible-to-categorize, and it’s often these shows that best encapsulate the spirit of what’s possible, theatrically, in and out of the Festival. This year these include the welcome return of Popcorn Anti-Theater’s traveling bus with a whole new lineup of performers (including clowns, comediennes, and shadow puppeteers) and new secret locations on their mysterious itinerary.

Fringe stalwarts Dark Porch Theatre return with what sounds like one of their most ambitious projects to date, StormStressLenz, a fractured remix of the works of J. M. R. Lenz, an 18th century German playwright of the little-referenced sturm und drang movement. Remounted in 30 small vignettes connected to one of six themes — love, tricks, conflict, sorrow, resolution, and reunion — the piece is said to be structured like a concert of chamber music, with director-translator Martin Schwartz as conductor. Davis Shakespeare Ensemble’s Nightingale is a work of devised theater combining medieval and modern text, movement, shadow puppetry, and beat boxing; while performance artist Cara Rose DeFabio brings a follow-up to her 2012 multimedia piece She Was a Computer with After the Tone, a reflection on death, immortality, and technology with an audience participation component (hint: keep your cellphone on).

“This is my first Fringe, and I couldn’t be more excited,” DeFabio confides enthusiastically. “While at times it feels overwhelming, that abundance of choice and excitement is exactly what buoys the whole festival.” *

SAN FRANCISCO FRINGE FESTIVAL

Sept. 6-21, $12.99 or less (passes, $40-75)

EXIT Theatreplex

156 Eddy, SF

www.sffringe.org