Art

Music Listings

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Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 19

ROCK/BLUES/HIP-HOP

Atlantic/Pacific, Ash Reiter, Sonny Pete, DJs Bagel Ted and Julie T Milk Bar. 8pm, $5.

Tia Carroll and Hard Work Biscuits and Blues. 8 and 10pm, $15.

Dead Westerns, Mosshead, Street Pyramids Hemlock Tavern. 9pm, $6.

Zoe Keating, Inu feat. Zoe Keating, Tycho Independent. 8pm, $17.

Bryan McPherson, Mick Leonardi, Graham Patzner Hotel Utah. 8pm, $7.

Third Victim of Abigail Rutledge, SuperfinosVTO, Young Lovers Kimo’s. 9pm.

White Manna, Greg Ashley, Outlaw, Rachel Fannan Elbo Room. 9pm, $7.

Young Prisms, Melted Toys Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Cat’s Corner with Christine and Nathan Savanna Jazz. 9pm, $10.

Congress, Conspiracy of Venus, Mindi Hadan Café Du Nord. 8:30pm, $10.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Michael Parsons Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $16-22.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $35.

FOLK/WORLD/COUNTRY

Triskela Koret Auditorium, San Francisco Public Library, 100 Larkin, SF; (510) 548-3326. 6pm, free.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 20

ROCK/BLUES/HIP-HOP

Jonathan Coulton, Paul and Storm Great American Music Hall. 7:30pm, $25.

Inferno of Joy, White Barons, Bite, Last Internationale Thee Parkside. 9pm, $6-7.

Mac Miller Slim’s. 9pm, $16.

Nectarine Pie, These Hills of Gold, Memory’s Mystic Band Hemlock Tavern. 9pm, $7.

Peter Wolf Crier, Retribution Gospel Choir, Cannons and Clouds Bottom of the Hill. 9pm, $10.

Johnny Vernazza and the Knockouts Biscuits and Blues. 8 and 10pm, $15.

Wailers, Tomorrows Bad Seeds, Duane Stephenson Independent. 9pm, $25.

Worker Bee, Sleeptalks, Nick Reinhart, Sunbeam Rd. Café Du Nord. 8pm, $10.

JAZZ/NEW MUSIC

Ara Anderson and Michael McIntosh Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $16-22.

Savanna Jazz Trio and jam session Savanna Jazz. 7:30pm, $5.

Stompy Jones Top of the Mark. 7:30pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $40.

FOLK/WORLD/COUNTRY

Adam Traum Atlas Café. 8pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With resident DJs Haylow, A-Ron, Prince Aries, Boogie Brown, Ammbush, plus food carts and community creativity.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene Rickshaw Stop. 9pm, $10. With Royal Bangs and Foster the People.

Two Thousand a LOVE-in Kimo’s. 9pm. With SF Block Party, Seapora, and Gypsy Love.

FRIDAY 21

ROCK/BLUES/HIP-HOP

Bayonics, Skins and Needles Elbo Room. 10pm, $10-13.

Jay Brannan, Dave Smallen, Jhameel Bottom of the Hill. 9:30pm, $14.

Shane Dwight Biscuits and Blues. 8 and 10pm, $20.

Guster Fillmore. 8pm, $27.50.

Man/Miracle, Butterfly Bones, Elephant and Castle Hemlock Tavern. 9:30pm, $7.

Mission Players Coda. 10pm, $10.

Papa Grows Funk, Allofasudden Slim’s. 9pm, $25.

Passenger and Poilot, Black Swan, Hypnotist Collectors Red Devil Lounge. 8pm, $8.

Pimps of Joytime, Staxx Brothers Independent. 9pm, $25.

Planet Booty, Super Adventure Club, Greenhorse, MC Ladyfinger Café Du Nord. 9pm, $12.

Ra Ra Riot, Givers Great American Music Hall. 9pm, $18.

Sassy!!!, Witchburn, Diemond El Rio. 9pm, $5.

Harley White Jr. Studio Gracia, 19 Heron, SF; www.beyondblues.com. 8pm, $15.

JAZZ/NEW MUSIC

Benn Bacot Savanna Jazz. 7:30pm, $5.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Emily Anne’s Delight Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $20-26.

Scott Amendola Quartet Red Poppy Art House. 8pm, $12-20.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $45.

DANCE CLUBS

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

DJ Meat Hookz Thee Parkside. 8pm, free. Funk, soul, and hip-hop.

DJ Momentum Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

DJ What’s His Fuck Riptide Tavern. 9pm, free. Old school punk rock and other gems.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

House of Voodoo Blue Macaw, 2565 Mission, SF; www.houseofvoodoo.com. 9pm, free ($5 after 10pm).

Oldies Night Knockout. 9pm, $2-4. DJs Primo, Daniel, and Lost Cat spin doo-wop, one-hit wonders, soul, and more.

Radioactivity 222 Hyde, 222 Hyde, SF; www.222hyde.com. 6-9:30pm. Kraut-minimal wave-cosmic-Italo standards with Cole Palme, Tristes Tropiques, and Robots.In.Heat.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Singapore 60s Happy Hour Knockout. 5:30pm, free. DJ Sid Presley spins rare pop, garage, and freakbeat from SE Asia, circa 1964-72.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Trannyshack: Star Search DNA Lounge. 9:30pm, $15. Heklina and Peaches Christ host this drag-tastic talent show.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 22

ROCK/BLUES/HIP-HOP

Justin Ancheta, Con Brio, Titan Ups Amnesia. 9pm.

Asylum Street Spankers Great American Music Hall. 8pm, $30.

David Berkeley. Bhi Bhiman Swedish American Hall (upstairs from Café Du Nord). 8pm, $22.

Family Crest, Moanin’ Dove, Welcome Matt Café Du Nord. 9pm, $12.

Fu Manchu, Dusted Angel Bottom of the Hill. 10pm, $12.

Hate Crime, Grandma’s Boyfriend, Symbolick Jews, Dinner With the Kids Li-Po Lounge. 9pm, $5.

Josh Klipp, Joe Stephens, Alex Davis, Storm Florez, Eli Conley El Rio. 6pm, free.

Lecherous Gaze, Ripper Bender’s, 800 S. Van Ness, SF; www.bendersbar.com. 10pm, $5.

Meris, High Horse, Super Proxy Thee Parkside. 3pm, free.

Old 97s Fillmore. 9pm, $26.50.

Pigs, Outdoorsmen, Dead Meat, Dadfag Hemlock Tavern. 9:30pm, $7.

Pimps of Joytime, J Boogie’s Dubtronic Science Independent. 9pm, $25.

Rubber Souldiers, Moonlight Rodeo Slim’s. 9pm, $15.

Sioux City Kid and the Revolutionary Ramblers, That Ghost, Hanalei, Thee Landlords Thee Parkside. 9pm, $7.

Sugaray and CK All Stars Biscuits and Blues. 8 and 10pm, $20.

Wonderbread 5, Foreverland Bimbo’s 365 Club. 9pm, $20.

JAZZ/NEW MUSIC

Gina Harris and Torbie Phillips Savanna Jazz. 7:30pm, $8.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $26.

Jesse Scheinin Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Thingamajigs Performance Group Meridian Gallery, 535 Powell, SF; (510) 444-1322. 8pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $45.

FOLK/WORLD/COUNTRY

Kafana Balkan, Brass Menazeri, DJ Zeljko Rickshaw Stop. 9pm, $10.

Genghis Blues Review Kaleidoscope Free Speech Zone, 3109 24th St, SF; www.kaleidoscopefreespeechzone.com. 8:30pm, $10. With Kongar-ol Ondar and more.

Pickpocket Ensemble Red Poppy Art House. 8pm, $12-15.

“Suonare e Passeggiare: Extravagant Music from 17th Century Italy and Spain” Most Holy Redeemer Church, 100 Diamond, SF; www.musicsources.org. 2pm, $20.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Barracuda 111 Minna. 9pm, $10. Eclectic 80s music with DJs Damon and Phillie Ocean plus 80s cult video projections, a laser light show, prom balloons, and 80s inspired fashion.

Bootie: Boston in SF with DJ BC DNA Lounge. 9pm, $6-12. Mash-ups from the East Coast.

Debaser Knockout. 9pm, $5. DJ Jamie Jams, Emdee, and Stab Master Arson spin 90s hip-hop.

DJ Duserock Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

4 Years: One Funktion Elbo Room. 10pm, $5-10. 4OneFunktion hip-hop party four-year anniversary with sets by B. Cause and Mista B, F.A.M.E., Light Up the Darkness, and more.

Go Bang! Deco Lounge, 510 Turk, SF; www.decosf.com. 9pm, free ($5 after 10pm). Atomic dancefloor disco action with Eddy Bauer, DJ FreshStep, and DJ Flight.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip-hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Jersey Score Underground SF. 9pm, free ($5 after 10pm). Jersey Shore-themed gay dance party with DJs Robert Jeffrey and Juan Garcia.

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 23

ROCK/BLUES/HIP-HOP

Angels on Acid, Cystem Cex, NPMN DNA Lounge. 8pm, $10.

Beep!, Dinosaur Feathers, Careerers Hemlock Tavern. 9pm, $6.

Black Swans, Will Sprott, Pancho-San Knockout. 9pm, $5.

Bryan Greenberg Café Du Nord. 8pm, $14.

Madball, Cruel Hand, Crucified, Boundaries Thee Parkside. 7:30pm, $15.

Jake Mann and the Upper Hand, Grand Lake, Il Gato Bottom of the Hill. 8:30pm, $8.

Sour Mash Hug Band, Crux Amnesia. 9pm, $7-10.

Symbolick Jews, Grandma’s Boyfriend, Stowaways, Subfobias Kimo’s. 8pm, $7.

La Veda, Epiphany Castro, Eric De Arantahna El Rio. 6pm, $8.

JAZZ/NEW MUSIC

Los Boleros Savanna Jazz. 7:30pm, $5.

Christy and the Lowdowns Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Lua Hadar, Jason Martineau, Dan Feiszli Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 7pm, $40.

FOLK/WORLD/COUNTRY

Blue Diamond Fillups Thee Parkside. 4pm, free.

Kat Parra Latin/World Ensemble Red Poppy Art House. 7pm, $12-20.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, J Boogie, and guest Kentyah.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 24

ROCK/BLUES/HIP-HOP

Midnite, Jah Yzer Independent. 9pm, $28.

War Yoshi’s San Francisco. 8pm, $40.

JAZZ/NEW MUSIC

Lavay Smith Swinget with Jules Broussard Enrico’s, 504 Broadway, SF; (415) 982-6223. 7pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

Smile! Knockout. 9pm, $7. DJ Neil Martinson spins psych, soul, glam, bubblegum, and more.

TUESDAY 25

ROCK/BLUES/HIP-HOP

Paul Banks and the Carousels Elbo Room. 9pm.

Barn Owl, Phil Manley Life Coach, Diego Andres Gonzalez Hemlock Tavern. 9pm, $6.

Sonya Cotton, Honeycomb, Ever Isles Rickshaw Stop. 8pm, $10.

Eli Wise Band, Evon, Steel Hotcakes El Rio. 7pm, free.

Ghost of a Saber Tooth Tiger, Laura Gibson Café Du Nord. 8pm, $17. Amos Lee, Vusi Mahlasela Fillmore. 8pm, $25. Midnite, Jah Yzer Independent. 9pm, $28. Sandwitches, Art Museums, Soft Bombs, Rachel Fannan Slim’s. 8pm, $5. War Yoshi’s San Francisco. 8pm, $40. Wovenhand, Git Some, Common Eider King Eider Bottom of the Hill. 9pm, $13. FOLK/WORLD/COUNTRY Graham Connah Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. JAZZ/NEW MUSIC Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Stump the Wizard Argus Lounge. 9pm, free. Interactive DJ game with What’s His Fuck and the Wizard.

Rep Clock

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Schedules are for Wed/19–Tues/25 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $5. “OpenScreening,” Thurs, 7:30. For participation info, email ataopenscreening@atasite.org.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-20. The Social Network (Fincher, 2010), Wed, 2, 4:30, 7, 9:20. “SF Sketchfest: Tribute to It’s Garry Shandling’s Show,” Thurs, 7; “Night of the Shorts,” Thurs, 9:30. For tickets ($25) visit www.sfsketchfest.com. “Noir City 9:” •High Wall (Bernhardt, 1947), Fri, 7:30, and Stranger On the Third Floor (Ingster, 1940), Fri, 9:30; •Strangers in the Night (Mann, 1944), Sat, 1, 4:40, and Gaslight (Cukor, 1944), Sat, 2:20; •They Won’t Believe Me (Pichel, 1947), Sat, 7:30, and Don’t Bother to Knock (Baker, 1952), Sat, 9:30; •A Double Life (Cukor, 1947), Sun, 1, 4:15, 7:45, and Among the Living (Heisler, 1941), Sun, 3, 6:15; •The Lady Gambles (Gordon, 1949), Mon, 7:30, and Sorry, Wrong Number (Litvak, 1948), Mon, 9:30; The Dark Mirror (Siodmak, 1948), Tues, 7:30, and Crack-Up (Reis, 1947), Tues, 9:30. For complete program information, visit www.noircity.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. “For Your Consideration:” The Human Resources Manager (Riklis, 2010), Wed, 7; Steam of Life (Berghäll and Hotakainen, 2010), Thurs, 7. The Illusionist (Chomet, 2010), Jan 21-27, call for times.

FIRST UNITED METHODIST CHURCH Nine Ross Valley Dr., San Rafael; www.miffamericas.org. $5-10. Why We Come, Fri, 7:30.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Casino Jack and the United States of Money (Gibney, 2010), Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: New Year’s Revolutions:” A Tale of Two Cities (Conway, 1935), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema: Fantasy Films and Realms of Enchantment:” Beauty and the Beast (Cocteau, 1946), Wed, 3:10. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” “Luminous Projections: Light in Bay Area Film and Performance,” Wed, 7:30; “Post-Conceptual Performance Video, 1977-1997,” Sun, 5:30. “World Cinema Foundation:” Dry Summer (Erksan, 1964), Thurs, 7; Al Momia (Salam, 1969), Sat, 6:30; The Housemaid (Kim, 1960), Sat, 8:35; The Wave (Zinnemann and Muriel, 1936), Sun, 4. “Suspicion: The Films of Claude Chabrol and Alfred Hitchcock:” Blackmail (Hitchcock, 1929), Fri, 7; This Man Must Die (Chabrol, 1969), Fri, 8:40.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10; www.redvicmoviehouse.com. Breakfast at Tiffany’s (Edwards, 1961), Wed-Thurs, 7, 9:25 (also Wed, 2). Let Me In (Reeves, 2010), Fri-Sat, 7, 9:25 (also Sat, 2, 4:25). Last Train Home (Fan, 2009), Sun-Mon, 7:15, 9:15 (also Sun, 2, 4). Tiny Furniture (Dunham, 2010), Jan 25-27, 7:15, 9:25 (also Jan 26, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. •On the Bowery (Rogosin, 1956) and The Perfect Team (Rogosin, 2009), Wed-Thurs, call for times. Two in the Wave (Laurent, 2009), Jan 21-27, call for times. “Bringing Up Léaud: The Antoine Doinel Cycle:” The 400 Blows (Truffaut, 1959), Fri, 6:45, 8:45; Made in the U.S.A. (Godard, 1966), Sat, 3:15, 5:15, 6:45, 8:45; Masculine Feminine (Godard, 1966), Sun, 2:45, 4:45, 9:15; La Chinoise (Godard, 1967), Sun, 7:15; Stolen Kisses (Truffaut, 1968) with “Anton Et Colette” (1962), Mon, 6:30, 9; Bed and Board (Truffaut, 1970), Tues, 6:45, 8:45.

VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10-12. Evangelion 1.0: You Are (Not) Alone (Anno, 2009), Wed-Thurs, 7:15; Evangelion 2.0: You Can (Not) Advance (Anno, 2011), Jan 21-27, check website for times.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Volume 14: Middle East,” nine videos focusing on the Middle East compiled by ASPECT: The Chronicle of New Media Art, Jan 13-March 27 (gallery hours Thurs-Sat, noon-8; Sun, noon-6). Ne change rien (Costa, 2009), Thurs, 7:30; Sun, 2. DE YOUNG MUSEUM Koret Auditorium, 50 Hagiwara Tea Garden Dr., SF; www.ruthstable.org. Free. Ruth Asawa: Roots of an Artist (Toy, 2011), Fri, 6, 7:15.

Crack-ups

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arts@sfbg.com

FILM Who wants to die for art? That question, immortally screamed by Divine at the climax of John Waters’ Female Trouble (1974), has most recently been taken up by Darren Aronofsky’s campy psychological thriller Black Swan (2010), in which Natalie Portman’s fragile ballerina discovers that giving her all as the good and evil leads in an edgy production of Swan Lake requires giving up her sanity, and eventually, her life.

The somewhat romantic notion that an overinvestment in one’s art can lead to a psychotic break with reality also underlies Ronald Colman’s far more gripping, Oscar-winning performance in George Cukor’s 1947 backstage noir A Double Life, a film Black Swan perhaps owes as much a debt to as it does to its other cinematic antecedents such as The Red Shoes (1948) or All About Eve (1950) (2007’s I Know Who Killed Me also deserves a lesser place on that list).

In the film — which screens at the Castro Theatre in a new archival print as part of Noir City 9 — Colman stars as Anthony John, a celebrated stage actor with a nasty temper who winds up playing the title role in a production of Othello opposite his ex-wife Brita (Signe Hasso), who has been cast as Desdemona. As John gets deeper into his character, his own lingering frustrations over his failed marriage become cross-wired with Othello’s jealous rage resulting in a fatal instance of life imitating art. "What seems a fairly safe profession, acting," wrote New York Times film critic Bosley Crowther in his review of the film, "is as dangerous as they come."

Cowritten by husband-and-wife team Ruth Gordon and Garson Kanin (who themselves were no strangers to the stage) and photographed with Expressionistic verve by Milton R. Krasner, A Double Life is — true to its title — filled with mirror imagery, split frames, and opposites locked in conflict. It also sets the stage, if you will, for the other titles in this year’s Noir City program, many of which turn on a character struggling to keep from splitting in two.

So often in film noir, the burden of proof is so great as to drive our hero or heroine mad as they try to convince those around them that they’re innocent, in danger, or more often than not, both. Such is the case with Pat O’Brien’s museum curator in Crack-Up (1947), who survives a horrible accident only to be told it never happened, or Barbara Stanwyck’s imperiled, bed-ridden rich girl in 1948’s Sorry, Wrong Number (Stanwyck, it should be noted, is all over this year’s festival, including a blistering starring turn as the titular addict in 1949’s The Lady Gambles).

In some cases, as with two of this year’s many not-on-DVD rarities, the protagonists actually do have evil twins. Olivia de Havilland beat Hayley Mills to the punch playing both sisters in Robert Siodmak’s The Dark Mirror (1946), in which the evil de Havilland uses her physical resemblance to frame her sweet sister (also de Havilland) for murder. Meanwhile, in Among the Living (1941), Albert Dekker goes up against himself as a brain-damaged psychopath who terrorizes a small town and the fraternal twin who must take him out.

This year’s nuttiest film by far is Fritz Lang’s Freudian roller-coaster ride The Secret Beyond the Door (1948). Faster than you can say Rebecca (1940), Joan Bennett’s naïve newlywed has been whisked off to her new husband’s big, dark house full of repressed secrets and a spinsterish head housekeeper. As gorgeous to look at is its plot is difficult to follow, The Secret Beyond the Door is a film you’d have to be nuts not to see.

NOIR CITY 9

Jan. 21–30, $10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.noircity.com

La Frontera

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arts@sfbg.com

HAIRY EYEBALL Walking through Tracey Snelling’s 10-year survey at Rena Bransten brings to mind the famous opening tracking shot of Orson Welles’ 1958 noir Touch of Evil. For over three tension-ratcheting minutes Welles’ camera — all swooping omniscience — takes in the garish sights and sounds of a tourist outpost along the U.S.-Mexico border as it tails an American car that, unbeknownst to the couple behind the wheel, has been planted with a bomb that’s about to go off.

Much like the back lot border-town surveyed by Welles, the Oakland-based Snelling pays repeated visits to liminal spaces: empty strip malls, dusty souvenir shops, seedy motels, and bygone roadside attractions. From her intricate miniature models of these buildings — many outfitted with ambient noise soundtracks, realistic interior lighting, looped video clips of “occupants,” and distressed paint jobs — to the mock-ups of the sort of neon signage once seen along Route 66 that greet you as soon as you walk into the gallery, Snelling’s art drops us somewhere south of some border, just on the edge of town, and definitely on the wrong side of the tracks.

The locations Snelling chooses are for the most part generic and yet deeply familiar. This is in no small part due to their recurrence as archetypical backdrops in pop culture and Hollywood films, something her art self consciously plays with. Take Big El Mirador, a large sculpture of an adobe hotel, for which Snelling has set up six DVD players behind the piece (coordinated with a sync box) to play a different film clip through each of the building’s six window to give the illusion of action happening in the rooms. Other models feature clips swiped from movies that feature similar structures, or are, as with the sculpture of Norma Desmond’s mansion from Sunset Boulevard, miniature versions of buildings from films.

At the same time, Snelling’s obsessive eye for detail — whether getting the fluorescent glare right inside a convenience store or building a perfectly weathered Tecate billboard — make each environment feel more “true-to-life,” inviting the viewer, much as a child does with a doll house, to construct narratives for the often-unseen occupants of these ghost town dioramas.

In other pieces Snelling situates the viewer as the occupant. In the space of a few steps one goes from looking at the exterior of model of the Motel El Diablo to standing in what could presumably be one of its rooms, complete with a cramped single bed, dresser, bad art on the wall, and more suggestively, a pair of black high heels casually tossed on the floor. Another life-size installation is a walk-through gift shop filled with to the brim with motion-activated tchotchkes, fake kachina dolls, Chinatown good luck dragons, and Hindu religious posters.

This scalar slip ‘n’ slide between life-sized and downsized only further adds to the fun house atmosphere generated by Snelling’s lovingly crafted and decidedly lonely monuments to displacement.

 

MARKING TIME

Max Cole’s acrylic-on-linen paintings feature alternating arrangements of two horizontal elements — ramrod straight lines of varying widths and small vertical hatch-marks — executed in varying shades of gray, black, brown, and white.

Like the painter Agnes Martin, Cole is an abstract precisionist whose canvases function as time cards, that with each tick, document to an almost zero-degree the entire span of their own creation.

And like Martin, Cole’s paintings are also rooted in the natural world, despite their superficial resemblance to, say, ruled writing paper. Titles such as Briscone Pine welcome one to see the grooves and ruts of tree bark, or in the case of the show’s name, “Terra Firma,” geologic strata, in these painting’s large bands and delicate vertical marks. *

TRACEY SNELLING: 10-YEAR RETROSPECTIVE

Through Jan. 29, free

Rena Bransten

77 Geary, SF

(415) 982-3292

www.renabranstengallery

MAX COLE: TERRA FIRMA

Through Feb. 12, free

Haines Gallery

49 Geary, SF

(415) 397-8114

www.hainesgallery.com

Life within sound

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arts@sfbg.com

MUSIC Peer carefully at the expansive gatefold cover art of Barn Owl’s Ancestral Star (Thrill Jockey), and what at first glance looks like two interstellar vessels cruising through the night sky coalesces into something much more grounded, tethered to the spectral shadow of the image’s photographer, Barn Owl guitarist-vocalist Jon Porras, holding his hands over the light source in the foreground.

Porras took the three-minute exposure of the moon over a campfire at SF’s Ocean Beach on a cold, clear April night. “If you look closely, you can see the waves crashing,” he says. “All the light becomes saturated on film — that’s why it’s so luminescent. I actually had to go up to the fire to warm my hands, and you can see a ghostly image of me warming my hands over the fire.

“It’s become a funny joke between my friends.”

It’s also an unlikely, mysterious footnote perfectly in sync with the majestic sounds pouring from Ancestral Star, one of 2010’s best albums, and one that continues to surface new pleasures — from “Sundown”‘s opening overture of distorted guitars to the title track’s incremental, tonal tectonic shifts to “Cavern Hymn”‘s glimmering, deeply echoed fingerpicking. The enigmatic, unexpectedly earthbound image parallels the long tone and drone listening experience as well. “It requires a certain patience,” Porras, 25, muses. “I think long tone music can open up aspects of reality you may not have otherwise have seen.”

Meditative drone, black metal, Tibetan throat-singing, gliding meditations on bowed guitar, and celestial compositions sprinkled with synth, gongs, bells, and singing bowls seamlessly ebb and flow, seemingly of one mesmerizing piece, in a work that feels like the lost, alternative soundtrack to Paris, Texas, or the score to a lost Alejandro Jodorowsky western — a sound that was part of the thinking when Porras and fellow guitarist-vocalist Evan Caminiti went into the studio with friend the Norma Conquest in 2009. It was their first opportunity to record over the course of several months, refining their sound and bringing in musicians such as violinist Marielle Jakobsons (Darwinsbitch) in a professional studio setting.

“We were going for a metaphysical cinematic western,” Porras explains. “We like to have these Americana-influenced guitar passages in combination with more experimental elements to create this overall narrative. I guess the desert at night is an image we like to invoke — fog-shrouded hillsides, the awestruck feelings you get from a landscape.” The sweeping, wonder-inducing American spaces of Cormac McCarthy and Porras’ favorite, Zane Gray, were an inspiration for the two musicians, who first met each other in an American Indian science class at San Francisco State University in 2005.

Metal, as well as the long-tone compositions of Lamont Young and the American primitive fingerpicking of John Fahey, also provided common ground. “We had similar ideas,” Caminiti recalls. “I just remember wanting to combine things that hadn’t necessarily been combined before — heavy music and blues with more folk-influenced music — so we’d work on a piece that had heavy drones and do blues-influenced fingerpicking over it. There was a lot of exploration that had to be done, and we just distilled the sound over the years.”

Those sonic journeys have manifested recently in a collaboration with Headlands Center for the Arts resident Ellen Fullman — who installed her room-sized long-string instrument in her old army building of a studio — out on the Important imprint. And Caminiti and Porras, who also hold down the musical projects Higuma and Elm respectively, are currently working on a new Barn Owl album with Trans Am’s Phil Manley at Lucky Cat Studio, on music sparked by Popul Vuh’s “interlocking chiming guitar passages,” according to Porras.

Now, with performances in the group’s past at such disparate spots as Grace Cathedral (“Great in particular because there’s six seconds of natural reverb, which is perfect for resonant sound,” Porras says), sometime label Root Strata’s On Land gathering, the Museum of Anthropology at the University of British Columbia in Vancouver, and the Supersonic Festival in the United Kingdom, the Barn Owl experience might be characterized as more metaphysical than visceral.

“We aim to create an enveloping atmosphere where everyone is sucked away into an alternate dimension for 30 minutes,” Caminiti observes. “Everything around you is just put on pause, and you’re just living within the sound in the moment. You become engulfed in the sound. The sound becomes a living organism, which is also why there’s a lot of room for improvisation in our set. For us, it leaves us centered and at peace — it’s a meditative device in a way.” 

BARN OWL

With Phil Manley Life Coach and Diego Andres Gonzalez

Tues/25, 9 p.m., $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

‘Too Much’ — and more

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arts@sfbg.com

THEATER/DANCE/PERFORMANCE Too much of a good thing can be a good thing. That became clear to artist/curators Julie Phelps and Keith Hennessy last year with the unexpected success of “Too Much!,” a no-holds-barred marathon of contemporary queer performance originally conceived as a cheeky 20th anniversary celebration of Hennessy’s lauded yet uncompromising career as performer, choreographer, and activist.

The idea of a “queer 20th anniversary” only got the conversation started, says Hennessy, whose company Zero Performance produced last year’s event. “I’m in a really different space than I was 20 years ago. I’m now 50. I made [my breakthrough] piece when I was in my late 20s. Who are those people now? And where is queer performance at? That sort of launched our thinking about putting on a festival, and [the idea] that the thing in itself should be excessive or ‘too much.’ So we crammed everything into 10 hours.”

This spirit of polymorphous plenitude launched a one-off “queer marathon” so momentous it turns into a second annual this Sunday, over the course of another 10 hours. Between 2 p.m. and midnight, three rooms at Dance Mission Theater are given over to the work of more than 50 artists — a mix of performance, installation, video, public discussion, workshops (in street art and queer games), and dinner. It promises to complicate all the usual expectations around identity-based art and politics. The only thing not overflowing is the price: 10 bucks.

This year’s “Too Much!” is more than a reprise, though. Co-curator Phelps — a young artist who recently cofounded queer performance incubator TheOffCenter, which comes on board as coproducer — explains that she and Hennessy have broadened the program. “Last year we only had performance, live installations, or full-length shows,” she says. “This year we were interested in adding this symposium element to it. While we’re all together, we might as well talk to each other, you know? So we’ve added a few workshops. Irina Contreras, for instance, is doing a stenciling workshop aimed at reminding people of the fully accessible tools they can use to express themselves as political beings, people of action.”

The symposia quotient includes a discussion of the controversial use of blackface as a subversive performance tool, a subject both Hennessy and Phelps see as particularly contentious in local identity-based art and academic discourse.

Among some notable returns from last year are Jesse Hewit, Laura Arrington, and Mica Sigourney, who as drag persona VyvvyAnne ForeverMore returns with another installment of her “Work MORE” series. Phelps describes the series, now in its third iteration, as “decentralizing drag out of nightlife bar culture and putting it into a contemporary art scene where it can be questioned and be challenged.” In this edition, Sigourney pairs drag queens with contemporary performance artists and challenges them to come up with a collaborative piece.

Of course, San Francisco has more than the average share of venues and platforms for queer art, so why is “Too Much!” not (despite the suggestion in the name) overkill?

“The Bay Area, obviously, is one of the gayest places on earth,” acknowledges Hennessy. “There are a number of different contexts for LGBT performers to work in. We looked at those and we tried to think of what doesn’t happen there? What if we did something, in a sense, more DIY? We don’t give a fuck what happens — we’re not going to pay anyone anyway. We’re just going to do this one day, organize it all ourselves, and if you want something different you can go somewhere else.”

Hennessy says they got a small grant this year that allows artists a modest remuneration. But the lack of institutional support or control, not to mention profit motive, combines neatly with a desire to include work that slips through the usual categories. “If we’re not beholden to anything, how much could we queer even the idea of an event?” he asks. “I think we’ve pulled [“Too Much!”] even further in the direction of messing with a simple theatrical structure. That means introducing people doing time-based work, or work that doesn’t fit into theatrical contexts for a variety of reasons.”

TOO MUCH!

Sun./23, 2 p.m.–midnight; $10

Dance Mission Theater

3316 24th St., SF

(800) 838-3006

www.brownpapertickets.com

Here, kitty kitty

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VINTAGE SEXY CINEMA “Ooh-la-la!” For decades this nonsense phrase personified “Continental” knowingness of a nature heavily suggestive to Yanks and yoinks raised under the buzz-kill shadow of a nation founded by Puritans. Just what did it mean? Oral knowledge unbeknownst to Oral Roberts? Sneaky-Pete glimpses of furry minx? Houses of ill repute and burgundy upholstery? Whatever: for long decades, Americans figured Old Europe knew sensual pleasures we were too nouveau to grasp, let alone grapple with.

Hollywood evinced salacious interest in exotic European sirens from early days — seminal silent vamp Theda Bara was credited with all kinds of exotic origin, though her actual city of birth was not-so-decadent Cincinnati. Soulful exported sensuality spanned subsequent decades from Garbo and Dietrich to “heady” Hedy Lamarr and driven-snow Scandinavian (till she got pregnant and left her husband for Rossellini) Ingrid Bergman.

These celluloid goddesses were afforded regal glamour and mystique, as if the Atlantic crossing kept foreign emotions remote. But after World War II, something happened. For one thing, Silvana Mangano exposed substantial melons in the florid post-neorealist melodrama of 1949’s agricultural potboiler Bitter Rice. She ignited a craze for voluptuous Euro-babes that lasted at least two decades, until censorship’s downfall rendered merely-hinted nudity as chaste as Mary Poppins.

Those glory days of international starlet innuendo are commemorated in “Love Kittens,” a new First Run Features DVD box comprising four vintage features of maximum retro spiciness. Two-star Agnès Laurent, which the sage L.A. Times then proclaimed had “a better figure than Mademoiselle Bardot!” Form-fitting duds notwithstanding, she now seems as merely cute as squeaky-clean contemporary Sandra Dee. Her first exported sensation was 1957’s The Nude Set, a.k.a. Mademoiselle Striptease, in which she’s a provincial student pressed to impress her fiancé by practicing the ecdysiast art form in a Parisian basement jazz club. Fear not: this delicious dunce is soon ushered safe back to bourgeois complacency by her stalwart if questionably faithful betrothed.

That same year, she guest-starred in Les Collegiennes, released in the U.S. as The Twilight Girls. The real star is Chanel model and Life magazine cover girl Marie-Hélène Arnaud, playing a newly arrived teacher at a girls academy. One of her charges is Catherine Deneuve — a barely recognizable 13-year-old making her screen debut in scenes restored from their originally cut U.S. release. Laurent is the high-born adolescent whose arrival at the school triggers scandalous entanglements.

Defined by another girl’s line “Please stop crying … whatever it is you’re thinking of now!” this melodramatic curio is like 1969’s The Prime of Miss Jean Brodie meets 1931’s Mädchen in Uniform meets you-name-it. (Lesbian sentiments are signaled by theremin noodling. Why? Because they’re weird!) Yet it’s largely a smart, sophisticated, just-sporadically-lurid tale that might’ve been better appreciated had it not been billed as “sexy, secretive, seductive” exploitation. It probably didn’t help that scenes crudely inserted after principal photography added two dormitory dwellers much inclined to shed bras and bounce a lot.

Laurent’s vogue was brief — she retired from the screen a half-century ago, dying just last year at age 74 — in contrast to “Teutonic temptress” Elke Sommer, who still occasionally acts in one of her purported seven language fluencies. She had planned, in fact, on becoming a diplomatic translator when modeling called instead. Winning a pageant on vacation in Italy, she got discovered by neorealist pioneer Vittorio De Sica and was soon hopping around the continent as the latest blonde bombshell dropped in Bardot’s wake. By 1963 she’d hit Hollywood, prettying up increasingly dismal mainstream dreck like Boy, Did I Get a Wrong Number! (1966) and Deadlier Than the Male (1967).

But first she impersonated a Frenchwoman in her two “Love Kittens” opuses, both directed by semi-forgotten Gallic sexploitation expert Max Pecas. She was just 21 — though already very worldly, not to mention curvy — in 1961’s Daniella by Night, playing a model whose work travel sinks her in a Roman potboiler of espionage, blackmail, and murder. (This intrigue’s gist is summed up by one character’s great line: “Apparently, everyone’s jealous of everyone else.”) Our heroine’s virtue is mortally endangered in several circumstances that threaten to separate her from clothing. It would take too long here to explain the pretzel logic by which Danielle must strip before a nightclub audience, then exit with horny American sailors, in order to escape assassination.

In Pecas’ 1963 Sommer vehicle Sweet Ecstasy — one should note certain territories saw it as Sweet Violence — she’s a crass seductress willing to play free-trade merchandise amid a yachtload of quasi-beatnik spoiled rich kids. Eventually she’s redeemed by caring enough to discourage a boy from participating in the craziest variation ever on a chicken contest, involving blindfolded leaps from construction-site cranes.

The difference between these European “sex” flicks and those coming just a few years later is remarkable. There’s so much plot, so many name actors (at least ones familiar to arthouse audiences at the time), and so much production gloss floating the tame exploitation elements, with their ludicrous excuses for toplessness. When heavily painted Sommer was steaming up screens as still import-only Eurobabe (“Nudest Elke Sommer is filmdom’s friskiest frisk!” Playboy exhaled), her movies weren’t exactly classy, but they weren’t Z-grade trash, either.

Her Pecas films remain treasure troves for Francopop enthusiasts: the first was co-scored by Charles Anzavour, the second featured songs by Johnny Halladay. By 1968 — still well before hardcore’s advent — collapsing censorship standards meant racy stuff could predominate, with only a slender g-string of narrative coverage required. Sommer might have been cheesecake — but she was too famous to give it up that freely.

Appetite: 3 new coffee havens

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CAFFE PASCUCCI, SoMa – I feel like I’m back in Italy at brand new Caffe Pascucci, the first outpost of a popular Italian chain. The crisp, white space is chic and soothing, even as the place buzzes with the Italian families and individuals already frequenting the place within merely days of opening. It’s not just because the menu is loaded with dozens of types of espresso, cappuccinos and iced coffees topped with banana or doused with amaretto. It’s because the majority Italian staff and clientele exude convivial Italian spirit, throwing out “ciaos” and “pregos” liberally. I like the robust Gold Espresso, though dark hot chocolate was a little too pudding-like in consistency, even if thankfully dark (my favorites in Italy or France are syrupy rich, but not stiff). Chad Newton, formerly of Fish & Farm, executes a simple but pleasing menu of salads and sandwiches – even an ultra-basic Tri-Color Salad is three types of greens (including bits of endive), gentle shavings of Parmesan, and a perky lemon dressing. 170 King, SF.

CONTRABAND COFFEE, Nob Hill – Yet another in the endless flow of Third Wave coffee houses,  brand new Contraband Coffee Bar occupies a less coffee-driven corner of Nob Hill (the Mission and SoMa don’t need any more… spread the wealth!) The space is clean, white, with modern art, and baristas I’ve seen working at other coffee havens around town. It sports a shiny Synesso Hydra espresso machine and also offer V60 pour-over and Chemex preparations for its own roasted beans. Additional kudos for getting the snacks right: Dynamo Donuts and Peasant Pies. 1415 Larkin, SF.

BAR AGRICOLE, SoMa – The simplicity is appealing. Bar Agricole, previously open for dinner and bar only, shares its soothing garden patio and forward-thinking, urban interior for a Four Barrel coffee and one food item: a pretzel bun, aka Laugenbrötchen, from Mountain View’s German baker par excellence, Esther’s Bakery (http://www.esthersbakery.com). Order the pretzel roll with a side of apple butter, jam or cream cheese. Oh, they also have free WiFi and are open all day (from 8am on) until the dinner switchover at 5pm. There are fewer cooler spaces you could linger in. 355 11th Street, SF.

–Subscribe to Virgina’s twice monthly newsletter, The Perfect Spot

A fiction writer that beats FOX News for war coverage

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Kudos to the New Yorker for bringing Daniel Alarcón to the attention of the eastern rag’s audience. The Oakland writer is one of the three West coast scribes from the New Yorker’s 20 Under 40 “young” writers anthology who will be reading at City Lights Books on Weds/19. I suggest you go check up on the event – if not for the magazine’s time-proven track record of tagging future lit stars, then because the more people in this country who read Alarcón, the less likely we are to plunge our country into madness.

Alarcón’s are war stories, but not in the sense that we grow up with in America, where the term brings to mind bombs and sharp, whizzing death. Alarcon draws on his cultural memory of home country Peru (where he left for Birmingham, Alabama when he was three years old) to speak of the more prosaic nature of conflict through the eyes of people to whom it is brought, not those that strap on uniforms and board helicopters to go to it. 

Take the novel he’s best known for, Lost City Radio (Harper Collins, 288 pages, $24.95). It takes place – in the grand tradition of Latin American epics — in a mythic town, or at least an unnamed city. A war has raged for years, resulting in the disappearance of radio star Norma’s husband, Rey. An orphaned boy from the city shows up and with him an end to her endless, ragged wonderings about what happened to Rey. Every one of the book’s characters is struggling to deal with the real nature of war: a messy business, sure — but not one where the women, children, and elderly are left at home, as they are in many of our country’s depictions of conflict.

There are few gunshots fired in Lost City Radio. Instead, the scene of war is rendered in social notes – illicit dance parties held after curfew, names you can and can’t say on the radio, acceptance of loss, confusion. The story that Alarcón contributes to 20 Under 40 is Second Lives, which tells the story of a Peruvian family who sends their eldest son away from inflation and civil war to America, where he promptly immerses himself in the American life, which is to say he starts water-skiing, job-hopping, and stops writing home to his mom, dad, and brother.

What would our wars — including the one we are waging on immigration — be like if the general populace of our country saw it this way, instead of through the clip art pyrotechnics of TV news channels? 

Plus, Alarcón is the only author I’ve ever heard to name-check a seminal tome from my childhood, The Phantom Tollbooth as being an influential one in his life. Plus, he lives in Oakland. The night’s other readers, Chris Adrian and Yiyun Li, both hail from the Bay too. The last time the New Yorker pulled this same anthology stunt in 1999 they pegged Junót Diaz, Jonathan Franzen, and Jhumpa Lahiri before their ascent into best-sellerdom, so it’ll be perfect if you’re the before-the-curve type about the national fiction scene.

 

20 Under 40: Stories from the New Yorker

Weds/19 7 p.m., free

City Lights Books

261 Columbus, SF

(415) 362-4921

www.citylights.com

 

2011 Cannabis Club Guide

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Welcome to our 2011 Cannabis Club Guide. We’ve added four new clubs to our updated guide, a continuation of last year’s.

As I created my list of the clubs I planned to review, I found abundant online resources such as San Francisco Cannabis Clubs and Weed Tracker. But an even better indicator of how mainstream this industry has become were the extensive listings and reviews on Yelp.com.

I combined that information with recommendations from a variety of sources I interviewed to develop my list, which is incomplete and entirely subjective, but nonetheless a good overview of the local industry and the differences among the clubs.

Also, like our restaurant reviewers, I didn’t identify myself as a journalist on my visits, preferring to see how the average customer is treated — and frankly, I was amazed at the high level of friendly, knowledgeable customer service at just about every club. To comply with city law, all the clubs are fully accessible by those with disabilities.

So, with that business out of the way, please join me on my tour of local cannabis clubs, in the (random) order that I visited them. 

2011 REVIEWS

SPARC

The San Francisco Patient and Resource Center, or SPARC (1256 Mission, SF) immediately set a new standard for dispensaries when it opened last August, combining a stunningly beautiful facility with deep connections to the medical marijuana community and a strong commitment to taking care of patients and moving the movement forward.

Even the casual observer can see what a unique place this is. A selection of almost three dozen bud varietals is presented in the style of a Chinese apothecary, each strain laboratory-tested for strength and purity and labeled with THC and CBD levels. The facility was lovingly designed from scratch with state-of-the-art humidors and security systems, creating an environment that is warm, friendly, and secure, with more employees per customer than other clubs.

Below the surface, SPARC is also setting a standard. Founder Erich Pearson and others involved with the club have been movement leaders for many years and they have deep connections with growers, patient groups, and the progressive political community. So they offer everything from free acupuncture and other services to generous compassionate giving programs to strong support for all aspects of the vertically-integrated collective.

But it is the experience of visiting that is most striking. Get expert advice on choosing from a huge range on indoor and outdoor strains and then settle into one of the tables, load a bowl into the high-end Volcano vaporizer, and taste the fruits of SPARC’s expertise.

There are always lots of great deals to choose from, from one-pound bags for baking for $300 to eighths of the finest outdoor weed for as low as $28.

SPARC is truly an industry leader, setting a high bar for what dispensaries can be.

Prepackaged buds

Opened in 2010

Price: Wide range

Selection: Huge!

Ambiance: Warm, comfortable, hip

Smoke on site: Vaporizing only

Thug factor: Low

Access/security: Tight but welcoming

———–

IGZACTLY HEALTH CENTER

Opening in late 2010, Igzactly (527 Howard, SF) is the new kid of the block — but it’s already establishing itself as one of the best cannabis clubs around. With a rotating supply of almost 40 varieties of buds to choose from at a full range of prices, it has the biggest selection in town. I asked the bud tender how the club is able to offer such a wide array of high-quality buds, and he said it’s because they’re using a different model than most clubs. Rather than buying the buds from growers, Igzactly uses a consignment system, splitting the proceeds with the growers.

Complementing the huge stock of dried buds, Igzactly also has a large selection of cannabis-infused edibles, concentrates, tinctures, ointments, and just about anything you can get weed into. On top of that, Igzactly has a comfortable lounge and is one of just a handful of clubs that allows vaporizing on site, giving clients a choice of using the top-end Volcano or the Zephyr (my personal favorite) vaporizer models. They even offer complimentary teas and coffee.

The staff there is friendly and customer-oriented. For example, when the club opened, it offered prepackaged buds like most clubs, but it heeded customer input and quickly switched to displaying all their buds in huge jars and weighing them out on purchase, which many patients prefer. And he said the club plans to expand the lounge soon and to add on-site laboratory services by year’s end.

If Igzactly is a sign of where the industry’s headed, the future looks bright and verdant.

Buds weighed on purchase

Opened in 2010

Price: From cheap to average

Selection: Huge!

Ambiance: Green, friendly, inviting

Smoke on site: Vaporizing only

Thug factor: Low

Access/security: Secure but easy access

———–

SHAMBHALA

I visited Shambhala (2441 Mission, SF) on its second day open, when the smell of paint was stronger than that of weed, so it’s hard to judge it fairly. Check-in for new patients was maddening slow to an almost comical degree, they weren’t yet taking credit cards and had no ATM on site, and they offered a bigger selection of rolling papers than bud varieties.

But I still liked this place, the only one in that stretch of Mission Street. The staff is very friendly and they seem to really know their products. Unlike many clubs that offer a few good deals, the only cheap weed here was Afgoo for $25 per eighth, less than half the price of most of the 13 varieties they offered. When I asked why it was so much cheaper, the bud tender explained that the buds weren’t as tight or well-trimmed as the dispensary expects, although it still proved to be plenty strong and tasty.

Beyond the buds, Shambhala is also part head shop, selling lots of nice glass bongs, a display case filled with pipes, and rolling papers of all shapes and flavors. And while its selection of edibles is small, they do feature all of Auntie Dolores’ yummy cookies and savory snacks, even displaying the pretzels, chili-lime peanuts, and caramel corn in large glass jars on the counter.

Once Shambhala finds its groove, it will be a solid addition to the city’s dispensary network.

Prepackaged buds

Open since 2011

Price: Moderate

Selection: Limited buds, lots of paraphernalia

Ambiance: Clean, open, friendly

Smoke on site: No

Thug factor: Low

Access/security: Tight

———-

MARKET STREET COOPERATIVE

It’s easy to overlook this place (1884 Market, SF), as I did last year when I first began to compile this guide. Nestled into the back of a wide sidewalk courtyard where Market meets Laguna just up the street from the LGBT Center, Market Street Cooperative has low-key signage and doesn’t seem to do much advertising or outreach, particularly compared to marketing-savvy clubs such as the Vapor Room, Medithrive, and SPARC.

But the operators clearly know what they’re doing, offering a wide product selection in a quiet, clean, no-nonsense environment. They offer a choice of buds for every taste and use, from the best high-end buds at a good price down to eighths for a dirt-cheap $18 and three different grades of shake, which many vaporizer users prefer over the tight buds that they need to grind themselves.

Access is limited to members, and the club insists on being able to verify the recommendation of users in a phone call to their doctors, a stricter standard that most clubs use and one that can get users turned away if their visit is after normal business hours (as they unapologetically did to my friend, the first time a club had denied him entry).

But once you’re in, you’re in, and this long-running club will take good care of you. 

Prepackaged buds

Opened in 1999

Price: Moderate with lots of good deals

Selection: High

Ambiance: Low-key and business-like

Smoke on site: No

Thug factor: Very low

Access/security: Tight 

 

RE-LEAF HERBAL CENTER

I wasn’t terribly impressed by ReLeaf (1284 Mission, SF) when I first reviewed the club in 2010, so at their owner’s request I returned recently to give them another look. They have definitely improved in both the feel of the club and its customer service, but it still suffers from some of the same shortcomings I noticed last year.

While they allow smoking on site, which is great, they don’t have any vaporizers or bongs on hand for patients to use, making it seem a little sketchy. The selection of buds is also fairly limited, with about a dozen varieties divided into two pricing tiers (although only a couple selections on each tier really looked and smelled great), and the clones they had on sale during my visit looked scraggly and sickly.

But the employees there are very nice and helpful, and the atmosphere in the club has become more inviting. There carry a large stock of edibles not available in other clubs, including smoothies and other refrigerated snacks that require a special permit from the city to sell. And the customer appreciation barbecue events they offer are a nice touch.

For a small storefront operation, Releaf does a fine job and it’s worth a visit. But with the way in which the bar has been raised for dispensaries in this city, I wouldn’t put Releaf in the top tier. Sorry guys, maybe next year.

 

Buds weighed on purchase

Open since 2007 ( with three years at previous SF location)

Price: Moderate

Selection: Limited

Ambiance: A loud head shop that also has some weed

Smoke On Site: Yes

Thug factor: Low

Access/Security: Moderate

—————

2010 REVIEWS

DIVINITY TREE

While the reviews on Yelp rave about Divinity Tree (958 Geary St.), giving it five stars, I found it a little intimidating and transactional (although it was the first club I visited, so that might be a factor). But if you’re looking to just do your business in a no-frills environment and get out, this could be your place.

The staff and most of the clientele were young men, some a bit thuggish. One worker wore a “Stop Snitching” T-shirt and another had “Free the SF8.” But they behaved professionally and were knowledgeable and easy to talk to. When I asked for a strain that would ease my anxiety but still allow me enough focus to write, my guy (patients wait along a bench until called to the counter) seemed to thoughtfully ponder the question for a moment, then said I wanted a “sativa-dominant hybrid” and recommended Neville’s Haze.

I bought 1/16 for $25 and when I asked for a receipt, it seemed as though they don’t get that question very often. But without missing a beat he said, “Sure, I’ll give you a receipt,” and gave me a hand-written one for “Meds.”

Buds weighed on purchase

Open for: four years

Price: Fairly low

Selection: Moderate

Ambiance: A transactional hole in the wall

Smoke On Site: No

Thug factor: Moderate

Access/Security: Easy. Membership available but not required

————-

GRASS ROOTS

Located at 1077 Post St. right next to Fire Station #3, Grass Roots has the feel of a busy saloon. Indeed, as a worker named Justin told me, many of the employees are former bartenders who know and value customer service. With music, great lighting, and nice décor, this place feels comfortable and totally legit. Whereas most clubs are cash-only, Grass Roots allows credit card transactions and has an ATM on site.

The steady stream of customers are asked to wait along the back wall, perusing the menus (one for buds and another with pictures for a huge selection of edibles) until called to the bar. When asked, my guy gave me a knowledgeable breakdown of the difference between sativa and indica, but then Justin came over to relieve him for a lunch break with the BBQ they had ordered in and ate in the back.

Justin answered my writing-while-high inquiry by recommending Blue Dream ($17 for a 1.2-gram), and when I asked about edibles, he said he really likes the indica instant hot chocolate ($6), advising me to use milk rather than water because it bonds better with the cannabinoids to improve the high. Then he gave me a free pot brownie because I was a new customer. I was tempted to tip him, but we just said a warm goodbye instead.

Buds weighed on purchase

Open for: six years

Price: Moderate

Selection: High

Ambiance: A warm and welcoming weed bar

Smoke On Site: No

Thug factor: Low

Access/Security: Easy

————–

HOPENET

Hopenet (223 Ninth St.) is one of the few places in the city where you can smoke on site, in a comfortable, homey style, as if you’re visiting a friend’s apartment. In addition to the loveseat, two chairs, and large bong, there is a small patio area for smoking cigarettes or playing a guitar, as someone was doing during my visit.

Although the small staff is definitely knowledgeable, they all seemed stoned. And when I asked about the right weed for my writing problem, a gruff older woman impatiently dismissed any indica vs. sativa distinctions and walked away. But I learned a lot about how they made the wide variety of concentrates from the young, slow-talking guy who remained.

He weighed out a heavy gram of White Grapes for $15, the same price for Blue Dream, and $2 cheaper than I had just paid at Grass Roots. That was in the back room, the big middle area was for hanging out, and the front area was check-in and retail, with a case for pipes and wide variety of stoner T-shirts on the walls.

Buds weighed on purchase

Open for: eight years

Price: Low

Selection: Moderate

Ambiance: Like a converted home with retail up front

Smoke On Site: Yes!

Thug factor: Low

Access/Security: Easy

————

VAPOR ROOM

Vapor Room (607A Haight, www.vaporroom.com) is San Francisco’s best pot club, at least in terms of feeling like an actual club and having strong connections to its community of patients. It’s a large room where customers can smoke on site, giving this collective a warm, communal vibe that facilitates social interaction and fosters a real sense of inclusiveness.

Each of the four large tables has a high-end Volcano vaporizer on it, there’s a big-screen TV, elegant décor, and large aquarium. There’s a nice mix of young heads and older patients, the latter seeming to know each other well. But, lest members feel a little too at home, a sign on the wall indicates a two-hour time limit for hanging out.

Its early days in the spot next door were a bit grungier, but the new place is bright and elegant. It has a low-key façade and professional feel, and it strongly caters to patients’ needs. Low-income patients are regularly offered free medicine, such as bags full of vapor prepared by staff. Mirkarimi said the Vapor Room is very involved in the Lower Haight community and called it a “model club.”

But they’re still all about the weed, and they have a huge selection that you can easily examine (with a handy magnifying glass) and smell, knowledgeable staff, lots of edibles and concentrates, a tea bar (medicated and regular), and fairly low standardized pot prices: $15 per gram, $25 per 1/16th, $50 per eighth. And once you got your stuff, grab a bong off the shelf and settle into a table — but don’t forget to give them your card at the front desk to check out a bowl for your bong. As the guy told me, “It’s like a library.”

Buds weighed on purchase

Open for: seven years

Price: Moderate

Selection: High

Ambiance: Warm, communal hangout

Smoke On Site: Yes!

Thug factor: Low

Access/Security: Easy, but membership required

————-

MEDITHRIVE

The newest cannabis club in town, MediThrive (1933 Mission, www.medithrive.com) has a bright, fresh, artsy feel to it, with elegantly frosted windows and a welcoming reception area as you enter. This nonprofit coop takes your photo and requires free membership, and already had almost 3,000 members when I signed up a couple weeks ago. Tiana, the good-looking young receptionist, said the club recently won a reader’s choice Cannabis Cup award and noted that all the art on the walls was a rotating collection by local patients: “We’re all about supporting local art.”

The decorators seemed to have fun with the cannabis concept, with a frosted window with a pot leaf photo separating the reception area from the main room, while the walls alternated wood planks with bright green fake moss that looked like the whole place was bursting with marijuana. There’s a flat-screen TV on the wall, at low volume.

The large staff is very friendly and seemed fairly knowledgeable, and the huge selection of pot strains were arranged on a spectrum with the heaviest indica varieties on the left to the pure sativas on the right. Lots of edibles and drinkables, too. The cheapest bud was a cool steel tin with a gram of Mission Kush for $14 (new members get a free sample), while the high rollers could buy some super-concentrated OG Kush Gold Dust ($50) or Ear Wax ($45) to sprinkle over their bowls.

Prepackaged buds

Open for: one year

Price: Moderate

Selection: High

Ambiance: Professional, like an artsy doctor’s office

Smoke On Site: No

Thug factor: Very low

Access/Security: Easy, but membership required

————

KETAMA COLLECTIVE

At 14 Valencia St., Ketama is a testament to how silly it is that clubs within 1,000 feet of schools aren’t permitted to allow smoking on site. This former café has a large, comfortable seating area and full kitchen, both of which have had little use since a school opened way down the street last year, causing city officials to ban smoking at Ketama.

Pity, because it seems like a great place to just hang out. Yet now it just seemed underutilized and slow. The staff is small (one door guy and a woman hired last summer doing sales), and we were the only customers during the 20 minutes I was there (except for the weird old guy drinking beer from a can in a bag who kept popping in and out).

But it still had jars of good green bud, several flavors of weed-laced drinks and edibles, and a pretty good selection of hash and kief at different prices, and the woman spoke knowledgeably about the different processes by which they were created. To counteract the slow business, Ketama has a neon sign out front that explicitly announces its business — another indication the industry has gone legit.

Buds weighed on purchase

Open for: six years

Price: Low

Selection: Limited

Ambiance: Hippie hangout, but with nobody there

Smoke On Site: No

Thug factor: Low

Access/Security: Easy, but free membership required

————

MR. NICE GUY

Belying its name, Mr. Nice Guy (174 Valencia St.) thrilled and scared me, but not necessarily in a bad way. Located across the street from Zeitgeist, the thug factor here was high and so was the security, allowing no human interaction that wasn’t mediated by thick Plexiglass, presumably bulletproof.

After initially being told by a disembodied voice to come back in five minutes, I submitted my doctor’s recommendation and ID into the slot of a teller’s window, darkened to hide whoever I was dealing with. Quickly approved, I was buzzed into a small, strange room with three doors.

I paused, confused, until the disembodied voice again told me, “Keep going,” and I was buzzed through another door into a hallway that led to a large room, its walls completely covered in brilliant murals, expertly painted in hip-hop style. Along the front walls, a lighted menu broke down the prices of about 20 cannabis varieties.

Then finally, I saw people: two impossibly hot, young female employees, lounging nonchalantly in their weed box, like strippers waiting to start their routines. The only other customer, a young B-boy, chatted them up though the glass, seemingly more interested in these striking women than their products.

I finally decided to go with the special, an ounce of Fever, normally $17, for just $10. I opened a small door in the glass, set down my cash, and watched the tall, milk chocolate-skinned beauty trade my money for Fever, leaving me feeling flushed. It was the best dime-bag I ever bought.

Prepackaged buds

Price: Moderate, with cheap specials

Selection: High

Ambiance: Hip hop strip club

Smoke On Site: No

Thug factor: High

Access/Security: High security but low scrutiny

————-

BERNAL HEIGHTS COLLECTIVE

Bernal Collective (33 29th St. at Mission) seemed both more casual and more strict than any of the other clubs in town — and it also turned out to be one of my favorites.

After refusing to buy pot for a guy out front who had just been turned away, I entered the club and faced more scrutiny than I had at any other club. It was the only club to ask for my doctor’s license number and my referral number, and when I tried to check an incoming text message, I was told cell phone use wasn’t allowed for “security reasons.” On the wall, they had a blown-up copy of their 2007 legal notice announcing their opening.

But beyond this by-the-book façade, this club proved warm and welcoming, like a comfortable clubhouse. People can smoke on site, and there’s even a daily happy hour from 4:20–5:20 p.m., with $1 off joints and edibles, both in abundant supply. Normal-sized prerolled joints are $5, but they also offer a massive bomber joint with a full eighth of weed for $50.

The staff of a half-dozen young men were knowledgeable about the 20 varieties they had on hand and offered excellent customer service, even washing down the bong with an alcohol-wipe before letting a customer take a rip from the XXX, a strong, sticky bud that was just $15 for a gram.

Buds weighed at purchase

Open for: six years

Price: Fairly low

Selection: High

Ambiance: A clubhouse for young stoners

Smoke On Site: Yes

Thug factor: Low

Access/Security: Fairly tight

————-

LOVE SHACK

This longtime club (502 14th St.) has had its ups and downs, the downs coming mostly because of its location on a fairly residential block. After taking complaints from neighbors, the city required Love Shack to cap its membership, although that seems to be changing because the club let me in, albeit with a warning that next time I would need to have a state ID card. It was the only club I visited to have such a requirement.

Once inside this tiny club, I could see why people might have been backed up onto the street at times. But the staff was friendly and seemed to have a great rapport with the regulars, who seemed be everyone except me. The knowledgeable manager walked me through their 20-plus varieties, most costing the standard street price of $50 per eighth, or more for stronger stuff like Romulan.

On the more affordable end of the spectrum was the $10 special for Jack Herrer Hash, named for the longtime legalization advocate who wrote The Emperor Wears No Clothes, a classic book on the history of the movement.

Buds weighed at purchase

Open for: nine years

Price: Moderate

Selection: High

Ambiance: Small, like a converted apartment

Smoke On Site: No

Thug factor: Moderate

Access/Security: Tight

————-

COFFEE SHOP BLUE SKY

Blue Sky (377 17th St., Oakland)is based on the Amsterdam model of combining marijuana dispensaries with coffee shops, although it suffers a bit from Oakland’s ban on smoking. Still, it’s a cool concept and one that Richard Lee sees as the future of marijuana-related businesses because of the synergy between smoking and grabbing a bite or some coffee.

Most of Blue Sky is a small coffee shop and smoothie bar, but there’s a little room in back for buying weed. “We’ve got the best prices around,” said the guy who checked my ID, and indeed, $44 eighths and $10 “puppy bags” were pretty cheap. Customers can also sign up to do volunteer political advocacy work for free weed.

The only downside is the limited selection, only four varieties when I was there, although the woman at the counter said the varieties rotate over the course of the day based on the club’s purchases from growers.

Prepackaged buds

Open for: 15 years

Price: Low

Selection: Very limited

Ambiance: A fragrant little room behind a coffee shop

Smoke On Site: No

Thug factor: Low

Access/Security: Easy

————–

HARBORSIDE HEALTH CENTER

I have seen the future of legitimized medical marijuana businesses, and it’s Harborside (1840 Embarcadero, Oakland). With its motto of “Out of the shadows, into the light,” this place is like the Costco of pot — a huge, airy facility with a dizzying number of selections and even a “rewards card” program.

All new members are given a tour, starting with sign-up sheets for daily free services that include yoga, chiropractic, acupuncture, reiki, consultations with herbalists, and classes on growing. Then we moved to a section with the clones of dozens of pot plant varieties available for purchase (limit of 72 plants per visit), along with a potted marijuana plant the size of a tree.

Harborside is also blazing the trail on laboratory services, testing all of its pot for contaminants and THC content, labeling it on the packaging just like the alcohol industry does. Some of the smaller clubs don’t like how over-the-top Harborside is, and they complain that its prices are high. But those profits seem to be poured back into the services at this unique facility.

Prepackaged buds

Open for: four years

Price: High

Selection: Huge

Ambiance: A big, open shopping emporium

Smoke On Site: No

Thug factor: Low

Access/Security: Tight

————-

SANCTUARY

The people who run Sanctuary (669 O’Farrell St.), the first club to fully comply with the new city regulations and get its permanent license, have been active in the political push for normalizing medical marijuana, as a wall full of awards and letters from politicians attests. Owner Michael Welch was commended for his work by the Harvey Milk LGBT Democratic Club, where Sanctuary employee Tim Durning has been an active longtime member and former elected officer.

Sanctuary has a generous compassionate giving program and caters to lots of poor residents of the Tenderloin neighborhood. While the club is prohibited from allowing smoking, they fudge the restriction with a Volcano vaporizer. “A lot of patients are on fixed income and live in the SROs, where they can’t smoke, so we let them vaporize here whether they buy from us or not,” Durning told us.

Those who do buy from them find a huge selection — including 20 different kinds of hash and 17 varieties of buds — at a wide price range. Staffers know their products well and take their business seriously, giving a regular spiel to new members about responsible use, which includes maintaining neighborhood relations by not smoking near the business.

Buds weighed on purchase

Open for: six years

Price: Low to moderate

Selection: High

Ambiance: Campaign headquarters for the marijuana movement

Smoke On Site: No, but vaporizing OK

Thug factor: Low

Access/Security: Easy

————–

GREEN DOOR

If low prices or a huge selection of edibles are what you seek, Green Door (843 Howard St., www.greendoorsf.com) could be the club for you.

Eighths of good green buds start at a ridiculously low $25 and go up to just $50 (the cheapest price for eighths at many clubs and also the standard black market price). If that’s not low enough, super-broke users can buy a quarter-ounce bag of high-grade shake for $40.

If you didn’t already have the munchies going in, you’ll get them perusing the huge menu of edibles: from weed-laced knockoffs of Snickers bars and Reese’s Peanut Butter Cups for just $5 to cupcakes, ice cream, or Chex party mix. They have lots of hash and other concentrates as well.

Somehow, the club also manages to have a strong compassionate giving program and contibutes to local civic organizations that include the Black Rock Arts Foundation, Maitri AIDS Hospice, and Friends of the Urban Forest.

The club itself is a little sterile and transactional, with an institutional feel and employees stuck behind teller windows. But even though that and the steady flow of tough-looking young male customers raise its thug factor a bit, the employees all seemed friendly and helpful, giving free edibles to first-time customers.

Prepackage buds

Open for: nine years (five here, four in Oakland)

Price: Cheap

Selection: High for edibles, moderate for weed

Ambiance: Like a community bank of cheap weed

Smoke On Site: No

Thug factor: Moderate

Access/Security: Easy access, high security

————–

 

Psychic Dream Astrology

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Jan. 12-18

ARIES

March 21-April 19

Being receptive and open is a strength that can easily feel like a liability. This week, nurture your connection to your heart by validating its perceptions and feeding it on a steady diet of TLC.

TAURUS

April 20-May 20

If you are maxed out, don’t add more to your plate or you’ll find yourself messing things up big time. Don’t look for solutions when you’re overwhelmed or you’ll just create more troubles.

GEMINI

May 21-June 21

You have every piece of the puzzle all laid out in front of you, but the question is, will you have the patience and the confidence to put it all together? Trust in what’s playing itself out in your life this week.

CANCER

June 22-July 22

It’s on you to make things happen. This week make your key word be mobilize, which means you’ll have to put you’re old stand by, criticize, to rest. Create what you want through the power of your own velocity.

LEO

July 23-Aug. 22

Your independence is a crucial part of your happiness, Leo. If you’re not a friend to your own damn self, problems will be inevitable. This week invest some QT in an effort to reignite a love affair with yourself.

VIRGO

Aug. 23-Sept. 22

Adding to confusion is easy to do because once you start feeling off, all the things you choose come from your crazy place. Take a firm step back and don’t add anything new until you can deal with what’s in front of you.

LIBRA

Sept. 23-Oct. 22

What you feel is super important — but what do you do when what you need is different from what you want? This week compromise in favor of your needs, as hard as that may be. Think in terms of long-term gain.

SCORPIO

Oct. 23-Nov. 21

You are in an excellent place to change your fate, but it won’t happen without effort. Instead of lamenting what isn’t working, focus all of your energies and attention on creating the path you most desire.

SAGITTARIUS

Nov. 22-Dec. 21

Avoidance is natural when you feel crappy, but this week it will only prolong the worst of your problems. Insecurity and wretched self-doubt are like rust in the muscle car of your life; don’t let it eat at you.

CAPRICORN

Dec. 22-Jan. 19

Uncertainty is no friend to you, Capricorn, but it doesn’t have to be an enemy either. Trust in your own ability to turn lemons into tasty lemonade if need be. Make friends with maybe this week.

AQUARIUS

Jan. 20-Feb. 18

Exert great effort toward the art of being present. You may have the impulse to predict your future or fix parts of your past, but don’t do it. Instead, focus your energy on the here and now, no matter what it looks like.

PISCES

Feb. 19-March 20

The past can be such a great teacher, and this week you should strive to heed its lessons. You are poised for great happiness — not just pleasure, which can be fleeting, but real joy. Be bold enough to make new mistakes.

Jessica Lanyadoo has been a Psychic Dreamer for 16 years. Check out her website at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com.

Our Weekly Picks: January 12-18

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WEDNESDAY 12

DANCE

“The A.W.A.R.D. Show!”

It had to happen: life imitating television. If you’ve ever wanted to put your body on the line and participate in judging a reality TV dance show, this is your opportunity. “The A.W.A.R.D. Show!” is a six-city endeavor in which 12 local choreographers (four per night) get evaluated by you and presenters from each participating entity. You get to vote for one artist each night. Each evening’s winner proceeds to Saturday’s final, where one will walk away with $10,000 check — chicken feed in television land, but a nice chunk for choreographers trying to find the cash for their next work. First on will be Manuelito Biag, Liss Fain, Katie Faulkner, and Catherine Galasso. (Rita Felciano)

Wed/12–Sat/15, 8 p.m., $20

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org


THEATER

Clue

Who killed Mr. Boddy? Was it Mrs. Peacock in the conservatory with the revolver? Or was it Professor Plum in the billiard room with the candlestick? Find out in Boxcar Theatre’s Clue, written and directed by Peter Matthews and Nick A. Olivero. First a popular board game, then a cult classic movie, this new version (adapted from the 1985 film) features a life-size board game with the audience watching six feet above. Secret passageways, murderous hilarity, and multiple possible endings make this whodunnit a must-see. Hot tip: get your tickets now — presale popularity has been so high that Boxcar has already added some performances to its run. (Emmaly Wiederholt)

Through Feb. 19

Wed.–Fri. 8 p.m.; Sat, 7 and 10 p.m., $15-$25

Boxcar Playhouse

505 Natoma, SF

(415) 776-1747

www.boxcartheatre.org

 

THURSDAY 13

FILM

“For Your Consideration: A Selection of Oscar Submissions from Around the World”

So you’ve been a good little film geek and seen all of 2010’s likely Oscar contenders: The King’s Speech, The Social Network, Toy Story 3, etc. etc. But what about those films submitted for Best Foreign Language Film consideration that get extremely limited stateside releases (if they even make here at all)? Though the films in the Smith Rafael’s “For Your Consideration” series probably aren’t destined to rake in massive box office dollars (see: 2000’s Crouching Tiger, Hidden Dragon), they still represent what each country felt was worthy of worldwide notice. “For Your Consideration” presents a handful of hand-picked selections, including Spain’s Even the Rain, starring Gael García Bernal as a filmmaker intent on making a film about Christopher Columbus; Crab Trap, about Colombia’s isolated Pacific coast community; and Poland’s All That I Love, the story of four friends who form a punk band amid early-1980s Communist unrest. (Cheryl Eddy)

Jan. 13–20, $6.75–$10.25

Christopher B. Smith Rafael Film Center

1118 Fourth St, San Rafael

(415) 454-1222

www.cafilm.org


PERFORMANCE

Women on the Way Festival

For the next three weeks, expect sassy women to please, surprise, and shake you during the 11th Women on the Way Festival. The format pairs newcomers (for example, Norwegian Muslim comedian Shabana Rehman), with established artists (like San Francisco poet Genny Lim). If you are into multimedia and dance theater, the Shotwell Studios are your place to go. If dance — more or less pure — is your bag, the Garage is opening its red door. W.O.W.’s Producer Mary Alice Fry, who has made a career of spotting new talent, says she was delighted to see that so many women are working with live and often original music. The festival’s website, www.ftloose.org, offers succinct, detailed information on the individual artists and the work they’ll present. (Felciano)

Through Jan. 30, $15–$20

Shotwell Studios

3252-A 19th St., SF

Garage

975 Howard, SF

1-800-838-3006

www.brownpapertickets.com/producer/5930

 

EVENT

Bay Area Puma Project

If you’re not sick of cougar jokes by now, I feel sorry for you. After all, most of the appeal is in giving up dominance, and really honey, you were never the top predator in the first place. Real cougars — as in mountain lions — are the last large animals in California with a substantial population, aside from us; their habitat covers about half our huge state. Join wildcat conservationist Zara McDonald, founder of the Felidae Conservation Fund, to hear about the first major, decade-long study of pumas in the Bay Area, efforts to protect them, and tips on coexisting with these elusive cats. Don’t you know 2011 is the year of the silver fox, anyway? (Kat Renz)

7:30–9:00 p.m., free

Randall Museum

199 Museum Way, SF

(415) 225-3830

www.sfns.org

 

COMEDY

SF Sketchfest

In 2002, I excitedly wrote about a brand-new event right here in these very pages: the first annual San Francisco Sketch Comedy Festival, a monthlong comedy smorgasbord featuring six local acts. Organizers, I wrote, foresaw “a Fringe Festival-style expansion that will bring comedy to the masses for years to come.” Well, that totally happened. Sketchfest, now in its 10th year, is the West Coast’s premiere comedy festival (in your face, L.A.), and it annually features superstars galore. This year’s sure-to-sell-out events include a 25th anniversary tribute to It’s Garry Shandling’s Show, tributes to Murphy Brown and Airplane! (1980), plus appearances by boldface names like James L. Brooks, Cloris Leachman, Dan Aykroyd, and David Byrne. And yeah, there are still some locals in the mix: SF native Greg Proops pops up in improv show Whose Live Anyway?, plus there’ll be a reunion show featuring the original six sketch groups (including Kasper Hauser and the Meehan Brothers) who got this party started in the first place. (Eddy)

Through Feb. 5, $15–$60

Various venues, SF

www.sfsketchfest.com

 

FRIDAY 14

EVENT

“Salute to Supernatural

In the television graveyard of contemporary TV dramas centered around vampires, werewolves, or horror-related themes, one of the more mainstream ones that doesn’t deserve a stake firmly implanted in its creators is the CW show Supernatural. Following the adventures of Sam and Dean Winchester, a pair of demon-hunting brothers, the program has become a hit with viewers over the past five years. At this weekend’s special Supernatural convention, Bay Area fans can meet the two lead actors, Jensen Ackles and Jared Padalecki, along with several costars, in addition to listening to talks, going to themed parties, perusing vendors, and much more. (Sean McCourt)

Fri/14, 1–6 p.m.; Sat/15, 11:30 a.m.–7 p.m.;

Sun/16, 10 a.m.–5:30 p.m., $20–$50

Westin St. Francis

335 Powell, SF

(818) 409-0960

www.creationent.com.

 

COMEDY

Norm MacDonald

Coming to fame as a cast member of Saturday Night Live from 1993-98, comedian Norm MacDonald made his name as the biting host of that show’s “Weekend Update” segment, along with his hilarious impersonations of celebrities including Burt Reynolds, Bob Dole, and Larry King. Though his departure from SNL was marred by controversy, MacDonald has continued to have a successful career in show business, punctuated by a variety of movie and television roles along with several writing gigs. Be prepared for laugh-induced side aches — the funnyman comes to the Fillmore for two special live shows tonight, taping a TV special for Comedy Central. (McCourt)

7:30 and 10 p.m., $35.25

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

 

SATURDAY 15

FILM

A Brighter Summer Day

Tender and wise, Edward Yang’s A Brighter Summer Day (1991) is simply one of the finest historical dramatizations ever put to celluloid, ambitiously proportioned (four hours long, a cast of hundreds) but fine-grained in the telling. Yang traces Taiwan’s tumultuous midcentury history in the erring lives of teenagers. Between the deft staging of intergenerational conflict, Proustian attention to objects, and existential portraits of alienation, there’s enough material here for several filmmaking careers. Long inaccessible in the U.S., the film has been restored by Martin Scorsese’s laudably internationalist World Cinema Foundation. The Pacific Film Archive screens a selection of the organization’s recent projects throughout the month. (Max Goldberg)

6:30 p.m., $9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-1412

www.bampfa.berkeley.edu

 

PERFORMANCE

Corpo/Ilicito: The Post Human Society

“It’s going to be a very wild performance,” performance artist Guillermo Gomez-Peña told Time Out Chicago about his troupe Pocha Nostra’s piece Corpo/Illicito. They’ll be performing at the closing reception of SOMArts’ group exhibit, “It’s All a Blur,” a reflection on empowerment and enfranchisement via the American dream. La Pocha Nostra is famed for using its performers’ bodies as canvases for its art, so get ready for some made-up, bound, embellished, and politically ostentatious artists gone wild. As for the exhibit’s more static installations, Dale Hoyt’s videos and drawings will be on view, as will Tony Labat’s Blanket Policy, a tent made of Goodwill paintings, and Labat’s 12-foot tall barbeque. To art and freshly grilled meat products! (Caitlin Donohue)

SOMArts Cultural Center

934 Brannan, SF

(415) 552-1770

www.somarts.org

 

MONDAY 17

EVENT

“Dr. Martin Luther King Jr. Birthday Celebration”

Hooray for MLK! Maybe this year we can eschew the sappy television specials and get a little work done on that old dream of his? That’s what’s going down at the Yerba Buena Gardens, where a daylong celebration dubbed “Sustaining the Dream: Through Community and Service” offers free admission to the Museum of the African Diaspora and the Contemporary Jewish Museum. The event also features a kid’s reading fest and a plethora of local health care providers doling out diabetes tests, children’s dental screenings, and a passel of other helpful services. Once they’ve got you feeling good, stick around for “King in Five Vignettes” at 12:15 p.m., music and performance dedicated to the man with the plan. (Donohue)

9 a.m.–5 p.m., free

Yerba Buena Gardens

Mission between Fourth and Third streets., SF

www.norcalmlk.org

 

TUESDAY 18

VISUAL ART

“Twist and Crawl”

The Bay Area is a major center for artists with disabilities, thanks to sites such as Oakland’s Creative Growth, San Francisco’s Creativity Explored, and the NIAD Center for Art and Disabilities in Richmond. Starting from an awareness that some major names in contemporary art work with disabilities, the new exhibition “Twist and Crawl” brings together work by 14 artists to bridge gaps and blur boundaries between traditionally-acknowledged painters, photographers, and sculptors and their disabled counterparts. “Twist and Crawl,” which takes its name from a frenetic song by the English Beat, is the first installment in a thematically arranged three-part series organized by artist and curator Timothy Buckwalter. Continuing through August, it syncs up with an upcoming traveling Berkeley Art Museum exhibition devoted to Creative Growth, Creativity Explored, and NIAD. (Johnny Ray Huston)

Through March 16

National Institute of Art and Disabilities (NIAD) Gallery

551 23rd St., Richmond

www.niadart.org


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Faces of debt

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caitlin@sfbg.com

CAREERS AND ED In this weeks’ issue, Rebecca Bowe examines rising tuition and its effect on this generation of Californian students. Here, we profile three scholars that are dealing with very real repercussions from their student debt load.

 

BEN GLEASON, 31

Mills College, teaching credential

Oberlin College, American literature major

Total debt: $25,000

Ben Gleason remembers the day that he applied for his $10,000 student loan from Citibank to finance his teaching credential tuition. “I got it done online within a half hour. I didn’t have to talk to anybody or write an essay — easy money with severe consequences.” The consequences of such a serious financial decision — sans the aid of any counseling from either his school or bank? Gleason’s eventual decision to leave classroom teaching.

It’s not an uncommon story for this generation of teaching school graduates, in a state where teaching salaries are hardly keeping pace with rising tuition. Gleason started working as an ESL teacher in Richmond’s underfunded West Contra Costa Unified School District right after graduating from Mills College. His student loans were overwhelming — a problem that was exacerbated when he took a trip to Guatemala to work and improve his ability to communicate with his Spanish-speaking pupils. To remain afloat financially, Gleason applied for a forbearance on his loans and was surprised to return home after two years to a loan that had gone up by 25 percent due to interest. “I was really, really screwed,” he recalls.

Gleason didn’t feel like there was any way he could go back to his teaching salary, so to support his new wife (the two met in Guatemala) and daughter, he decided to start his own business with the help of an old boss — a private firm that helps reeducate state government workers on sustainability issues.

That means one less qualified teacher for low-income Californian children. And Gleason still has 15 to 20 years left of debt payments. “I wish that there was a more systemic way to solve this problem,” says the former public educator.

 

ANNE MOSTAD-JENSEN, 28

Santa Clara University, law degree

College of St. Catherine St. Paul, library sciences

Concordia University St. Paul, international studies and history major

Total debt (estimated at graduation): $120,000

Anne Mostad-Jensen and her twin sister grew up in a small Minnesota town. They attended the same college, Concordia St. Paul, where they both majored in history and international studies. After that, they went on to College of St. Catherine (also in St. Paul) to get their master’s degrees in library science. But then their paths diverged. Her sister traveled to Denmark in pursuit of her Danish citizenship — their father is Danish — and was able to complete her master’s in a country where the government pays for most of its citizens’ educations. Mostad-Jensen remained in Minnesota, to continue on in the American university system.

What kind of difference has the move made in these women’s lives? Try $65,000 of student debt. That’s because Mostad-Jensen’s sister, even after completing her master’s and attending one of the Icelandic languages programs she’s currently applying for, will only owe roughly $55,000 worth of loans — all from her time at American schools. Mostad-Jensen, who is now attending law school at Santa Clara University, will owe $120,000 by the time she graduates. “I’ve never had any consumer debt, but I’ve always told myself not to pass up educational opportunities just because I didn’t have the cash on hand,” she says.

Mostad-Jensen wants to work at the intersection of international copyright and technology law, possibly in a law library, a specialty career that benefits from degrees in multiple areas of study. She counts herself lucky that homeownership and a family aren’t her immediate goals. “Having a family — I just don’t understand how people do it with debt these days.” Her Midwestern community values come to the fore when she talks about the U.S. government’s inability to provide Americans with affordable education. “Isn’t the government an extension of the community? Europeans, the lack of stress they have by not having to pay out of pocket for health care and education — I mean they can actually live their lives.”

 

RAMON QUINTERO, 32

UC Berkeley, geography major

Total debt: $25,000

Ramon Quintero is a UC Berkeley student activist, but he wasn’t always radicalized around debt issues. “I didn’t come to Berkeley because of its activist reputation. I became an activist because of my situation,” he says. Quintero could no longer pay for his student housing and wound up living in his 1979 Toyota truck with camper shell on the streets of Berkeley, sending his baby daughter home to live with her grandmother.

Quintero came to Berkeley via Southern California, where his family landed after immigrating from Sinaloa, Mexico, when he was 11. He attended community college to get his core credits before coming to Berkeley, where rapidly rising tuition fees are putting a strain on the student community. Although he is a legal resident, Quintero was especially concerned about the effect that the rising cost of education was having on undocumented students.

And, of course, on his leaky camper shell roof. He sprang into action, driving a truck that he calls Santa Rita, to all nine UC campuses, encouraging fellow students to paint art on it that spoke to their concerns for the future of public education. Quintero was arrested twice for his roles in campus protests and he and Santa Rita were profiled in The New York Times and several California newspapers. Suddenly, the university found space for him in student housing.

“I saw the hypocrisy in the system,” says Quintero, who has fulfilled all his UC coursework for graduation but has convinced a professor to hold credit for one of his courses for another semester so he could go on a research fellowship to Madrid. The fellowship, he says, is crucial for his application to grad schools — another step toward fulfilling life goals he doesn’t think would be possible if he has to begin assuming the burden of his student debt. 

 

Music Listings

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Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 12

ROCK/BLUES/HIP-HOP

Anthony B Independent. 9pm, $25.

Buxter Hoot’n, Mark Matos and Os Beaches, Magic Leaves Bottom of the Hill. 9pm, $8.

Family Stone Yoshi’s San Francisco. 8pm, $26.

Foolproof Four Grant and Green. 8pm, free.

Gypsy Moonlight, Horror-X Hemlock Tavern. 9pm, $5.

Makepeace Brothers, Essence, Love Isabel Café Du Nord. 8:30pm, $10.

Otis Taylor Band Biscuits and Blues. 8 and 10pm, $20.

Sprains, Hail the Sun, Daikon El Rio. 8pm, $5.

JAZZ/NEW MUSIC

Gaucho, Michael Abraham Amnesia. 7pm, free.

Little Vamp Tomato and friends Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Vanessa Tomlinson zBug Meridian Gallery, 535 Powell, SF; www.meridiangallery.com. 7:30pm, $10.

FOLK/WORLD/COUNTRY

*Willie Nelson Fillmore. 8pm, $55.

New World Ape, Osseynou Kouyate Yoshi’s San Francisco Lounge. 9pm, $7.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes. Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Obey the Kitty Vessel, 85 Campton, SF; www.vesselsf.com. 9pm, free. All genres of music from DJ Cobra with a fashion element provided by Betsey Johnson.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

“Subcon and Beyond Fest” Elbo Room. 8:30pm, $20. With Cevin Key, Tokyo Decadence, Dead Voices on Air, and more.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 13

ROCK/BLUES/HIP-HOP

Chris Kid Anderson Biscuits and Blues. 8 and 10pm, $15.

Family Stone Yoshi’s San Francisco. 8 and 10pm, $20-26.

Floozy, Influence, Trillick Kimo’s. 9pm.

Love Dimension Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Michael Musicka, Obo Martin, F Pod B Pod Hemlock Tavern. 9pm, $6.

Reverse Gravity, Mavalour, Whiskey Pils Fiasco Bottom of the Hill. 9pm, $8.

Trainwreck Riders, Jesse Morris and the Man Cougars, Cutter, Slow Poisoner Eagle Tavern. 9:30pm, $7.

JAZZ/NEW MUSIC

“SF Jazz Hotplate Series” Amnesia. 9pm.

Stompy Jones Top of the Mark. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Beauty Operators Bluegrass Band 50 Mason Social House, 50 Mason, SF; (415) 433-5050. 9pm, free.

Jarrod Dickenson, Dave Hanley Club Waziema, 543 Divisadero, SF; (415) 346-6641. 8pm.

Huun Huur Tu Great American Music Hall. 8pm, $26.

Kentucky Twisters Atlas Café. 8pm, free.

Possum and Lester, Earl Brothers, Hang Jones, Walking in Sunlight Café Du Nord. 8pm, $10-20.

Ziva Red Poppy Art House. 7pm, $10-15.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With resident DJs Haylow, A-Ron, Prince Aries, Boogie Brown, Ammbush, plus food carts and community creativity.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Kissing Booth Make-Out Room. 9pm, free. DJs Jory, Commodore 69, and more spinning indie dance, disco, 80’s, and electro.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Motion Sickness Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Genre-bending dance party with DJs Sneaky P, Public Frenemy, and D_Ro Cyclist.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene Rickshaw Stop. 9pm, $15. With Wombats and Magician plus DJs Aaron and Omar.

FRIDAY 14

ROCK/BLUES/HIP-HOP

Seth Augustus Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Colin L. Orchestra, Common Eider King Eider, CSC Funkband Hemlock Tavern. 9:30pm, $7.

DRI Slim’s. 8pm, $17.

English Beat, Impalers AKA Bimbo’s 365 Club. 9pm, $30.

Infamous Stringdusters, Arann Harris and the Farm Band Independent. 9pm, $14.

Dennis Jones Biscuits and Blues. 8 and 10pm, $20.

Chaka Khan, Chrisette Michele Warfield. 8pm.

Maus Haus, Sleeptalks, DJ Neil Martinson Knockout. 9pm, $7.

La Plebe Bottom of the Hill. 9pm, $12.

*Public Enemy Yoshi’s San Francisco. 8 and 10pm, $40.

Martha Reeves Rrazz Room. 8pm, $40-45.

Still Flyin’, Social Studies, La Corde Rickshaw Stop. 8:30pm, $10.

Sweet Apple, Dead Meadow, Carlton Melton Café Du Nord. 9:30pm, $15.

Tortured Genies, Lambs, Coconut El Rio. 9pm, $5.

Tribal Seeds, Fortunate Youth, Thrive Great American Music Hall. 9pm, $16.

JAZZ/NEW MUSIC

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

FOLK/WORLD/COUNTRY

California Honeydrops Red Poppy Art House. 8pm, $15.

DANCE CLUBS

Club Dope’s Dope Ass Winter Ball II Club Six. 9pm, $10. Hip-hop with Planet Asia, Dub Esquire, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Heartical Roots Bollywood Café. 9pm, $5. Recession friendly reggae.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Hubba Hubba Revue: Soviet Union DNA Lounge. 9pm, $10-15. Bolshevik burlesque and communist comedy.

Indy Slash Amnesia. 10pm. With DJ Danny White.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Treat ‘Em Right Elbo Room. 10pm, $5. DJs Vinnie Esparza and B. Cause spin hip-hop, funk, and reggae.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 15

ROCK/BLUES/HIP-HOP

Nicki Bluhm, Blank Tapes, Dave Mulligan, DJ Charles Gonzalez Café Du Nord. 9:30pm, $12.

Budos Band Independent. 9pm, $20.

Company Car, Seeking Empire, Please Do Not Fight Bottom of the Hill. 10pm, $10.

Crocodiles, Fresh and Onlys, Magic Bullets Slim’s. 9pm, $15.

Dashboard Confessional, Chris Conley, Lady Danville Regency Ballroom. 8pm, $28.

Fawnmower, Butch Berry, Symbolic Jews Brainwash, 1122 Folsom, SF; (415) 861-3663. 9pm, free.

Gestapo Khazi, Airfix Kits, Better Maker, Culture Corpse Hemlock Tavern. 9pm, $7.

K-9, Earwigs Thee Parkside. 3pm, free.

*Neurosis, YOB, U.S. Christmas Great American Music Hall. 9pm, $21.

Public Enemy Yoshi’s San Francisco. 8 and 10pm, $40.

Reducers SF, Meat Sluts, Complaints, Paper Bags Thee Parkside. 9pm, $7.

Martha Reeves Rrazz Room. 8pm, $40-45.

Lavay Smith Biscuits and Blues. 8 and 10pm, $20.

Wee the Band, Aaron Blyth El Rio. 6pm, free.

JAZZ/NEW MUSIC

Blue Belles Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Los Angeles Guitar Quartet Herbst Theatre, 401 Van Ness, SF; www.sfperformances.org. 8pm, $30-45.

zBug Meridian Gallery, 535 Powell, SF; www.meridiangallery.com. 8pm, $10.

FOLK/WORLD/COUNTRY

Charming Hostess Red Poppy Art House. 8pm, $12-20.

One Soul Music Collective Plough and Stars. 9pm, $6.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Bootie: The Donner Party DNA Lounge. 9pm, $6-12. Mash-ups with a stage-show-meets-DJ-set paying tribute to cannibal pioneers by John!John!

Fire Corner Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.

Fringe Madrone Art Bar. 9pm, $5. Indie music video dance party with DJ Blondie K and subOctave.

Full House Gravity, 3505 Scott, SF; (415) 776-1928. 9pm, $10. With DJs Roost Uno and Pony P spinning dirty hip hop.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip-hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Non Stop Bhangra Rickshaw Stop. 9pm, $15. Bhangra beats with live drumming and dancing.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Saturday Night Soul Party Elbo Room. 10pm, $5-10. Sixties soul with DJs Lucky, Phengren Oswald, and Paul Paul.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Strobe Deco Lounge, 510 Larkin, SF; www.decosf.com. 9pm. Disco with DJ Tweaka Turner, BeBe Sweetbriar, and Duplicity Dilemma.

SUNDAY 16

ROCK/BLUES/HIP-HOP

Bad Books, Right Away Great Captain!, Gobotron Biscuits and Blues. 7:30pm, $17.

“Battle of the Bands” DNA Lounge. 5:30pm, $12. With Swain Turay, Mahgeetah, Genius of Jack, and more.

Budos Band Independent. 9pm, $20.

Cowboy Mouth, Dash Rip Rock Slim’s. 8pm, $22.

Gregory Douglass, Acoustic Minds Café Du Nord. 8pm, $10-25.

Jerry Lawson and Talk of the Town Yoshi’s San Francisco. 7pm, $30.

*Neurosis, Saviours, U.S. Christmas Great American Music Hall. 9pm, $21.

Rantouls, Wrong Words, Tropical Sleep Hemlock Tavern. 9pm, $6.

Martha Reeves Rrazz Room. 7pm, $40-45.

Twice as Good Biscuits and Blues. 8 and 10pm, $15.

JAZZ/NEW MUSIC

Michael Zisman, Larry Vuckovich, Nat Johnson Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

FOLK/WORLD/COUNTRY

Everlovin’, Coburns Thee Parkside. 4pm, free.

Woody Pines Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $15. Dub, roots, and classic dancehall with DJs Sep and guest Zion Train featuring Neil Perch and Rocker T.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 17

ROCK/BLUES/HIP-HOP

Songs for Snakes, Time Traveling Assassins, Bite El Rio. 7pm, $5.

Velvetwinos, Brian Ravizza Café Du Nord. 8pm, $10.

JAZZ/NEW MUSIC

Amiri Baraka and Roscoe Mitchell Yoshi’s San Francisco. 8 and 10pm, $12-18.

Lavay Smith Swinget with Jules Broussard Enrico’s, 504 Broadway, SF; (415) 982-6223. 7pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 18

ROCK/BLUES/HIP-HOP

Defiance Ohio, Kimya Dawson, Songs for Moms Thee Parkside. 8pm, $8.

Entrance, 3 Leafs, Nectarine Pie, Moccretro Slim’s. 8pm, $5.

Era Escape, Tokyo Raid, DownDownDown Bottom of the Hill. 9pm, $8.

Moondoggies, Quiet Life Independent. 8pm, $12.

Ryp, Carmichael and the Frijalitas El Rio. 7pm, free.

Shants, Son Cats, Cave Country Hemlock Tavern. 9pm, $6.

Snoop Dogg Fillmore. 8pm, $37.50. FOLK/WORLD/COUNTRY Aurelio Martinez Group Yoshi’s San Francisco. 8pm, $20. Bhi Bhiman Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. JAZZ/NEW MUSIC Ricardo Scales Top of the Mark. 6:30pm, $5. Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $35. DANCE CLUBS Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ Big Dwayne and DJ Eye-Man. Brazilian Wax Elbo Room. 9pm, $7. With Grupo Das Sete featuring Eric Dos Santos, featuring DJs Carioca and P-Shot. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Salem, Disco Shawn Rickshaw Stop. 8pm, $10. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx.

On the Cheap

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On the Cheap listings are compiled by Jackie Andrews. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 12
How to Build Guitars Bazaar Cafe, 5927 California, SF; (415) 831-5620, www.julianagallin.com/howto. 7pm, free (food and drink purchase encouraged). Rickenbacker 12-string electric guitar lover, Mario DeSio, who began making his own damn guitars — by consulting the internet, no less — when his guitar-buying budget was slashed, will share his humble beginnings, experiences, tools, and finished (as well as unfinished) products. Afterwards, you may not be able to add “luthier” to your resume, but maybe you’ll become inspired by this DIY night.

THURSDAY 13
“The Journey That Saved Curious George” Contemporary Jewish Museum, 736 Mission, SF; (415) 655-7800, www.thecjm.org. 7pm, free with regular museum admission or $5 after 5pm. Experience the stranger-than-fiction journey of Margaret and H.A. Rey, the creators of Curious George, as they escape Paris from the Nazis on homemade bicycles, take a train ride across Europe, and finally a boat to America. Louise Borden, who wrote the book Curious George Saves the Day: The Art of Margaret and H.A. Rey, tells the story with an illustrated discussion and a book signing to follow — after which you will surely want to cuddle up with a sweetheart and read Curious George by the fire, er, space heater.

FRIDAY 14
Bitches Brew Park Life, 220 Clement, SF; (415) 386-7275, www.parklifestore.com. 7pm, free. A good art opening is always a great alternative to spending wads of cash on a Friday night. The possibilities of free or cheap booze and cool stuff always aim to please, and when there’s a rad band thrown in to the mix, you can’t go wrong. This Friday, check out new works from Kelly Tunstall, Marci Washington, Aiyana Udesen, Hellen Jo, and Rebecca Ebeling with special musical performance by Oakland’s Wax Idols

SATURDAY 15
Queer Porn TV Launch Party Lexington Club, 3464 19th St., SF; (415) 863-2052, www.lexingtonclub.com. 9pm, free plus with drink purchase. Celebrate the launch of QueerPorn.TV, a new queer porn site, with drinks, dancing, and general all-around debauchery. Hosted by queer porn icon Courtney Trouble and porn star Tina Horn. DJs Booty Klap (Party Hole) and Jean Jamz (Party Hole, Ships In The Night) will getcha rumps shakin’, and a special performance from porn star Maggie Mayhem should no doubt be the icing on the proverbial cake.

SUNDAY 16
Scott Alexander solo performance RockIt Room, 406 Clement, SF, (415) 387-6343, www.rock-it-room.com. 8pm, free. Brooklyn expatriate Scott Alexander, a.k.a. “Cookie Man,” is that guy you may have seen recently around town hanging out on an inflatable couch while passing out free cookies. Well, he’s a Californian now and wants to make friends – and to do that he will be singing songs, passing out more cookies and, oh yes, bacon. All bases are covered here guys, regardless of whether your thing is off-beat, comedic pop music, cruelty-free baked goods, or fried pig ass.

MONDAY 17
MLK Day of Service Contemporary Jewish Museum, 736 Mission, SF; (415) 752-2483,  www.thecjm.org, www.norcalmlk.org/2011. 11am – 5pm (art poem activity from 1-3pm), free. Yerba Buena Center for the Arts and Yerba Buena Gardens’ sponsor a day of egalitarian activities: a march starting from the park’s MLK memorial, a fair offering free family health services, a children’s reading festival, and the Contemporary Jewish Museum will be open free to the public. Whew! See website for events schedule.

MoAD MLK Day Celebration Museum of the African Diaspora, 685 Mission, SF; (415) 358-7200, www.moadsf.org, www.norcalmlk.org/2011. 11am-6pm, free. MoAD invites the public to enjoy a day at the museum free of charge – and to celebrate MLK’s dream, they’ve got a full slate of community-empowering activities planned. There’s a college fair of historically African-American schools from around the country, live Afro-Cuban music, chalk drawing outside the museum, MLK film screenings, and even a live jewelry-making demonstration and sale. See website for events schedule.

Revolution 101

1

caitlin@sfbg.com

CAREERS AND ED Of course, you could just stop paying for school all together. Instead of putting their hopes for the future of education behind state reinvestment in university systems, a group of SF radical intellectuals are seeking to revamp the definition of learning by introducing the Free University of San Francisco. The nascent institution holds its first teach-in Feb. 5-6.

“Education is revolution,” says the incubator of the Free University, writer and poet Alan Kaufman. This ain’t Kaufman’s first rodeo. In 2004, while an instructor at SF’s Academy of Art University, he organized a student walk-out to protest the school’s violations of free speech rights. Employed through a temporary contract with the academy, Kaufman was not hired back the next term.

For him, it was a wake-up call that the current university system was teaching for the wrong reasons, not the least of which was the hefty price tag for classes that left his pupils in poverty. One student, he said in a recent phone interview with SFBG, had been “starving before my eyes, surviving on Ramen Noodle Cups” — all she could afford on top of tuition fees. He gave her $60 for food. But it wasn’t enough. Something had to be done.

When asked what he thinks the point of education is, Kaufman barely hesitates. “Liberation, freedom.” The current trends of privatization in public colleges, coupled with soaring school fees that far outpace students’ budgets, is symptomatic of a system that, as he prettily puts it, “funnels hearts and minds into narrowing corridors of survival. Creating profits for the university — that is the end game.”

He’s not the only person who thinks so. Kaufman and other Free University supporters have organized a teach-in next month that will feature college-level lectures from leading Bay Area artists and intellectuals, including Beat poet and SF poet laureate Diane Did Prima, former president of the Board of Supervisors Matt Gonzalez, and Pirate Cat Radio’s Diamond Dave Whitaker. The courses are no-credit, but the event is a symbol that the current educational system isn’t fulfilling some basic student needs. Instructors will teach on subjects that range from 19th-century poetry to natural geography.

Eventually Kaufman he envisions an “actual mobile university” capable of bringing the possibility of a college education to places where such a thing might be considered unattainable. And it wouldn’t just be beneficial to students. Guest faculty could experience “a kind of cleansing,” a temporary return to their original ideal of academia.

Of course, there are a few — ahem — challenges involved in starting a school that has no tuition, teacher salaries, or even monetary donors (Kaufman says the Free University will accept gifts in the form of books or other resources, but no cash). University supporters have decided to eschew accreditation for now, and true to Kaufman’s nomadic vision of the school, no location for classes has been set. First the teach-in, Kaufman says, and based on feedback, the consensus-based, hierarchy-free project will take it from there. The idea of the Free University, it would seem, is the thing for now.

It’s been done before. In the wake of the French Revolution, France established its Grandes Écoles system, a 250-school system that remains for the large part, tuition-free. The East Bay Free Skool is one outlet in the Bay that offers skill training, gratis. So for all the pie-in-the-sky idealism involved, perhaps the true test of the Free University of San Francisco won’t be its creation at all — crazy things have happened, haven’t they? Instead, it may be the extent that humanist students can steel a harsh economic climate that tends to reward monetarily-driven educations.

So why would a student chuck their pursuit of an accredited degree to participate in an uncertain radicalization of education? “Would it have practical application in a corporatized universe? Good question!” Kaufman chuckles. He launches into a torrid Marxist prediction: that our patently unfair education system cannot stand. “The system must be changed. When the pain is bad enough, people start to change.” *

FREE UNIVERSITY TEACH-IN

Feb. 5–6, 9 a.m.–5 p.m., free

Viracocha

998 Valencia, SF

(415) 374-7048

fusf.wordpress.com

In the red

5

rebeccab@sfbg.com

CAREERS AND ED When the University of California Board of Regents met Nov. 17, 2010 to approve an 8 percent tuition hike, roughly 300 UC students who were furious about the decision converged outside the University of California, San Francisco (UCSF) campus at Mission Bay to rally in opposition, some traveling from as far away as Los Angeles.

“We had been organizing with all the campuses to get students to come up because we really wanted to be there to let them know that it’s not what we want, and it’s something they can’t just get away with doing year after year,” said UC Student Association President Claudia Magana. The protests were raucous, and police cracked down by discharging pepper spray and making 13 arrests.

Despite the palpable fury outside and impassioned student opposition delivered to the Regents inside, the 8 percent fee increase was approved. It came on the heels of a 32 percent tuition increase imposed the year before, and the price was ratcheted up by 9 percent and 7 percent in the years prior to that.

The tuition hikes were steep, but hardly new. Indeed, the cost of attending UC schools has been rising steadily for quite a while. According to a study by economist Peter Donohue, student tuition and fees increased 277 percent from 1990-91 to 2008-09, and that was prior to the 40 percent increase that followed. That trend is repeated in rising costs at the California State University and California Community College systems (See “Access Denied,” April 6, 2010).

Student protesters have sought to make it clear that their outrage isn’t rooted in selfish unwillingness to shell out more money, but instead is linked to a broader concern about privatization and the increasingly limited accessibility of public education.

Magana expressed concern that the climbing cost of instruction at UC, though still a relative bargain compared with private institutions, would ultimately start to affect who could and couldn’t attain higher education through the public university system. The question isn’t limited to UC — tuition is increasing at public and private colleges across the board, and as income inequality sharpens, more students seek higher education.

“Students will always pay to be here,” she noted. “The issue is going to be, which students are here? That’s really the big problem — the huge class issue that’s going to come up. Although there are some forms of support for low-income students, it’s not easy.”

 

DEEPER IN DEBT

Rising costs at UC mirror the upward trend at private nonprofit and for-profit postsecondary institutions nationwide, and those higher prices have triggered a dramatic increase in student borrowing. While students from low- or medium-income families can access higher education at any institution they’re admitted to as long as they’re willing to take out significant sums in student loans, many find themselves at a serious disadvantage once they have to start repaying their debt.

A study conducted by the Public Interest Research Group (PIRG) noted that hefty debt burdens often dissuade graduates from pursuing careers in teaching, social work, the nonprofit sector, or other low-paying occupations that foster social justice. PIRG found that 23 percent of public four-year college grads and 38 percent of private four-year college grads were saddled with too much debt to manage paying back student loans on a starting teacher’s salary.

For students pursuing careers as social workers, the economic bind looked even worse: 37 percent of public school grads and 55 percent of private school grads with student loans wouldn’t be able to manage repayment with starting salaries in that field, the study concluded.

“Because students with lower incomes are more dependent on student loans than higher income students, students who already face significant challenges to attending college will more strongly feel the effect of loan debt on career choice,” the report points out.

“It’s a serious problem for so many young people to be starting out their working life so deep in debt,” said Edie Irons, spokesperson for The Institute on College Access and Success (TICAS), an Oakland-based research organization. “It really does limit people’s ability to take advantage of the opportunities education is supposed to provide. In concrete terms, it can make it really hard to buy a house, or start a business, or start a family, or go back to grad school, or to save for retirement or your own children’s education. And that’s all assuming you can keep up with the payments.”

Student loan debt has intensified over the past two decades. In 1993, just one third of all four-year college students graduated with debt, owing on average slightly more than $9,000, according to PIRG.

Today, the majority of college students take out loans to finance their education. Around 62 percent of public university students graduate with student loans, as do 72 percent of students attending private nonprofit institutions, and 96 percent of students attending for-profit institutions such as the University of Phoenix or the Academy of Art University, according to TICAS. Nationally, students graduate owing an average of $24,000, not counting debt associated with advanced degrees.

While young people must invest more than ever before to obtain higher education, the return on investment isn’t showing signs of improvement. The expected median income for UC graduates has stayed the same over the last decade, even as the cost of tuition has ballooned.

What’s more, says Bob Meister, president of the Council of UC Faculty Associations and professor of Political and Social Thought at UC Santa Cruz, is that an estimated 40 percent of public university students entering the workforce will either be unable to find a job, or will land in a lower-paying job that doesn’t require a college degree.

“For college graduates under 25, the unemployment rate is nearly as high as the national unemployment rate,” around 10 percent, Meister notes. “Over the past decade, what’s happened is that the median hasn’t risen. The top has risen very fast, and the bottom has fallen.”

 

IN A DIFFERENT CLASS

There’s no doubt that diminished state funding is affecting California’s public universities.

“A lot of departments are being eliminated, and a lot of professors who are really amazing are leaving to other universities,” Magana says. “And the waiting lists for classes are just ridiculous.” Academic goals are being compromised — for example, students had to abandon their push for an ethnic studies program at UCSC, she added, because the American studies department that would have partially supported it was slashed.

While diminished public funding has been used to explain the need to raise tuition, Meister has published numerous essays suggesting that the root cause of rising tuition costs at UC goes deeper than that, and he has gone so far as to publicly encourage students not to accept higher tuition without first demanding financial information.

Meister previously served on the UC budget committee and has observed the institution’s evolving financial policies for years. He doesn’t seem surprised that tuition is going up, regardless of what condition the economy is in or what amount of public funding is available because, as he puts it, “the universities will cost as much as they can.” UC had long sought to boost revenue by raising tuition, he noted, yet its leaders feared a rollback in state funding in response. But that changed under Gov. Arnold Schwarzenegger, who agreed to increase state support only on condition of that UC in turn require students to contribute more.

Around the same time that Schwarzenegger provided this new incentive to raise tuition, UC pooled its various revenue streams into a consolidated general revenue fund, Meister said, a departure from the old way of keeping separate accounts. This new fund, which included all non-state revenue and funding that wasn’t legally required to be used for certain purposes, could be pledged entirely as collateral for bonds for new construction projects, greatly increasing the institution’s borrowing power and boosting its revenue with the addition of new facilities.

To maintain its stellar bond rating, UC had to ensure an increase in revenues, according to Meister’s explanation, and to do that, UC ratcheted up the one source of revenue it had full control over: tuition. Meister laid bare this financial play in a 2009 open letter to students, titled “They Pledged Your Tuition.” Since it was published, a small corps of student activists has become deeply engaged in studying campus finance documents and airing criticism of financial policies.

Just before the Nov. 17 protests at UCSF Mission Bay, Meister published another open letter, this one addressed to UC President Mark Yudof. This one contemplated, “Why they think they can increase revenues regardless of how fast the economy grows … and regardless of whether the income of graduates is stagnant.”

His answer is somewhat surprising: “Their ability to raise tuition is a function of the growth of income inequality,” he told the Guardian. In the letter, Meister charges, “In the 21st century, when almost all income growth has been in the top 1 to 2 percent of California’s population, UC is still marketing income inequality to students as its most important product. It now expects all students to pay more for an ever-shrinking chance of reaping the ever-growing rewards that our economy makes available to the few. Your plan to increase revenue through tuition growth is feasible, of course, only because the federal government still allows students to borrow more for education despite the greater likelihood that they will not be able to repay — student loans may be the last form of subprime credit available in our economy.”

His theory highlights a paradox. “Being in the have-not category is increasingly worse,” he explains, “and so they are willing to take on more debt, which actually dampens their prospects for income growth.”

The question now is what will happen under Gov. Jerry Brown, who is likely to take a different stance toward rising tuition than Schwarzenegger but nonetheless is expected to unveil harsh cuts to education as a way to address a $26 billion budget deficit.

In a recent interview with the San Francisco Chronicle, UC Regent Richard Blum indicated that it probably would not be feasible to raise tuition again, so the message was that students should brace for more cuts to education.

When Brown unveiled his proposed budget on Jan. 10, he announced further cuts to higher education in California to balance the state budget. Brown’s revised 2010-11 budget decreases the state funding for UC, CSU, the community college system, and other higher education programs by $1.7 billion for the 2011-12 budget. The UC system would take a 13.3 percent hit in general fund support; the proposed cut to the CSU system is 12.5 percent; and the community college system would be cut by 6.9 percent.

Brown, who also wants to hold a special election to ask voters to maintain the current level of tax rates for income, sales, and vehicle license taxes for five years rather than let them expire later this year, expressed regret about making cuts to higher education. But he emphasized the need to make tough decisions in the face of a bleak financial outlook, saying, “We need to face the music.”

Release me

1

arts@sfbg.com

MUSIC As 2011 begins, Bay Area rock is wasting no time staking its claim. This month brings noteworthy albums by at least a handful of local groups and artists. I’ll be covering them over the course of the next two weeks, beginning with a trio of new releases:

 

YOUNG PRISMS’ FRIENDS FOR NOW

Since the late-2009 release of Young Prisms’ self-titled EP on Mexican Summer, this Cali quintet has been hard at work. It put out three different split 7-inches: one with Weekend on Transparent; one with Small Black on Big Love; and one with Mathamagic on Atelier Ciseaux. In the wake of performances at last fall’s CMJ conference, the band is set to release its first full-length, Friends For Now (Kanine Records), Jan. 19.

Once you get past Friends for Now‘s NSFW cover art — it’s just a little nip, and only one at that — you’ll enter into the title track, which blissfully rattles forward with undecipherable vocals, like a sun-bleached step into euphoria. “If You Want To” floats over waves of distortion; the only discernible lyrics are the title lines, nonchalantly chanted like an existential mantra. The single “Sugar” picks up the pace with yowling guitars.

The band also makes sure to include a smoke-break track, just as it did with “Four Twenty Friendly” on the Mexican Summer EP. Titled “All Day Holiday,” this one is an under-a-minute wash of echoes and effects. The opening notes of “In Your Room” are dramatic, then radiant guitars emerge over rumbles of distorted bass. Friends For Now rounds out with tightened mixes of “Feel Fine” and “I Don’t Get Much,” which were both previously released, and closes with the hypnotic “Stay Awake.” Taken together, the collection of songs is cohesive, capturing a sunlit aesthetic while giving the illusion of chaos.

 

SONNY SMITH’S 100 RECORDS, VOLUME TWO: I MISS THE JAMS

Sonny Smith’s approach to recording and issuing music is unique, accentuating its connections to visual art. Using his imagination along with the help of a rotating band, he assembled “100 Records,” an art show that opened at San Francisco’s Gallery 16 and then traveled to other venues. In “100 Records,” Smith created releases by 100 different bands, coming up with names, bios, songs, and album art. Now Smith is releasing 10 of those songs as 100 Records, Volume Two: I Miss the Jams, a package of five, 7-inch singles or a single CD.

Listening to I Miss the Jams, you’ll never think “every song sounds the same,” since each fabricated band has its own rock ‘n’ roll aesthetic. The album opens with Zig Speck’s “One Times Doomsday Trip to Nowhere,” an unshackled surf-jam sung by Ty Segall. Starting off with a bang, “Teenage Thugs” is complete with gunshots and Spanish verses. The doo-wop track “I Wanna Do It” includes a surf-rock wipeout interlude and showcases Heidi Alexander’ (from the Sandwitches) wailing cries, which evoke a classic pin-up doll. Hank Champion’s country track is spoken, and more straightforward than a Doors song, with literal lyrics that tell the depressing tale of its title character, “Broke Artist at the Turn of the Century,” and how he got there.

Smith plays with rock star cliché, but never makes his characters seem two-dimensional. Providing us with a Bay-Area-rock-scene parallel universe, Smith makes us question what is real and what is not.

 

SIC ALPS’ NAPA ASYLUM

Sic Alps has been recording and releasing music since 2004. The band had a prolific 2008, putting out two full-lengths. In the fall of 2009, it released a 7-inch single on Slumberland, toured with Magik Markers, and made up one-half of a 12-inch split release on Yik Tak. The next year began with a handful of shows opening for Sonic Youth. And then Sic Alps went quiet for a bit … but the wait has been worth it. Now a trio, the group is set to release the new double-LP Napa Asylum (Drag City) on Jan. 25.

Napa Asylum displays Sic Alps’ flair for irresistible hooks and torrid experimentation. As usual, the new tracks were recorded with “a delay pedal, reverb tank, two microphones, $100 preamp, and Tascam 388.” There are 22 cuts in just under 48 minutes, with some delicious pop-rock morsels, including “Cement Surfboard,” “Ball of Flame,” and “Zeppo Epp.”

What’s new is how often this San Francisco no-fi band slows its tempo and explores the psychedelic side of its sound, like on the serene “Low Kid,” reverb-riddled “Ranger,” and the closer, “Nathan Livingston Maddox,” which is based on a dream Mike Donovan had about the late Gang Gang Dance member, who was killed by lightning. Napa Asylum‘s other bizarre lyrical ruminations on magic and schizophrenia prove Sic Alps, as ever, aren’t afraid to wander into new sonic and poetic terrain. *

YOUNG PRISMS

With Ganglians, Melted Toys, and Speculator

Jan. 19, 8:30 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

SONNY SMITH

With the Blow

Jan. 30, 8 p.m., $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

SIC ALPS

With Thee Oh Sees.

Feb. 9, 8 p.m., $13–$16 (benefit for the Coalition on Homelessness)

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

50 years in exile

0

arts@sfbg.com

VISUAL ART In 1988, Jeff Koons unveiled Michael Jackson and Bubbles, three ceramic sculptures of the pop icon and his pet chimpanzee. Koons’ sculptures, syncing his kitsch with Jackson’s gaudy tastes, were the conclusion of a series titled “Banality.”

In “Universal Remote,” Bay Area artist Jaime Cortez reintroduces Michael Jackson as an art subject. But Cortez is after something other than Koons’ surface banality. His exhibition’s variety of media — including a globular sculptural centerpiece that’s a counterpoint to Michael Jackson and Bubbles — form a mythic narrative. By turns revelatory and enigmatic, “Universal Remote”‘s look at history and human nature (to employ two Jackson keywords) is akin to Adam Curtis’ recent documentary It Felt Like a Kiss, which uses Phil Spector’s music to score the insidious maneuverings of the 1960s. If, as Cortez notes, the U.S. tends to sanitize the violence and viciousness of fairy tales, that clean-up work is trumped by a return-of-the-repressed within pop culture. I recently visited Cortez at Southern Exposure as he assembled the show, which includes a Jan. 29 program of readings and performances.

SFBG When did you decide to tell a Michael Jackson story?

JAIME CORTEZ It started a year ago. I was struck by how much Michael Jackson’s music was a part of my personal history. I’m at just the right age so that by the time I could be conscious of pop music, he was there. I realized that he did something that hardly anyone had done — he’d been a part of my life for decades. I started thinking about him more, and became fascinated with the aftermath of his death.

SFBG The degree of public scrutiny he received was akin to passing through the looking glass — you could say that he passed through the looking glass more often and intensely than anyone.

JC That’s a beautiful way of putting it. He was a creature of media. It was completely symbiotic — media tapped him, and he tapped media. My friend Ignacio [Valero] compares him to the frog put into boiling water that enjoys the heat until it’s too late.

He was consumed by this obsession with his own stardom. It’s almost as if he was making his face into a graphic brand. Everything was being flattened out: hot red lips, extremely pale face, shiny black eyebrows and hair.

SFBG His nose is central to your photo-collages. To me, it has fatal connotations. He marred or restricted a part of his body that is central to breathing and respiration.

JC I would look closely at photos of him and try to see him. There’s such a haze of media static and lies and mythologizing around him that it’s hard to get a bead on him. I feel that he was either in a deep state of constant denial, or a liar. He was constantly giving contradictory statements.

It actually made my eyes tear up when I took a good look at his face, his nose in particular — it was beyond repair. He had all the money in the world to change his face, but something went terribly wrong, and he was deformed.

SFBG Your show has many different forms: drawings, rotating scrolls, photo-collage, and sculpture. Why did you create more than one series of works?

JC There are theories about the five steps in the grieving process, and I was thinking about the different ways people deal with the passing of a person. The drawings of the animals represent a clean mourning. Michael Jackson was surrounded by so many parasitic people — those dependent on him for their financial well-being and sense of fabulousness — that his pets might have been the only place where he could get real love, besides maybe children. The pets are a stand-in for everyone’s grief.

The [show’s] lamps relate to the process of mythologizing from the record companies and the media — after a while, you couldn’t tell if the National Enquirer was more reliable than People or Newsweek. And then on top it all was his self-mythologizing. He alternated between extreme humility and grandiose egotism. The unadulterated rotating lamps that you buy for children’s rooms present a little story, one that illuminates a child’s space. I felt they were the proper form for exploring a very adult fairy tale about Faustian tradeoffs.

SFBG How did the text accompanying the lamps come about?

JC I was having dinner with Gary [Gregerson] and Jill Reiter, and Gary joked, “Michael Jackson was a castrato.” When he said that, I had this Tetris moment where all the blocks fell into place. When I began studying the castrati, it really got interesting. The most famous of them were basically rock stars. Women would faint or go gaga when they saw them. Women wanted to have sex with them. They looked different from other people because they developed differently from being castrated. And they had these gifts — the best of them had the lung power of a grown man coupled with a high, boyish or womanly voice.

SFBG How did you create the elaborate encasement that is the show’s centerpiece?

JC It’s built from a bunch of vases attached to each other with industrial adhesive. The statue is polymer modeling compound with wires for an Afro. The bubble on top is an acrylic globe I ordered from a street lamp company. On one hand, it makes him look like a specimen under a bell jar. Overall, it has a feeling of grandiosity and loneliness.

SFBG The mirror at the base adds another dimension.

JC Yes, it make the sense of space ambiguous. But most of all, I wanted to make something that looked precarious. For me, the piece is a visual analog for all the unbelievable machinery behind making a kid into a star. There’s an amazing amount of publicity and technology and image management, in addition to training and performing — this amazing apparatus, all of it built around a little 70-pound kid.

JAIME CORTEZ: UNIVERSAL REMOTE

Through Feb. 19, free

Southern Exposure

3030 20th St., SF

(415) 863-2141

www.soex.org

Beyond Berlin and Beyond

0

arts@sfbg.com

FILM In 1996 Ingrid Eggers cofounded Berlin and Beyond, that annual Castro Theatre showcase for all things celluloid (or digital) and German-language. Fourteen years later she retired from the San Francisco Goethe-Institut after two decades of service. B and B soldiers on without her, but Eggers now has her own weekend-long independent festival at that same art-deco movie palace.

Why a second S.F. German language film festival? “Because I think that German films are not really well-represented in the various film festivals in the Bay Area, especially not in the [San Francisco] International [Film Festival],” she says. “There was always a focus on French films, particularly under [ex-SFIFF chief] Peter Scarlet. We had French and Italian film weeks, but nothing German. The other thing is that with Berlin and Beyond having a [current] director who is, I guess, going into a more international direction with lots of coproductions, I think there are enough films that come from Germany that deserve an audience here.”

German Gems part zwei is hella heavy on debuts — six out of 10 features — which Eggers says “wasn’t intentional, but came about because lots of the bigger productions are very expensive [to book] these days. It’s not unusual to pay 1,000 euros for a single screening.” Plus, Germany is admirably generous when it comes to funding not just film production, but film schools and graduation feature projects.

One such gem showing this weekend, Philipp J. Pamer’s two-hour-plus Mountain Blood, is the sort of thing even veteran commercial talents might have a hard time getting bankrolled. It’s a 19th-century epic shot high in the Tyrolean Alps, involving romantic and military intrigue between sophisticated Bavarians and rough-edged Tyrols during a period of attempted French occupation. Eggers allows that kind of budgetary challenge would be “unheard of here for a first feature, but in Germany you can pull it off.”

Opening the festival is a movie by one far-from-new director. A quarter-century ago Percy Adlon (another Bavarian) ruled the arthouse circuit with Zuckerbaby (1985) and Bagdad Café (1987). There followed a gradual slide into obscurity suggesting Adlon wasn’t a maturing talent so much as a permanently immature one who got lucky a couple times early on.

Yet his Gems-launching historical fantasia Mahler on the Couch is wise, antic, over-the-top, and controlled. It portrays last-great-musical-Romantic Gustav Mahler (Johannes Silberschneider) as a neurotic egomaniac driven to the upholstery of Sigmund Freud (Karl Markovics) by worry over the professed infidelity of spouse Alma Mahler (Barbara Romaner).

This Freud is sometimes harshly insightful, to Gustav’s frequent distress. Yet this very trickily structured, farcically winking, incongruously picturesque film is less concerned with either of them than horny, tempestuous Alma — “the most beautiful girl in Vienna, from a good family, and very rich.” How disappointing, then, that she spends most of her adult life as wedded servant to a cultural behemoth. She, too, wanted to make music. But even had she turned out something well short of a genius in that regard, Adlon (cowriting and codirecting with son Felix) sympathizes with the fact that she was never allowed to discover that for herself.

Other German Gems highlights include Ina Weisse’s black comedy The Architect, in which a jaded, dysfunctional nuclear unit travels to an ancestral hamlet for a matriarch’s funeral and promptly falls apart in all kinds of unpredictable ways. Another bad dad is the subject of Lara Juliette Sanders’ documentary Celebration of Flight, about a 78-year-old ex-pilot and amateur airplane builder living on a Caribbean isle — though the film is too shy about probing the estranged family he’s basically exiled from. David Sieveking’s non-aerial nonfiction David Wants to Fly finds the incessantly onscreen director seeking an artistic father-mentor in David Lynch, though this patriarchal worship is soon torpedoed by the director’s skepticism toward his idol’s favorite cause, Transcendental Meditation.

Elsewhere, Thomas Stiller’s She Deserved It offers lurid teenage-bullying moral instruction à la Larry Clark, without the graphic sex. Andreas Pieper’s Disenchantments interweaves four stories about variously unhappy Berliners coping with “the dialectics of enlightenment.” (Now that is German.) For some welcome absurdism, there’s Björn Richie Lob’s Keep Surfing, which is Cali fragi-licious: its real-life subjects ride stationary river waves in the middle of Munich, which is like “water skiing in a wind tunnel.” Cowabunga, freunde!

GERMAN GEMS

Jan. 14–16, $11–$20

429 Castro, SF (415) 695-0864 www.germangems.com

New thing

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arts@sfbg.com

MUSIC In his 1963 essay “Jazz and the White Critic,” Amiri Baraka (then Leroi Jones) writes, “The New Thing, as recent jazz is called, is a reaction to the hard bop-funk-groove-soul camp, which itself came into being in protest against the squelching of most of the blues elements in cool and progressive jazz. Funk (groove, soul) has become as formal and clichéd as cool or swing, and opportunities for imaginative expression have dwindled almost to nothing.”

In today’s “almost to nothing” post-everything musical wasteland, there is a persistent dwindling yet again. So much musical freedom has given way to downloaded snippets and the time restrictions of YouTube videos. Even our old popular rebel friends, hip-hop and punk rock, have lost their teeth to corporate bling or easy-bake obscurity. Improvisation, experimentation, and innovation are still so hard to come by that I can’t help but wonder — don’t we need a new thing?

The “New Thing” that Baraka defends in his essay is now the mainstay of a modern, and still thriving, jazz movement that included the likes of Coltrane and Eric Dolphy. Today you can find it in the sounds of musicians such as Ornette Coleman and Roscoe Mitchell.

In 1965, Mitchell helped found the Association for the Advancement of Creative Musicians (AACM). His 1966 album Sound (Delmark) is heralded by many as a milestone that helped usher in “The New Thing.” Along with Henry Threadgill, Anthony Braxton, Wadada Leo Smith, and others, Mitchell became a founding member of The Art Ensemble of Chicago in the late 1960s. He’s since continued to explore the fringes of avant-garde jazz, noise, classical, folk, and world music to create hybrid compositions that mesmerize and provoke.

This week, on Martin Luther King Jr.’s birthday, Yoshi’s is inviting Mitchell to join Baraka, the author of more than 40 books, poet icon, revolutionary activist, and father of Afrosurreal Expressionism.

Baraka is renowned as the founder of the Black Arts Movement in Harlem in the 1960s, just as Mitchell is revered as the founder of the AACM in Chicago around the same time. Both men have a reputation for the type of work regimens and standards of excellence that produce results. Baraka is a master performer and reader. Mitchell is a master musician who, along with saxophone, plays clarinet, flute, piccolo, oboe, and many handmade “little instruments” that create ethereal, and eerily familiar, sounds. In short, having these two men on stage doing their thing is like having more than 100 years of the radical avant-garde blowing fire and ice in your face. You’ll like it. Trust me.

The idea that American music never fully explored “The New Thing” when it emerged nearly 50 years ago is slowly coming to light, thanks to Soul Jazz’s 2004 compilation New Thing! and a recent resurgence of interest in — and reissuing of — works by Sun Ra, Thelonious Monk, and George Lewis. It leaves me to wonder: is the old “New Thing” just the new “New Thing” we’ve been waiting for?

AMIRI BARAKA AND ROSCOE MITCHELL

Mon./17, 8 and 10 p.m., $12–$18

Yoshi’s San Francisco

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

Dark end of the street

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DOCUMENTARY CLASSIC This column space is usually devoted to pop culture detritus. But this week we’ll bend the Trash definition to encompass human detritus, as in such timeless phrases as “Those people are nothing but trash.” The occasion is the Roxie’s restored re-release showcase of On the Bowery, a 1956 piece of early U.S. independent cinema that won major prizes. But it also struck many observers at the time as akin to literal trash: they wanted it dragged into some dark alley under cover of darkness, then quietly removed, lest polite society sift through the unflattering mess.

The 65-minute feature echoed Italian neorealism’s influence, as it mixed documentary footage with dramatic elements using amateur actors basically playing themselves. It provided a filmmaking “school” for debuting director Lionel Rogosin, a son of well-off New York City Jewish textile manufacturers who, like many of his peers, felt the need to make work addressing social equity rather than just “enjoy life” after the Holocaust. He hit on film as his chosen medium, South Africa’s apartheid system as desired subject — but as he knew nothing about filmmaking, taking on some smaller project first seemed apt.

Interviewed just before his turn-of-millennium death for 2009’s The Perfect Team: The Making of On the Bowery, which the Roxie is also showing, Rogosin recalls approaching this endeavor (initially planned as a short) with characteristic immersive fervency.

Having decided to focus on New York’s Skid Row district — the onetime flourishing heart of Manhattan whose slow degeneration began when an overground rail built in the 1870s bypassed stopping there — he spent a full six months befriending and bar-crawling with “Bowery bums,” occasionally slinking back to his Village apartment. (To neighbors’ consternation, sometimes these new pals would come uptown to pound on his door at 4 a.m., shaking the rich guy down for gin money.)

In the saloons and flops he found his cast, even his crew: cinematographer Richard Bagley, who shot 1948’s Oscar-nominated The Quiet One (another neorealist semidocumentary, about a Harlem juvenile delinquent), was found carousing thereabouts. (He died of cirrhosis in 1961 at 41. That was six years later and four years younger than Pulitzer Prize-winning scribe James Agee, who’d written The Quiet One and drank himself to death before he could write Bowery.)

Bagley understood what Rogosin meant in wanting the film to look like Rembrandt’s portraits of 17th-century Amsterdam’s poor and diseased — black and white On the Bowery has stunning passages of nothing but faces ruined by hooch and hardship, soulful in their grotesquerie. (Probably many were beyond registering being filmed.) The slim story, dialogue improvised within a barely scripted structure, centers on itinerant railroad worker Ray. Drifting into town between jobs, this uncomplicated rural Southerner has the ill fortune to get buddied up by the older Gorman, a.k.a. Doc (he claims to have blown a legit surgeon’s career), who spies a soft touch. Umpteen glasses later, Ray is left unconscious at the curb, his battered suitcase stolen by Doc to buy a few hours’ privacy in one flophouse’s chicken wire “room.”

Ray awakens the next day sobered but not sore, determined to stay dry long enough to clean up, get some work, and get outta here. Knowing his weakness for the sauce, he recognizes Bowery life as a pit he might easily vanish in. But after an abortive night at a depressing church mission, he answers the siren call of Doc’s mooching hospitality and gets in worse straits than ever. There’s both surprising redemption and a stone-cold reality check at the end of this woozy-view slice of gutter life.

On the Bowery won great acclaim in Europe and an eventual Oscar nomination as Best Documentary. (It was also inducted into the National Film Registry in 2008.) Yet it was scarcely distributed here, and outright condemned in some quarters. Eisenhower America preferred the less seemly aspects of its domestic life be kept hidden from view. Bagley’s shocking vistas of bruised, broken, passed-out “forgotten men” littering already decrepit city sidewalks at dawn — like extras in a Cold War sci-fi scare film about the Bomb — seemed not just an ugly truth but an unallowable one.

The New York Times and other commentators assailed the filmmakers for wallowing in gratuitous filth. At an otherwise triumphant Venice Festival premiere, socialite ambassador Clare Boothe Luce and publishing tycoon husband Henry snubbed Rogosin, the first Yank to win its Documentary Grand Prize. She reportedly encouraged the U.S. State Department to suppress Bowery‘s further exposure abroad — and was no doubt appalled when it became a runaway hit in certain Eastern Bloc nations.

Rogosin did make that South Africa film (1958’s Come Back, Africa, another Venice sensation) as well as several other little-seen social-justice documentaries, before continual funding shortages forced his mid-1970s retirement from the medium.

On the Bowery‘s “stars” imitated the art that had replicated their lives. Having been told by a real physician that he wouldn’t survive even one more binge, Gorman “Doc” Hendricks honored the crew’s pleas and stayed sober as long as the film was being shot. Once it wrapped, he promptly relapsed and died, never seeing a frame of the end product.

Handsome, affable 42-year-old Ray Salyer helped Rogosin promote the movie, dignified and frank about his own alcoholism in a Today interview excerpted in The Perfect Team. That publicity attracted Hollywood acting offers, including a purported $40,000 contract Salyer refused. When the attention got to be too much, he simply “hopped on a freight train and nobody ever saw him again.” Legend has it he later returned to the Bowery, dying there. A surviving nephew recalled his father (Ray’s twin among a brutal Kentucky Methodist minister’s 12 children) saying this wayward brother “returned permanently screwed up” from World War II military service. He was “still the charming, witty, engaging guy he had been, but with a deep sadness in his eyes. And he couldn’t drink enough to make it go away.”

ON THE BOWERY

Jan 14–20, $5–$9.75

Roxie Theater

3117 16th St., SF

(415) 431-3611

www.roxie.com

 

The Performant: Do you SQUART?

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Let it be resolved, improv-based speed-playwriting competitions involving queer performance artists, cake, fabulous spandex, atrocious wigs, adult diapers, bare bums, wind-up hamsters, and flasks of whiskey should always be bestowed a title which sounds like an uncouth bodily function. Because at the very least it leads to the humorous speculation of what particular bodily function that might be. Though hopefully your attention will mostly be on the crazed mish-mash unfolding onstage, because queer performance artists armed with cake, fabulous spandex, and all the rest, put on quite a show.

Or at any rate, they did at the one-year anniversary SQUART, which graced the SOMARTS stage on Sun/9. Conceptualized by Laura Arrington and co-produced by The Offcenter and SOMArts, Spontaneous Queer Art invites participants to create ensemble pieces in two hours abiding by specific criteria, and present the finished piece to a panel of local “celebrity judges”. This season’s theme was New Queer Baby, so the criteria included counting down, making resolutions, and giving birth. Pregnant themes, if you will, and ripe for interpretation.
 
After an awkwardly-timed round of oddience participation, the first of four groups took the stage, dressed to dazzle in glittering tops, tiaras, and a sparkling, assless jumpsuit. After a series of sketches: the birth of a hamster, a needy girl at a party, an impassioned singalong to “If I Could Turn Back Time,” they regrouped to devise a list of non-traditional New Year’s resolutions such as “I need more excessive celebration in my life,” and “I need to find a way to make more money.” Fun stuff, but group number two quickly eclipsed their joie de avenir with a strikingly confrontational piece that traded in “fear, loathing, and ecstasy”. Dressed in diapers and trailer-park drag, the group spent a good portion of the show compulsively adding to the layers of garbage strewn about the stage — condoms, salt, champagne, crumpled paper, shopping bags, a tank of helium — while from the oddience a belligerent “heckler” (Philip Huang) kept interrupting their banal patter with a volley of insults, and deliberately annoying behaviors such as pacing around the room, and throwing his chips at the judges. A climactic moment involving another singalong and a half-naked performer (Michael Velez) being pushed around the stage on the back of a
dumpster screaming “I’m God” to the apathetic masses was the most visually interesting tableau of the whole evening.
 
The exceptional cohesion of the winning group doubtlessly pushed them to the top, points-wise. A woman (Loren Robertson) with a microphone sat on the edge of the stage singing “100 Bottles of Beer” as the rest of the group enacted a fully-clothed orgy which resulted in the birth of one very naked man. Brought to Loren, his head in her lap, he began to nurse at her breast while she continued to sing. This scenario repeated itself variously, while the rest of the cast danced the Hora, and attended a “dance class” in spandex, until there were four wriggling, naked bodies attached to Loren and no more bottles of beer on the wall. Her world-weary acceptance combined with the boundless enthusiasm of her “babies” and the dancers was strikingly nuanced.

A great example of how “spontaneous” doesn’t have to mean “sloppy”, and makes me think SQUARTing more in the New Year could be a resolution worth sticking to.

Dan Witz gifts SF his finest S&M grates

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Given that he’s best known for his series of tiny, jewel-like airbrushed hummingbirds, it may strike his hordes of ardent fans as dissonant that street artist Dan Witz‘s latest offerings are so, well, fucked up. His current show at White Walls (on display through Feb. 5) is comprised of fake grated windows that Witz sneak-bolts onto buildings. The windows reveal chiaroscuro women with ball gags in their mouths and wasted man-prisoners. Witz, a classically trained artist, has rendered them realistically enough to invoke stomach-lurching concern in the onlooker. WTF, right?

But the artist, who I called up at while he was working at his chilly studio in dead-of-winter New York City, doesn’t see the birdies and the ball gags as being all that different. “Everything I do is an act of cultural aggression in some way,” he says. In 1979, when a young Witz airbrushed 40 of his now-famous hummers below 14th Street in Manhattan, their preciousness was a radical departure from the then-current trends in street art. Now, he says, his window grates onto depravity similarly represent what’s lacking in today’s milieu.

 

Keep your eyes on the road people — you can peep Witz’s highway pieces en situ above

 

“There’s a darkness and provocation that I think is missing from street art right now. Those uncomfortable moments, there’s just not much of it,” he reflects. Witz is a genius at creating, as my gallery-going companion at the White Walls opening on Saturday put it, “art that makes you feel something. Really any art that makes you feel something, I mean, that’s good.” 

Witz thinks the very act of making art that people don’t have to pay to enjoy – or be disturbed by, in the case of the grates he’s installed in undisclosed locations all over SF in anticipation of his White Walls show – is subversive. Y’know, the whole “taking the art to the people thing.” One of the problems about art today, Witz tells me, is that “as artists, we’re making art for rich people.” 

Wait – but the whole point of this article is that he’s having a gallery show in which his grates are being sold at prices that most people reading this article will not be able to afford (presumably, I’m actually kinda nervous to call and inquire – that whole “if you have to ask” business and all). I raise the point with Witzy, who tells me not to hate, essentially.

“We have to support this art. I think that’s mainly why people buy these pieces,” he tells me. Galleries are where Witz makes his bread and butter – otherwise how would he afford a life of donning maintenance worker outfits and affixing freaky photo-paintings of fetish models in shackles to buildings? It’s an argument that I’ve heard repeated a few times, by many different artists who’ve gained notoriety on the streets – public art is what inspires them, but without price tags and collectors, they’d be back to their day job. 

Plus, Witz informs me, the street is never far from his shows. At White Walls, great pains have been taken to locate the grates’ original use for the casual viewer – photos of them in their pavement-side locations abound, and each buyer of the indoor grates receives a photo print of their purchase’s al fresco twin, most likely made by Witz in the same batch of work. 

He says that as he ages, he’s become less concerned over what the art world’s opinions of his work is – but he’s created hundreds of the grates so far, to try to figure out which images snap the most necks, or as he puts it: “lie plausibly” on the streets. Indicative of the care, love, and reptilian focus that Witz injects into his work, this is a process in which he likens himself to a fertile mother sea turtle. “Those sea turtles, they lay a hundred eggs and only like two survive. I have to lay a fucking lot of eggs.”   

 

Dan Witz: “What the %$#@?”

Through Feb. 5

White Walls 

839 Larkin, SF

(415) 931-1500

www.whitewallssf.com