2012

New movies! Including a few scary ones (no thanks to Hollywood)!

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Incredibly, Hollywood is allowing this hallowed weekend to pass without releasing a single horror movie. (Unless you count Jackass Presents: Bad Grandpa, which I don’t.) Frights galore exist in local rep houses, however (right this way for a calendar), and for those who’d simply like turn off the lights, pretend nobody’s home, and eat all the Fun Size Snickers themselves, there’s some non-seasonal fare worth checking out (plus, two of those rep-house chillers!) in the below reviews.

All Is Lost As other reviewers have pointed out, All is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script  for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. (1:46) (Cheryl Eddy)

http://www.youtube.com/watch?v=6ML50I0mVHY

The Counselor Ridley Scott directs Cormac McCarthy’s script about a lawyer (Michael Fassbender) who gets involved in the drug underground. The supporting cast includes Javier Bardem, Cameron Diaz, and Brad Pitt. (1:57)

http://www.youtube.com/watch?v=C_O2OATk97k

I Am a Ghost In local director H.P. Mendoza’s latest, a young woman named Emily (Anna Ishida) wanders the claustrophobic corridors of a sumptuously decorated Victorian house, repeating her actions in each room in a perfunctory loop: frying eggs, flipping through old photographs, dusting the furniture, stretching in bed. Besides herself, the place initially appears to be uninhabited, until the house begins to creak and groan restlessly around her, and a disembodied voice begins to address her by name. It doesn’t give too much away to reveal at this point that Emily is a ghost, and the voice purportedly that of a professional medium (Jeannie Barroga) who has been hired to assist her out of the house and “into the light.” Unraveling who Emily is and what is keeping her from ascending to the next level takes up most of the rest of the film, and the eerie tension that builds as Emily’s memories return, filling in the unpleasant blanks, explodes at the end with a brutal chaos only otherwise hinted at in earlier scenes. Ishida’s Emily is full of complexity and confusion, and much of the movie’s real “horror” stems from her own sense of powerlessness and realization that the world that she’s inhabiting doesn’t appear to be one rooted in reality, or at least in other people’s realities. Experimental musician and Fringe Festival performer Rick Burkhardt makes a terrifying cameo as the presumed source of Emily’s inability to move on — and speaking of experimental music, the movie’s score, penned by Mendoza, does a lot to create the sense of creeping unease that characterizes most of the film. (1:14) Castro. (Nicole Gluckstern)

http://www.youtube.com/watch?v=sTlnlam8ZYM

Informant Local filmmaker Jamie Meltzer’s complex, compelling Informant makes its theatrical bow at the Roxie a year and a half after it premiered at the 2012 San Francisco International Film Festival (it’s been playing festivals nearly nonstop since). The doc explores the strange life of Brandon Darby, a lefty activist turned FBI informant turned Tea Party operator who helped send two 2008 Republican National Convention protestors to jail. He’s a polarizing guy, but the film, which is anchored by an extensive interview with Darby, invites the audience to draw their own conclusions. (Side note: if you conclude that you want to yell at the screen and give Darby a piece of your mind, chances are you won’t be alone.) (1:21) Roxie. (Cheryl Eddy)

http://www.youtube.com/watch?v=_MSrAwfagG4

Jackass Presents: Bad Grandpa Hidden-camera pranks with Jeff Tremaine, Johnny Knoxville, and other Jackass alums. (1:32)

Space Battleship Yamato The year is 2199, five years after mysterious aliens began bombarding Earth with radiation. The scrappy humans who’ve managed to survive by living underground are rapidly dying out — so a crew assembles for a deep-space “journey of hope” to a planet where a “radiation elimination device” might be acquired. Based on a 1974 Japanese anime series (it aired in the US under the name Star Blazers), this live-action adventure contains plenty of CG-enhanced battles and a cast stuffed with stock characters: the gifted, brash young pilot who’s haunted by a dark past (Takuya Kimura, whose flowing locks betray his teen-idol origins); the tough chick who gradually softens (Meisa Kuroki); the grizzled, wise captain (Tsutomu Yamazaki of 2009’s Departures), etc. Fans of the original series may gobble this up, but the casual viewer might find there’s not much to distinguish the overlong Space Battleship Yamato — saddled with a score that vacillates between bombastic and sentimental — from space operas (particularly Battlestar Galactica) that’ve come before. (2:18) Four Star. (Cheryl Eddy)

http://www.youtube.com/watch?v=xg5nvnUMbbg

Spine Tingler! The William Castle Story Other Cinema anticipates Halloween in vintage style with Jeffrey Schwarz’s 2007 documentary about the late, beloved Hollywood schlockmeister. After a mostly undistinguished early career in programmer mysteries, Westerns, and 3D features, William Castle found his métier in the late 1950s making horror thrillers with B budgets (and C scripts) but A-plus marketing gimmicks. Macabre (1958) offered life insurance policies to patrons who might die of fright; the next year’s The Tingler infamously gave patrons in select theater seats slight electric shocks; the same year’s House on Haunted Hill had ushers yank a plastic skeleton over the audience’s heads; Mr. Sardonicus (1961) gave ticket buyers a chance to vote on its title character’s fate. (It was so predictable that they’d vote for mortal punishment, an alternative “happy ending” never actually existed.) Straight-Jacket (1964) had Joan Crawford as a battle-ax axe murderess, a concept that could sell itself. Castle’s perpetual hopes to gain respect and make a “serious” picture were somewhat rewarded by Rosemary’s Baby, even if he wound up merely producing that 1968 smash. (He’d hoped to direct, but was smart enough to realize Roman Polanski was the more inspired choice.) This fond portrait includes input from various Castle collaborators, admirers and family members, as well as plenty of priceless clips. Guest host Christian Divine will offer additional retro horror goodies during this evening of cheap thrills. (1:22) Other Cinema at Artists’ Television Access. (Dennis Harvey)

http://www.youtube.com/watch?v=MjyJI2YTOm4

Torn An explosion at a mall throws two families into turmoil in this locally-shot drama from director Jeremiah Birnbaum and scenarist Michael Richter. Maryam (Mahnoor Baloch) and Ali (Faran Tahir) are Pakistani-émigré professionals, Lea (Dendrie Taylor) a working-class single mother. Their paths cross in the wake of tragedy as both their teenage sons are killed in a shopping center blast that at first appears to have been caused by a gas-main accident. But then authorities begin to suspect a bombing, and worse, the principals’ dead offspring — one as a possible Islamic terrorist, another for perhaps plotting retaliation against school bullies. As the parents suffer stressful media scrutiny in addition to grief and doubt, they begin to take their frustrations out on each other. An earnest small-scale treatment of some large, timely issues, the well-acted Torn holds interest as far as it goes. But it proves less than fully satisfying, ending on a note that’s somewhat admirable, but also renders much of the preceding narrative one big red herring. (1:20) Opera Plaza, Shattuck. (Dennis Harvey)

http://www.youtube.com/watch?v=XF_jh3_p_gw

The Trials of Muhammad Ali If you’ve seen an Ali doc before (or even the 2001 biopic), a lot of the material in The Trials of Muhammad Ali will feel familiar. But Bill Siegel’s lively investigation, which offers interviews with Louis Farrakhan and Ali’s former wife Khalilah, among others, does well to narrow its focus onto one specific — albeit complicated and controversial — aspect of Ali’s life: the boxing champ’s Nation of Islam conversion, name change, and refusal to fight in Vietnam. And as always, the young, firebrand Ali is so charismatic that even well-known footage makes for entertaining viewing. (1:26) (Cheryl Eddy)

Live Shots: Street Joy, the She’s, the Tambo Rays at Milk Bar

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Wednesday night, three young, up-and-coming bands gathered at the Milk Bar, an intimate venue on the western edge of Haight Street, to lay down fun, unseasonably warm beats – a welcome contrast to the decidedly autumnal weather.
 
Street Joy, a LA-based rock trio comprised of Jason DeMayo (vocals, guitar), Scott Zimmerman (drums), and Mike Coleman (bass), kicked off the show with upbeat pop and punkish tunes. These musicians, who organized into a formal band in 2012, describe their songwriting as “that of the cassettes a dad would show his son on car rides to baseball practice.” Sigh, nostalgia.
 
The highlight was their spirited cover of “Hold Me Tight” — a Beatles release circa 1963 — and the dynamic on-stage rapport between Zimmerman and DeMayo kept me enthralled throughout their set.
 
The She’s — a teenage girl group whose crooning, feminine, summery sound is inspired by ‘60s girl groups and pop acts like the Beach Boys — followed. While many of their songs sound very similar (at times their set felt like a contagious throw-back daze), their multipart harmonies, which are the crux of their songwriting, felt expert. In addition to playing catchy tracks off of their 2011 release (Then It Starts To Feel Like Summer) such as “Jimmy” and “Fabian,” they played some newer songs, including “Anywhere But Here,” which is somewhat dark and subdued – at least in the She’s universe.
 
Bassist Sami Perez, guitarists Hannah Valente, and Eva Treadway, and drummer Sinclair Riley (they all sing) have been best friends since kindergarten, and it shows. On stage, they are incredibly in-sync; they even managed to all crouch down and grab their plastic water cups at once point in a synchronized sweep. Yes, their water cups — no booze yet.
 
By the time the Tambo Rays took the stage at 11:15pm, I was starting to feel pretty exhausted, but Sara DaMert’s spirit and spunk picked me right back up. The group’s alternative percussionist extraordinare, Sara, who at any given moment was either playing keys, drums, cymbals, tambo, or a combination of the four, was the heart of the “chill pop” foursome’s performance. Sara’s brother, Brian DaMert, perhaps the slightly subtler member of the family, laid down entrancing guitar riffs, engulfing the waning audience in a beautiful wall of sound.
 
The Tambo Rays showcased a surfy rock’n’roll (occasionally hippie-laced) sound onstage; their set was fluid and kept my attention. The highlight of their performance was “Take That,” whose enthused delivery, distinctly summery feel, and sardonic lyrics about Georgia the chicken instantly made me smile.

Tenant groups propose sweeping package to ease the “eviction epidemic”

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Tenant advocates today proposed a sweeping set of legislative proposals to address what they’re calling the “eviction epidemic” that has hit San Francisco, seeking to slow the rapid displacement of tenants by real estate speculators with changes to land use, building, rent control, and other city codes.

“In essence, it’s a comprehensive agenda to restrict the speculation on rental units,” Chinatown Community Development Center Policy Director Gen Fujioka told the Guardian. “We can’t directly regulate the Ellis Act [the state law allowing property owners to evict tenants and take their apartments off the rental market], but we’re asking the city to do everything but that.”

The package was announced this morning on the steps of City Hall by representatives of CCDC, San Francisco Tenants Union, Housing Rights Committee of SF, Causa Justa-Just Cause, Tenderloin Housing Clinic, UNITE HERE Local 2, Community Tenants Association, and Asian Americans Advancing Justice.

“San Francisco is falling into one of the deepest and most severe eviction crises in 40 years,” SFTU Director Ted Gullicksen said. “It is bad now and is going to get worse unless the city acts.”

The package includes: require those converting rental units into tenancies-in-common to get a conditional use permit and bring the building into compliance with current codes (to discourage speculation and flipping buildings); regulate TIC agreements to discourage Ellis Act abuse; increase required payments to evicted tenants and improve city assistance to those displaced by eviction; require more reporting on the status of units cleared with the Ellis Act by their owners; investigate and prosecute Ellis Act fraud (units are often secretly re-rented at market rates after supposedly being removed from the market); increase inspections of construction on buildings with tenants (to prevent landlords from pressuring them to move); prohibit the demolition, mergers, or conversions of rental units that have been cleared of tenants using no-fault evictions in the last 10 years (Sup. John Avalos has already introduced this legislation).

“The evidence is clear. We are facing not only an eviction crisis but also a crisis associated with the loss of affordable rental housing across the city. Speculative investments in housing has resulted in the loss of thousands affordable apartments through conversions and demolitions. And the trend points to the situation becoming much worse,” the coalition wrote in a public statement proposing the reforms.

Evictions have reached their high level since the height of the last dot-com boom in 1999-2000, with 1,934 evictions filed in San Francisco in fiscal year 2012-13, and the rate has picked up since then. The Sheriff’s Department sometimes does three evictions per day, last year carrying out 998 court-ordered evictions, Sheriff Ross Mirkarimi told us, arguing for an expansion of city services to the displaced.

At “Housing for Whom?” a community forum the Guardian hosted last night in the LGBT Center, panelists and audience member talked about the urgent need to protect and expand affordable housing in the city. They say the current eviction epidemic is being compounded by buyouts, demolitions, and the failure of developers to build below-market-rate units.  

“We’re bleeding affordable housing units now,” Fred Sherburn-Zimmer of Housing Right Committee said last night, noting the steadily declining percentage of housing in the city that is affordable to current city residents since rent control was approved by voters in 1979. “We took out more housing than we’ve built since then.”

Peter Cohen of the Council of Community Housing Organizations actually quantified the problem, citing studies showing that only 15 percent of San Franciscans can afford the rents and home prices of new housing units coming online. He said the housing isn’t being built for current city residents: “It’s a demand derived from a market calculation.”

Cohen said the city’s inclusionary housing laws that he helped write more than a decade ago were intended to encourage developers to actually build below-market-rate units in their projects, but almost all of them choose to pay the in-lieu fee instead, letting the city find ways to build the housing and thereby delaying construction by years.

“It was not about writing checks,” Cohen said. “It was about building affordable units.”

Last night’s discussion began with a debate about the waterfront luxury condo project proposed for 8 Washington Street, which either Props. B or C would allow the developer to build. Project opponent Jon Golinger squared off against proponent Tim Colen, who argued that the $11 million that the developer is contributing to the city’s afforable housing fund is an acceptable tradeoff.

But Sherburn-Zimmer said the developer should be held to a far higher standard given the obscence profits that he’ll be making from waterfront property that includes a city-owned seawall lot. “Public land needs to be used for the public good.”

Longtime progressive activist Ernestine Weiss sat in the front row during the forum, blasting Colen and his Prop. B as a deceptive land grab and arguing that San Francisco’s much ballyhooed rent control law was a loophole-ridden compromise that should be strengthened to prevent rents from jumping to market rate when a master tenant moves out, and to limit rent increases that exceed wage increases (rent can now rise 1.9 percent annually on rent controlled apartment.

“That’s baloney that it’s rent control!” she told the crowd.

 

 

 

 

 

 

 

 

 

On the line

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rebecca@sfbg.com

Nobody knew exactly when the bus would leave. It was the afternoon of Oct. 17, and a group of about 60 immigrant rights activists were gathered in the shade of some tall trees in a park by the TransAmerica Pyramid in downtown San Francisco.

Many were young, Latino or Asian Pacific Islander, dressed in hooded sweatshirts, baseball caps, and slim-fitting jeans. They chatted and milled about, perhaps trying to ease a gnawing sense of anticipation over what was about to happen.

Half a block away and out of view, federal Immigration and Customs Enforcement officers were leading passengers onto a white bus, parked at the ICE building at 630 Sansome St., with a “Homeland Security” label inscribed on the front. All the passengers were ICE detainees; some were about to embark on long deportation journeys, while others were being sent to detention centers where they would remain in limbo until either being deported or exonerated.

Back at the park, organizer Jen Low was peering at her phone every 10 minutes. “They’re locking the bus!” she exclaimed after reading a text sent by someone on the lookout. That meant it was almost time to go. The activists started organizing themselves into two groups: Those willing to risk arrest, and those planning to rally in support.

The ones facing arrest were planning to engage in peaceful civil disobedience, by placing their bodies in front of the bus to prevent it from going anywhere. “About half of the people who will be blocking the bus are undocumented,” Low told the Guardian as they prepared to exit the park. “That’s why some of us are so on edge right now.”

They headed toward the ICE building en masse, slowly at first and then quickening their pace, some hastily peeling off top layers to reveal handmade T-shirts underneath proclaiming, “Not one more.” Others were already stationed at the bus, and as 10 protesters linked arms and settled onto the street in front of it, someone had already started up a chorus of “We Shall Not Be Moved.”

 

INTO ICE CUSTODY

They’d been inspired by a recent ICE bus blockade carried out by Arizona activists, organizer Jon Rodney said, and the civil disobedience was meant to send a message to President Barack Obama that it’s unfair to continue deporting undocumented people as long as a resolution on federal immigration reform remains stalled in Congress. Rodney’s organization, the California Immigrant Policy Center, has emphasized family unity as a guiding principle that should inform immigration reform efforts.

A variety of organizations had been involved in planning the action, including the California Immigrant Policy Center, Causa Justa/Just Cause, POWER (People Organized to Win Employment Rights), ASPIRE (Asian Students Promoting Immigrant Rights through Education), and the Asian Law Caucus.

Among the protesters was Dean Santos, a 23-year-old originally from the Philippines who had been brought to the US when he was 12. Not so long ago, he’d been transported out of San Francisco on a white deportation bus leaving from that very building. Faced with a trumped-up felony that was later downgraded to a misdemeanor, Santos was taken into federal custody in late 2010 because the initial serious charge triggered ICE involvement.

He was given the choice of voluntary deportation or indefinite detention while he fought his case. Santos chose the latter. He called his mother in San Bruno, where they lived, and apologized for what had happened.

Locked in a cramped cell in the San Francisco ICE building, he started to feel overcome with fear, but an elder man he was detained with offered comforting words. “He told me he had also decided to stay and fight, and he said he was doing it for the sake of his daughters,” Santos recalled.

That’s when it hit him that he wasn’t the only one whose life was potentially about to be upended due to deportation. The realization eventually fueled his activism, he said. He was inspired to participate in the undocumented youth movement to call for just and inclusive immigration reform, and he’d joined the ICE blockade as a member of ASPIRE and the Asian Pacific Islanders Undocumented Youth Group.

 

TWO MILLION DEPORTATIONS

In just a short time, the scene outside the ICE building had become zoo-like. Television news crews appeared, police cars raced up with lights flashing, and a few young ICE guards, sporting thick black vests and belts with holstered weapons, stood by the bus in wide defensive stances.

More than 100 supporters formed a procession and encircled the vehicle, waving signs and chanting as they went round and round. “Down, down with deportation! Up, up with liberation!” Some chants were in Spanish: “Obama, escucha, estamos en la lucha!” (Obama, listen, we’re in the struggle.)

Obama delivered comments that very day, as the federal government was reopening after being shut down by Congress, signaling that immigration reform was the next major agenda item.

“We should finish the job of fixing our broken immigration system,” the president said in a televised address from the Rose Garden. “There’s already a broad coalition across America that’s behind this effort — from business leaders to faith leaders to law enforcement. The Senate has already passed a bill with strong bipartisan support. Now the House should, too. It can and should get done by the end of this year.”

California has the largest immigrant population of any other state, with an estimated 2.8 million undocumented Californians. Advocates are calling for the creation of a path to citizenship that isn’t overly burdensome, and for immigration policy that doesn’t rely on detention and deportation as cornerstones of immigration enforcement.

“We were really hoping immigration reform would pass and reduce deportations,” Asian Law Caucus staff attorney Anoop Prasad told the Bay Guardian just before the protest got underway. Instead, “Obama is closing in on his two millionth deportation since becoming president,” he said, a higher number than those carried out under President George H.W. Bush when he’d been in office for the same duration.

Much of that steep increase has to do with technological capability and information sharing under Secure Communities (S-Comm), which has resulted in an estimated 90,000 deportations of undocumented people in California alone.

Prasad said he had reviewed the roster of detainees loaded onto the bus earlier that day. They’d been taken into ICE custody in various Northern California cities, including San Francisco, and they had origins in Russia, Mexico, Ethiopia, Vietnam, El Salvador, India, and other countries. Some had children, and a few were minors themselves.

“One guy has been here since he was 11 months old,” Prasad said. “Now he’s in his 40s.”

There are three immigration courts inside 630 Sansome. Undocumented detainees are transported there from ICE facilities in Richmond, Bakersfield, Sacramento, and Yuba County, often roused around 3am. They aren’t allowed any books or personal property when they’re locked up awaiting court appearances, Prasad said/

“In court,” he said, “a lot of times people have their legs and hands shackled.”

Sometimes the early-morning departures and daytime detentions can disrupt medication routines, he added. That’s a problem for people taking medication to combat mental illness — especially when they’re headed for anxiety-inducing appearances in court.

 

FALSE IMPRISONMENT, REAL CONSEQUENCES

Around 5:30pm at the ICE bus blockade, the SFPD closed off the intersection and told activists they would risk arrest if they didn’t move out of the way. The larger group of supporters squeezed onto the sidewalk, but those who had set out to perform civil disobedience stayed planted where they were.

It seemed the SFPD would arrest them at any time. A police officer crouched down and spoke with them in a conversational tone as they sat with their hands clasped. “I know what you guys are trying to do,” he said, adding that he wasn’t trying to stop them from speaking out about their cause. But he asked them to stand up and let the bus get on its way. They refused.

San Francisco has been a Sanctuary City since 1989, which means city employees are prohibited from helping Immigration and Customs Enforcement (ICE) with immigration investigations or arrests except in cases where it’s required by federal or state law, or a warrant.

If they were taken into custody by the SFPD and charged with misdemeanors, the activists had reason to believe they would be spared from deportation. Added protection for undocumented San Francisco residents will soon take effect under legislation recently approved by the San Francisco Board of Supervisors.

Authored by Sup. John Avalos, it prohibits local law enforcement from honoring ICE requests to hold detainees for an additional 48 hours, except in very narrow circumstances. Federal authorities issue those requests to allow enough time to take those undocumented individuals into custody — even if they lack probable cause showing that the person was involved in criminal activity. Their status is detected via S-Comm, an information-sharing program between federal agencies that links fingerprint databases.

But a debate had apparently started between the two agencies over whether the protesters were under SFPD’s jurisdiction, or ICE’s. Prasad said federal agents threatened the activists with charges of felony false imprisonment if they did not end their protest immediately. That charge essentially means holding someone against his or her will, but “they’re not blocking the door,” he pointed out. (Some armed ICE agents, meanwhile, did happen to be standing in front of the bus door.)

The prospect of facing federal felony charges carried potentially grave consequences. Just before the start of the protest, Santos described what his own ICE bus trip had been like. He’d boarded it with about 35 other passengers, mostly men. As they crossed the Bay Bridge, he felt a pit in his stomach as he looked back at the Ferry Building, wondering if he was going to be separated from his family for good.

Santos and the other detainees were transported to Oakland International Airport, brought through a special security area, and led onto a plane. The flight stopped in Bakersfield, Los Angeles, and San Bernardino, picking up more detainees at each location. Then the flight touched down in San Diego, where some were taken off the plane and sent across the border to Tijuana.

Santos’ journey ended at an ICE detention center in Florence, Ariz. He said there were 14 bunks in a room with a single toilet, which was not well maintained. He had no idea how long he was going to remain there, but it ultimately turned out to be two weeks.

Extended family on the East Coast helped his parents locate a lawyer in Arizona, and the lawyer helped him qualify for bail, which his parents posted. He was released, and finally returned to San Francisco after 16 hours on a Greyhound bus.

Eventually, the whole matter was dropped because he benefitted from prosecutorial discretion under Deferred Action for Childhood Arrivals, federal policy enacted in June 2012 directing ICE to give special consideration to individuals who immigrated illegally to the US as children.

 

STILL UNAFRAID

Protesters at the blockade were having an intense consultation with Prasad, the Asian Law Caucus attorney, as he explained what was potentially at stake. Heads together and eyes wide as they talked it out, they ultimately opted to hold firm.

“We will do whatever is necessary for our community!” Alex Aldana bellowed into a megaphone while the supporters cheered. The group erupted into wild chanting: “Undocumented, unafraid!”

Not long after that, all were brought to their feet and led away from the bus by men in uniforms — it was federal ICE officers who escorted them away, not SFPD officers.

They brought them past the crime tape and around the corner from where the bus was parked. Then they lined them up, wrote out tickets, and let them go. Prasad said he guessed that the agency was worried about the backlash it might receive had it gone through with taking them into custody and pressing charges. Energy was high as it dawned on the activists that they were getting Certificates of Release instead of handcuffs. Still in the line police had arranged them, they jumped up and down on the sidewalk, still chanting, while a federal officer filled out the forms and placed them into their hands. As evening fell, the bus passengers remained shackled in their seats, invisible to all but the driver. Once the activists had been cleared from the scene and the authorities regained control of the situation, the bus backed up and left.

Film Listings and Reviews

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, Sam Stander, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. For complete film listings, see www.sfbg.com.

OPENING

All Is Lost As other reviewers have pointed out, All is Lost‘s nearly dialogue-free script (OK, there is one really, really well-placed “Fuuuuuck!”) is about as far from J.C. Chandor’s Oscar-nominated script for 2011’s Margin Call as possible. Props to the filmmaker, then, for crafting as much pulse-pounding magic out of austerity as he did with that multi-character gabfest. Here, Robert Redford plays “Our Man,” a solo sailor whose race to survive begins along with the film, as his boat collides with a hunk of Indian Ocean detritus. Before long, he’s completely adrift, yet determined to outwit the forces of nature that seem intent on bringing him down. The 77-year-old Redford turns in a surprisingly physical performance that’s sure to be remembered as a late-career highlight. (1:46) Albany, SF Center, Sundance Kabuki. (Eddy)

The Counselor Ridley Scott directs Cormac McCarthy’s script about a lawyer (Michael Fassbender) who gets involved in the drug underground. The supporting cast includes Javier Bardem, Cameron Diaz, and Brad Pitt. (1:57) Marina.

I Am a Ghost In local director H.P. Mendoza’s latest, a young woman named Emily (Anna Ishida) wanders the claustrophobic corridors of a sumptuously decorated Victorian house, repeating her actions in each room in a perfunctory loop: frying eggs, flipping through old photographs, dusting the furniture, stretching in bed. Besides herself, the place initially appears to be uninhabited, until the house begins to creak and groan restlessly around her, and a disembodied voice begins to address her by name. It doesn’t give too much away to reveal at this point that Emily is a ghost, and the voice purportedly that of a professional medium (Jeannie Barroga) who has been hired to assist her out of the house and “into the light.” Unraveling who Emily is and what is keeping her from ascending to the next level takes up most of the rest of the film, and the eerie tension that builds as Emily’s memories return, filling in the unpleasant blanks, explodes at the end with a brutal chaos only otherwise hinted at in earlier scenes. Ishida’s Emily is full of complexity and confusion, and much of the movie’s real “horror” stems from her own sense of powerlessness and realization that the world that she’s inhabiting doesn’t appear to be one rooted in reality, or at least in other people’s realities. Experimental musician and Fringe Festival performer Rick Burkhardt makes a terrifying cameo as the presumed source of Emily’s inability to move on — and speaking of experimental music, the movie’s score, penned by Mendoza, does a lot to create the sense of creeping unease that characterizes most of the film. (1:14) Castro. (Nicole Gluckstern)

Informant Local filmmaker Jamie Meltzer’s complex, compelling Informant makes its theatrical bow at the Roxie a year and a half after it premiered at the 2012 San Francisco International Film Festival (it’s been playing festivals nearly nonstop since). The doc explores the strange life of Brandon Darby, a lefty activist turned FBI informant turned Tea Party operator who helped send two 2008 Republican National Convention protestors to jail. He’s a polarizing guy, but the film, which is anchored by an extensive interview with Darby, invites the audience to draw their own conclusions. (Side note: if you conclude that you want to yell at the screen and give Darby a piece of your mind, chances are you won’t be alone.) (1:21) Roxie. (Eddy)

Jackass Presents: Bad Grandpa Hidden-camera pranks with Jeff Tramaine, Johnny Knoxville, and other Jackass alums. (1:32) Presidio.

Space Battleship Yamato The year is 2199, five years after mysterious aliens began bombarding Earth with radiation. The scrappy humans who’ve managed to survive by living underground are rapidly dying out — so a crew assembles for a deep-space “journey of hope” to a planet where a “radiation elimination device” might be acquired. Based on a 1974 Japanese anime series (it aired in the US under the name Star Blazers), this live-action adventure contains plenty of CG-enhanced battles and a cast stuffed with stock characters: the gifted, brash young pilot who’s haunted by a dark past (Takuya Kimura, whose flowing locks betray his teen-idol origins); the tough chick who gradually softens (Meisa Kuroki); the grizzled, wise captain (Tsutomu Yamazaki of 2009’s Departures), etc. Fans of the original series may gobble this up, but the casual viewer might find there’s not much to distinguish the overlong Space Battleship Yamato — saddled with a score that vacillates between bombastic and sentimental — from space operas (particularly Battlestar Galactica) that’ve come before. (2:18) Four Star. (Eddy)

Spine Tingler! The William Castle Story Other Cinema anticipates Halloween in vintage style with Jeffrey Schwarz’s 2007 documentary about the late, beloved Hollywood schlockmeister. After a mostly undistinguished early career in programmer mysteries, Westerns, and 3D features, William Castle found his métier in the late 1950s making horror thrillers with B budgets (and C scripts) but A-plus marketing gimmicks. Macabre (1958) offered life insurance policies to patrons who might die of fright; the next year’s The Tingler infamously gave patrons in select theater seats slight electric shocks; the same year’s House on Haunted Hill had ushers yank a plastic skeleton over the audience’s heads; Mr. Sardonicus (1961) gave ticket buyers a chance to vote on its title character’s fate. (It was so predictable that they’d vote for mortal punishment, an alternative “happy ending” never actually existed.) Straight-Jacket (1964) had Joan Crawford as a battle-ax axe murderess, a concept that could sell itself. Castle’s perpetual hopes to gain respect and make a “serious” picture were somewhat rewarded by Rosemary’s Baby, even if he wound up merely producing that 1968 smash. (He’d hoped to direct, but was smart enough to realize Roman Polanski was the more inspired choice.) This fond portrait includes input from various Castle collaborators, admirers and family members, as well as plenty of priceless clips. Guest host Christian Divine will offer additional retro horror goodies during this evening of cheap thrills. (1:22) Artists’ Television Access. (Harvey)

Torn An explosion at a mall throws two families into turmoil in this locally-shot drama from director Jeremiah Birnbaum and scenarist Michael Richter. Maryam (Mahnoor Baloch) and Ali (Faran Tahir) are Pakistani-émigré professionals, Lea (Dendrie Taylor) a working-class single mother. Their paths cross in the wake of tragedy as both their teenage sons are killed in a shopping center blast that at first appears to have been caused by a gas-main accident. But then authorities begin to suspect a bombing, and worse, the principals’ dead offspring — one as a possible Islamic terrorist, another for perhaps plotting retaliation against school bullies. As the parents suffer stressful media scrutiny in addition to grief and doubt, they begin to take their frustrations out on each other. An earnest small-scale treatment of some large, timely issues, the well-acted Torn holds interest as far as it goes. But it proves less than fully satisfying, ending on a note that’s somewhat admirable, but also renders much of the preceding narrative one big red herring. (1:20) Opera Plaza, Shattuck. (Harvey)

The Trials of Muhammad Ali If you’ve seen an Ali doc before (or even the 2001 biopic), a lot of the material in The Trials of Muhammad Ali will feel familiar. But Bill Siegel’s lively investigation, which offers interviews with Louis Farrakhan and Ali’s former wife Khalilah, among others, does well to narrow its focus onto one specific — albeit complicated and controversial — aspect of Ali’s life: the boxing champ’s Nation of Islam conversion, name change, and refusal to fight in Vietnam. And as always, the young, firebrand Ali is so charismatic that even well-known footage makes for entertaining viewing. (1:26) Opera Plaza, Shattuck. (Eddy) *

 

Stage Listings

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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

The Barbary Coast Revue Stud Bar, 399 Ninth St, SF; eventbrite.com/org/4730361353. $10-40. Opens Wed/23, 9pm. Runs Wed, 9pm (no show Nov 27). Through Dec 18. Blake Wiers’ new “live history musical experience” features Mark Twain as a tour guide through San Francisco’s wild past.

BAY AREA

Don’t Dress For Dinner Center REPertory Company, 1601 Civic, Walnut Creek; www.centerrep.org. $33-52. Previews Fri/25-Sat/26, 8pm; Sun/27, 2:30pm. Opens Tue/29, 7:30pm. Runs Wed, 7:30pm; Thu-Sat, 8pm (also Nov 23, 2:30pm); Sun, 2:30pm. Through Nov 23. Center REP performs Marc Camoletti’s sequel to his classic farce Boeing-Boeing.

The Pianist of Willesden Lane Berkeley Repertory Theatre, Thrust Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Previews Fri/25-Sat/26 and Tue/29, 8pm; Sun/27, 7pm. Opens Oct 30, 8pm. Runs Tue and Thu-Sat, 8pm (also Nov 7, Dec 5, and Sat, 2pm; no matinee Nov 9; no show Nov 28); Wed and Sun, 7pm (also Sun, 2pm). Through Dec 8. Mona Golabek stars in this solo performance inspired by her mother, a Jewish pianist whose dreams and life were threatened by the Nazi regime.

ONGOING

Bengal Tiger at the Bagdad Zoo SF Playhouse, 450 Post, SF; www.sfplayhouse.org. $30-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/27, 2pm. Through Nov 16. In Rajiv Joseph’s Pulitzer-nominated Bengal Tiger at the Bagdad Zoo, the dead quickly outnumber the living, and soon the stage is littered with monologist ghosts lost in transition. In Joseph’s world, at least, death is but another phase of consciousness, a plane of existence where a man-eating tiger might experience a crisis of conscience, and a brash young soldier with a learning disability might suddenly find himself contemplating algebraic equations and speaking Arabic —knowledge that had eluded his comprehension in life. Will Marchetti’s portrayal of the titular tiger is on the static side, though his wry intelligence and philosophical awakening comes as a welcome contrast to the willfully obtuse world view of the American soldiers (Gabriel Marin and Craig Marker) guarding him. But it’s Musa (Kuros Charney), a translator for the Americans and a former gardener and topiary “artist,” who eventually emerges as the play’s most fully realized character and also the most tragic, becoming that which he dreads the most, a beast in a lawless land, egged on by the ghost of his former employer, the notoriously sadistic Uday Hussein (Pomme Koch). At times, director Bill English’s staging feels too understated and contained for a play that’s so muscular and expansive (an understatement not carried over into Steven Klems’ appropriately jarring sound design) focused less on its metaphysical implications than on its mundane surface, but however imperfect the production and daunting the script, it remains a fascinating response to an unwinnable war — the war against our own animal natures. (Gluckstern)

BooKKeepers: A True Fiction Southside Theatre, Fort Mason Center, Marina at Laguna, SF; www.generationtheatre.com. $20-35. Thu/24-Sat/26, 8pm; Sun/27, 3pm. GenerationTheatre presents Roland David Valayre’s Kafka-inspired fantasy.

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue/29, 8pm. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Carrie: The Musical Victoria Theatre, 2961 16th St, SF; www.rayoflighttheatre.com. $25-36. Wed-Sat, 8pm (also Sat/26, 11:30pm; Nov 2, 2pm). Through Nov 2. Teen bullying is très topical at the moment, making Stephen King’s terrifying tale of a telekinetic girl pushed to the breaking point by her unsympathetic classmates ripe for revival. Although it flopped on Broadway in 1988, Carrie: The Musical has aged more gracefully than you might expect, thanks to the relative timeliness of its overarching theme and a judicious 2012 facelift of its script and score. In Ray of Light Theatre’s slam-dunk production, Carrie unfolds a bit like an after-school special on scapegoating, except with show tunes and, of course, the stratospheric consequences of the final, tragic revenge sequence. The songs themselves are mainly forgettable in terms of hooks and lyrics, but the vibrant young cast makes the most of them, with excellent harmonizing and powerful range. Amanda Folena’s tight choreography borrows the sinuous hip rolls and stomp of a Janet Jackson routine and just a touch of twerk, while Joe D’Emilio’s lighting and Erik Scanlon’s video design work in unholy symbiosis to create the supernaturally charged ambience of Carrie’s world. As Carrie, Cristina Ann Oeschger really shines, embodying the heartbreaking fragility of a lonely outcast whose optimism has not yet been entirely crushed, while Heather Orth as her frighteningly pious mother, Margaret White, reveals the vulnerability of her equally lonely character that many portrayals miss altogether. Standouts among the solid supporting cast include Jessica Coker as a compassionate gym teacher and Riley Krull as the ultimate mean girl. (Gluckstern)

The Disappearance of Mary Rosemary Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-25. Thu/24-Sat/26, 8pm. Script-wise, Second Wind Production’s J.M. Barrie adaptation The Disappearance of Mary Rosemary might well be the unique ghost story of the season. But in contrast to their masterfully suspenseful The Woman in Black (staged in 2009), Disappearance fails to sustain that charged atmosphere of unease that defines the best terror tales. It begins promisingly enough in a purportedly haunted parlor being shown to a young soldier (Ryan Martin) by its taciturn caretaker (Juanita Wyles). After she leaves him alone in the room, lights flicker, his video camera spontaneously begins to play, and a mysterious light emerges from under a locked door, all evidence pointing to either a supernatural event, or to a PTSD-style mental breakdown. Cutting to the same parlor 29 years before, where domestic tranquility prevails, a lot of that initial tension gets lost, and even though the equally unexplainable events that ensue prove to be much bigger in actual scale, they don’t quite manage to scare so much as to puzzle. Of the performances, Gigi Benson’s matter-of-fact matriarch is by far the most nuanced, and her chemistry with her stage husband (Dave Sikula) is far more convincing than that of their daughter and son-in-law (Caroline Elizabeth Doyle and Brian Martin). Finally, a very unexpected twist turns this story of a young woman who never grows old into one who has grown perhaps too fast, uncomfortably invoking V.C. Andrews rather than J.M. Barrie, and not for the better. (Gluckstern)

Dirty Little Showtunes New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Nov 10. New Conservatory Theatre Center presents the return of Tom Orr’s bawdy Broadway parody.

First Stage Werx, 446 Valencia, SF; www.firsttheplay.com. $25-35. Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Altair Productions, the Aluminous Collective, and PlayGround present the world premiere of Evelyn Jean Pine’s play, which imagines a 20-year-old Bill Gates’ experiences at a 1976 personal computer conference.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Forbidden Fruit Garage, 715 Bryant, SF; www.brownpapertickets.com. $25. Fri/25-Sat/26 and Mon/28, 8pm. Back Alley Theater and Footloose present the West Coast premiere of Jeff Bedillion’s stylized love story that takes on social and religious conformity.

444 Days Z Below, 470 Florida, SF; www.goldenthread.org. $10-45. Thu-Sat, 8pm (also Sat, 3pm); Sun, 3pm. Through Nov 3. Golden Thread performs Torange Yeghiazarian’s drama about an Iranian revolutionary and an American diplomat who encounter each other 25 years after first meeting during the hostage crisis at the US Embassy in Tehran.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Wed/23-Thu/24, 8pm; Sat/26, 5pm. Geoff Hoyle’s hit solo show, a comedic meditation on aging, returns to the Marsh.

Gruesome Playground Injuries Tides Theatre, 533 Sutter, SF; www.tidestheatre.org. $20-40. Wed-Sat, 8pm. Through Nov 9. Tides Theatre performs Rajiv Joseph’s drama about two people who first meet as eight-year-olds in the school nurse’s office.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Lovebirds Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-100. Thu-Fri, 8pm; Sat, 8:30pm. Through Nov 9. Workshop performances of Marga Gomez’s 10th solo show, about different characters seeking romance in the 1970s.

Randy Roberts Live! Alcove Theatre, 414 Mason, SF; www.randyroberts.net. $40. Thu-Sat, 9pm. Through Nov 2. The famed female impersonator performs. He will also perform a different show with jazz pianist Tammy L. Hall: Mon/28, 7pm, $20, Martuni’s, 4 Valencia, SF.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-100. Fri/25, 8pm; Sat/26, 8:30pm. Popular solo performer Brian Copeland (Not a Genuine Black Man, The Waiting Period) performs a workshop production of his latest, “a tale of privilege, murder, and sausage.” The show has its official world premiere Jan 9, 2014.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

Shakespeare Night at the Blackfriars (London Idol 1610) Phoenix Arts Association Annex Theatre, 414 Mason, SF; www.subshakes.com. $20-25. Fri-Sat, 8pm; Sun, 7pm. Through Nov 17. Subterranean Shakespeare performs George Crowe’s comedy about a playwriting contest between Ben Jonson, Thomas Middleton, Frances Beaumont, and the ghost of Christopher Marlowe.

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Thu-Sat and Oct 29-30, 8pm. Through Nov 23. It’s lucky 14 for the Thrillpeddlers’ annual Halloween-tide Shocktoberfest, and while there are few surprises in this year’s lineup, there’s plenty of reliable material to chew on. Opening with A Visit to Mrs. Birch and the Young Ladies of the Academy, a ribald Victorian-era “spanking drama,” the fare soon turns towards darker appetites with a joint Andre De Lorde-Pierre Chaine work, Jack the Ripper. Works by De Lorde — sometimes referred to as the “Prince of Fear” — have graced the Hypnodrome stage over the years, and this tense Victorian drama, though penned in the 30s, is suitably atmospheric. Although it becomes pretty evident early on who dunnit, it’s the why that lies at the heart of this grim drama, and in the course of that discovery, the play’s beleaguered lawmen reveal themselves to be no less ruthless than the titular Ripper (John Flaw) in pursuit of their quarry. Norman Macleod as Inspector Smithson particularly embodies this unwholesome dichotomy, and Bruna Palmeiro excels as his spirited yet doomed bait. Inspired by Oscar Wilde’s Salome, the Thrillpeddlers’ piece by the same name is perhaps the weak link in the program, despite being penned by the ever-clever Scrumbly Koldewyn, and danced with wanton abandon by Noah Haydon. Longtime Thrillpeddlers’ collaborator Rob Keefe ties together the evening’s disparate threads under one sprawling big top media circus of murder, sex, ghosts, and sensationalism with his somewhat tongue-in-cheek, San Francisco-centric The Wrong Ripper. (Gluckstern)

Sidewinders Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 17. Cutting Ball opens its 15th season with the world premiere of Basil Kreimendahl’s absurdist romp through gender queerness.

The Taming Thick House, 1695 18th St, SF; www.crowdedfire.org. $10-35. Wed/23-Sat/26, 8pm. Crowded Fire Theater presents the world premiere of Lauren Gunderson’s modern farce.

The Voice: One Man’s Journey into Sex Addiction and Recovery EXIT Theatre, 156 Eddy, SF; www.theexit.org. $15-25. Fri/25-Sat/26, 8pm. David Kleinberg performs his autobiographical solo show.

The Wizard of Oz Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $45-210. Wed/23-Sat/26, 7pm (also Sat/26, 1pm); Sun/27, 1 and 6:30pm. Andrew Lloyd Webber’s new stage adaptation of the classic, complete with a Dorothy (Danielle Wade) chosen through a Canadian reality-show competition.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun/27, 11am. Soapy, kid-friendly antics with Louis Pearl, aka “The Amazing Bubble Man.”

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat/26, 8:30pm; Sun/27, 7pm. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

I and You Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Tue, Thu-Sat, 8pm (also Thu/24, 1pm; Nov 2, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Nov 3. Lauren Gunderson’s world premiere explores how Walt Whitman’s words affect the lives of two teenagers.

Lettice and Lovage Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-38. Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Hillbarn Theatre, now in its 73rd season, performs Peter Shaffer’s raucous comedy.

Metamorphoses South Berkeley Community Church, 1802 Fairview, Berk; www.infernotheatre.org. $10-25. Thu and Sat-Sun, 8pm; Fri, 9pm (no show Nov 9). Through Nov 23. Additional performance Nov 9, 8pm, $5-20, Laney College, 900 Fallon, Oakl. Inferno Theatre performs a multimedia, contemporary adaptation of Ovid’s classic.

Red Virgin, Louise Michel and the Paris Commune of 1871 Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through Nov 24. Central Works presents a new play (with live music) by Gary Graves about the Paris Commune uprising.

Rich and Famous Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $15-35. Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Dragon Theatre performs John Guare’s surreal musical comedy.

strangers, babies Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 17. Shotgun Players present Linda McLean’s drama about a woman confronting her past.

Vanya and Sonia and Masha and Spike Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $35-89. Wed/23, 7pm; Thu/24-Fri/25, 8pm. Berkeley Rep performs Christopher Durang’s comedy about a dysfunctional family in rural Pennsylvania.

Warrior Class Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Nov 3. TheatreWorks performs Kenneth Lin’s incisive political drama.

PERFORMANCE/DANCE

Alonzo King LINES Ballet Fall Home Season 2013 Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.linesballet.org. Fri/25-Sat/26 and Nov 1-2, 8pm; Sun/27 and Nov 3, 5pm; Oct 30-31, 7:30pm. $30-65. Featuring the SF premiere of Writing Ground, a collaboration with writer Colum McCann, and a world-premiere new work set to Bach.

Alonzo King LINES Ballet Training Program fall showcase Z Space, 450 Florida, SF; www.zspace.org. Wed/23, 7:30pm. $20. The company’s artists-in-training perform original and diverse works by Maurya Kerr, Dexandro Montalvo, and other choreographers.

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. $20. “Horror Super Scene,” Fri/25, 8pm; “Improvised Farce,” Sat/26, 8pm.

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/26, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

CounterPULSE 1310 Mission, SF; www.counterpulse.org. “Forest Fringe SF” with CounterPULSE and the University of Chichester, Thu/24-Sat/27, 8pm, $10-30; “Beware the Band of Lions (They’re Dandy Lions)” with Bandelion, Sun/27, Nov 3, 10, and 17, 3pm, free (reservations required as space is extremely limited; to request an invitation, email info@dandeliondancetheater.org).

“Crissy Broadcast” Crissy Field, SF; www.airfieldbroadcasts.org. Sat/26, 10am and 4pm; Sun/27, noon. Free. Composer Lisa Bielawa brings her “Airfield Broadcasts” series to Crissy Field. It’s a “massive, spatialized symphony involving more than 800 professional, student, and amateur musicians,” all performing live together.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. “Lightning Strikes” with Joey Arias and Kristian Hoffman, Thu/24, 8pm. $25-35 (plus $20 food and beverage minimum). “My Generation: The Contemporary American Songbook” with Tony Desare, Fri/25, 8pm; Sat/26, 7pm, $40-50.

“The Hula Show 2013” Palace of Fine Arts Theatre, 3301 Lyon, SF; www.cityboxoffice.com. Fri/25-Sat/26, 8pm; Sun/27, 3pm (children’s matinee Sun/27, noon). $15-90. Patrick Makuakane and his Na Lei Hulu I Ka Wekiu dance troupe perform 20 world premieres, a blend of traditional hula and hula performed to modern music.

“The Kepler Story” Morrison Planetarium, California Academy of Sciences, 55 Music Concourse Dr, SF; www.calacademy.org. Sun/27, 6:30pm. $15. Cal Academy and Motion Institute team up to produce this “immersive performance work” about astronomer Johannes Kepler.

“Long Story Short” Exit Studio Theatre, 156 Eddy, SF; www.arenhaun.com. Fri/25-Sat/26, 8pm. $15. Slacker Theater presents comic short plays by Aren Haun.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat, 4:30 and 7pm. $20-30 (free aquarium ticket with show ticket). Extended through Dec 28. Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“POR. TRAI. TURE” Kunst-Stoff Arts, 1 Grove, SF; www.linsdans.org. Sat/26-Sun/27, 8pm. $10-15. Lindsey Renee Derry presents an evening-length solo show with choreography by Derry as well as José Navas, Sidra Bell, Alex Ketley, and Iratxe Ansa.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“SF Recovery Theatre Tours the Tenderloin” Various Tenderloin venues, SF; www.sfrecoverytheatre.org. Fri/25, 12:30pm, 4pm, and 6pm; Tue/29, 3pm; Oct 31, 2pm. Donations accepted. The company visits different Tenderloin hotels to perform versions of Porgy and Bess and Night at the Black Hawk.

“A Show of Hands” Jewish Community Center of San Francisco, 3200 California, SF; www.garrettmoulton.org. Thu/24 and Sat/26, 1pm; Fri/25, 3:30pm. Free. Garrett and Moulton Productions present a site-specific New Music USA commission that explores the powers and possibilities of human hands.

“Solo Sunday: Life Without the Dull Parts” Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. Sun/27, 7pm. $12. With Christian Cagigal, Jonathan Ehrlich, Xiaojuan Shu, and Angela L. Neff.

13th Floor Dance Theater Studio B at ODC Dance Commons, 351 Shotwell, SF; www.13thfloordance.org. Sat-Sun, 8pm. Through Nov 2. $18-23. Jenny McAllister’s company performs the world premiere of Being Raymond Chandler.

“Tickled Pink! Comedy Showcase” Café Royale, 800 Post, SF; www.tpinkcomedy.com. Thu/24, 8pm. Free. With Ronn Vigh, David Gborie, Casey Ley, Gloria Magaña, and host Stefani Silverman.

Zhukov Dance Theatre SFJazz Center, 201 Franklin, SF; www.zhukovdance.org. Oct 29-30, 8pm. $25-55. The company marks its sixth annual season, “Product 06,” with world premieres by Yuri Zhukov and guest choreographer Idan Sharabi.

BAY AREA

Nederlands Dans Theater Zellerbach Hall, UC Berkeley, Bancroft at Telegraph, Berk; calperfs.berkeley.edu. Wed/23-Thu/24, 8pm. $30-92. The Dutch dance masters perform Sehnsucht (2009) and Schmetterling (2010).

“Shine, Perishing Republic! Robinson Jeffers Speaks” Pegasus Books, 1855 Solano, Berk; www.1stpersonsingular.com. Wed/23, 7:30pm. Free. Dramatic reading.

“Stand Up! Women Write Resistance!” Rebound Bookstore, 1611 Fourth St, San Rafael; www.reboundbookstore.com. Sat/26, 4-6pm. Free. Spoken word with Gail Entrekin, Rebecca Foust, Susan Kelly DeWitt, and Dawn McGuire. *

 

Sister looks explode: Project Nunway V kicks fashion into “Dissident Futures”

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You want looks? Here’s looks.

For the fifth year, Sister Baba Ganesh and the Sisters of Perpetual Indulgence will put on their eye-popping, charitable fashion show Project Nunway — an extravaganza seriously not to be missed if you want some only-in-SF flavor. Or, as head sis Sister Roma puts it: “In my 25-plus years of being a sister this is one of the most amazing, jawdroppingly beautiful events we’ve ever produced.”

On Nov. 2 at YBCA, the big Sisters event will delve into the realm of Big Brother, with the theme “Dissident Futures.” Expect chills!Here are a couple behind the scenes looks at the preparations, with press release below.

San Francisco’s preeminent Order of irreverently irreligious nuns returns to YBCA for a spectacular extravaganza of the haute-est couture. Project Nunway V: Dissident Futures brings the Sisters of Perpetual Indulgence’s annual gala back to the place of its glorious birth in the grandest fashion, featuring mistresses of ceremonies Jane Wiedlin of The Go-Gos, and Sister Roma, the Grand Marshal of San Francisco Pride 2012 and guest judge, Pandora Boxx of RuPaul’s Drag Race. Bay Area funketeers, Planet Booty, Honey Mahogany, and SpacEKrafT will provide the soundtrack as the Sisters turn out their best sashay and shantay, bedecked in original high-fashion (and high-concept) looks created from recycled materials in collaboration with local designers. Futuristic fierceness is the new black this year, so bring your Big Brother because it will be a night of glamour, drama—and, of course, cocktails—that you won’t want to miss.

Project Nunway V: Dissident Futures

Sat, Nov 2, 7pm

YBCA Forum

701 Mission, SF

www.ybca.org/project-nunway

Best of the Bay 2013: BEST RING-A-DING STYLE

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When Cable Car Clothiers — venerable haberdasher to dashing gents since 1946 — announced it was vacating its Sansome and Bush location in 2012, our hearts sank. Was this incredible emporium of all things Mad Men-Rat Pack-Nautical Chic-Dressy Preppy about to vanish, like so many other San Francisco institutions? Where, oh where, would we get our crushable Trilby fedoras, handsomely polka-dotted navy blue ascots, and elaborate cherry-handled horsehair brush sets? Never fear: the relocation a few blocks away signaled a snazzy revamp. Jonathan Levin, grandson of original Clothier Charles Pivnick, had returned to the family business, determined to pump some classy 21st Century zazz into the joint. The large, handsome new showroom retains all the charm of the former space — but decks it out in voluminous racks and shelves of exquisite menswear treasures. Another reason to spend your entire afternoon here: the in-store barbershop with master barber Nicky and associates providing hot lather and straight razor shaves, hot toweling, scissor hair cuts, and more. You want full-service swank? This is the place, my man.

110 Sutter, SF. (415) 397-4740, www.cablecarclothiers.com

Best of the Bay 2013 Editors Picks: Shopping

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SHOPPING

EDITORS PICKS

Editors picks are chosen by Guardian editors for special recognition for brightening the Bay Area experience.


BEST PLACE TO PARK YOUR CARD

Get that paper, paper, paper — printed. Holed up in a cozy garage with a cute dog and a hunky Vandercock proof press (a rare specimen last produced in the 1960s), the letterpress-loving ladies of Western Editions create and design paper goods for all occasions and situations, from badass business cards with handmade charm to colorful and direct wedding invites that may just get your flaky San Franciscan friends to actually attend the soirée. “Letterpress is magic,” is the motto of Western Addition residents Taylor Reid and Erin Fong, two friends turned business partners who are down to customize and open to suggestions, meaning you can make all the cute shit your ambitious heart desires, or purchase some one else’s great idea from their online store. Oh, hey, and they offer supercool DIY workshops, too — just in time for the holidays.

555 Rose, SF. www.westerneditions.com


BEST BE-SPOKED FASHION

We’re constantly on the hunt for the perfect outfit that will make it through our daily transition from work serf to night owl. Reversible scarves, tear-away skirts, all black outfits — those work OK. But what about then shoes? What pair of hoofers can glide us from the workbound bike lane to the underground dance floor? Welp, a local company has the solution to our woes: DZR Shoes, an SF-based (though they manufacture overseas) outfit that creates sneakers that can clip to all manners of pedal types, but look fly as all getout. Whether you go for high or low top, fully vegan design or whole grain leather, knee-high lace-up or slip-in, chances are you can find the kicks to complete your Lycra-free lane look in style. Our current favorite? The sleek, all-black Minna, designed by artist-DJ Jeremiah Bal.

www.dzrshoes.com

 

BEST FLORAL HUNTRESS

Her eyes scanning the abandoned lots and hillsides of the Stinson area and East Bay, Louesa Roebuck of Louesa Roebuck Flora isn’t afraid to snoop, sneak, or hustle in the name of foraging for flowers. Her mission: fetch that wild flora and arrange it in ways that exemplify the plant’s natural majesty. Gleaning armloads of budding branches, floppy magnolias, brilliant poppies, sweet mallow, bright berries, and sharp citrus from both public and secret locations, Louesa finds beauty in imperfection, a sublime bouquet in nature’s fantastic mistakes. She lets the blooms and leaves curl, crawl, and droop as they will, showcasing the fascinating juxtaposition between life and slow, dreamy decay. Visit her tiny Hayes Valley shop to see the day’s treasures and meet some of the gorgeous plants living right beside you.

597 Hayes, SF. (415) 686-5482, www.louesaroebuck.com


BEST ONE-STOP SCOTCH SHOP

Like a sweater for your insides, the names warm your gray matter: Broichladdich, Glayva, Mackillop’s, Benriach, Balvenie, Glenmorangie. Standing in the sweetly crammed back bottle room of downtown’s Whisky Shop can be a meditative experience for scotch lovers — the selection of malts and blends vies for the city’s best, with employees as helpful as their kilts are fetching. And should the Whisky Shop staff’s sartorial motif inspire, the front portion of the store is stocked with a rainbow of tartan, wool, and waxed fabric wardrobe. Score kilts and genuine, betasseled fur sporrans you’ll use to stash your new perfectly heart-shaped silver flask. And possibly a novelty gift or two — the Whisky Shop is also flush with crest-adorned coasters, canned haggis, and artisan lotions from the United Kingdom.

360 Sutter, SF. (415) 989-1030, www.whiskeyshopusa.com

 

BEST COMMUNITY BOARDS

While there can be no debate that surf shops, in general, are selling a lifestyle, few are hawking a way of living as healthy as Mill Valley’s beloved Proof Lab. Need proof? The nine-year-old store (whose owners used reclaimed and reused materials wherever possible in its construction) stocks the best in sustainable men’s and women’s clothing, surfboard brands, and skateboard fixins, of course. But it also hosts a passel of community-minded offerings: sustainability workshops, toddler art classes, a native plant nursery, a biodiesel fuel station. On the lot next door you’ll find a teaching garden co-founded by Proof where one can take the occasional canning seminar, and buy fresh local produce. Plus: a new Equator coffee bar, to keep you up for those waves.

244 Shoreline Highway, Mill Valley. (415) 380-8900, www.prooflab.com

 

BEST CLAWS CARTEL

We bow down to the business acumen and sharp eye for trends possessed by Floss Gloss duo Aretha Sack and Janine Lee. These two California College of the Arts grads eschewed inward-looking artistic exploration, instead embarking on a mission to paint the world with the sizzling neons and kick-ass, vintage-inspired shades that haunt their minds eye. Their canvas? The fingernails of the Bay Area’s young, hip, and gifted. How did they take their line of animal cruelty-free nail polishes from late-night study sessions to indie and corporate retailers around the globe? (All while remaining 100 percent free of DBPs, formaldehyde, and other harmful chemicals — these colors may scream “heavy metal,” but contain none.) Let us count the ways: perfect nacho cheese orange and bikini coral lacquers; irresistibly chic tones like Party Bruise, Dimepiece, Black Holy, Faded, Pony, and Blood, Suede, and Tears; endless pop-up nail salons, hard work … and the knowledge that you can do anything when you’ve got a perfect 10 to point the way.

www.flossgloss.com

 

BEST BLADE RUNNER

It is a satisfying, luxurious — if fundamental — satisfaction, settling in to make dinner with a hiss-sharp passel of well-honed knives. Fans of cutting-edge pleasures will want to slip into Nob Hill’s Town Cutler, a well-hewn, immaculately organized shop of blades both wildly fabulous (a $1,050 Wilburn Forge Japanese chef knife, its silver nickel sharp marbled and lovely) and craftily utilitarian (a $100 handleless Takeda Kogotana meant for woodworking). Owner Galen Garretson will sell you these, sharpen the utensils you already own, teach you to work your own knives in a sharpening tutorial or informative class, and even help you get a handle on blunter culinary objects — the back of Town Cutlery is an elegantly hung array of those most-unsharp kitchen friends: spoons.

1005 Bush, SF. (415) 359-1519, www.towncutler.com

 

BEST BOOKS FOR THE BROKE

These are the facts: Reading is cool, books are rad, free books are even radder, and the best combo of all of these is the Bay Area Free Book Exchange. At any given moment, the space — run cooperatively by a cadre of indie booksellers and printed-page junkies — houses some 10,000 books, all free for the taking. (“It’s like an ever-changing treasure hunt among thousands of books,” its website declares, and we have to agree.) Since opening in May 2009, the Exchange has given away over 350,000 books during its weekend hours, with an ultimate goal of handing out a million, and beyond! Since it survives on donations, consider adding your own previously-read tomes to the stacks proudly bearing this stamp: “Not for Resale, This is a Free Book.”

10520 San Pablo, El Cerrito. (510) 705-1200, www.bayareafreebookexchange.com

 

BEST ROUNDABOUT OF FOUND GEMS

A compellingly curated combination of artwork by some of San Francisco’s eye-catching countercultural artists — with noteworthy post-industrial tinge courtesy of the Burning Man diaspora — and intriguing flea market finds by diligent shoppers with an eye for the urban aesthetic, Carousel Consignment SF is an oasis of great pre-found finds. This welcoming and decidedly funky Mission whirl, set in motion by co-owners Kelley Wehman and Illy McMahan (who bonded over their passion for all things circus and vintage), can turn a quick fly-by into an afternoon-long exploration. Furniture, toys, lighting, textiles … Its quirky assemblage of wares preserves its surroundings’ penchant for the wacky and weird.

2391 Mission, SF. (415) 821-9848, www.carouselsf.com

 

BEST SOLO STARTUPS

You know how it goes: surfing the www.aves of one’s sleek laptop, a stray image distracts. Suddenly, you’re no longer typing that return email — your mind has fixed on a different kind of click entirely. For you, sweets, SoMa brand Crave‘s line of tech-happy sex toys. Designed and produced by Ti Chang and Michael Topolovac, and assembled in the land of SF startup, each of the company’s gorgeous, whisper-quiet specimens have all the design and functionality of your favorite Apple toy. Our favorite is the Duet, a vibe with a double-pronged, silicone clitoral approach available in gold plating and with the option of eight or 16 GB of data storage thanks to a USB charging battery. That’s right: there is a USB port up in this vibrator. Adventurous souls can wear their pleasure out in public: Crave’s “Droplet” lariat necklace doubles as discreet nipple vibrators.

www.lovecrave.com


BEST HORROR HOUND DECOR

To some, a house full of Alex Pardee visual art would reap naught but disturbed sleep and missed meals. A living dream catcher made of exposed sinew and dripping eyeballs dangling from tendons, ready to snatch a soul; a roaring “Sharkasus” with razor teeth, four legs, and wings; an endless parade of your favorite horror icons rendered somehow even more terrifying by his spindly, precise strokes. But given the fact there are now two Bay Area shops stocked primarily with his prints, originals, and tees — in addition to the unnerving yet painterly work of other artists like Dave Correia — plenty of us are digging it. While shopping for the creep-craver in your life, you’ll do no better than the Oakland or Lower Haight location of Zero Friends, which has become a ground zero of sorts for the street art marketing scene.

419 Haight, SF. (415) 418-9912; 489A 25th St., Oakl. (510) 735-9405 (open first Fridays of the month or by appointment only); www.zerofriends.com

 

BEST REPAIR GRAND CENTRAL

Should you need a custom cabinet, a staircase rehab, perhaps a new cupola on your clock tower, you can turn to Clipper Construction’s Mathieu Palmer. But 501 Waller, the storefront Palmer owned and used as storage space — as he told local blog Haighteration — wasn’t the best use of a neighborhood-facing corner shop. Enter Palmer’s friend Dan Daniel, who created Clipper Repair from this clutter, a friendly place for fixing up, designing, or refurbishing anything you could imagine: lamps, cabinets, antique furniture, electrical things. The interior is a gorgeously organized wonderland of screws, nails, tools, gears, and random curiosities. And then! Garret Peters turned Clipper’s back storage room into a bike shop called Wiggle Bikes, conveniently located off the Wiggle, our crosstown thoroughfare for the two-wheeled. Could there be a more useful stop-off for lovers of sustainable transportation and reuse than the Clipper Repair-Wiggle Bikes complex?

501 Waller, SF. (415) 621-4733, www.clipper-construction.com

 

BEST GIVING FACE, FLAWLESSLY

You could find no better brand rep than Swagger Cosmetics‘ Blake Karamazov. The tiny club kid (who came to us a few years ago fresh from the female drag-friendly land of Seattle) rarely leaves the house without her face immaculately, fantastically done — think ruby red 4mm glitter lips, sherbet orange eyebrows, or an exaggerated, smoky cat eye. The woman lives for everyday drag queen. But as a vegan, Karamazov bridled at many heavily pigmented makeup lines. Lucky us, because the Sanrio-obsessed entrepreneur started designing her own one-woman line of glitters, lipsticks, eye shadows — and most recently, fake eyelashes — manufactured 100 percent sans animal cruelty. Having recently made up one of her genderbending idols James St. James, there’s no question this babe’s got swag. Check her wares online, and don’t miss her wildly popular, glam inspiring Instagram game.

www.swaggercosmetics.com


BEST WAY TO THROW SHADE, PART I

You don’t care if they work from home or not — the neighbors are taking too much pleasure from your lax approach to towels on the post-shower strut from the bathroom, and you sense an overeager, extra pair of peepers when you and your sweet are snuggled up watching Jessica Lange chew the scenery on American Horror Story: Coven. Thank goodness for Christine and Jeff Vidall, whose Art Shade Shop has been keeping neighborly boundaries firm in a densely-packed city since 1934. Wood slats, pleated blinds, sunbrellas, fabric coverings — this Castro couple has it all, perfect for the moment you need more privacy than those gorgeous bay windows will afford on their own. The basement shop (nook, really) also offers bead and reel clutch mechanisms, bottom-up lock pulleys, and Hauser roller shades. If you don’t know what any of that is, they’ll gladly install it all for you anyway.

698 14th St., SF. (415) 431-5074, www.artshadeshop.com

 

BEST WAY TO THROW SHADE, PART II

And then there are times when you just need a retreat from harsh illumination. Perhaps the fluorescent bars at the office seared your retinas too deeply today, or maybe you wish to give your date a softly lit, haloed-in-shadow version of ever-romantical you. These are the moments in which you’ll be grateful for Lamp Shades SF and its colorfully appointed showroom, ready to shield you from the ever-burning light. A leopard topper for that candlestick fixture? Modern puce shades for the chandelier in the foyer? A pair of matching onyx horse head bedside numbers? You will find them all here. Bring the base or bulb for which you need a topper, ring the doorbell to be allowed entrance, and let the decidedly unshady staff help you select the level of lighting best suited for your look.

199 Potrero, SF. (415) 431-6720

 

BEST RIFFS KEPT REAL

If you’re looking for a vintage instrument with a personal touch, Panhandle Guitar hits all the right chords. Rock fiends will swoon for the intimate, nicely overstuffed shop’s collection of prime and shiny vintage guitars, basses, amps, and effects. Panhandle buys old instruments too — on consignment, or trade-in — and offers on-site repairs. Owner Robert Williams is known for his encyclopedic knowledge, and there’s a laid-back and welcoming vibe we dig, charmed by store windows cluttered with neon signs and a child mannequin in an oversized Panhandle Guitar T-shirt. Guitar Center this is not; the stated store hours seem more like vague suggestions of when it might be open, and Mondays are simply listed as “some times” open with a smiley face. This kind of store is sadly uncommon these days — a unique, owner-run vendor of rare instrumental goods, tuned into the needs of fellow artists.

1221 Fell, SF. (415) 552-1302, www.panhandleguitarsf.com

 

BEST RING-A-DING STYLE

When Cable Car Clothiers — venerable haberdasher to dashing gents since 1946 — announced it was vacating its Sansome and Bush location in 2012, our hearts sank. Was this incredible emporium of all things Mad Men-Rat Pack-Nautical Chic-Dressy Preppy about to vanish, like so many other San Francisco institutions? Where, oh where, would we get our crushable Trilby fedoras, handsomely polka-dotted navy blue ascots, and elaborate cherry-handled horsehair brush sets? Never fear: the relocation a few blocks away signaled a snazzy revamp. Jonathan Levin, grandson of original Clothier Charles Pivnick, had returned to the family business, determined to pump some classy 21st Century zazz into the joint. The large, handsome new showroom retains all the charm of the former space — but decks it out in voluminous racks and shelves of exquisite menswear treasures. Another reason to spend your entire afternoon here: the in-store barbershop with master barber Nicky and associates providing hot lather and straight razor shaves, hot toweling, scissor hair cuts, and more. You want full-service swank? This is the place, my man.

110 Sutter, SF. (415) 397-4740, www.cablecarclothiers.com


BEST DREAMY DRESSMAKER

Wiggle your bike down to this sweet little corner shop near Duboce Park for lessons in fine and lovely things. Aline’s Closet is the three-year-old queendom of a one Aline Dazogbo, a seamstress whose French-inflected takes on dresses, skirts, and blouses may just lead you to the customized wardrobe item of your dream. Dazogbo designs and creates nearly everything in the shop: yoga pants, handbags, column skirt-tube top combos, and more. Though many items are ready-to-wear, a rack along one wall of the sunny store showcases the garments she can tailor-make just for you: a lace-paneled velvet slip, a clingy, cap-sleeved onesie. Should her sweet, sassy patterns stray even one iota from your fantasy outfit, don’t fret: Dazogbo loves to help customers concoct one-of-a-kind wearables based out of nothing more than their own visions.

101 Pierce, SF. (415) 312-3468, www.alinescloset.com

 

BEST CULINARY GEPETTO

Powerful chrome and polished enamel parts, operated by hand, executing a series of swift cuts and swooping motions. Classic design masterfully crafted, all building to — gasp! — the perfect slice of salami. Welcome to the world of Emilio Mitidieri, the man who brings the Bay Area’s venerable Emiliomiti “culinary toys” to life. Though his company is playfully named, Mitidieri’s creations mean business — wood fire and gas brick ovens that yield perfectly cooked pizza pies, pasta machines that extrude dreamy strands of fettuccini, and specimens like the Slicer Mito 300, an elegantly crafted meat slicer that mimics the classic designs of the deli of yesteryear. Mitidieri has been supplying restaurants and dedicated chefs with the tools needed for success for decades now, so chances are you’ve already sampled some of his playful perfection topped with marinara or nestled in a hoagie roll.

www.emiliomiti.com

 

BEST HAVEN FOR HEARTS OF GLASS

Bolivian-born David Forte’s SoMa workshop has one mission: to light up your life, and colorfully at that. Opened in 1971, Forte’s San Francisco Stained Glass Works is the place to go for those who would have blooming lilies twinkling above a front door, or an Art Deco Emerald City to enliven the upper strata of one’s workspace. The shop turns out devotional works for pane-minded churches and synagogues and extravagantly lovely flatware sets. Others flock to learn the craft themselves. A course on glass fusing and a stained glass 101 are both offered by Forte’s staff, not to mention monthly space rentals for artists in need of a communal glass grinder, firing kiln, and place to indulge a penchant for transcendent translucents.

1246 Howard, SF. (415) 626-3592, www.sfsgw.com

 

BEST SF TO A TEE

Local artist Amos Goldbaum hand-draws and hand-prints some of the most recognizable, SF-centric t-shirts (and hoodies, tanks, and baby onesies) available on the streets — literally, on the streets, since he also hand-sells his wares from wire racks on Valencia, near the Ferry Building, at street fairs like the recent Castro Street Fair, and other open-air spots. Goldbaum’s complete repertoire goes far beyond the familiar tourist-friendly landscapes he’s known for: his web portfolio is packed with psychological, fantastical illustrated scenes you’d spot immediately in a gallery — but probably never witness out a Muni window. When it comes to uniquely Bay gifts, though, you won’t want to miss his quirky, amazingly detailed and vibrant line-drawing takes on local landmarks like Dolores Park, with old-school playground intact, and Bernal Hill — or his illo of the old-timey Sutro Baths, complete with Cliff House aflame in the background.

www.amosgoldbaum.com

 

BEST JUNK BONDS

Inside the massive American Steel building, a relic of Oakland’s industrial past repurposed and managed mostly for the Burning Man art world, there’s a beautifully intricate two-story Western saloon made from recycled materials, originally built as the Dustfish Bordello for Black Rock City in 2009. In the intervening years, the structure has matured into what is now known as American Steel’s Oaktown Hall, an art gallery and event space that became a hub this year for a variety of ventures within what its organizers call the salvage and reuse arts. Skate ramps! Haitian art tours! Crazy, old-timey auctions! The hall is a gathering place and focal point for those who would find creative reuses for so-called junk, and build relationships among West Oakland’s diverse communities.

1960 Mandela Parkway, Oakl. (415) 794-1827, www.oaktownhall.com

 

BEST TIP-TOP SPIFF UP

It has been remarked that West Portal is quite the happy village in the middle of this teeming city. We concur. Tucked into the side of a hill topped by a Twin Peak, slung happily along a leafy central promenade, the neighborhood is not the worst model for Main Street, USA. Tip and Top Vacuum & Shoe Service, particularly seen in this light, is an all-American gem. Bring in your dirt sucker for a fix-me-up and the capable staff will get it back to dirt bunny-busting in two shakes of a dusty rug. And like any good member of a small community, Tip and Top is a multitasker, as evident from the boots in the window. The shop also repairs shoes, and will even custom-cobble you a boot or slipper. To recap: Tip and Top fixes vacuums and shoes, it’s cute as a button, and you kind of need to check it out.

173 W Portal, SF. (415) 664-9320

 

BEST FRESH FLOWERS

All over the news last year: Medical marijuana dispensaries in San Francisco and other cities were being shut down by a spasm of overzealous and anachronistic enforcement by the federal government (see “Why?” 8/14/12). But a wave of young clubs were undaunted by the headlines. Indeed, many went through the entirely navigable local approval process for cannabis clubs and threw open their doors, come what may from Kamala Harris, Eric Holder, and the rest of the “drug warriors.” Among the best of the bunch? Bloom Room, an elegant establishment just a stone’s throw from hoity-toity Mint Plaza and the Chronicle Building in the heart of downtown. “Where medicine blooms wellness follows” is its somewhat logically fuzzy yet totally cromulent motto. Bloom Rooms got great weed — strains like Grape Romulan (I), Girl Scout Cookies, Chem Dawg, Pink Lemonade, and a special Bloom Blend — at decent prices, weighed out by super-nice and knowledgeable employees, in a classy, exposed brick interior. Here’s hoping Bloom’s given enough room to put down some roots.

471 Jessie, SF. (415) 543-7666, www.bloomroomsf.com

 

BEST 78S OFF HAIGHT

“I’ve had it with these cheap sons of bitches who claim they love poetry but never buy a book,” SF literary legend Kenneth Rexroth once supposedly said. Many share his sentiment when it comes to music — especially as our city rapidly empties itself of neighborhood record stores (and book stores, too, for that matter). Rexroth himself used to live above Jack’s Record Cellar, one of our longest-operating vinyl concerns — since 1951! — and also one of the most poetic spots in the city. Packed with the rarest of 33s, 45s, and, miraculously, stacks of so-desirable-we-can’t-stand-it 78s, Jack’s has all the jazz you want — plus soul, opera, country, doo-wop, standards, and classic pop. Memorabilia papers the walls, and piles of records spill out onto the aisles. Like many spots in the area, it’s more of a relaxed hangout than a capitalist venture. Conversation is prized over cash receipts. Open hours are spare and unpredictable. Saturday afternoons are a good bet, proprietor Wade Wright might be there to let you in. Unlike Rexroth, he values the love over the sale.

254 Scott, (415) 431-3047

 

BEST READING REVIVAL

After a 25-year stint on 16th Street in the now-teeming Valencia Corridor, and years of rumors of impending closure, a steep rent increase nearly caused literary, cultural, and artistic hub Adobe Books to shut its doors for good. But supporters launched a fundraising campaign using crowd-funding platform Indiegogo and succeeded in raising $60,000, enough to secure a new home on 24th Street — which, along with the re-situated Modern Times Bookstore, has become somewhat of a haven for gentrification-fleeing libraries. “Adobe has been such an important part of our lives as artists, writers, book lovers, and Mission dwellers,” the bookstore and gallery’s boosters wrote, in what turned out to be a wildly successful pitch. “We couldn’t see the Mission without it.”

3130 24th St, SF. (415) 864-3936, www.adobebackroomgallery.com

 

Best of the Bay 2013 Editors Picks: Arts and Entertainment

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ARTS AND ENTERTAINMENT

EDITORS PICKS

Editors picks are chosen by Guardian editors for special recognition for brightening the Bay Area experience.

BEST BAWDY BOWIE WORSHIP

It takes a lot to stand out in this town. Bands and entertainers are a dime a dozen, and quality cover or innovative, hilarious “tribute” acts fill venue lineups year-round. The First Church of the Sacred Silversexual, however, is a glittery entity all its own. Raucous and roiling with glam-rock glee, it’s an orgasmic sensation of all things David Bowie wrapped in tinfoil and pumped full of sparkly gospel soul. The boisterous crew of theatrical musicians and singers packs onto stages and blows the Bowie horn: All ye who enter here, know the Thin White Duke’s (or Ziggy Stardust’s, or Alladin Sane’s) name. The oft-adoring crowd, with lyrics sheets in hand, responds in time. It’s a Suffragette City spectacle that “tap dances on the lines between religion and revelry, beatitude and blasphemy, rock show and revival.” Wham, bam, thank you ma’am!

www.sacredsilversexual.com

 

BEST SECRET VERSE

Tired of hum-drum literary events involving lecterns, monotones, and rumpled suit jackets? Has Janey Smith got the antidote for you. One part poetry reading, one part beer bust, and one part urban exploration escapade, literary gatherings at the Squat turn the pedestrian concept of a reading into a situational ritual. After assembling in Smith’s lower Haight apartment for mingling and judicious imbibing, the crowd is ushered silently to a secret location: an abandoned flat lit by dozens of tea candles with a small pile of rubble on the floor serving as a podium for the invited poets. The echo of empty rooms, the brave flickers of candlelight, and the rapt attention of the crowd makes poetry at the Squat resonate that much more, attracting a stalwart crew of hardcore wordsmiths and armchair literati alike.

851thesquat.tumblr.com

 

BEST HIP-HOP NAMECHECK

Jaunty East Bay rapper-producer IamSu! has released a barrage of clever mixtapes and collaborated with the likes of big-timers like 2 Chainz, Wiz Khalifa, Juvenile, E-40, and Roach Gigz — but his career can be traced back to Youth Radio, a nonprofit media center based in Oakland. Like so many others before and since, the talented 23-year-old MC got his start there at age 15 and learned all about the art of beat making. Fast-forward a decade and IAmSu! (born Sudan Ahmeer Williams) is getting some serious love for attention-grabbing lyrics, bold beats, and his casual return to hyphy, not to mention team efforts with his crew HBK (Heart Break Kids) Gang. He still reps his hometown even while sending it up in hits like “Goin’ Up” feat. Khalifa, nonchalantly tossing out rhymes like “Ask around I got hell of love in the Bay/Get money give a fuck what a hater say” over a wobbly beat in a video directed by Kreayshawn and featuring cameos by locals like Gigz. He may be bursting outside the bounds of the Bay, but his output remains a family affair.

www.hbkgang.com

 

BEST JAZZ FLIGHT

The home base for SFJazz was decades in the making, but the popular nonprofit jazz organization finally got its own permanent home this year — and the SFJazz Center‘s sparkling new glass building is a marvel of modern sound. The $63 million, state-of-the-art facility includes balconies, perches, a fancy restaurant, and a smaller performing space for up-and-comers. But the main bowl-shaped auditorium deep inside the venue is where all that jazzy action comes alive, a circular space with platforms that can accordion and retract to make room for different kinds of setup. Resident artistic directors like Jason Moran have made good use of that unique space; during his stay, Moran opened up the bottom level for an actual skateboarder’s half-pipe with live skating demos, and also widened it up for a Fats Waller dance party. And of course a diverse roster of jazz greats — McCoy Tyner, Eddie Palmieri, Esperanza Spaulding, Hugh Masekela, Bill Frissell — have reached the new rafters with their flights of sound.

201 Franklin, SF. (866) 920-5299, www.sfjazz.org

 

BEST THREE-POINT SWISH

At first, the idea of opening a successful gay sports bar in the Castro might have struck some as either a shameful back-in-the-closet move (only manly men allowed, no swishing!) or another apocalyptic omen of gay assimilation (we’ve become the jocks who beat us up!). But then you watch the diverse crowds — including, yes, the swishy — pack into Hi Tops to cheer on our major championship teams and our lesser-recognized sports organizations and heroes. You see the Sports Illustrated picture of two male 49ers fans enthusiastically kissing — the first such photo to appear in that magazine. You check out the super-spiffy design of the place, which repurposes vintage bleachers, b-ball court floors, lockers, and cage lights. You sample the playful drink menu, which features an actual cocktail made with Muscle Milk, and a bar menu that twists standard game day food in a slightly gourmet direction. Finally, you see how owners Jesse Woodward, Dana Gleim, and Matt Kajiwara have created a community of like-minded queer sports fans who can finally express their mutual admiration openly, proudly, and loudly. Holy crap, is that a ball in your hand?

2247 Market, SF. (415) 551-2500, www.hitopssf.com

 

BEST PEACH OF A PLAYWRIGHT

We’re declaring 2012-2013 the theatre season of Lauren Gunderson, y’all. Ever since this prolific Georgia native’s Exit, Pursued by a Bear debuted at Crowded Fire Theater in 2011, Gunderson’s scripts are smart, sassy, and fueled by revenge and science. “I think I write about scientists more than I write about science,” she told Creative Loafing Atlanta. “You could say that science is the landscape and ether of the plays, but the hearts and dreams of the scientists are what we’re really watching.” That empathetic approach to science may help explain why her plays have the taken tech-nerdy Bay Area by storm. This season alone saw the Bay Area-based productions of no fewer than five of her scripts: Emilie La Marquise du Chatalet Defends Her Life Tonight by the Symmetry Theatre Company in Berkeley, Toil and Trouble at Impact Theatre, By and By with the Shotgun Players, The Taming with Crowded Fire Theater, plus I and You at the Marin Theatre Company. Love a rising star? There’s still time to bolster your “I saw her back when” cred when both TheatreWorks and SF Playhouse produce her works in early 2014.

www.laurengunderson.com

 

BEST MIDWEEK THROWDOWN

For fans of great house music, packed dance floors, cute crowds, and sweating out the workweek, Wednesdays are the new Fridays, thanks to the stellar Housepitality party crew. Promoters and DJs Mikey Tello and Miguel Solari, along with about a dozen fantastic resident local DJs, bring in international underground superstars every week to get us over hump day (and play havoc with our Thursday mornings). But the Housepitalers go beyond merely roping in midweek talent — they’ve built a devoted community of new and old school dance mavens, crossing generational divides through the spirit of darned good music and a loving vibe. Now in their third year, they also dig deep to introduce the Bay to fresh talent and obscure legends: not too many parties on Earth can boast bringing in “DJ’s DJ” (and an inventor of Detroit techno) D. Wynn one week and then contemporary Bulgarian live acid house act Kink the next. Who needs sleep, anyway?

Wednesdays, 10pm-2am at F8, 1192 Folsom, SF. www.housepitalitysf.com

 

BEST CYBER-GLADIATORIAL WARFARE

Humans beware. The great robot revolution is nigh, and builders of combat robots have done us no favors by creating machines whose sole function is to destroy. Way to go, guys. But, on second thought, maybe it’s for the best that these “combots” exist, and are still obeying their owners by fighting battles — exclusively with each other — inside a giant, bulletproof pen at the annual International RoboGames. This gives us an opportunity now to study their moves — before they launch their surprise attack on the human race. Combots have advantages such as brute force, whirling blades, super-sumo skills, and general imperviousness to pain. There are even androids that perform kung fu (shudder). But by observing them in action now, we can start formulating our defense strategy ahead of time. Thanks, RoboGames, for giving us this opportunity for the past decade.

www.robogames.net

 

BEST DEFENDER OF INDIE AISLES

Along with closely-affiliated nonprofit San Francisco Neighborhood Theater Foundation, CinemaSF has stepped up to keep a pair of historic theaters located in non-trendy neighborhoods — the Vogue and the Balboa — alive and thriving, especially after a Kickstarter campaign earlier this year raised dough to ease the Balboa’s digital-upgrade costs. (The Vogue, thankfully, was already 21st century-ready.) It would be an easy moneymaker to simply screen the latest Hollywood releases, and while both theaters do show first-run stuff, they also offer exclusive and special-interest programming on the side, such as the Balboa’s “Popcorn Palace” kiddie series, and the Vogue’s hosting of San Francisco Film Society events like November’s “Taiwan Film Days.” Have we mentioned how awesome it is not to always watch a movie on your laptop alone in your tiny room, or be bombarded by sense-numbing multiplex gimmickry? Here’s to many more years of great indie flicks shared in great spaces with friendly film fans.

www.voguesf.com

 

BEST BEAUX-ARTS REVIVAL

After 33 years of provoking thought and conversation about contemporary ideas and letters, City Arts and Lectures has a brand-new venue for hosting its famed series of onstage chats with boldfaced names (recent roll-call: Margaret Atwood, Richard Dawkins, Christopher Guest, Zadie Smith, Jaron Lanier, Marc Maron, Jhumpa Lahiri). But the Nourse Theater isn’t actually new at all — it was built in 1927, which makes it nearly as old as the Castro Theatre. The late Beaux-Arts beauty, once used as the High School of Commerce theater, sat neglected and closed for over 30 years. Now spiffily refurbished (think plush new seats and top-of-the-line sound and lighting) under the guidance of City Arts & Lectures founder Sydney Goldstein, with fabulously Rococo-like architectural details preserved, the hulking building on Hayes is fully revived and ready for heady artistic musings and bleeding-edge pronouncements.

275 Hayes, SF. www.cityarts.net/nourse

 

BEST GAY LEATHER BIKER ROCK AND ROLL RESURRECTION

When it was announced in 2011 that legendary Soma gay leather biker bar the Eagle Tavern was closing, much of the queer population was stunned. Sure, although charitable Sunday afternoon beer busts and renowned Thursday Night Live local rock showcases were packed, the large bar and patio were not exactly swarmed the rest of the time — and the owners had recently sunk much of their money into the revamped Hole in the Wall Saloon. But the Eagle’s closure became a flashpoint for what many saw as the homogenization of SF’s gay population and the gentrification of traditional queer spaces. A determined activist coalition rallied the city’s political forces and helped find new gay buyers — Alex Montiel and Mike Leon — who vowed to keep the spot’s rough-and-tumble, rock and roll gay vibe while revamping the interior and programming to appeal to a new generation of sexy, bearded, kinky men and friends. The SF Eagle flew again in 2013, and has been by all accounts a success: still down and dirty, but the coolest “new” gay hangout in the city.

398 12th St, SF. www.sf-eagle.com

 

BEST YEARLY WIDDERSHINS

How long does it take to make a tradition? Surely a longevity spanning four decades denotes a yearly gathering that has taken hold of a group’s psyche. If this is indeed the case, consider the pagan faction Bay Area Reclaiming’s Spiral Dance a full-blown, locally born folkway. The rite takes place each year during the Halloween season, or Samhain, as the pagan holiday of death and regeneration is best known. During the gathering — which also serves as Reclaiming Bay Area’s biggest fundraiser of the year — dance, acrobatics, elaborate altars, and song mark a program largely geared around the spiral dance itself, in which group members move in a whorl (widdershins, as the counterclockwise movement is known in faiths from Wicca to Judaism) that invokes rebirth as the cold season approaches. It’s a gorgeous, all-inclusive sight, regardless of the number or character of the deities to which you pay homage. (You’re invited too, atheist babes.)

www.reclaimingspiraldance.org

 

BEST PUNK-LIT SPIT ‘N SHINE

Oh, how we love Sister Spit — that incubator of radical feminist artists and punk-lit creators, host for two decades of some the best Bay Area spoken word performances. But the performance series (birthed by Michelle Tea and Sini Anderson back in 1994, and then again in 2006) may well hold more significance to those outside of the Bay. After all, when Sister starting touring in the late ’90s, packing its erudite rabble-rousers into a series of ramshackle vans, towns like Detroit and Tucson got a very special dose of San Francisco’s “talented, tattooed, and purple pigtailed” poets, writers, sexual outlaws, and more. Cultural ambassadors, we deem them all. The series continues to go on the road — with writers like Ali Liebgott, Eileen Myles, Robin Akimbo, and many more — and grow. Earlier this year publisher City Lights debuted its new Sister Spit imprint with a glorious anthology of pieces performed at past events, Sister Spit: Writing, Rants and Reminiscence from the Road.

www.sisterspit.com

 

BEST PET SOUNDS

Different Fur Studios is esteemed by the current generation of music fans for churning out a staggering variety of hip music from San Francisco — A B & the Sea, Main Attrakionz, Lilac, the She’s — and beyond. Given the storied studio’s long history, however, it’s no wonder it’s still helping define the sound of the Bay. It was founded in 1968, at the height of San Francisco sonic weirdness, by Patrick Gleeson, an energetic electronic music composer who brought in the likes of Herbie Hancock, Jonathan Richman and the Modern Lovers, Stevie Wonder. The Fur stands on end: alert to the changing times and latest trends. Nowadays, it’s known for being highly Web-savvy, recording live iTunes-exclusive tracks, and uploading videos of in-studio sessions (like those of Little Dragon, Girls, Toro Y Moi, Big K.R.I.T., and more). Praise be to a different Pat — current owner and engineer Patrick Brown — who as a champion of local acts and labels alike keeps tradition alive in the heart of the Mission.

www.differentfurstudios.com

 

BEST GAYMER HANGOUT

Gay gamers often have friends they can brag to about their Xbox Live gamerscore. And they often have friends they can take to the club. And never shall those two groups of friends meet. Yet for one glorious weekend in Japantown last August, LGBT nerds united to celebrate indie queer games and to dress in Princess Peach drag (her five o’clock shadows were fetching). GaymerX was the first LGBT video game convention in the nation, and its panels included executives from gaming super-giant Electronic Arts, where gaymers lobbied for more inclusion in a white-male-hetero-normative-dominated industry. The dance floor was rocking, as Pikachu, Kratos, Mario and a host of other costumed fans shook their pixilated tail feathers. The voice actress who portrayed the killer robot from Portal, GLAaDOS, even helped two beautiful bear boys get married on stage with her signature song “Still Alive.” And best of all, the convention announced its second run for next July at an even bigger space. As Mario would say, “Let’s-a-go!”

www.gaymerconnect.com

 

BEST “HOUSE” MUSIC

Hang out with rad musicians like Peter Case, Alejandro Escovedo, Nataly Dawn, Sean Hayes, The Mother Hips, Ben Kweller, Heather Combs, John Vanderslice, and Chuck Prophet at a genial house party — and then watch them play a full concert in the living room? This convivial scene (you may actually be able to pet a cat while singing along) is what KC Turner’s House Concert series is all about. Here, nothing separates the performers from their patrons, save a few extra inches of legroom and the use of a microphone. In the music business, it seems almost inevitable that you’ll wind up selling some portion of your soul to make a living, but so far the fresh-faced, formidably-prolific KC Turner seems to be avoiding that fate by helping to create the world — and by extension, the music business — he wants to live in. We are all the better for it. Just please try not to spill any wine on the rug.

www.kcturnerpresents.com

 

BEST BURST OF PAN-ASIAN PRIDE

In 1973, Japantown’s Nihonmachi Street Fair was devised along the lines of community protest — in the face of sweeping neighborhood redevelopment, the celebration of Japanese heritage was a line in the sand, a declaration that one of SF’s unique neighborhoods would not be erased by the vagaries of urban renewal. (Nihonmachi means, roughly, “Japantown.”) Forty years later, it is an enduring statement of the power of community, and the festival considers itself a representation of the Pan-Asian cultural experience in San Francisco. During the early August weekend of Nihonmachi, awesome food, unique crafts, and musical performances fill the streets, and Asian traditions like the Chinese Lion Dance, Hawaiian music, and Filipino acrobatics fill the stages. An estimated 30,000 people attended this year — fest organizers wager they were largely first-time fans of this neighborhood triumph, which only confirms the community’s deepening roots.

www.nihonmachistreetfair.org

 

BEST PLAYING FIELD LEVELER

One game has the player land on a purple planet and get asked out on a date by a giant sea monster. Another has you shimmy a bumble-bee’s booty in the right sequence to win. Some of the games touch serious subjects like coming out for the first time, or dealing with poverty. And you can make one, too! The games on DIY text-based gaming platform Twine are wild and varied, but they’re always first person narratives. Remember “Choose Your Own Adventure” books? It’s kind of like that. Birthed three years ago by Chris Klimas, Twine really took off in the past year after being trumpeted by Anna Anthropy, a game designer known for “Dys4ia,” which chronicled her start in hormone replacement therapy. That’s the beauty of Twine: it’s a format suited to telling very personal stories in an interactive way. You don’t need to know any programming at all to make a free Twine game — it’s all text, so you just need to know how to write. And the games that result are presented as web pages containing a maze of hyperlinks: a pretty good metaphor for life.

www.auntiepixelante.com/twine


BEST BOOMBOX AFFAIR

The spirit of the underground is still alive in Larry Gonello Jr.’s world. The ace renegade soulful house and techno DJ was everywhere this year — from official street festival to not-so-official one, from licensed afterhours loft party to extralegal sunrise beach rave — joining in the fabulous mobile soundsystem tradition pioneered by great tricyclist Amandeep Jawa’s speaker-wired Trikeasaurus Rex, Monkeylectric’s Off-Grid Party Trailer, or anyone whose strapped an old transistor radio onto a bike during critical mass and rocked the freak out to Michael Jackson. Gonello’s Boombox Affair, though, usually went one better: wiring together an array of large, vintage, insanely covetable boom boxes to form a wall of sound at his pop-up dance parties. Adding a couple innocuous bass bins, he creates a DIY soundsystem that looks cool as hell while moves the crowd. “Sick” is the word usually uttered by first-time viewers. But by the time that overused yet totally appropriate word is swallowed up by beats, they’re already dancing.

www.boomboxaffair.com

 

BEST STICK TO THE SCRIPT

Books on tape, books on schmape. If you’re looking for the words of great literature to leap off the page (or titanium dioxide electrophoretic screen, if you’re Kindlin’), look no further than the 20-year-old tradition that is Z Space’s Word for Word series. In 1993, the legend goes, Susan Harloe and JoAnne Winter founded the company in order to “tell great stories with elegant theatricality, staging performances of classic and contemporary fiction.” The first production, of Dorothy Parker story “The Standard of Living,” played to a packed house. Seventy staged works — from classics like Sherwood Anderson’s homey Winesburg, Ohio and Tennessee Williams’ homo-textual “Two on a Party” to cutting edge contemporary works like Siobhan Fallon’s resonant Iraq War-fallout story cycle “You Know When the Men Are Gone” and Nathan Englander’s post-Holocaust domestic tale “What We Talk About When We Talk About Anne Frank” (performed at the Jewish Community Center) — and a tour of France later, the inimitable W4W troupe just took on the title story of Dan Chaon’s 2012 collection Stay Awake for Litquake. In a delightful meta-move, Word for Word will stage 36 stories by SF’s patron saint of the theater, Sam Shepard, in May 2014.

www.zspace.com/w4w

 

BEST DANCE SÉANCE

Everybody’s saying the feisty, freaky soul of San Francisco is dying. Finally someone did something about it, in the form of resurrecting one of the city’s most treasured cult arts figures, Ed Mock. A black, gay, free-spirited improvisational dance pioneer who died of AIDS in 1986: welp, you can’t get much more “vanishing San Francisco” than that. (Ntozake Shange’s For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf premiered in his studio. Enuf said.) The fact that Mock and his eponymous dance company heavily encouraged, trained, and influenced a generation of young artists surely helped cement his immortality. So much so that former student and UC Berkeley dance instructor Amara Tabor-Smith, who met Mock when she was 14 and joined his company three years later, joined with several collaborators in June to bring his specter back to the byways of our fair town. He Moved Swiftly But Gently Down the Not Too Crowded Street: Ed Mock and Other True Tales in a City That Once Was consisted of 11 site-specific performances that journeyed through Mock’s life, from “A Roomful of Black Men” in LaSalle Pianos to various “acts of improvisatory disruptions” up and down Valencia Street. You could feel Mock smiling fearlessly, glorious in a giant pink tutu, back on the streets.

 

 

 

Best of the Bay 2013: BEST STICK TO THE SCRIPT

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Books on tape, books on schmape. If you’re looking for the words of great literature to leap off the page (or titanium dioxide electrophoretic screen, if you’re Kindlin’), look no further than the 20-year-old tradition that is Z Space’s Word for Word series. In 1993, the legend goes, Susan Harloe and JoAnne Winter founded the company in order to “tell great stories with elegant theatricality, staging performances of classic and contemporary fiction.” The first production, of Dorothy Parker story “The Standard of Living,” played to a packed house. Seventy staged works — from classics like Sherwood Anderson’s homey Winesburg, Ohio and Tennessee Williams’ homo-textual “Two on a Party” to cutting edge contemporary works like Siobhan Fallon’s resonant Iraq War-fallout story cycle “You Know When the Men Are Gone” and Nathan Englander’s post-Holocaust domestic tale “What We Talk About When We Talk About Anne Frank” (performed at the Jewish Community Center) — and a tour of France later, the inimitable W4W troupe just took on the title story of Dan Chaon’s 2012 collection Stay Awake for Litquake. In a delightful meta-move, Word for Word will stage 36 stories by SF’s patron saint of the theater, Sam Shepard, in May 2014.

www.zspace.com/w4w

BEST PEACH OF A PLAYWRIGHT

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We’re declaring 2012-2013 the theatre season of Lauren Gunderson, y’all. Ever since this prolific Georgia native’s Exit, Pursued by a Bear debuted at Crowded Fire Theater in 2011, Gunderson’s scripts are smart, sassy, and fueled by revenge and science. “I think I write about scientists more than I write about science,” she told Creative Loafing Atlanta. “You could say that science is the landscape and ether of the plays, but the hearts and dreams of the scientists are what we’re really watching.” That empathetic approach to science may help explain why her plays have the taken tech-nerdy Bay Area by storm. This season alone saw the Bay Area-based productions of no fewer than five of her scripts: Emilie La Marquise du Chatalet Defends Her Life Tonight by the Symmetry Theatre Company in Berkeley, Toil and Trouble at Impact Theatre, By and By with the Shotgun Players, The Taming with Crowded Fire Theater, plus I and You at the Marin Theatre Company. Love a rising star? There’s still time to bolster your “I saw her back when” cred when both TheatreWorks and SF Playhouse produce her works in early 2014.

www.laurengunderson.com

Theater Listings: October 16 – 22, 2013

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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

444 Days Z Below, 470 Florida, SF; www.goldenthread.org. $10-45. Previews Thu/17-Fri/18, 8pm. Opens Sat/19, 8pm. Runs Thu-Sat, 8pm (also Sat, 3pm); Sun, 3pm. Through Nov 3. Golden Thread performs Torange Yeghiazarian’s drama about an Iranian revolutionary and an American diplomat who encounter each other 25 years after first meeting during the hostage crisis at the US Embassy in Tehran.

Lovebirds Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-100. Opens Thu/17, 8pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through Nov 9. Workshop performances of Marga Gomez’s tenth solo show, about different characters seeking romance in the 1970s.

Shakespeare Night at the Blackfriars (London Idol 1610) Phoenix Arts Association Annex Theatre, 414 Mason, SF; www.subshakes.com. $20-25. Opens Fri/18, 8pm. Runs Fri-Sat, 8pm; Sun, 7pm. Through Nov 17. Subterranean Shakespeare performs George Crowe’s comedy about a playwriting contest between Ben Jonson, Thomas Middleton, Frances Beaumont, and the ghost of Christopher Marlowe.

Sidewinders Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Previews Fri/18-Sat/19, 8pm; Sun/20, 5pm. Opens Oct 24, 7:30pm. Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 17. Cutting Ball opens its 15th season with the world premiere of Basil Kreimendahl’s absurdist romp through gender queerness.

The Wizard of Oz Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $45-210. Opens Wed/16, 7pm. Runs Wed-Sat, 7pm (also Sat-Sun, 1pm); Sun, 6:30pm. Through Oct 27. Andrew Lloyd Webber’s new stage adaptation of the classic, complete with a Dorothy (Danielle Wade) chosen through a Canadian reality-show competition.

BAY AREA

Lettice and Lovage Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-38. Opens Fri/18, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Hillbarn Theatre, now in its 73rd season, performs Peter Shaffer’s raucous comedy.

Metamorphoses South Berkeley Community Church, 1802 Fairview, Berk; www.infernotheatre.org. $10-25. Opens Sat/19, 8pm. Runs Thu and Sat-Sun, 8pm; Fri, 9pm (no show Nov 9). Through Nov 23. Additional performance Nov 9, 8pm, $5-20, Laney College, 900 Fallon, Oakl. Inferno Theatre performs a multimedia, contemporary adaptation of Ovid’s classic.

Red Virgin, Louise Michel and the Paris Commune of 1871 Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Previews Thu/17-Fri/18, 8pm. Opens Sat/19, 8pm. Runs Thu-Sat, 8pm; Sun, 5pm. Through Nov 24. Central Works presents a new play (with live music) by Gary Graves about the Paris Commune uprising.

ONGOING

Beautiful: The Carole King Musical Curran Theatre, 445 Geary, SF; www.shnsf.com. $55-210. Wed/16-Sat/19, 8pm (also Wed/16 and Sat/19, 2pm); Sun/20, 2pm. Pre-Broadway premiere of the musical about the legendary songwriter.

Bengal Tiger at the Bagdad Zoo SF Playhouse, 450 Post, SF; www.sfplayhouse.org. $30-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/20 and Oct 27, 2pm. Through Nov 16. In Rajiv Joseph’s Pulitzer-nominated Bengal Tiger at the Bagdad Zoo, the dead quickly outnumber the living, and soon the stage is littered with monologist ghosts lost in transition. In Joseph’s world, at least, death is but another phase of consciousness, a plane of existence where a man-eating tiger might experience a crisis of conscience, and a brash young soldier with a learning disability might suddenly find himself contemplating algebraic equations and speaking Arabic —knowledge that had eluded his comprehension in life. Will Marchetti’s portrayal of the titular tiger is on the static side, though his wry intelligence and philosophical awakening comes as a welcome contrast to the willfully obtuse worldview of the American soldiers (Gabriel Marin and Craig Marker) guarding him. But it’s Musa (Kuros Charney), a translator for the Americans and a former gardener and topiary “artist,” who eventually emerges as the play’s most fully realized character and also the most tragic, becoming that which he dreads the most, a beast in a lawless land, egged on by the ghost of his former employer, the notoriously sadistic Uday Hussein (Pomme Koch). At times, director Bill English’s staging feels too understated and contained for a play that’s so muscular and expansive (an understatement not carried over into Steven Klems’ appropriately jarring sound design) focused less on its metaphysical implications than on its mundane surface, but however imperfect the production and daunting the script, it remains a fascinating response to an unwinnable war — the war against our own animal natures. (Gluckstern)

BooKKeepers: A True Fiction Southside Theatre, Fort Mason Center, Marina at Laguna, SF; www.generationtheatre.com. $20-35. Thu-Sat, 8pm; Sun, 3pm. Through Oct 27. GenerationTheatre presents Roland David Valayre’s Kafka-inspired fantasy.

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Oct 29. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Carrie: The Musical Victoria Theatre, 2961 16th St, SF; www.rayoflighttheatre.com. $25-36. Wed-Sat, 8pm (also Oct 26, 11:30pm; Nov 2, 2pm). Through Nov 2. Just in time to complement the Carrie film remake, Ray of Light Theatre performs the musical adaptation (initially a Broadway flop, then a re-tooled off-Broadway hit) of the Stephen King horror novel.

The Disappearance of Mary Rosemary Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-25. Thu-Sat, 8pm; Sun, 2pm. Through Oct 26. Script-wise, Second Wind Production’s J.M. Barrie adaptation The Disappearance of Mary Rosemary might well be the most unique ghost story of the season. But in contrast to their masterfully suspenseful The Woman in Black (staged in 2009), Disappearance falls to sustain that charged atmosphere of unease that defines the best terror tales. It begins promisingly enough in a purportedly haunted parlor being shown to a young soldier (Ryan Martin) by its taciturn caretaker (Juanita Wyles). After she leaves him alone in the room, lights flicker, his video camera spontaneously begins to play, and a mysterious light emerges from under a locked door, all evidence pointing to either a supernatural event, or to a PTSD-style mental breakdown. Cutting to the same parlor 29 years before, where domestic tranquility prevails, a lot of that initial tension gets lost, and even though the equally unexplainable events which ensue prove to be much bigger in actual scale, they don’t quite manage to scare so much as to puzzle. Of the performances, Gigi Benson’s matter-of-fact matriarch is by far the most nuanced, and her chemistry with her stage husband (Dave Sikula) is far more convincing than that of their daughter and son-in-law (Caroline Elizabeth Doyle and Brian Martin). Finally, a very unexpected twist turns this story of a young woman who never grows old into one who has grown perhaps too fast, uncomfortably invoking V.C. Andrews rather than J.M. Barrie, and not for the better. (Gluckstern)

Dirty Little Showtunes New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Nov 10. New Conservatory Theatre Center presents the return of Tom Orr’s bawdy Broadway parody.

First Stage Werx, 446 Valencia, SF; www.firsttheplay.com. $25-35. Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Altair Productions, the Aluminous Collective, and PlayGround present the world premiere of Evelyn Jean Pine’s play, which imagines a 20-year-old Bill Gates’ experiences at a 1976 personal computer conference.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Forbidden Fruit Garage, 715 Bryant, SF; www.brownpapertickets.com. $25. Fri-Sat and Mon, 8pm. Through Oct 28. Back Alley Theater and Footloose present the West Coast premiere of Jeff Bedillion’s stylized love story that takes on social and religious conformity.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Wed-Thu, 8pm; Sat, 5pm. Through Oct 26. Geoff Hoyle’s hit solo show, a comedic meditation on aging, returns to the Marsh.

Gruesome Playground Injuries Tides Theatre, 533 Sutter, SF; www.tidestheatre.org. $20-40. Wed-Sat, 8pm. Through Nov 9. Tides Theatre performs Rajiv Joseph’s drama about two people who first meet as eight-year-olds in the school nurse’s office.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

An Indian Summer Exit Theatre, 156 Eddy, SF; www.wehavemet.org. $20-40. Thu/17-Sat/19, 8pm. Multi Ethnic Theater performs Charles Johnson’s drama set in the 1980s Deep South.

It’s a Bird … It’s a Plane … It’s Superman Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Wed/16-Thu/17, 7pm; Fri/18, 8pm; Sat/19, 6pm; Sun/20, 3pm. 42nd Street Moon kicks off its 21st season with this 1966 musical homage to the Man of Steel.

Randy Roberts Live! Alcove Theatre, 414 Mason, SF; www.randyroberts.net. $40. Thu-Sat, 9pm. Through Nov 2. The famed female impersonator performs. He will also perform a different show with jazz pianist Tammy L. Hall: Mon/21 and Oct 28, 7pm, $20, Martuni’s, 4 Valencia, SF.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-100. Fri, 8pm; Sat, 8:30pm. Through Oct 26. Popular solo performer Brian Copeland (Not a Genuine Black Man, The Waiting Period) performs a workshop production of his latest, “a tale of privilege, murder, and sausage.” The show has its official world premiere Jan. 9, 2014.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Thu-Sat and Oct 29-30, 8pm. Through Nov 23. Thrillpeddlers presents their 14th annual Grand Guignol show, “a evening of horror, madness, spanking, and song.”

The Taming Thick House, 1695 18th St, SF; www.crowdedfire.org. $10-35. Wed-Sat, 8pm. Through Oct 26. Crowded Fire Theater presents the world premiere of Lauren Gunderson’s modern farce.

The Voice: One Man’s Journey into Sex Addiction and Recovery EXIT Theatre, 156 Eddy, SF; www.theexit.org. $15-25. Fri-Sat, 8pm. Through Oct 26. David Kleinberg performs his autobiographical solo show.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through Oct 27. Soapy, kid-friendly antics with Louis Pearl, aka “The Amazing Bubble Man.”

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Oct 27. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

I and You Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Tue, Thu-Sat, 8pm (also Sat/19 and Nov 2, 2pm; Oct 24, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Nov 3. Lauren Gunderson’s world premiere explores how Walt Whitman’s words affect the lives of two teenagers.

Rich and Famous Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $15-35. Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Dragon Theatre performs John Guare’s surreal musical comedy.

strangers, babies Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Previews Wed/16-Thu/17, 8pm. Opens Fri/18, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 17. Shotgun Players present Linda McLean’s drama about a woman confronting her past.

Vanya and Sonia and Masha and Spike Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $35-89. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed, 7pm; Sun, 2 and 7pm. Extended through Oct 25. Berkeley Rep performs Christopher Durang’s comedy about a dysfunctional family in rural Pennsylvania.

Warrior Class Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Nov 3. TheatreWorks performs Kenneth Lin’s incisive political drama.

A Winter’s Tale Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-72. Wed/16-Thu/17, 7:30pm; Fri/18-Sat/19, 8pm (also Sat/19, 2pm); Sun/20, 4pm. Cal Shakes concludes its 2013 season with the Bard’s fairy tale, directed and choreographed by sister team Patricia and Paloma McGregor.

PERFORMANCE/DANCE

Alonzo King LINES Ballet Training Program fall showcase Z Space, 450 Florida, SF; www.zspace.org. Oct 22-23, 7:30pm. $20. The company’s artists-in-training perform original and diverse works by Maurya Kerr, Dexandro Montalvo, and other choreographers.

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. $20. “Horror Super Scene,” Fri, 8. Through Oct 25. “Improvised Farce,” Sat, 8pm. Through Oct 26.

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

“The Buddy Club Children’s Shows” Randall Museum Theater, 199 Museum Wy, SF; www.thebuddyclub.com. Sun/20, 11am-noon. $8. Magician Jay Alexander performs for kids and families.

“Canta Napoli” First Unitarian Universalist Church, 1187 Franklin, SF; www.ticketriver.com. Sun/20, 7pm. $35-45. Tenor Pasquale Esposito performs at this benefit to bring artists from Teatro of San Carlo, Naples to perform in San Francisco.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/20 and Oct 26, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“An Evening With Linda Eder” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Thu/17-Fri/18, 8pm; Sat/19, 7pm. $45-80 (plus $20 food and beverage minimum). The acclaimed vocalist performs Broadway songs as well as standards, pop, country, and jazz.

Neil Hamburger and the Too Good For Neil Hamburger Band Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Thu/17, 7:30 and 9:30pm. $15. A variety show starring “America’s Funnyman.”

“The Hula Show 2013” Palace of Fine Arts Theatre, 3301 Lyon, SF; www.cityboxoffice.com. Sat/19 and Oct 25-26, 8pm; Sun/20 and Oct 27, 3pm (children’s matinee Oct 27, noon). $15-90. Patrick Makuakane and his Na Lei Hulu I Ka Wekiu dance troupe perform 20 world premieres, a blend of traditional hula and hula performed to modern music.

“The Kepler Story” Morrison Planetarium, California Academy of Sciences, 55 Music Concourse Dr, SF; www.calacademy.org. Sun, 6:30pm. Through Oct 27. $15. Cal Academy and Motion Institute team up to produce this “immersive performance work” about astronomer Johannes Kepler.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat, 4:30 and 7pm. $20-30 (free aquarium ticket with show ticket). Extended through Dec 29. Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“Recovering Home” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/18-Sun/20, 8pm. $18-22. Afrique Sogue and Jaara Dance Project perform a work about the “convergence of quests for connection.”

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“San Francisco Trolley Dances 2013” Guided tours leave from Market Street Museum, 77 Steuart, SF; www. epiphanydance.org. Sat/19-Sun/20, tours leave every 45 minutes from 11am -2:45pm. Free with Muni fare. Epiphany Productions Sonic Dance Theater and guests participate in the 10th annual incarnation of this rolling performance tour.

“A Show of Hands” Jewish Community Center of San Francisco, 3200 California, SF; www.garrettmoulton.org. Thu/17, noon; Fri/18 and Oct 25, 3:30pm; Sat/19 and Oct 24 and 26, 1pm. Free. Garrett and Moulton Productions present a site-specific New Music USA commission that explores the powers and possibilities of human hands.

“Smack Dab” Magnet, 4122 18th St, SF; www.magnetsf.org. Wed/16, 8pm. Free. Open mic with headliner David Miller and his Paradox Magic show.

“Speechless” Public Works, 161 Erie, SF; www.speechlesslive.com. Thu/17, 7:30pm. $20. Improv meets PowerPoint in this new comedy show from the minds behind storytelling series Mortified SF.

“These Are Our Stories” Intersection for the Arts, 925 Mission, Ste 109, SF; theseareourstories.eventbrite.com. Mon/21, 7pm. $5-15. Part of Intersection for the Arts’ Califas Festival, this roving series of site-specific performances is led by playwright Eugenie Chan. *

 

Parking and the gentrification of food

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STREET FIGHT Professor Don Shoup, an icon in San Francisco planning circles, is famous for illuminating that there is no such thing as free parking. In his voluminous book The High Cost of Free Parking, Shoup breaks-down the costs of building parking spaces and the land underneath.

Beyond that there’s lighting, insurance, security, maintenance, ventilation, financing, contracting, and surveying costs. There’s also the additional property tax on the parking, and piling onto that, the vast external costs to society with congestion and pollution from car trips generated by parking.

While all of this might seem obvious, the virtue in Shoup’s work was to show how the costs of parking are regressive and passed onto communities, especially low income households and non-drivers. For example, a grocery store bundles parking into the price of food and this is disproportionately borne by non-drivers.

In a sense, free parking causes the gentrification of food.

In San Francisco, underground parking costs anywhere from $80,000 to $100,000 per space to construct. In the proposed supermarket at 555 Fulton Street, the 77 spaces proposed underneath the store will cost anywhere from $6.1 million to $7.7 million to build.

That’s millions that will be passed on to a grocery store tenant and ultimately to shoppers. And that’s just to build, not operate, the parking. This adds more burden to the already tight pocketbooks in a gentrifying city like San Francisco.

Parking also complicates the issue of grocery stores and formula retail, making developers prefer a chain store because it can access the financing to build parking. So parking literally “drives-up” the rents for tenants seeking to lease the space. This makes it more difficult to find an affordable, local, non-chain grocer while also translating into higher food prices, since grocers transfer the cost of parking onto all shoppers regardless of how they got there and regardless of the shoppers’ income.

All of this came to a head last week at the San Francisco Planning Commission hearing on 555 Fulton, a proposed mixed use development that might include a grocery store. The Commission voted 4-2 to lift a formula retail ban on this site, concluding that only a chain store is “economically viable.” (Disclosure: I publicly advocated against that exemption as a member of the Hayes Valley Neighborhood Association).

This was not just a blow to the city’s unique character in terms of guarding against chain stores. It undercuts sustainable and affordable urbanism and will lead to gentrified food. Here’s a brief summary of what happened:

In the early 2000s, the old Christopher Dairy at 555 Fulton, between Laguna and Octavia, was identified as a good location for a supermarket as part of a larger mixed-use development. The site was folded into the Hayes Valley formula retail ban to encourage an independent, community-based supermarket with fresh produce, high quality food affordable to nearby residents, and jobs for locals.

In 2010, the Planning Commission approved the first iteration of this project, with 136 housing units above a non-chain grocery store. Neighbors were very excited to have a local supermarket to serve the whole community and the developer did not try to circumvent the chain store ban. The community and Planning Department were working together.

In late 2012, the site and its entitlements were sold to a new developer, Fulton Street Ventures. It immediately informed the community that it would seek to lift the ban. HVNA unanimously opposed lifting the ban and Planning Department staff supported HVNA’s position. At that point, it seemed that the planners had read and understood Shoup.

For its part, HVNA compiled a list of potential non-chain store candidates and proposed creative ways to make the site work for a locally owned business, with perhaps some space allotted to a hardware store or other neighborhood-serving shops. HVNA also proposed reducing the parking at the site in order to make the store affordable.

The Market and Octavia Plan, which includes 555 Fulton, allows a grocery store to have less parking than the 77 the developer wants, and even zero parking. The developer could eliminate some or all of the parking, reduce construction costs, and reduce the asking price for a lease. This area is flat, incredibly walkable and proximate to thousands of existing residents, with thousands more on the way.

A car-free or car-lite grocery store can deploy innovative ways of delivering groceries, such as a jitney service or delivery vans, for those who need such service, and to limit the amount of store parking to a small number of car share and disabled parking stalls. This kind of grocery store would be at the cutting edge of truly sustainable urbanism, while also providing more affordability to all residents of the community.

Yet another Shoup axiom is “Planning for parking is more a political than a professional activity.” Instead of being creative, Fulton Ventures balked at the parking ideas and employed divisive race-baiting to push its profit-driven agenda. It financed a quiet campaign to accuse anyone supporting the formula retail ban and reducing parking as racist and elitist. It leaned heavily on City Hall and somehow got the Planning Department to suddenly retract its support for upholding the chain store ban. Sup. London Breed, who remained publicly detached, insisted that all she cared about was an affordable supermarket, but she offered no path to achieve it.

In a confusing Oct. 3 hearing, supporters of Fulton Ventures LLC made below-the-belt public comments that seemed to come straight out of a Tea Party playbook. It was tough to watch. Their position was that a chain store with excessive underground parking was the only way to an affordable grocer — anything short of that was racist. The commission voted 4-2 to lift the ban.

By lifting the formula retail ban, the city lost leverage for making the store affordable while also providing fresh food for thousands of people within walking distance. And the many car-free households of the Western Addition and Hayes Valley will get to breathe the car fumes from upscale shoppers. The commission gentrified food.

All is not lost though. The damage done by the Planning Commission can be overturned or fixed at the Board of Supervisors. Breed states she cares about affordability, local small business, and the city’s transit-first policies. She can put conditions on this project that reduces the parking, or decouples the parking from the lease for the commercial floor space, thus making the project economically viable for an affordable grocer. She can demand other creative and sustainable solutions which planners so far have not considered. She doesn’t have to give it away to a chain store. And if you care for affordable groceries with less driving, and want to stop the gentrification of food, write her and let her know.

Heads Up: 7 must-see concerts this week

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Well the biggest music news in the city this weekend (or just outside its technical geographic mainland limits) is likely the annual Treasure Island Music Festival. But beyond that, there’s Goblin’s first ever SF show — for fans of Italian horror — along with the Dodos’ glorious return, Har Mar Superstar, Clairy Brown & the Bangin’ Rackettes, GWAR, and more.

Given the costumes and output of many of these acts, it would seem Halloween season is already full swing. And no, we’re not taking into account all those pumpkin-flavored disasters. Get truly spooky, don a mask, and watch some live music in the dark of night.

Here are your must-see shows: 

Har Mar Superstar
The real maturing of Minnesota-bred, New York-based Har Mar Superstar, aka Sean Tillmann, can be heard on new record Bye Bye 17 (Cult Records). On it, Har Mar glides gracefully from old school soul on “Lady, You Shot Me” to doo-wop on “www” to Beck-worthy retro funk on “We Don’t Sleep.” It’s all a far cry from raunchy earlier beat-based releases like cult Beth Ditto collaboration “Power Lunch.”
Tue/15, 8:30pm, $12
Bottom of the Hill
1233 17th St, SF
www.bottomofthehill.com
http://www.youtube.com/watch?v=ouuqJ0pkWvU

The Dodos

This is the Dodos homecoming show for a new album that deserves an intimate headphones-preferred listen: Carrier (Polyvinyl Records), the band’s fourth full-length release. It’s a moody, solemn affair for the indie folk-rock band, said to be partially informed by the death of one-time Dodos guitarist Christopher Reimer. And on said record, check orchestral pop single “Substance,” which features fellow locals Minna Choi’s Magik Magik Orchestra. Besides the mood, the biggest difference here is in Meric Long’s guitar work — he’s switched it up from acoustic to still-tranquil electric, gently emboldening the Dodos’ sea change, backed up neatly by Logan Kroeber’s hammering drums. 
With Dustin Wong
Wed/16, 8pm, $21
Great American Music Hall
859 O’Farrell, SF
www.slimspresents.com
http://www.youtube.com/watch?v=9R0NSs6ntyw

Widowspeak
Imagine a trippy 1960s psych band (maybe playing a party in Beyond the Valley of the Dolls?) learning the dark arts of witchcraft and jumping through a crystalline mirror, coming out the other end in glitter-crusted Brooklyn 2013. Thus, you have Widowspeak, the slinky, sexy, eerie duo made up of guitarist-vocalist Molly Hamilton and guitarist Robert Earl Thomas. Next week, the duo releases a dizzying six-song EP (The Swamps), a follow-up to 2012’s Captured Tracks full-length, Almanac.
With Crystal Stilts, Pure Bathing Culture
Fri/18, 9pm, $20 
Chapel
777 Valencia, SF
www.thechapelsf.com
http://www.youtube.com/watch?v=1-5BBADOBAc

Clairy Browne & the Bangin’ Rackettes
Clairy Browne & the Bangin’ Rackettes should be world-famous megastars by now. But the nine-piece Australian soul band might be a tad too strange to blow up massive just yet. With pounding soul output, all those band members, and candy-coated retro fashion straight out of a John Waters flick, they might scare off the mainstreamers still, delaying their inevitable world takeover. That is to say, this wait is ludicrous. Clairy Browne’s pipes growl and coo, entice and coyly deflect, the Bangin’ Rackettes back it all up with classic girl group harmonies, guitar, drums, and baritone sax. The band’s a win-win. Just give it a damn chance. Oh, and listen below to handclap-worthy “Love Letter” off 2013’s Baby Caught the Bus (Vanguard).
With Ironsides feat. Gene Washington
Fri/18, 9pm, $18-$20
Bimbo’s
1025 Columbus, SF
www.bimbos365club.com
http://www.youtube.com/watch?v=irNtyaNHq5A

Treasure Island Music Festival

This forward-thinking two-day fest out on windswept Treasure Island — ahen, the Treasure Island Music Festival — returns with Thom Yorke’s 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. Sadly, Tricky had visa issues and had to back out (damn you, government!) however the replacement is nearly as exciting: it’s weirdo rapper Danny Brown.
Sat/18-Sun/19, noon-11pm
Treasure Island, SF
www.treasureislandfestival.com
http://www.youtube.com/watch?v=6p6PcFFUm5I

GWAR
“Here’s to almost three decades of rubber masks, obscene lyrics, tasteless humor, and lots and lots of fake blood. Yes, we’re talking about GWAR, the Virginia-based heavy metal shock rock group and its foam penises, staged crucifixions, and exposed butts (among other onstage delights), which will be celebrating its 30th anniversary next year. Despite more than 18 different lineups and 26 members throughout the band’s history, little has changed about the essence of GWAR. If you’re looking to have a night to remember, get your clothes stained permanently by red dye, and maybe even see a Billy Ocean cover (GWAR recently took on “Get Outta My Dreams, Get Into My Car” for the A.V. Club) look no further than Oderus Urungus and his monstrous minions.” — Haley Zaremba
With Whitechapel, Iron Reagan, A Band of Orcs
Sun/20, 7:30pm, $28
Regency Ballroom
1300 Van Ness, SF
www.theregencyballroom.com
http://www.youtube.com/watch?v=p20PijYVgG4

Goblin
“Fans of horror films know how important a soundtrack can be — the best-known examples are probably the shrieking strings of Psycho (1960) and John Carpenter’s iconic synth score for 1978’s Halloween. Fans of Euro horror, however, share a fondness for Goblin, Italian purveyors of the creepy, pulsating, proggy, keyboard-driven music that enhanced many films by macabre master Dario Argento (including 1977’s Suspiria), not to mention George Romero’s 1978 zombie classic Dawn of the Dead. Touring North America for the first time, the veteran band swoops into San Francisco to make Goblin-faithful dreams (and nightmares) come true.” — Cheryl Eddy
With Secret Chiefs 3, DJ Omar Perez
Sun/20 8pm, $28–<\d>$75
Warfield
982 Market, SF
www.thewarfieldtheatre.com
http://www.youtube.com/watch?v=vzU3jnNWKbI

No room left in San Francisco for an artist who helped make the Mission what is

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After four decades living and creating art in the Mission, iconic San Francisco artist and curator Rene Yañez is being threatened with eviction.

Yañez made local history in 1972 when he brought Dia de los Muertos, the Mexican holiday honoring the dead, to San Francisco. The parade through the Mission District every Nov. 2 quickly became a Bay Area tradition, drawing thousands of people each year.

He founded the Galeria de la Raza and brought Latin America’s premier artists and photographers to showcase their work there. When the Museum of Modern Art rejected the work of a little-known Mexican woman, it was Yañez who gave a young Frida Kahlo a space to exhibit her paintings. He taught art classes for youths in the community and offered crucial support to many of the Mission’s mural projects.

In 1998, the San Francisco Foundation awarded Rene the “Special Trustees Award in Cultural Leadership.” Now, the man who has contributed so much to the culture of this city finds himself on the verge of being expelled from it.

Rene’s impending eviction from the house on San Jose Avenue where he has lived for the for 35 years is producing a fierce reaction. Fellow artist and personal friend Guillermo Gómez-Peña recently released an open letter expressing his outrage and rallying for public support of Rene’s cause.

“You are being physically and culturally evicted,” Gómez-Peña writes. “Shame on this city! Shame on the greedy landlords and politicians! Your sadness is ours…A city without Rene Yañez…can’t be called San Francisco.”

Gómez-Peña’s cry to action will be answered tomorrow (Sat/12) at 2pm at the Brava Theater on 24th Street with Our Mission: No Eviction, a march in protest of the Ellis Act, the law used to evict all of the tenants living in the five-unit house on San Jose, including Rene, his partner Cynthia, his former wife Yolanda, and his son Rio. (For more on tomorrow’s event and the city’s eviction trend, see our Politics blog).

On Saturday, Oct. 26, Brava Theater in the Mission will host “Our Mission: No Eviction!” a fundraiser in honor of Rene and Yolanda featuring art and performances.  All proceeds from ticket sales to the event will go to the legal expenses of fighting the eviction, as well as Rene and Cynthia’s medical bills; both the artist and his partner are currently battling cancer.

“They were kind of at peace that this would be their home when they passed away, in the community they’ve put so much into,” Rio told us. “Cynthia could be dying or dead while they are in the process of moving.”

Under the Ellis Act, Rene and Cynthia qualify for a year-long postponement of their eviction because of their illness, a fact which their landlord, Sergio Iantorno of Golden Properties, LLC, neglected to tell Rene when he offered him $21,000 and a years’ free rent if he accepted his eviction immediately.

Consulting his lawyer, Raquel Fox, Yañez was informed about the legal extension and proceeded to successfully apply for it. Even without her advice, though, Yañez would not have accepted Iantorno’s offer. As Rio explained, that amount is nowhere near enough for Rene and Cynthia Yañez to get another place in San Francisco, especially in the neighborhood that they call home.

“They are in their 70s. They aren’t looking for a huge buyout so that they can start a new life,” Rio told us.

When their original landlord died 13 years ago, Yañez and his fellow tenants pooled their money to make a bid for the house. Golden Properties saw their offer, and doubled it. Now, they are banding together again to refuse Iantorno’s money and fight  the eviction.

“I would rather take my chances and fight it,” Yañez told the Guardian. “And also I see it as resistance to what is going on and affecting a lot of people.”

On Oct. 1, the San Francisco Rent Board released its Annual Statistical Report for fiscal year 2012-2013. The report revealed a 36 percent increase in eviction notices since the year before. Evictions from rent-controlled apartments in particular are at an 11-year high.

The Ellis Act was used 81 percent more than last year, providing the basis for almost 10 percent of all evictions. The law was used with greatest frequency by landlords in the Mission District. Meanwhile, city public health officials estimate that someone earning minimum wage would need to work more than eight full-time jobs to be able to afford a two-bedroom apartment downtown.

“It is a disaster,” states Christopher Cook, an organizer with the nonprofit group Eviction Free Summer. “Individuals, families, and increasingly small businesses are being hammered by these twin tsunamis of evictions and dramatic rent increases. Those two factors have been driving people out of the city in ever greater numbers for the past 10 to 15 years.”

Gómez-Peña blames these changes on the mass of high-paid young people produced by the second dot-com boom. They may work in Silicon Valley, but they play in San Francisco, and this new class of wealthy young techies can and will pay any price to live in the city—especially the Mission District.

“I see them everyday, the hordes of iPad and iPhone texting zombies, oblivious to us and our lives, our inspirations and tribulations,” he writes. “I see them in my building and on the street, invading the city with an attitude of unchecked entitlement, taking over every square inch and squeezing out the last drops of otherness.”

It is no easy task to make room for all that wealth when the majority of the city’s residents are renters protected by law against unfair rent increases, landlord mistreatment, and unwarranted evictions. The actual strength of these safeguards may be waning, though, leading Gómez-Peña to warn the public in his letter that, “As renters our hours here are numbered.”

The only way to evict a tenant in San Francisco is by claiming one of 15 “just cause” reasons for removing them. Among those 15, the Ellis Act is something of a landlord’s dream date, skipping all the talking to get straight to the action—eviction. Established in 1985, the California law gives landlords the unconditional right to evict tenants if they are “going out of business.”

In order to implement the Ellis Act, a landlord must evict all of the tenants in his or her building, giving them 120 days notice, and wait five years before they can put the units back on the rental market at an increased price. However, the law does not prevent landlords from renting the units out as short-term lodgings, or converting them to be sold as one massive unit, tenancies in common or condominiums.

“Ellis Act evictions are impossible to fight,” admitted Ted Gullickson, the head of the San Francisco Tenants Union. This makes them an ideal weapon against rent control, which has allowed residents from lower income brackets to hold onto their homes in San Francisco for decades while the values of the real estate grew and grew. Even then, many tenants do not feel secure. Guerra has heard stories about people with rent control living for decades without hot water, working windows, heat, or even a stove. “To have this amazing rent control,” she concludes, “they put up with substandard living.”

When something broke in their building, Yañez and his family often did not even tell the landlord about it. If they did ask him to fix something, and he ignored their request, no complaints were ever made. “Because of rent control, we tried to keep a low profile,” Yañez acknowledges. “We tried not to bother the landlord or make too much of a fuss, because we did not want to find ourselves in this position.”

Rene has been aware of how precarious his situation is for years. Iantorno attempted to evict him multiple times. He watched as neighbors, nonprofit organizations, and local artists accepted their own eviction notices without a fight. When he first opened the Galeria in 1970, Yañez had a list of artists living in the Mission that neared 200 names. Today, it does not even reach 20.

“Since 2000, they’ve started this thing in the Mission,” he states. “They were very quiet about it at first, but now it’s accelerating. Willie Brown started it, this trend of redevelopment, eviction, displacing people without consideration. He opened up this gaping wound in the Mission, and now these developers are throwing salt on it, trying to kill the patient,” he chuckles. “People get really upset when somebody paints over a mural, like, ‘It has history, it has value, it’s been here for years,’ but they don’t have anything to say if the muralist gets evicted.”

Legally, there is not much that Yañez and his family can do in the coming year to stop their eviction. Even an advocate like Cook admits, “You can’t reverse an Ellis Act. All you can do is fight it, try to make it clear that it’s not worth the landlord’s while, that they’re gonna be in for a world of headaches, costs, and public shaming if they do this.”

Yañez has not accepted the eviction, but he is preparing for the worst, searching for a new home for Cynthia and himself. He continues to scour the Mission, in vain. “I love the Mission,” he explains. “I’ve been there 40 years. I adopted it, it adopted me. And it needs cultural preservation,” he says, curling his hands into fists that bang the air. “We saved the community from really greedy people who had absolutely no interest in who we were as a people. They just saw us as savages standing in the way of them making money. That attitude is still here. It’s actually worse than ever—unregulated and devastating. When I see the trucks moving people out, older people who have no idea where they’re going, sometimes they go downtown to the hotels—I just think it’s really heartless,” he finishes, his eyes wide in earnesty.

Guardian of San Francisco culture that he may be, Rene and Cynthia Yañez will be forced to leave the city in search of somewhere more affordable if their eviction occurs. In that event, there is little chance that the elderly man will be able to return to the city to curate SOMArts annual Dia de los Muertos exhibition as he has every year since he began it.

“I’m hoping that I can hang in. It’s a throw of the dice, but I still have some miles left in me,” he says, his eyes drooping wearily.

There is a chance that the exhibition, which opened today (Friday/11), might be Yañez’s last. Every year, he changes the theme. This November, the Dia de los Muertos exhibition is dedicated to all the living battling cancer, and  all the dead for whom that battle is over. Each piece is haunting, and all together it is a stunning collection encompassing a range of ages and races to touch any and every person that sees it. Like a loved one lost to cancer, the exhibit leaves you wanting more, yet so grateful fpr what you have experienced.

His last or not, it is something that Yañez can be very proud of.

Weekly Picks: October 9 – 15, 2013

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Huzzah!

THURDAY 10/10

 

“Calacas: Day of the Dead”

This is the first year Creativity Explored — which guides artists with developmental disabilities — has taken on Day of the Dead, and if the colorful images (depicting, mainly, an array of bejeweled, multicolored, dressed-up, and carefully detailed skull and skeleton sculptures) released ahead of the exhibit are any indication, it won’t be the last. Swing by tonight for the opening reception, or visit anytime during gallery hours through late November to admire a diverse slate of works by over 20 studio artists. (Cheryl Eddy)

Through Nov 24

Opening reception tonight, 7pm, free

Creativity Explored Gallery

3245 16th St, SF

www.creativityexplored.org

THURDAY 10/10

 

Frameline Encore: The New Black

The complexities of the struggle for equality come to light in The New Black, a documentary that shows both the advocacy for and opposition to recent marriage equality movements by the African-American community. Winner of the Frameline37 AT&T Audience Award for Best Documentary, The New Black is returning to the Roxie Theater as a part of Frameline Encore’s free queer film series. Come in and enjoy the documentary, and perhaps even chat with filmmaker Yoruba Richen, who is expected to be in attendance. (Kirstie Haruta)

7pm, free

Roxie Theater

3117 16th St, SF

(415) 431-3611

www.roxie.com

THURDAY 10/10

 

Stereo with Le1f

Albany Bowl plays the same mix every Wednesday night. Somewhere between Calvin Harris with Rihanna and the Biebs, a familiar saxblat beat begins. “I love this song,” I tell my friends, before realizing I’ve been fooled again: It’s not actually the playfully sinister “Wut” by motormouthed rapper Le1f, but a popular knockoff. I should just get used to it. Because while some people will know what it is/what is up, there’s also that larger contingent that is painfully oblivious to basic shit. (Some stores exist that sell used clothes for less money?) Catch Le1f — who just released his Tree House mixtape — with fellow Tumblr spawn, including “Wut” producer Matrixxman, at this 3D visual (first 100 people get glasses) and arcade themed dance party. (Ryan Prendiville)

With Lakutis and WolfBitch

9pm, $15 presale

Mighty

119 Utah, SF

(415) 762-0151

www.mighty119.com

FRIDAY 10/11

 

“Imagining Time, Gathering Memory: Día de Los Muertos 2013 Opening Celebration”

SOMArts opens its 2013 Día de Los Muertos exhibition with an evening of live music and interactive performance, and the unveiling of over 30 altars and art installations. Curated by René and Rio Yañez, the exhibition is a display of works inspired by memories that honor life and the lives of loved ones no longer with us. With this theme in mind, the exhibit has been dedicated to those who have been affected by cancer, which has become the No. 1 cause of death of Latinos. Artists were also asked to keep in mind recent national tragedies and local issues that have touched their lives while creating their works. Join in to celebrate your own memories and honor the lives of your loved ones. (Haruta)

Through Nov. 9

Opening reception tonight, 6pm, $7–$10

SOMArts Cultural Center

934 Brannan, SF

(415) 863-1414

www.somarts.org

FRIDAY 10/11

 

Arab Film Festival

The 17th Arab Film Festival begins its California tour tonight at the Castro Theatre before shifting to the Opera Plaza Sat/13-Sun/14, then meandering to Los Angeles, Berkeley, and San Diego over the next several weeks. At press time, organizers were still shaking out the specifics of the schedule, but opening night is locked in: Annemarie Jacir’s When I Saw You, which picked up the Network for the Promotion of Asian Cinema (NETPAC) award at the 2012 Berlinale. It’s the Jordan-set tale of Palestinian refugees, including an 11-year-old boy and his mother, struggling to make their way in a new country after the 1967 war. (Eddy)

7:30pm, $15–$40

Castro Theatre

429 Castro, SF

www.arabfilmfestival.org

FRIDAY 10/11

 

A Rite

PBS’ The News Hour closes its Friday shows with headshots of the soldiers who died recently in Iraq or Afghanistan. Many of them were just so unbearably young. Looking at those faces gives you an inkling of why Bill T. Jones and Ann Bogart did not choose a virgin girl but a soldier as a sacrificial victim for their rethinking of Stravinsky’s The Rite of Spring. The two collaborators didn’t have to look far to see that innocents are still being slaughtered, supposedly for the “common good.” Calling their work A Rite, and making free use of Stravinsky’s score, they set it on six actors of Bogart’s SITI Company and nine dancers of the Bill T. Jones/Arnie Zane Dance Company. For the purpose of this show, they call themselves “dactors.” (Rita Felciano)

Through Sat/12, 8pm; Sun/13, 3pm, $35–$40

Bill T. Jones/Arnie Zane Dance Company and SITI Company

Lam Research Theater at YBCA

701 Mission, SF

415-978.ARTS

www.ybca.org

FRIDAY 10/11

 

Mortified

Why is it that our teen years — insert a faded class portrait with braces and acne, mixtapes slipped into Bobby-from-math-class’s locker, and Prom Night (aka Wrong Night) — leave behind indelible scar tissue? This month’s Mortified, a live comedy-musical show where adults explore the most embarrassing moments of their formative years, features love letters, diary entries, and angst-filled poems on getting the guy in 10 days, a kid’s trip out of the closet with guru Liza Minelli, a temporary pathological liar and his gullible Jewish parents, and a girl’s stab at erotica. Borrowing words from the audience, freestyle hip-hop/improv crew the Freeze will add laughter to the tears with musical interludes. (Kaylen Baker)

7:30pm, $21

DNA Lounge

375 Eleventh St, SF

(415) 626-1409

www.getmortified.com

SATURDAY 10/12

 

Alternative Press Expo

A Bay Area institution that stands out even more in the absence of still-wayward WonderCon, APE is focused on independent and self-published comics, with all the comic-con trappings — an exhibit hall with creators and publishers hawking their goods, workshops for aspiring professionals, and even a “Comic Creator Connection” networking event. Programs include a 10th-anniversary discussion of SF’s Cartoon Art Museum, a talk among comic-creator couples, and a panel on queer cartoonists. Special guests include Bill Griffith (Zippy the Pinhead), Colleen Coover and Paul Tobin (Bandette), Anders Nilsen (Big Questions), Raina Telgemeier (Smile, Drama), Diane Noomin (DiDi Glitz), Bay Area publishing legend Ron Turner (Last Gasp), and APE founder Dan Vado (SLG Publishing). (Sam Stander)

Sat/12, 11am-7pm; Sun/13, 11am-6pm, $10–$20

Concourse Exhibition Center

835 Eighth St, San Francisco

comic-con.org/ape

SATURDAY 10/12

 

Chocolate 101 with Dandelion Chocolate

For the past 3 million years, the cacao plant has thrived in the cool, dewy mountains of Central America, cultivated by Mesoamerican peoples to make a bubbling, dirt-bitter beverage representing power, desire, and sanctity. Dandelion Chocolates will teach a workshop on the methods of grinding beans on a metate, and mixing ingredients to re-create this ancient hot chocolate, right inside the Mesoamerican cloud forest at the SF Botanical Gardens. Only three decades old, this plant collection survives far from Central America by the grace of Karl, the bay’s infamous fog. After class, gardens curator and horticulture expert Dr. Don Mahoney will lead a tour through the forest, detailing the cultural impact of the plants on the inhabitants of Mesoamerica. (Baker)

11am, $30–$40

San Francisco Botanical Gardens

1199 Ninth Ave, SF

(415) 661-1316

www.sfbotanicalgarden.org

SATURDAY 10/12

 

Play it Cool with Lovefingers

When I’m not taking my own advice, Derek Opperman’s list of top 5 parties over at SF Weekly is always my go-to for planning a night or weekend out. Likewise, if I miss a DJ that I wanted to see (or that I did see, but have no recollection), I always check out his “Lost in the Night” blog the morning after, for a more clear-headed account. It follows that I’m looking forward to hearing what Opperman and company bring to their Play it Cool parties. This inaugural event upstairs at Balançoire (formerly 12 Galaxies) features LA’s left-field disco head Andrew Hogge, aka Lovefingers aka half of the Stallions, the person behind E.S.P. Institute label and the beloved but now defunct lovefingers.org. (Prendiville)

9pm, $5 (free before 10)

Balançoire

2565 Mission, SF

(415) 920-0577

www.balancoiresf.com

SUNDAY 10/13

 

King Khan and the Shrines

Huzzah! King Khan and the Shrines have finally recorded a new album! After six years of silence, these psychedelic soul-punk weirdos are back and showing their softer side with Idle No More. The new album is informed not by Khan’s typical crass humor and brash antics, but with a new sense of introspection. In the years he’s been gone, Khan has dealt with the tragedy of losing a few close friends and has coped by spending time in psych wards as well as Buddhist monasteries. As the next step of the healing process, Khan has returned to music, his original source of salvation. While his live show is not quite as insane (or nude) as it was in his youth (he’s now 36 years old) he’s still a helluva performer, and we couldn’t be happier to have him back in the spotlight. (Haley Zaremba)

With Hellshovel, Slipping Into Darkness

8pm, $16

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com

TUESDAY 10/15

 

Quintron and Miss Pussycat’s Mystery in Old Bath

Miss Pussycat and Quintron have a reputation for putting on colorful, imaginative, and otherworldly musical performances on stage. With their latest puppet film, The Mystery in Old Bathbath, (featuring characters, Trixie and the Treetrunks) they delve deeper into a realm of wonder, but in a different medium. This 45-minute opus contains drama, high jinks, and handcrafted cuteness — and it has already garnered creative accolades in some high places. Greet Q&P in person at the Roxie as they’ll stick around for a Q&A after unveiling this all-puppet cast adventure, written and directed by the duo for our viewing pleasure. (Andre Torrez)

7:30pm $10

Roxie Theater

3117 16th St, SF

(415)863-1087

www.roxie.com

Friends in the shadows

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rebecca@sfbg.com, joe@sfbg.com

It’s a simple fact of life: Money buys influence. But in San Francisco, despite strict sunshine laws to illuminate donations to city agencies and gifts to the regulators from the regulated, money still circulates in the shadows when it flows through the coffers of “Friends” in high places.

Major real estate developers, city contractors, and large corporations often lend financial support to San Francisco city departments, to the tune of millions of dollars every year. But the money doesn’t just flow directly to city agencies, where it’s easily tracked by disclosure laws. Instead, it goes through private nonprofits that sometimes label themselves as “Friends Of…” these departments.

They include Friends of City Planning, Friends of the Library, a foundation formerly known as Friends of the San Francisco Department of Public Health, Friends of SF Environment, and Friends of San Francisco Animal Care and Control.

The Friends pay for programs the departments supposedly cannot cover on their own. Bond money can build a skyscraper, but sometimes not fill it with furniture. Agencies are barred by law from funding an employee mixer or a conference trip, so departments turn to their Friends to fill in the gaps. Adding bells and whistles to city websites, holding lunchtime lectures, hiring a grant writer — or, in the case of the Department of Public Health, bolstering health services for vulnerable populations — these are all examples of what gets funded.

The extra help can clearly be a good thing, but the lack of transparency around who’s giving money raises questions — especially if it’s a business gunning for a major contract or a permit to build a high-rise.

City agencies receive outside funding from a wide variety of sources. Sometimes grants are made by the federal government, or a well-established philanthropic foundation — and according to city law, gifts of $10,000 or higher must be approved by the Board of Supervisors. But in the case of organizations like Friends, which are created specifically to assist city government agencies, the original funders aren’t always identifiable. And the collaboration is frequently much closer, with city staff members serving on Friends boards in a few cases.

the circle of donations to "friends of" foundations

Friends board members told the Guardian that their partnership with government helps bolster city agencies in a time of increasing austerity, in service of the public good. But do the special relationships these influential insiders hold with high-ranking city officials come into play when awarding a contract, issuing a permit, making a hiring decision, or determining whether a developer’s request for a rule exemption should be honored? Without more transparency, it’s tough to tell.

City disclosure rules state that any gift to a department must be prominently displayed on that department’s website, along with any financial interest the donor has involving the city. But Friends and other outside funders are under no obligation to share their supporters’ names, much less financial ties, when they distribute grants. Meanwhile, the disclosure rules that are on the books seem to be frequently ignored, misunderstood, or unenforced, our investigation discovered.

How are donors repaid for their support? Consider the controversy earlier this year around Pet Food Express, which won approval in June for another store in the Marina District despite opposition from four locally owned pet stores in the area that fear competing with a large national chain. Pet Food Express won the unlikely support of the city’s Small Business Commissioners, some of whom reversed their 2009 positions opposing the chain’s previous application.

SF Animal Care and Control Director Rebecca Katz personally lobbied the commission to support Pet Food Express, at least partially because the company has donated pet supplies valued at $50,000 to $70,000 per year to the department. That’s a lot of money for a cash-strapped city department, but a pittance compared to the profits of an expanding national chain.

It’s moments of clarity like those, when the public can easily trace the line from donations to political influence, that show why disclosure is so crucial. But those moments are few and far between when trying to trace the funders of private foundations and Friends organizations, where deals often happen in the dark.

 

WHEN DEVELOPERS ARE FRIENDS

At the Merchant Exchange Building in May, a crowd of high-profile real-estate developers mixed and mingled with city planners, commissioners, and even Mayor Ed Lee, wine glasses in hand. Sources told the Guardian that most of the planning staff was present, and not all were happy about having ribbons and name tags affixed to their shirts, as if they were being auctioned off.

With around 500 in attendance, the event was an annual fundraiser hosted by the Friends of San Francisco City Planning, a nonprofit organization that accepts contributions of up to $2,500 per individual to lend a helping hand to the Planning Department. This year’s event was titled “Incubator Startups, New Jobs for the Future,” hinting that the development community shares the mayor’s affinity for new tech startups and the droves of high-salaried IT professionals they’ve attracted to the city.

Some Friends of City Planning board members are major real-estate developers who routinely seek approval for major construction projects. Others are former planning commissioners, or have a background in community advocacy.

Amid widespread concern about displacement, gentrification, and the overall character of San Francisco’s built environment, no city department has greater influence than Planning. An individual’s interpretation of the Planning Code can carry tremendous weight; it’s a series of small decisions that shape a project’s profits and the look and feel of San Francisco’s future. And with cranes dotting the city’s skyline and market-rate construction catering to the wealthy while middle income residents get priced out, the amount of capital flowing through the development sector these days is astonishing.

In this dizzy climate, there might seem to be something askew about affluent developers and land-use attorneys rubbing elbows with city regulators, all eager to pass the hat for the Planning Department. Whiff of impropriety or no, the fundraiser appears to be totally legal.

“We aren’t violating the law — that I know,” Friends of City Planning Chair Dennis Antenore told the Guardian. “We’ve had legal advice on that for years.”

There is close collaboration between Friends of San Francisco City Planning and the Planning Department — a partnership so entrenched that it’s almost as if the nonprofit is an unofficial, private-sector branch of the agency.

“We are certainly thankful and appreciative,” Planning spokesperson Joanna Linsangan told the Guardian. “They’ve helped us for many, many years.” The additional funding is needed, she said, because “there isn’t a lot of wiggle room” in the departmental budget.

Each year, Planning Director John Rahaim submits a wish list to the Friends, outlining projects he wants funding for. This year, he requested $122,000 for a variety of initiatives, including training support to help planners assess proposals for formula retail (read: chain stores). That’s a hot-button issue lately, and one that shows how seemingly small decisions by planners can have big impacts.

When the department’s zoning administrator ruled that Jack Spade, a high-end clothing chain that opened up in the old Adobe Books location on 16th Street, wasn’t considered formula retail and therefore didn’t need a conditional use permit, neither widespread community outrage nor a majority vote by the Board of Appeals could reverse that flawed decision. It was a similar story with the Planning Commission’s Oct. 3 approval of the 555 Fulton mixed use project, where Planning Department support for exempting the grocery store for the area’s formula retail ban made it happen, to the delight of that developer.

Even though the planning director makes specific funding requests each year to the Friends and pitches the projects in person at their meetings — and the Friends publishes a list of the grants it awards to the department online — the Planning Department is not reporting those gifts to the Board of Supervisors.

“I confirm that the Planning Department did not receive any gifts,” Finance and IT Manager Keith DeMartini wrote in official gift reports submitted to the Board of Supervisors for the years 2011-12 and 2012-13. Those reports were sent to the board on Oct. 7 and Oct. 4, respectively, well after the July filing deadline and after the Guardian requested the missing reports.

The Friends typically funds two-thirds of the requests, said board member Alec Bash, totaling around $80,000 a year. In 2012, the Friends awarded a $25,000 grant to make the department’s new online permit-tracking system more user-friendly, making life a lot easier for developers.

When asked what safeguards are in place to prevent undue influence when the director is soliciting funding from a nonprofit partially controlled by developers, Linsangan responded, “those are two very separate things. One does not influence the other.”

She stated repeatedly that planners are not privy to information about individual contributors — but the fundraisers are organized by a board that includes identifiable developers, and anyone who attends can plainly see the donors in attendance. Nevertheless, Linsangan insisted that planners would not be swayed by this special relationship, saying, “That’s simply not the way we do things around here. We do things according to the Planning Code.”

But as the ruling on Jack Spade shows, as well as countless rulings by planners on whether a project is categorically exempt from the California Environmental Quality Act, interpreting the codes can involve considerable discretion.

The public can’t review a list of who wrote checks to the Friends of San Francisco City Planning for the May fundraiser. Since the organization waits a year between collecting the money and disbursing grants, donors stay shielded from required annual disclosures in tax filings.

But Antenore says the system was established with the public interest in mind. “We don’t reveal the contributors, because we don’t want anybody to have increased influence by a donation,” he insisted. Bash echoed this idea, saying the delay was to “allow for some breathing room.”

Unlike some of his fellow board members from the high-end development sector, Antenore has a history of being aligned with neighborhood interests on planning issues, helping author a 1986 ballot measure limiting downtown high-rise development. He emphasized that the developers on the Friends board are balanced out by more civic-minded individuals.

Still, developers who regularly submit permit applications for major construction projects sit on the Friends board. Among them are Larry Nibbi, a partial owner of Nibbi Bros.; Clark Manus, CEO of Heller Manus Architects; and Oz Erikson, CEO of the Emerald Fund development firm.

“We’re not making use of [the funding] in a way that benefits these people,” Antenore said. “I wouldn’t do this if I thought otherwise. I have been careful to maintain the integrity of this organization.” The money is meant to facilitate better planning, he added. “I don’t think there’s any conspiracy,” he said. “We’re not financing anything evil.”

Both the Planning Department and its Friends dismissed the idea that the donations could open the door to favoritism or undue influence. So why isn’t the department reporting gifts it receives from the Friends to the Board of Supervisors, or disclosing them on its website, as required by city law?

According to a 2008 City Attorney memo on reporting gifts to city departments, when an agency receives a gift of $100 or more, it “must report the gift in a public record and on the department’s website. The public disclosure must include the name of the donor(s) and the amount of the gift [and] a statement as to any financial interest the contributor has involving the city.”

John St. Croix, director of the San Francisco Ethics Commission, confirmed that’s the current standard, telling us, “The actual disclosure should be on the website of the department that received the gift.”

Linsangan said records of the gifts are indeed available — listed as “grants” in the department’s Annual Report. But while the 2011-12 report lists grants from sources such as the Metropolitan Transportation Commission and the Environmental Protection Agency, there was no mention of Friends of City Planning.

The memo also says any gift of $10,000 and above must first be approved by a resolution of the Board of Supervisors. But last year, when the Friends provided $25,000 to upgrade the permit-tracking system, it wasn’t sanctioned by a board resolution. Asked why, Linsangan made it clear that she was not aware of any such requirement.

As is common, when it comes to adhering to disclosure laws, confusion abounds. And sometimes, only sometimes, politicos get caught.

 

READING UP ON DISCLOSURE LAWS

When the head of a city agency fails to report gifts totaling $130,000, how much do you think he is fined?

City Librarian Luis Herrera failed to report receiving that amount in gifts and he was fined exactly $600 by the California Fair Political Practices Commission on Sept. 19. Specifically, Herrera had to file a form 700 with the FPPC to state the gifts he received. From 2008-2010, the forms he turned in had the “no reportable interests” box checked.

The money was used in what he calls the City Librarian’s Fund, which is the money he keeps on hand to pay for office parties and giving honorariums to poets and speakers who perform at the library’s branches, money that wasn’t disclosed on the very forms designed for reporting it.

There are two stories of how the fine came about. Longtime library advocate James Chaffee said that it was the result of a complaint he filed with the FPPC in April, and indeed, he sought and obtained many public documents revealing the money trail. San Francisco Public Library spokesperson Michelle Jeffers disagreed, saying that the fine was the result of an ongoing conversation with the FPPC to figure how exactly to file the gifts appropriately.

“The law wasn’t clear around these forms and it wasn’t clear if he had to report them,” she told the Guardian. “For amending the reports you have to pay a $200 fine for every year it was proposed. We keep scrupulous records on every pizza party we have.”

When government officials receive “gift of cash or goods,” they must report them annually in statements of economic interest, known as a Form 700, to the city Controller’s Office. The form is kind of a running tally of who is receiving gifts from whom, a way for the public to track money’s influence in government.

The gifts came from the Friends of the San Francisco Public Library, another nonprofit that bolsters city agency funding. Now Herrera has to list the $130,000 gifts from fiscal years 2008-09 and 2009-10 on his website.

What exactly does that accomplish? As it turns out, not a whole lot.

City Administrative Code 67.29-6 defines the reporting of gifts to city departments, and one of those requirements is to make a statement of “any financial interest the contributor has involving the city.” Now that Herrera lists the Friends of the San Francisco Public Library as donors on the department website, the statement of financial interest by the friends group is this: “none.”

There are myriad donors to the Friends of the SFPL, and the group doesn’t have to state the economic interests of its donors, or even mention who its donors are. The code requires gifts be reported to the controller, and the deputy city controller told us this doesn’t apply to the “friends of” organizations, or any nonprofit foundation arms of city departments.

“If gifts are made to a department, yes, they have to disclose, so people don’t get preferential interest in getting city contracts,” Deputy Controller Monique Zmuda told us. “I know it’s a fine line. The foundations don’t provide us with anything.”

Friends of the SFPL doesn’t provide money just for pizza parties. A breakdown of a funding request from the library to its Friends shows requests up to $750,000 to advertise the library on Muni and in newspapers, funding for permanent exhibits, and the City Librarian’s personal fund. That’s just the money it gives to the library. Other monies are spent directly on activities supporting the library.

As Jeffers pointed out to the Guardian, the money isn’t spent on “trips to Tahiti.” Friends of the SPL do good city works, from a neighborhood photo project in the Bayview branch library to providing books for children. But the question is: Who’s buying that goodwill and why?

The millions of dollars in donations made to the Friends of the SFPL don’t need to be approved by the Board of Supervisors, like gifts to departments do. They’re not checked for conflicts of interest or financial interest by any governmental body. Donors give and the Friends of SFPL spend freely, financial interest or not.

When our research for this story began, no financial statements were available of the Friends of the SFPL website. After a few days of inquiries, the most recent year’s financial statements from 2011-12 were posted to the website.

Ultimately, the San Francisco Public Library is one of the smaller city departments, with an annual budget that hovers around $86 million. The Department of Public Health is a much bigger beast, with a 2011-12 budget of around $1.5 billion.

One of its main foundations, the San Francisco General Hospital Foundation, is also one of the largest nonprofits that supplements city spending. In many ways, it could be described as the model of disclosure for city foundations, although its disclosures are not by law, but by choice.

 

FOUNDATION OF FRIENDS

The Department of Public Health relies on a few entities that fundraise on its behalf: the San Francisco Public Health Foundation, the Friends of Laguna Honda Hospital, and the San Francisco General Hospital Foundation.

“They’re private nonprofit entities that are separate from the department,” CFO Greg Wagner told us. “But their roles are to support the department in its efforts.” He cited examples such as sending its staff to conferences or hosting meetings, “things that we don’t have the budget for or don’t have the staff or resources.”

The lion’s share of the DPH’s gifts are funneled through the SFGHF. Unlike many of the assorted Friends groups or foundations that support city services, the SFGHF extensively reports the sources of its $5 million in donations. The donors include a veritable who’s who of San Francisco: the Giants, Sutter Health, Xerox, Pacific Union, and Kohl’s all donated between $1,000 and $10,000 in the past two years.

But the largest gifts to the SFGHF came from Kaiser Permanente, and its financial interests in the city run deep. Kaiser came into the city’s crosshairs in July, when the Board of Supervisors passed a resolution calling on Kaiser to disclose its pricing model after a sudden, unexplained increase in health care costs for city employees. Kaiser holds a $323 million city contract to provide health coverage, and supervisors took the healthcare giant to task for failing to produce data to back up its rate hikes.

In the meantime, Kaiser has also been a generous donor. It contributed $364,950 toward SFGHF and another $25,000 to SFPHF in fiscal year 2011-12.

The funding from Kaiser and a host of other contributors — which include Chevron, Intel, Genentech, Macy’s, Wells Fargo (another city contractor), and a pharmaceutical company called Vertex — does support needed programs. They include research into the health of marginalized communities, services through Project Homeless Connect, screening for HIV, and immunization shots for travelers.

But because DPH doesn’t count much of this support as “gifts” formally received by the city, it isn’t subject to prior approval by the Board of Supervisors, or posted on the department’s website along with the contributors’ financial interests. Major contributions are disclosed in a report to the Health Commission, something Wagner described as a voluntary gesture in response to commissioners’ requests.

“Most gifts to foundations are donations to a nonprofit and do not come through the city or DPH at all,” he noted.

This distance is maintained on paper despite close collaboration with the department. In the case of Project Homeless Connect, a program that holds a bimonthly event to aid the homeless, it supports programs headquartered in city facilities. Penny Eardley, executive director of SFPHF— which used to be called Friends of San Francisco Public Health — noted that her organization occasionally makes grants or seeks funding in response to department requests. And Deputy Director of Health Colleen Chawla is a foundation board member. It’s almost like these foundations are extensions of the department, except they’re not.

SFPHF also earns revenue as a city contractor. When DPH received a grant from the Centers for Disease Control, it contracted with SFPHF to manage subcontracts with about a dozen community-based organizations.

The web gets even more tangled. The president of SFPHF is Randy Wittorp — who’s also Director of Public Affairs for Kaiser Permanente’s San Francisco Service Area. It’s a similar story with SFGHF, whose board includes several General Hospital administrators, including CEO Susan Currin.

Former Health Commissioner James Illig said people shouldn’t worry, that hospital the staff would never direct foundation funds to pet projects or mishandle funds. They maintain a separation and a firewall,” he said, for example noting, “Sue Currin is not directing funds to her own hospital.”

But he did admit that since SFGHF’s minutes are not public documents, that “raises a few concerns,” arguing the public should be able to inspect financial documents to decide if the foundations are directing funds lawfully to city departments.

Even when the public by law has a right to access financial records of a city department, rooting out corruption can be like pushing a boulder up a San Francisco hill.

 

FROM PATIENTS TO PARTIES

In 2010 and 2011, Laguna Honda Hospital administrators and staff used money from the hospital’s patient gift fund to throw a party. And then they spent it on airfare. And then they gave laser-engraved pedometers to the staff. All told, they spent nearly $350,000 meant for the dying and the infirm, nearly half of the total funds.

The incident was big, messy, and out in the public eye. It was an all-too-rare glimpse into the shady use of public funds by public officials. But when hospital staff members Dr. Derek Kerr and Dr. Maria Rivero blew the whistle on Laguna Honda’s misuse of patient funds in 2010, they were drummed out of their jobs.

Eventually litigation on behalf of the whistleblowers and their complaints of corruption were found to have merit.

Kerr’s vindication came at a meeting of the Health Commission in April 2013. In the packed City Hall meeting room, the public watched as Laguna Honda Executive Director Mivic Hirose read her apology to Kerr and Rivero aloud, even announcing a plaque in Kerr’s honor.

“The hospital will install the plaque in the South 3 Hospice,” she read, stiltedly, from a written statement, surrounded by microphones at the podium. “The plaque will say: In recognition of Derek Kerr MD of his contributions to the Laguna Honda’s hospice and palliative care program 1989-2010.”

Kerr received a settlement of $750,000 and something more important: His good name cleared.

But that conflict of interest was rooted out only after years of litigation that revealed the financial abuse through legal discovery of the department’s documents — documents that should’ve been public in the first place. ABC 7’s I-Team broke the story and did much of the reporting at the time, otherwise the entire affair may have been swept under the rug.

The misuse of funds was only brought to light with the revelation of public documents — revelations not possible with most Friends groups. The Laguna Honda Hospital Foundation has also had financial dealings with potential conflicts and a lack of transparency.

The now-defunct LHHF’s board chair, former City Attorney Louise Renne, made an interesting choice for her vice chair after she formed the nonprofit in 2003. Derek Parker was vice chair of the LHHF while simultaneously heading architecture firm Anshen-Allen, with a $585 million city contract to rebuild the hospital.

So he was not only rebuilding Laguna Honda under city contract, but soliciting and spending donations meant to supplement his project. Renne wrote to the Health Commission in December 2011 that LHHF’s purpose was to manage over $15 million in donations meant to furnish the hospital with beds, chairs, and other necessities. Eventually, then-Mayor Willie Brown found funding for the hospital, reducing the foundation’s role.

In a phone interview with the Guardian, Renne said the goals of the LHHF were only ever to furnish the newly christened hospital. “Our purpose was to fill the void, if you will, for what the city and its services could not do,” she said.

But in her letter, Renne advocated for LHHF to take an active role in fundraising for the hospital for years to come. “Today, the members of the Board of Directors of the Foundation continue to assist the hospital in various phases of its new projects and operations with projects approved by the City and/or the hospital administration,” she wrote to the Health Commission.

And Parker would have potentially managed millions of dollars flowing through donations for countless other hospital projects, while heading an architectural firm with contracts to build in San Francisco. We were unable to reach Parker for comment.

“I never saw Derek use his position as an architect or position for any political gain, I never saw it,” Renne told us. But no one else would see it either, because organizations like the now closed Laguna Honda Hospital Foundation operate without public oversight.

The Health Commission itself even noted this in its March 2012 meeting, the minutes describing then-commissioner James Illig as critiquing the foundation for not being open about its source of funding.

“Commissioner Illig thanks Ms. Renne and Mr. Parker for coming to the Commission,” the minutes read. “Because (LHHF) is a project of Community Initiatives, a fiscal sponsor for nonprofits, it is not possible to find basic financial information about the Foundation or its activities.”

Divided interests on hospital board

Due to a quirk of her foundation being under the “umbrella” of a separate entity, Community Initiatives, Illig was never able to even get the LHHF’s IRS forms, he told us. “We tried to get information and reports, and the Community Initiatives [Form] 990 was giant,” Illig said. “It didn’t separate anything out.”

Illig told us that it made sense to have Parker on the board because he is monied and well connected, making it easier to solicit donations. But insiders close to the board told us that Parker’s position may have made it easier to swing getting other contracts for his firm.

Parker got another city contract building the UCSF Benioff Children’s Hospital at Mission Bay, slated to open in 2015. No doubt his firm got the job partly due to his reputation as pioneering architecture that leads to healthy patient outcomes — but then again, the board he served on also approved donations to research at UCSF.

Laguna Honda Hospital Foundation may now be defunct, but it serves to illustrate the lack of controls and oversight of the foundations beyond even gift disclosure.

 

OFF THE BOOKS

It might be characterized as a web of influence, cronyism, or just the way business is done. But is there something improper about all of this?

Private funding often represents a needed boost that allows for important work to take place beyond what could happen under ordinary budgeting. At the same time, it smacks of privatization. While departments and funders point to lean times in the public sector to justify the need for this help, the funding continues to flow whether it’s a good year or a bad year for city government. And at the end of the day, the most glaring issue of all seems to be the lack of transparency.

Are city departments ever tempted to bend the rules to lend a little help to their Friends? As long as the funding is in the dark, the public has no way of knowing.

Ethics chief St. Croix told us his office lacks the resources to visit every city website and check up on whether departments are following the disclosure rules. “If someone brought it to my attention that a department received a gift and didn’t post it [on the website],” he said, “we would look into it.”

But if the watchdogs need watchdogs, citizens who can’t even review documents that should be publicly available, then these quasi-governmental functions and the people who fund them will remain in the shadows.  

Danielle Parenteau contributed to this report.  

ADDENDUM  

When city funders operate in the dark, one of the best ways to learn about corrupt influence, misuse of funds, and other transgressions is from whistleblowers. If you have a tip for us, send us snail mail at SAN FRANCISCO BAY GUARDIAN, 225 Bush, 17th Floor, San Francisco, CA 94104. Or email us at news@sfbg.com. Just make sure not to use an email address provided by your workplace, which is less secure.