BART

Lynette Sweet’s finances: Curiouser and curiouser

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By this time it’s old news that Lynette Sweet, current BART Board Budget Committee chair and District 10 supervisorial candidate, has some issues with the Internal Revenue Service. She owed the IRS taxes going back to the year 2000, and the consequent lien on her property exceeded $20,000 in 2007.

Sweet says she never knew about the lien and thought she’d paid the taxes.

We’re still trying to figure out exactly how this happened — and the trail gets more and more convoluted.

We first called Sweet early in September, after we read about her tax troubles in the Chronicle. When we asked Sweet how she could have been unaware that the IRS was after her, Sweet told us that she’d been working with the tax firm JK Harris. She and Harris reached a deal to pay the IRS $14,500. She told us she bought a cashier’s check at Wells Fargo and mailed it in. But for some reason, she made the check out to herself, not the U.S. Treasury — so the IRS couldn’t cash it.

Normally, when you owe the IRS money, they let you know. But in this case, Sweet says she heard nothing from the feds.

When the Guardian pressed her, Sweet blamed JK Harris for not having forwarded her any of the mail in question. “I gave them power of attorney,” she said. “They had all the communications from the IRS.”

But we reached the the tax firm recently, and the folks there beg to differ. Gina Anton, Director of Corporate Communications at JK Harris, told the Guardian that any mail the IRS sent, it sent to Sweet. JK Harris’s role in Sweet’s tax kerfuffle appears modest — she hired the firm to merely act as intermediary between herself and the IRS.

Said Anton: “Our role was to obtain documents from both her and the IRS to determine what amount she could afford and what the IRS would consider an acceptable amount.”

JK Harris did not cut any checks, or inspect any checks after Sweet had cut them, Anton told us. Just the opposite: whatever documents the firm had prepared for Sweet, they sent to her for approval before forwarding them to the IRS.

Furthermore, said Anton, JK Harris was trying to reach Sweet for two years, after Sweet sent the IRS the dubious cashier’s check that she had hoped would diffuse her tax problem. Sweet finally returned JK Harris’s calls when she found out the IRS could not cash the check.

It’s all pretty odd for someone who’s worked in the banking industy for 22 years.

Questions surrounding Sweet’s finances reach beyond troubles with the taxman. She told us recently that she has worked at two companies that she never listed on her economic interest statements.

In her discloure forms, viewable at the BART Board website, she lists no sources of income after 2004, when she reported that she was employed by BayCAT (Bayview Hunters Point Center for Arts and Technology). However, in a very short and heated interview Sept. 10, Sweet told the Guardian that after she had worked at BayCAT, she had also worked at the African American Interest Free Loan Association and Trans Bay Cable.

In fact, she said she had worked at Trans Bay Cable, which is building an electricity line from Pittsburg to San Francisco,  until May of this year, when she left the company to run for office.

Which raises the question: If she was working all those years, why do her economic interest statements show no sources of income at all from 2004-2009?

The Guardian has attempted many times over the past week to contact Sweet to follow up on that question, but she’s stopped returning our calls or responding to our emails. (She’s also refused to come talk to us for an endorsement interview.)

Here are the questions her campaign has decided not to answer:

1.) What were Sweet’s periods of employment with the African American Interest Free Loan Association and Trans Bay Cable? Did she receive any income for this work? Whether yes or no, would she like to comment on the nature of that work?

2) What was the source of the tax that Sweet owed the IRS? Was this a tax on income? If so, then for income from work with which companies?

3) Why did Sweet elect to pay what she owed the IRS by means of a cashier’s check? (Why not a personal check?)

We’re also wondering why she didn’t list any income on her disclosure forms or why she made the check out to herself.

If she gets back to us, we’ll let you know.

 

The news that didn’t make the news in SF

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Every year, the Guardian features the Top 10 Project Censored stories presented by the Sonoma State University project that spends all year analyzing which stories the mainstream media missed. But which stories did not find their way into the mainstream press here in the San Francisco Bay Area?

News outlets other than the Guardian typically ignore Project Censored (unless you count SF Weekly’s snark), so you might say that even Censored tends to be censored. Other than that, we note that issues not hand-delivered via press release or PR campaign might receive less attention than those obvious stories. Using a rather unscientific process of surfing alternative news sites online to find out which stories didn’t get a lot of play in the mainstream, we’ve come up with an assortment of Local Censored stories – though this is by no means a comprehensive list. What other news didn’t make the news?

Local Censored stories:

* What we didn’t hear about when PG&E was pushing Prop 16

Speaking at an informational hearing in Sacramento in February 2010 about Pacific Gas & Electric Co.’s ballot initiative, Proposition 16, former California Energy Commissioner John Geesman noted that the state’s most powerful utility company was using customer money to finance a bid to change the state constitution for its own purposes. Prop 16, which earned a thumbs-down from voters in the June election, would have created a two-thirds majority vote requirement before municipalities could set up electricity services separate from PG&E. While there was no shortage of reporting about the astounding sums of cash that PG&E sank into Prop. 16, hardly anyone aside from Geesman picked up on the more salient point of what PG&E was not spending its money on.

“California’s investor-owned utilities face a Himalayan task in modernizing our electricity system and building the infrastructure necessary to serve a growing economy,” Geesman wrote on his blog, titled PG&E Ballot Initiative Fact Sheet. “They ought to focus on that, rather than manipulating the electorate to kneecap their few competitors.” It is now abundantly clear that PG&E’s aging gas pipelines in San Bruno were badly in need of replacement – and the utility’s neglect opened the door the catastrophic explosion that occurred Sept. 9, resulting in tragic loss of life and destroying homes. “The current leadership at PG&E has lost its way. Nobody is minding the ship,” senator Mark Leno told the Guardian shortly after the blast. “Enough with the self-initiated, self-serving political campaigns. … How about focusing on the current mission — to provide gas and electricity safely, without death and destruction?”

PG&E Ballot Initiative Fact Sheet: http://pgandeballotinitiativefactsheet.blogspot.com/
Huffington Post: http://www.huffingtonpost.com/christine-pelosi/deadly-priorities-why-did_b_713800.html

* What you might not have read about Johannes Mehserle’s murder trial
 
If you looked to Colorlines.com, Blockreportradio.com, the San Francisco Bay View, or Indybay.org for coverage of Johannes Meherle’s murder trial for the fatal shooting of Oscar Grant, then you got a different picture from the one offered by mainstream Bay Area news outlets. There may well be plenty of details about the trial that didn’t make the cut for mainstream news, but one particular point caught our eye as something that should’ve warranted more prominent coverage, or at very least sparked deeper questions from mainstream press. According to the witness testimony of Jackie Bryson, who was with Grant on the train platform the night of the shooting, Grant’s friends immediately urged BART police to call an ambulance after Grant had been shot, but police didn’t do it right away.

Here’s the report from Block Report Radio: “Jack Bryson said he yelled at Oscar after he was shot to stay awake and to the police to call the ambulance. The unidentified officer who was on Bryson declared, ‘We’ll call the ambulance when you shut the fuck up!’ Bryson went on to say that he was never searched on the Fruitvale platform or at the Lake Merritt BART police station, which seems ridiculous if you consider the earlier testimony of former BART police officers Dominici and Pirone, who were involved in the murder and who testified last week that they had felt threatened by Oscar Grant and his friends.” So, if it’s true that Grant’s friends were told to “shut the fuck up” when they were urging BART cops to call an ambulance, and that the supposedly threatening parties weren’t ever searched, why didn’t these points receive as much attention in the media as, say, the claim that years earlier, Grant may have resisted arrest? After witnessing the death of his friend, Bryson said in his testimony, he was detained for hours while wearing handcuffs pulled so tight that his wrists hurt, only to be told afterward that since he had not been read his Miranda rights, he was not under arrest. To be fair, the detail about calling the ambulance did make it into the Chronicle, near the bottom of a blog post, under the subhead, “Friend’s claim.”

Block Report Radio: http://www.blockreportradio.com/news-mainmenu-26/894-jack-bryson-hits-the-stand.html
Colorlines: http://colorlines.com/archives/2010/06/defense_opens_with_gripping_testimony.html

* Homelessness on the rise in San Francisco

The controversy surrounding Prop L, a proposed ordinance to ban sitting and lying down on the sidewalk, has been widely reported on — but there’s a more pressing issue related to homelessness that hasn’t gotten nearly as much ink. An article in New America Media, “Shelters predict homeless count to skyrocket,” highlighted a perceived surge in San Francisco’s homeless population, evidenced by overwhelmed service providers who can hardly keep up with demand. “We’re serving 200,000 more meals per year than two years ago, but we haven’t had the capacity to add staff,” the chief executive officer of the Glide Foundation noted in the article. The drop-in center, she added, no longer had enough seats to accommodate those in need. According to a fact sheet issued by the Coalition on Homelessness in July of 2009, 45 percent of respondents to a COH survey were experiencing homelessness for the first time. The overwhelming majority of respondents, 78 percent, became homeless while living in San Francisco.

New America Media: http://newamericamedia.org/2010/04/shelters-predict-homeless-count-to-skyrocket.php
Coalition on Homelessness: http://www.cohsf.org/en/

* The long wait for Section 8

It isn’t easy for a tenant with a Section 8 voucher to find housing in the San Francisco Bay Area. In San Francisco, there’s a barrier to getting the voucher in the first place, since the waitlist is currently closed. Those who have vouchers are often passed over by landlords, and the string of denials can drive people to unstable housing situations such as extended hotel stays. An article in POOR Magazine features the story of Linda William, a woman who left a San Francisco public housing project with a Section 8 voucher in hand only to embark on a wild goose chase, ultimately winding up in a low-end motel outside Vallejo. “Well whaddya know,” William told the POOR magazine reporter, “I found closed wait lists on almost all the low-income housing units in all of those places and all the rest of the landlords wouldn’t even return my calls when I told them I had section 8.” An article by Dean Preston of Tenants Together that appeared in BeyondChron, meanwhile, spotlights the issue of landlord discrimination against Section 8 tenants.  “In the Section 8 voucher program, participating tenants pay 30 percent of their rent and the Housing Authority pays the balance to the landlord,” Preston writes. “It takes years for eligible tenants to be able to participate in the program. Once tenants get off the wait list, the landlord must sign a payment contract with the housing authority in order to receive the portion of the rent paid by the government. By refusing to sign onto the program, some landlords seek to force rent controlled tenants into situations where they cannot pay their rent.”
POOR Magazine: http://www.poormagazine.org/node/3277
BeyondChron: http://www.beyondchron.org/news/index.php?itemid=8012

* San Francisco’s trashy secret

Despite being thought of as a beacon of sustainability, San Francisco’s not-so-green waste stream is something that didn’t make the front page of many papers – except, of course, this one. Sarah Phelan’s “Tale of Two Landfills,” a Guardian cover story this past June, examined San Francisco’s decidedly unenlightened policy of transporting waste far outside of the city despite a goal of reducing waste to zero in the next 10 years. Here’s an excerpt: “It’s a reminder of a fact most San Franciscans don’t think much about: The city exports mountains of garbage into somebody else’s backyard. While residents have gone a long way to reduce the waste stream as city officials pursue an ambitious strategy of zero waste by 2020, we’re still trucking 1,800 tons of garbage out of San Francisco every day. And now we’re preparing to triple the distance that trash travels. ‘The mayor of San Francisco is encouraging us to be a green city by growing veggies, raising wonderful urban gardens, composting green waste and food and restaurant scraps,’ Irene Creps, a San Franciscan who owns a ranch in Wheatland, told us. ‘So why is he trying to dump San Francisco’s trash in a beautiful rural area?’”

SFBG: http://www.sfbg.com/2010/06/15/tale-two-landfills

* The real unemployment rate

The Bureau of Labor Statistics makes a distinction between so-called “discouraged workers” who have stopped looking for jobs, and the jobless who are actively seeking employment, so the official unemployment rate (9.7 percent in San Francisco, according to the most recent data) may be much lower than the actual unemployment rate.

We haven’t seen any brilliant local reporting on this issue, but the problem is summed up nicely in this YouTube video produced by a personal finance software firm.

http://www.youtube.com/watch?v=Ulu3SCAmeBA&feature=player_embedded

Endorsement interviews: Bert Hill

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Bert Hill is running to represent western San Francisco on BART’s Board of Director, taking on incumbent James Fang, the city’s only Republican elected official. But even though Hill has the support of Democratic Party and a wide variety of progressive organizations, voters won’t see their party affiliation in this nonpartisan race. Instead, the race could be a referendum on an agency that Hill says isn’t responsive enough to the needs and experiences of riders.

“It’s important to figure out what are human needs on the trains,” Hill told us, citing the need to better accommodate passengers with bicycles and lots of luggage, the lack on working bathrooms and elevators in most stations, extending service beyond midnight on weekends, and the need for better station labels so passenger easily know when to get off.

Hill said BART is in need of major reforms in its financial planning (calling for the agency to build reserves during good times to avoid service cuts during recessions), its police force (saying the board should consider disbanding the BART Police and contracting out to local law enforcement agencies), and its transparency and accountability (telling a funny story about his own experience just trying to get permission to take a campaign photo by a BART train).

Listen to Hill full endorsement interview below. Fang has not responded to Guardian requests for an endorsement interview.

hill by endorsements2010

Stone age drop out

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arts@sfbg.com

MUSIC Dopesmoker (Tee Pee Records, 2003) begins with a move characteristic of Al Cisneros’ style. Striking a series of low to mid-range notes, Sleep’s bassist and incantatory vocalist draws forth a series of monster bass tones that warp and disassociate as they decay.

As the listener focuses on the subtle permutations in the drone-overture — sometimes Cisneros’ bass notes vibrating into ever-smaller tonal subdivisions, at other moments, they radiate volume ever-outward — the DNA sequence for an unfolding doom metal magnum opus begins to take shape. The double kick bass follows in a steady trek to the foreground of the mix, followed by the guitar, which sounds almost grafted onto the bass, like a membrane of barbed amplifier fuzz circumscribing Cisneros’ hypnotic line. The riff snakes Geezer Butler-like into crevices and apertures, then rises to a Tony Iommian trill before pausing against a rain of cymbals — Black Sabbath as ancient, unstable organism.

With its relentless, uninterrupted hour-plus length, Dopesmoker unfolds like one of those naturally occurring geographical wonders that embodies thousands of years of passing time. Granite sheets, city-sized coral reefs, and Sleep’s culminating musical statement: all sprawling patterns dependent on vast expansions and mutations. This is what the undiluted version of Sleep’s masterpiece has over the abridged Jerusalem, released unofficially five years after Dopesmoker was completed. Where Jerusalem is divided and fragmented, seeking to place this freakish growth in track-length components and excising some of the weird arabesques of feedback that emerge at the margins, Dopesmoker, like Sleep’s music itself, evolves into ever more bizarre shapes via its own unintelligible logic.

Sleep broke up in 1995, after the band’s then-label, London Records, famously didn’t “get” Dopesmoker. The label felt (probably correctly), that a 60 minutes-plus quasi-Wagnerian “fuck you” to brevity would be career suicide for a band making its first foray on a major. In a sense, it was. It’s almost poetic that the album — a time-bending epic about traveling through sonic time and space — was released posthumously and out of chronology.

In the interim, Sleep has become the quintessential band for people who like their metal baked and ponderous. Following two discrete reunion shows at London’s All Tomorrow’s Parties festival in 2009 with Jason Roeder of Neurosis replacing Chris Hakius on drums, the group is set to reunite for a series of U.S. dates. As if this long dreamed-of tour wasn’t enough to make metal heads across the country flip the fuck out, the band’s set is to be comprised of Sleep’s Holy Mountain (Earache, 1993) played cover-to-cover, as well as excerpts from the now semi-mythical Dopesmoker. The returning sonic titans are set to once again engulf the Bay in a haze, one which smells mysteriously like the backroom of a T-shirt shop. But even if the band is notorious for its heroic weed consumption and all-around stoney pedigree, Sleep’s body of work — as challenging as it is impenetrably heavy — demands a staggering attention span on the listener’s part.

None of the San Jose trio’s albums reveal themselves on first listen; nor is Sleep’s catalogue by any means “feel good music.” Sleep purveys dark, unsettling grooves; its music ruins your buzz. Consider “Holy Mountain,” where Cisneros’ chant-vocal — like a Gregorian monk after a particularly harsh bong rip — approximates the desolate textures of his “earth drenched in black,” while Pike’s insistent riff (here anticipating High on Fire, perhaps) circles back in on itself like it’s spiraling toward the menacing “ohm” that distends across the mix of the titular track. This is heavy metal warped and skewed; an exercise in bad vibes that pulverizes thought in the same way that ultrasonic waves are used to crush kidney stones.

I can’t recall the specifics of picking up my copy of Sleep’s Holy Mountain, but what I do remember is hearing Matt Pike’s opening lick on “Dragonaut,” and the ensuing maelstrom of psychedelic electricity — maze-like and abstract, like the interlocking web of shapes on the album cover, only suffused with dripping, inexpressible colors. This is perhaps why Sleep’s sound has always been infinitely more compelling to me than feel-good psychedelia. Of all the bands to engage in the doom tradition, Sleep makes the increasingly relevant (sub)genre entirely its own. Familiar Sabbathisms — pentatonic bass grooves, monolithic power chords, a savvy manipulation of the lexicon of the blues — become building blocks within a phantasmal landscape of drones and echoes.

I also can’t help but feel that, as natives, Sleep has created a sound that forever superimposes itself over the Bay Area, so that cityscape surroundings, such as an ivy-choked chain-link fence or the cavernous opening of a BART tunnel (which doesn’t extend to their San Jose home) take on a weird, fantastical dimension, oscillating between solid matter and buzzing amplifier fuzz like the weird nebulas that seem to obsess Cisneros.

The way I hear music has been informed by Sleep since I first heard Sleep’s Holy Mountain in high school. Seventeen years after the album’s initial release, it still manages to yield stretches of unexplored musical terrain, as if it has been reproducing via osmosis while we were away. Like the elite cadre of spacey predecessors to the Great Drone, Sleep uses metal as a kind of vehicle for processing experience through rhythms and patterns, abstract tones and intricate layers of sound synching up with surroundings (like that Wizard of Oz/Pink Floyd thing you tried when you were 16, but in this case it actually works.)

The underlying genius of Sleep is the way the band manages to diffuse the atomic foundations of its monolithic riffs throughout entire albums and into a sprawling, seemingly endless landscape, a sonic cartography that — like a good Lovecraft yarn — perpetually expands past the next horizon point. The shape-shifting resonances of a decaying power-chord or bass fill flesh out the contours of an interminable sonic desert, a labyrinth of sound we find ourselves compelled to reexplore ad infinitum. “Drop out of life” are the first words we hear Cisneros chant on Dopesmoker. 

SLEEP

Sun/12–Mon/13, 8 p.m.; $23–$25

With Thrones (Sun/12) and Saviours (Mon/13)

Regency Ballroom

1290 Sutter, SF

www.theregencyballroom.com

On the Cheap listings

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On the Cheap listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 8

California Nights California Historical Society Museum, 678 Mission, SF; (415) 357-1848. 5pm, free. Explore the history of California through the Historical Society’s collection of artwork and artifacts pertaining to the Gold Rush, California’s car culture, entertainment, nature, natural disasters, and agriculture. Open house to feature music and refreshments.

THURSDAY 9

Isabel Allende Fromm Hall, USF Main Campus, 330 Parker, SF; (415) 422-6828, reservations recommended. 5:45pm, free. Attend this book signing and interview with Chilean-American author Isabel Allende, one of the best known authors in Latin America whose books have been translated into 27 languages. Allende’s new book, Island Beneath the Sea, marks her return to historical fiction, with a nine year old heroine who is sold into slavery in eighteenth century Santo Domingo.

BAY AREA

Dreamgirls Jack London Square, 2 Webster, Oakl.; www.jacklondonsquare.com. 7:30pm, free. Channel your inner diva at this outdoor showing of Dreamgirls, the award winning musical about the history of Motown Records and The Supremes. There will also be a Motown karaoke contest with prizes.

FRIDAY 10

Ceramics Annual Herbst Pavilion, Fort Mason, Laguna at Beach, SF; www.ceramicsannual.org. Fri. and Sat. 10am-8pm, Sun. 10am-6pm; $10. Enjoy a comprehensive, current survey of ceramic art at this three day exhibition and fair featuring lectures, educational panels, tours, featured artwork by well-known artists, artistic childcare, and more. Kids under 18 get in for free.

Live Roleplaying Games Southern Exposure, 3030 20th St., SF; (415) 863-2141. 7:30pm, free. Since the birth of New Age sensibilities, people have sworn by the use of live role playing games to free oneself from the confines of social identity. Artist Brody Condon and Nordic live roleplaying game designers Bjarke Pedersen and Tobias Wrigstad will discuss the upcoming participatory performance on Sept. 16-18 called "LevelFive," talk about general character creation and preparation, and show examples of other live games from the past 10 years.

SATURDAY 11

Celebrate Larry Eigner Unitarian Center, 1187 Franklin, SF; www.sfsu.edu/~poetry. 7:30pm, $10. Attend this tribute to the life and work of Larry Eigner, a poet who overcame Cerebral palsy to become an influential figure in the Black Mountain school of poetry and also a major influence in the Language School of poetry, featuring readings by Richard Eigner, Robert Grenier, Norma Cole, Steve Dickison, Stephen Farmer, Jack and Adelle Foley, Kathleen Frumkin, and more.

Cooking Tomatoes and Peppers Ferry Plaza, 1 Ferry Building, Market at Embarcadero, SF; (415) 291-3276. 11am, free. Watch two seasonal cooking demonstrations using tomatoes and peppers, starting with Joyce Goldstein, author of Mediterranean Fresh, and followed by Sandra Keros, of Sandra Keros Inc. Pick up some tomatoes and peppers at the farmer’s market so you can go home and try out some of your new tricks.

Gesneriads San Francisco County Fair Building, 9th Ave. at Lincoln, SF; www.sfgesneriads.org. 10am, free. Start a collection or expand an existing one of these exotic and rare indoor plants which include African Violets, Flame Violets, Cape Primrose, Goldfish Plants, and many other varieties. Prices of cuttings range from $1-$3 and plants from $3-$8 or more for rare specimens. Experts will be on hand with tips and advice.

Power to the Peaceful Speedway Meadow, Golden Gate Park, SF; www.powertothepeacful.org. 9am-5pm, $5 suggested donation. Attend this unique music, arts, action, and yoga festival that aims to educate attendees on issues of social justice, non-violence, cultural coexistence, and environmental sustainability. The day starts with 1,000 yogis for peace, followed by an all-star line up of musical acts starting at 11am including Michael Franti and Spearhead, Rebelution, Rupa and the April Fishes, Sellassie, and more. Also featuring speakers, a DJ tent, exhibitors, food vendors, and more.

Solar Quest Meet at Koshland Park, Page at Buchanan, SF; www.sfbike.org. 9:45am, $5 donation. Take a tour of residential and commercial solar systems in San Francisco and learn how local efforts can help create a sustainable environment and economy, like how one San Franciscan organized her block to all go solar together. The two hour ride has an optional one and a half hour extension.

Writers with Drinks Make Out Room, 3225 22nd St., SF; www.writerswithdrinks.com. 7:30pm, $5-$10 sliding scale. This installment of the spoken word variety show featuring writers from different genres including novelist Brandon Sanderson, poet Shalija Patel, blogger Bonnie Burton, comedian Brian Malow, and fantasy writer Kristen Imani Kasai. Proceeds from the door to benefit StrangeHorizons, a science fiction webzine.

SUNDAY 12

Night Time Photowalk Meet at Fog City Diner, 1300 Batter, SF; www.trevorcarpenter.com. 7pm, free. Bring you camera and tripod for a night time photowalk along the Embarcadero, up past Coit Tower, to Fisherman’s Wharf, and ending in Fort Mason with experienced photowalker Trevor Carpenter. Photographers of all skill levels are welcome, even those with point-and-shoot cameras.

BAY AREA

Solano Stroll Solano between San Pablo and Alameda, SF; (510)527-5358. 10am-6pm, free. Catch the kickoff parade at 10am or a performance by one of 75 entertainers, or just enjoy the food booths, arts and crafts booths, games, art cars, and community non-profit and government organization booths. Bike parking, and free shuttle service from the North Berkeley BART station available.

Lynette Sweet and the IRS: The strange story

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Lots of people have trouble with the IRS. Almost everyone I know has run afoul of the tax man at some point in time, and the fact that BART Board member and District 10 candidate Lynette Sweet at one point owed the feds $14,500 isn’t exactly a major crime.


But there’s a part of her story, at least at Matier and Ross present it, that strikes me as odd:


Sweet says she thought the tax lien was cleared up years ago.


She said she cut a deal with the IRS in 2007 to pay $14,500 in back taxes plus interest, in return for additional fines being dropped.


Sweet said she sent the feds a cashier’s check and pretty much forgot about it.


The thing is, the IRS never cashed the cashier’s check – which, it turns out, was made out to Sweet herself, according to a copy of a 2007 check she provided to us.


IRS spokesman Jesse Weller declined to discuss details of the case, but said: “The IRS does not accept checks – personal or cashier – or money orders made out to individuals. We ask that the payment be made out to the United States Treasury.”


Sweet “sent a cashier’s check and pretty much forgot about it” — although the check was never cashed? And she didn’t notice? Here’s where it gets strange.


Sweet told me that she bought the cashier’s check from Wells Fargo, mistakenly made it out to herself and mailed it off to the IRS in 2007. At that point, the money had already come out of her account, so she assumed the debt was paid. But the IRS never cashed the check, since it wasn’t made out to the United States Treasury and, of course, the agency couldn’t cash a check made out to someone else.


And Wells, she said, never told her that the check hadn’t been cashed. (That makes sense, in an odd way; I just talked to a banker who couldn’t comment for the record but who comfirmed that cashier’s checks are like cash; once the bank issues one it doesn’t have any responsibility to call the buyer if the check is never cashed.)


“That’s why I don’t recommend the use of cashier’s checks for tax payments,” the banker said. “You want your own hard copy of your payment when it’s cashed.”


So how come the IRS didn’t contact Sweet for three years to tell her the check she sent was invalid? That’s not like the IRS I know. Sweet’s response: She was using a tax firm to help her with the account, and the notices must have gone there, and those people must never have told her.


And she never knew that she had an IRS lien on her house that had grown to $20,000.


Could be. But what a bizarre story. 


(By the way, I also invited Sweet to come down to the Guardian for an endorsement interview, and she had her campaign manager call to say she’d declined to talk to us. That’s pretty unusual behavior, esp. for an elected official. Even Gavin Newsom came to talk to us when he was running for re-election for mayor and we’d been blasting him for four years. Pretty weak.)


 

Alerts

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alert@sfbg.com

WEDNESDAY, SEPT. 1

Outlaws live on


As a follow-up to Kate Bornstein’s 1995 book, Gender Outlaw, Bornstein and S. Bear Bergman edited the new anthology, Gender Outlaws: The Next Generation. The book gives voice to this generation’s trans and genderqueer forward thinkers as their narratives make their way from the margins to the mainstream. Readers include Serilyn Connelly, Sarah Dopp, Luis Gutierrez-Mock and Amir Rabiyah.

7 p.m., free

Modern Times Bookstore

888 Valencia, SF

www.mtbs.com

FRIDAY, SEPT. 3

Eco reads


Join the Political Ecology reading group, which focuses on issues of geopolitics, energy descent, decolonization, agroecology, and the emerging diagonal economy. The group meets the first and third Fridays of the month and plans to begin with Kevin Carson’s The Homebrew Industrial Revolution: A Low-Overhead Manifesto.

6:30 p.m., free

Near Fruitvale Bart Station, Oakl.

Email roadtosantiago@gmail.com for exact address and directions

SATURDAY, SEPT. 4

Catch the buzzzzzzz


Khaled Almaghafi, fourth-generation beekeeper and owner of Queen Sheba Farms, brings a small colony of bees to the North Oakland farmers market as a part of its Food ‘N’ Justice workshop series. Learn the tricks to becoming an urban Bay Area beekeeper.

Noon, free

Arlington Medical Center Parking Lot

5715 Market, Oakl.

(510) 689-3068

"Beyond Darkness and Light"


Attend the opening reception for artists Sonya Genel and Sallie Smith’s new exhibit, which invites you to reflect on the psyche of the 21st century with photos, drawings and paintings that "illuminate the beautifully stained parts of the human condition." There will also be a window installation by Poetry Store Poet, Silvi Alcivar.

7 p.m., free

Femina Potens Art Gallery

2199 Market, SF

TUESDAY, SEPT 7

Road warriors

Shot over the course of five years, American Gypsy tells the tale of one Romani family in the United States fighting a civil rights battle to defend Romani history and culture. The documentary also provides viewers with a glimpse into an immigrant world at a crucial turning point for survival.

7:30 p.m., $3–$5 sliding scale

Station 40

3030B 16th St., SF

www.americangypsy.com

Poking holes in ’em

Hear Rick Rowden, author of The Deadly Ideas of Neoliberalism, discuss the International Monetary Fund (IMF), global economic recession, and how citizens are mobilizing with a rights-based approach for alternative economic policies. Rowden is a senior policy analyst for ActionAid, an international advocacy NGO that works with women’s rights organizations, small farmers, and health and education activists in Africa, Asia, and Latin America.

Noon, free

Global Exchange

2017 Mission, SF

www.priorityafrica.org

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Bay Bridge tolls a boost for congestion pricing?

5


San Francisco officials are watching closely to see if higher tolls on the Bay Bridge might help the city make the case for charging fees to drive into downtown in high-traffice periods — and so far, the evidence is promising.


Since tolls increased July 1, an additional 4,000 commuters turning to BART — and that means fewer cars on the bridge.
The Bay Area Toll Authority elevated fees during the hours of 5 am to 10 am and 3 pm until 7 pm for crossing all bridges except the Golden Gate, which is managed by a different agency.


Drivers crossing the Bay Bridge during weekday commute hours are now expected to pay $6. During other hours, the weekday toll remains at $4. The toll is $5 on both Saturday and Sunday.


The toll has also been bumped up to $5 on the Antioch, Carquinez, Dumbarton, San Mateo, Benicia-Martinez and Richmond bridges. Although previously exempt from charges, occupants in the carpool lane now pay $2.50.
These increased costs may have prompted discontented commuters to add to the approximately 335,000 individuals that use BART each day, spokesman Jim Allison said.


“We have seen 2,000 to 4,000 more people riding BART on an average weekday this month compared with last,” he said.
Allison was careful to note that because of the brief time element and other seasonal changes, it is hard to determine higher tolls as the only reason for a boost in ridership.


“It is just too soon to draw any conclusions,” he said. “While it may be a factor, the increase cannot necessarily be attributed to the changes on the Bay Bridge.”


However, executives from the San Francisco County Transportation Authority planning to bring a citywide congestion pricing plan before the Board of Supervisors this fall were encouraged by the trend toward public transit.
“We do think that it is too early to draw any conclusions,” SFCTA deputy director for planning Tilly Chang said. “But the general indication is that people are shifting their behavior in some way, which is the goal of congestion pricing.”
The toll hikes mark the Bay Area’s first quasi-attempt at congestion pricing, with officials hoping to encourage the use of public transportation while simultaneously decreasing travel time for those who choose to stay in the driver’s seat.
According to a preliminary study on the compounded tolls, there were more than 12,000 fewer carpoolers and 2,300 more drivers paying the full fare on their commutes.


Spokesman John Goodwin said that the increase in solo drivers could be due to the new system’s ability to weed out cheaters, with FasTrak identification and a guaranteed minimum toll putting a damper on disobedience.
“It may very well be that we didn’t have as many real carpoolers as we thought we did,” Goodwin said. “There is, of course, no way of quantifying exactly how many drivers who didn’t meet the occupancy requirement are now recalibrating

Lingering vermicelli

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le.chicken.farmer@gmail.com

CHEAP EATS I keep finding myself in Emeryville, which is a problem. Once I was running early so I stopped at the Comeback Café and ordered a Vietnamese sandwich, pork, no mayonnaise.

The young guy at the counter wrote it all down, passed it along to the kitchen, and I picked up a Giants’ schedule from a stack by the cash register. It made me feel at home.

This is the thing about me: whenever I am running early, I wind up late. Even later than when I am running late. At least I know myself. So I called Crawdad de la Cooter, and let her know. It was a prediction, disguised as a question: “Do you want me to bring anything for the kids?”

“What do they have?”

I read the menu.

“Shrimp rolls,” she said. So good, so now I had a proper excuse for being late. And it would be in the kids’ best interest, because shrimp rolls, as a rule, rock. Everybody knows, give or take two- and three-year-olds.

It was already taking them forever to make my sandwich, and now it was going to take foreverer.

I read the whole 2010 S.F. Giants season, April to October, in one sitting, only I was standing up. And finally, my order was ready.

Not wanting to run the risk of having to share my pork sandwich with the children, I decided to eat it in the car. And that was how, just one bite in, I learned why they call the place the Comeback Café. I did an immediate U-turn and went back.

“Mayonnaise,” I said.

“So sorry, I forgot to tell them,” he said.

So they made me a new one and I was even later. The sandwich was great this time, plenty of grilled pork and fresh cilantro, shredded carrots … On the minus side, the jalapenos had very little heat, and: $5. Did I miss something? Is that the going rate for Vietnamese sandwiches these days? Even in the Tenderloin?

Well, leave it to Emeryville.

The fresh shrimp rolls ($5.50 for three) were lame. I don’t think I ever tasted a non-vegetarian Vietnamese cold roll with less flavor. Too much lettuce and not enough (if any) other green things. Cilantro? Basil? Mint?

Well, the kids enjoyed their stickiness: the rice paper wrapper and especially the rice vermicelli noodles, which they were delighted to find inside, and spread all over.

I was about to spend five days and four nights with them. In fact, I did. It’s Day 5, mom’s on the airplane home, as we speak, and I am still picking vermicelli noodles out of her two little uns’ hair and wardrobes.

Besides taking them on their first-ever BART train ride, which was the highlight of at least two of our lives, my favorite time was on Sunday when their father took us all out to dinner at Khana Peena, this great Indian restaurant at the Berkeley Hills end of Solano. I’d seen it a million times but had never eaten there because Zachary’s is just a couple doors down.

Anyway, they have this great happy hour special between I think 4 to 7 p.m. every day, where you get 50 percent off on all your food. Which I’m guessing is overpriced so maybe it comes out to “about right.”

Well, the chicken tikka masala was so good we had to order it again. And probably would have ordered it again again, if the kids weren’t starting to get fussy. Soooooo good, but I gotta say: tiiiiiny portion. Half price, order twice … Again: I don’t know, you do the math.

All’s I’m saying is I don’t remember ever loving chicken tikka masala so much. Nor do I remember ever feeling so thoroughly momlike as I did eating out with two small kids and their dad. I can’t speak for the girls, but I think I might have goofed around a little less than usual.

KHANA PEENA INDIAN CUISINE

Lunch: 11:30 a.m.–3 p.m.;

Dinner: 5 p.m.–9:30 p.m.

1889 Solano, Berk.

(510) 528-2519

AE/D/MC/V

Beer and wine

Democrats divided

25

Update:This online article contains a correction concerning the DCCC’s vote on Sup. Sean Elsbernd’s Muni pay guarantees (Prop. G). In the print version of this article, the Guardian reported that the DCCC had voted “to recommend a no vote” on Prop. G. This is incorrect. The DCCC voted “not to endorse” Prop. G. As Elsbernd points out, “This is a key distinction.”

Sarah@sfbg.com

With fewer than 10 weeks to go until a pivotal November election, the San Francisco Democratic County Central Committee (DCCC) approved a package of endorsements at its Aug. 11 meeting, giving the nod to mostly progressive candidates and rejecting Mayor Gavin Newsom’s most divisive ballot measures.

This crucial election could alter the balance of power on a Board of Supervisors that is currently dominated by progressives, and that new board would be seated just as it potentially gets the chance to appoint an interim mayor.

That’s what will happen if Newsom wins his race for lieutenant governor. The latest campaign finance reports show that Newsom has raised twice as much money as the Republican incumbent, former state Sen. Abel Maldonado. But the two candidates are still neck-and-neck in the polls.

Although the DCCC supports Newsom in the race, it is resisting his agenda for San Francisco, voting to oppose his polarizing sit-lie legislation (Prop. L), a hotel tax loophole closure (Prop. K) that would invalidate the hotel tax increase that labor unions placed on the ballot, and his hypocritical ban on local elected officials serving on the DCCC (Prop. H).

Shortly after the vote, the San Francisco Chronicle reported that Newsom called an emergency closed-door meeting with some of his downtown allies to discuss the upcoming election. “We just wanted to get on the same page on what’s going on locally, what’s going with the ballot initiatives, where people are on the candidates for supervisor,” Newsom told the newspaper.

DCCC Chair Aaron Peskin, who regularly battled with Newsom during his tenure as president of the Board of Supervisors, voted with the progressive bloc against Newsom’s three controversial measures. But he told us that he was glad to see the mayor finally engage in the local political process.

Sup. David Campos kicked off the DCCC meeting by rebuffing newly elected DCCC member Carole Migden’s unsuccessful attempt to rescind the body’s endorsement of Michael Nava for Superior Court Judge, part of a push by the legal community to rally behind Richard Ulmer and other sitting judges.

Things got even messier when the DCCC endorsed the candidates for supervisor. In District 2, the DCCC gave the nod to Janet Reilly, snubbing incumbent Sup. Michela Alioto-Pier, who is running now that Superior Court Judge Peter Busch has ruled that she is not termed out (a ruling on City Attorney Dennis Herrera’s appeal of Busch’s ruling is expected soon).

In District 6, where candidates include DCCC member Debra Walker, School Board President Jane Kim, Human Rights Commission Executive Director Theresa Sparks, neighborhood activist Jim Meko, and drag queen Glendon Hyde (a.k.a. Anna Conda), the club endorsed only Walker, denying Kim the second-place endorsement she was lobbying for.

But in District 8, where candidates include progressive DCCC member Rafael Mandelman, moderate DCCC member Scott Wiener, and moderate Rebecca Prozan, the politics got really squirrelly. As expected, Mandelman got the first-place nod with 18 votes: the progressive’s bare 17-vote majority on the 33-member body plus Assembly Member Leland Yee.

Yet because Yee supports Prozan and David Chiu, the Board of Supervisors president who was also part of the DCCC progressive slate, had offered less than his full support for Mandelman, a deal was cut to give Prozan a second-place endorsement.

That move caused some public and private grumbling from Jane Kim’s supporters, who noted that Kim is way more progressive than Prozan and said she should have been given the second-place slot in D6.

A proxy for John Avalos even tried to get the DCCC to give Walker and Kim a dual first-place endorsement, but Peskin ruled that such a move was not permitted by the group’s bylaws. Then DCCC members Eric Mar and Eric Quezada argued that Kim should get the club’s second-choice endorsement.

But Walker’s supporters argued that Kim only recently moved into the district and changed her party affiliation from the Green Party to the Democratic Party, and Kim’s supporters failed to find the 17 votes they needed.

“District 6 has an amazing wealth of candidates and I look forward to supporting many of them in future races,” Gabriel Haaland told his DCCC colleagues. “I will just not be supporting them tonight.”

Wiener told the group he would not seek its endorsement for anything below the top slot. “I’m running for first place and I intend to win,” Wiener said, shortly before Prozan secured the club’s second-choice endorsement.

In District 4, the DCCC endorsed incumbent Carmen Chu, who is running virtually unopposed. The DCCC also endorsed Bert Hill’s run for the BART Board of Directors, where he hopes to unseat James Fang, San Francisco’s only elected Republican.

The body had already decided to delay its school board endorsements until September and ended up pushing its District 10 supervisorial endorsement back until then as well because nobody had secured majority support.

“I think it’s because they want to give members of the DCCC a chance to learn more about some of the candidates,” District 10 candidate Dewitt Lacy told the Guardian. “I don’t think folks have spent enough time to make an informed decision.”

D10 candidate Chris Jackson agreed, adding, “The progressives in this race have brought our issues to the forefront.”

“I think it’s appropriate,” concurred D10 candidate Isaac Bowers. “D10 is a complicated district. It’s wise to wait and see how it settles out.”

The main thing that needs to be resolved is which candidate in the crowded field will emerge as the progressive alternative to Lynette Sweet, who has the support of downtown groups and mega-developer Lennar Corp.

After the meeting, Walker said different races require different political strategies. “I think it’s hard in the progressive community, where so many of us know each other and even our supporters know the other candidates and are their supporters in other scenarios,” Walker said.

“But the Democratic Party makes decisions not just based on politics,” she continued. “So the endorsement is about being viable and successfully involved in Democratic issues. And even though I want to encourage everyone to run, and we have that ability with ranked choice voting and public financing, when it comes to straight-on politics, the goal is winning.”

Walker said the vote on D8 reflected the reality that Mandelman was having trouble getting the necessary number of votes. “I know Rebecca and I know Rafael, and Rafael was my clear first choice,” Walker said.” Rafael asked me to consider voting for Rebecca—and I voted for her as my second choice.”

Walker predicts she’ll have union support behind her campaign, while Kim, who leads in fundraising, will have independent expenditure committees that will support her campaign.

“My consultant says it’s a $250,000 race, and unfortunately the viability is based on that reality, the funds, the money,” Walker observed.

On the fall ballot measures, the DCCC voted to recommend a no vote on Public Defender Jeff Adachi’s measure to make city employees pay more for the pension and healthcare costs (Prop. B), Sup. Sean Elsbernd’s Health Service Board Elections (Prop. F,) and Newsom’s three controversial measures. And they voted “no endorsement” on Elsbernd’s measure to remove from the charter Muni pay guarantees (Prop. G). 

But the DCCC did vote to endorse a local vehicle registration fee surcharge (Prop. AA), Newsom’s earthquake retrofit bond (Prop. A), Sup. Chris Daly’s proposed legislation to require mayoral appearances at board meetings (Prop. C), Chiu’s measure to allow noncitizen voting in school board elections (Prop. D), Sup. Ross Mirkarimi’s Election Day voter registration (Prop. E), former Newsom campaign manager Alex Tourk’s Saturday voting proposal (Prop. I) Labor’s hotel tax (Prop. J ), Mirkarimi’s foot patrols measure (Prop. M) and Avalos’ real estate transfer tax (Prop. N).

With just about everybody opposed to Adachi’s measure going after public employee unions, Walker observed that Adachi probably wishes he had done it differently now. But looking into the future, Walker sees opportunities for the party to come back together.

“There’s an opportunity to start a dialogue because everyone is hurting,” Walker said. “The more we don’t have a proactive solution, the more we get caught at the bottom.”

And in a feel-good vote for the frequently divided body, the DCCC also voted overwhelmingly to endorse the statewide initiative to legalize and tax marijuana (Prop. 19). Normally local party committees don’t take a position on state initiatives, but because the California Democratic Party took no position on Prop. 19, the DCCC had permission to weigh in.

As Peskin put it before the enthusiastic marijuana vote, “Raise your hands — high.”

Face-offs

0

le.chicken.farmer@gmail.com

CHEAP EATS One day Clara de la Cooter would like to go to Ohio and play with my nieces and nephews. One day she would like to play soccer with me. And baseball. One day she wants to take the BART train. One day she would like to have pierced ears, and wear earrings, and ride a motorcycle. It’s cute to hear her begin all these distant little longings with, "One day" …

She’s three years old.

"One day," she asked me the other day while I was making cheese-eggs for her and her little sister, Kate. "One day," she said, "can I wear Kate’s head?"

My friends are all closet vegetarians, or in San Diego. Or Hawaii or Florida, for the week. Earl Butter has never quite recovered from the cleanse he went on. And here was a little girl who wanted to wear her sister’s head! Which can’t be a very healthy idea for either party, but you hate to discourage these things out of hand.

"Absolutely!" I said. "Of course you can one day wear Kate’s head, Sweetie!"

I’m just kidding. I said, "It would be really, really hard to take someone’s head off."

"Uh-huh," she said, looking up at me like she does when I’m explaining something important, all eyes and heart, and then for days and weeks and sometimes months afterward she repeats her little life lessons back at you, in the form of a question, by way of locking it in.

She’ll surprise you with them. A million new adventurous and wonderful things have happened in the meantime, and then all of a sudden, between poaching plums from a neighbor’s tree and sitting on a stone wall watching deer down below in the fog, she will turn to you and say, "It’s really, really hard to take someone’s head off?"

"That is correct," I say, and leave it at that. Later I’ll explain some of the legal, ethical, and medical implications — like maybe when she’s five. Telling a three- or four-year-old that her little sister might not like — let alone survive — a thing, only sweetens the trend toward experimentation.

Boink used to bonk his baby sister over the head with a hammer, until he turned five and — seemingly overnight — was able to grasp the concept of metaphor. We have more fun than ever now, and one day will own a restaurant together. And be in a band. We’ve already started a newspaper, which we sell to his mom for a nickel. I’m the food editor.

Speaking of which … something about hamburgers … oh yeah, Earl Butter still hasn’t recovered from his cleanse. It’s been months! For my birthday, he watched me eat buffalo wings. And that was in May! And he’s from Utica!

He has a blog about pineapples, which is, if anything as good as his last blog, which was about tuna fish. Seriously, they are both the funniest blogs ever written, but he will not eat a burger with me. Earl Butter! Meanwhile, we have made butternut squash curry with wild rice, like, five times! (It’s good, to put it mildly.)

I tried to trick him by inviting him to shop with me at Rainbow. Alice Shaw, the Person, told me about a new little burger place right behind the store, on 14th Street. I thought after we filled up my brother’s van with quinoa and red lentils and shit, he’d get a little hungry for lunch and then …

But no. He had work to do. He gave me his 20 percent off coupon and asked me to get him dried lima beans and whatever other kind of beans looked "fun."

I couldn’t get Alice Shaw the Person, either, on short notice, so I ate my burger alone. I got the one with grilled pineapples on it, thinking maybe I’d start my own blog, by way of healthy competition. But I’m scared. Earl Butter’s good.

But so is the Hawaiian cheeseburger at Café Zazo. Grilled onion, bacon, cheddar. Fresh cut fries. They serve breakfast all day and the pancakes look fluffy enough to put under your shirt, and be entirely comfortable.

Yep, it’s a friendly little family-run gem, and I thought you should know about it.

CAFÉ ZAZO

Mon.–Fri. 10:30 a.m.–7 p.m.;

Sat.–-Sun. 11 a.m.–4 p.m.

64 14th St., SF

(415) 626-5555

AE/D/MC/V

No alcohol

Our Weekly Picks: July 28-August 3, 2010

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WEDNESDAY 28

VISUAL ART

“(Por)trait Revealed: A Juried Exhibition of Portrait Photography”

The latest RayKo offering runs the gamut of portraiture in American photography: Elvis impersonators, Arbus-esque twins (potentially Kubrick-esque too), among others. Combining You Are What You Eat by Mark Menjivar and Fritz Liedtke’s Skeleton in the Closet, this exhibit looks up and down the non-proverbial food chain and an obsession with keeping up appearances: the ectomorphic, the body-dysmorphic, and finally, the contents of the American fridge. This raw size-up of eating disorders and trends might leave you hungry, so I found several nearby restaurants (Supperclub, La Briciola, Chaat Café) with decent reviews on Yelp to make you feel better –– or possibly worse –– about yourself. (Ryan Lattanzio)

Through Sept. 10

Reception 6 p.m., free

RayKo Photo Center

428 Third St., SF

(415) 495-3773

www.raykophoto.com

 

THURSDAY 29

COMEDY

Tracy Morgan

Getting his first major mainstream exposure on the TV show Martin in the mid-1990s, Tracy Morgan quickly went on to join the cast of Saturday Night Live based on the strengths of his hilarious comedic talents. On SNL he created classic characters such as the moonshine-swilling “Uncle Jemima” and performed a host of side-splitting celebrity impersonations. Now turning the tables, in a manner of speaking, he pokes fun at his own celebrity on the hit NBC show 30 Rock in the guise of “Tracy Jordan” — Morgan has proven on the air that anything is possible, so expect nothing less when he hits the stage in front of a live audience. (Sean McCourt)

Thurs/29–Sat/31, 8 p.m. (also Fri/30–Sat/31, 10:15 p.m.);

Sun/1, 7:30 p.m., $40.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.livenation.com

 

DANCE

Napoles Ballet Theater

Napoles Ballet Theater might be considered a newbie in terms of other dance companies in the Bay Area, but this ballet-based modern dance company has a Cuban flair that says: NBT is here to stay. Under the artistic direction of Cuban choreographer Luis Napoles, NBT’s “First Home Season” features six different ballets by Napoles and includes the world premiere of his newest work, Lecuona. Reinventing classical ballet with elements of Afro-Cuban dance, contemporary movement, theater, and jazz, it wouldn’t be surprising if NBT’s first full-length performance in SF marks the first of many seasons to come. (Katie Gaydos)

Thurs/29-Sat/31, 8 p.m.; Sun/1, 4 p.m., $20

Dance Mission Theater

3316 24th St., SF

(415) 273-4633

www.napolesballet.org

 

FRIDAY 30

DANCE

“ODC’s Summer Sampler”

If you’re in the mood for modern dance but not sure if you can commit to sitting through a full-length performance, contemporary dance company ODC has what you want. With wine sampling, hors d’oeuvres, and a one-hour showing of some of ODC’s best works, its fourth annual “Summer Sampler” will satisfy your appetite without overloading your senses. The dance portion of the evening includes choreography by ODC artistic directors Brenda Way and KT Nelson, with audience favorites such as Nelson’s Stomp a Waltz (2006), Way’s John Somebody (1993), and ODC’s most recent premiere: Way’s sassy satire on feminine manners, Waving Not Drowning (A Guide to Elegance). (Gaydos)

Through Sat/31

6:30 p.m. (also Sat/31, 4:30 p.m.), $20

ODC Dance Commons

351 Shotwell, SF

www.odcdance.org

 

MUSIC

Zola Jesus

Opera is hardly the musical language of the young, but 21-year-old Nika Roza Danilova is as suited to the form as any goth kid from Madison, Wis/, can be. Danilova’s opera is no Carmen after all; she uses the techniques but favors atmospheric noise and murky echo, letting those sounds take the foreground over her powerful voice. As a sometime member of the band Former Ghosts and one-half of the synth-pop duo Nika + Rory (where she makes a significant case for the benefits of Auto-Tune), Danilova seems primed to find herself the catalyst for a new generation of opera singers — and fans. (Peter Galvin)

With Wolf Parade and Moools

8 p.m., $27.50

Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

www.thefoxoakland.com

 

DANCE

Man Dance

His experiences running Central Dancer Theater in Nebraska had taught Man Dance Company founder Bryon Heinrich that audiences like theme-based programs. So for the company’s (sold-out) opening season last year, he let himself be inspired by ballet. This time he looked to romance in ballroom dancing. Joining his own company of seven men — women appear as guest artists — are ballroom professionals Roby Tristan, Chelsea Wielstein, and Eric Koptke. The first half of the evening offers mixed choreography, including young Alec Guthrie’s award-winning trio which he will perform in pointe shoes. The second half, “It Takes Two to Tango,” is a love story for ballroom and ballet dancers. (Rita Felciano)

Through Sat/31

8 p.m., $25–$45

San Francisco Conservatory of Music

50 Oak, SF

1-800-838-3000

www.mandance.org

 

VISUAL ART

“Between Currencies”

Texas-raised artist Erik Parra’s collage works prominently feature photographic images with an abiding retro aesthetic (probably because they appear to be actual old photographs), dappled with blobs or confetti-like clouds of color. The appealing result is vibrant and surprising, humorous but also a bit eerie, as colors creep into a black-and-white plane like so many stills from a forgotten, more austere version of Pleasantville (1998). Though perhaps it’s irrelevant to the ideas behind Parra’s art, this critically skewed lens on images of the not-so-distant past seems curiously complementary to the recent premier of Mad Men‘s fourth season. The gallery show opens today, but the official reception happens a week later. (Sam Stander)

Through Sept. 11

Reception Aug. 6, 5–8 p.m., free

Johansson Projects

2300 Telegraph, Oakl.

(510) 444-9140

www.johanssonprojects.com

 

SATURDAY 31

EVENT

Mama Calizo’s Voice Factory wake for 1519 Mission

Mama Calizo’s Voice Factory, having a few years ago taken over the space formerly occupied by the Jon Sims Center for the Arts, has carried forward nearly three decades of work by queer artists at 1519 Mission St. MCVF (and its new but unaffiliated off-shoot, THEOFFCENTER) promises to continue the mission of incubating queer performance, but the traditional Mission Street incubator must close its doors at the end of the month. A search for a new permanent home is underway, but in the meantime, MCVF will hold a “final performance and wake” on Saturday night to mourn, remember, and celebrate. (Robert Avila)

8 p.m., free

Mama Calizo’s Voice Factory

1519 Mission, SF

www.mcvf.org

www.theoffcenter.org

 

MUSIC

Swingin’ Utters

San Francisco’s street-punk stalwarts the Swingin’ Utters have steadily built a loyal following since they formed back in the late ’80s in Santa Cruz, and the band is back in action with a new seven-inch titled “Brand New Lungs.” Teeming with all the working-class attitude and piss and vinegar that fueled their early releases, the three-track single features Johnny Bonnel’s wonderfully ragged vocals once again mixing with Darius Koski’s searing guitars and the jackhammer rhythms of the rest of the group. A new full-length album, Here, Under Protest, is due in October, so catch them now before they hit the road for extended U.S. and European tours. (McCourt)

With Cute Lepers and Stagger and Fall

9 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slimstickets.com

 

EVENT

25th Annual Berkeley Kite Festival

Only in Berkeley do the world’s largest octopi fly through the sky in a giant octopile. No, the East Bay is not home to a freak show aquarium (as far as I know) — but it does host the annual Berkeley Kite Festival. So bust out your most impressive kites — bigger is not always better (especially when you’re trying to avoid kite-on-kite collisions) — and head over to Berkeley Marina. This might be your only chance to watch 30,000 square feet of creature kites take flight, eat corn on the cob at the kite ballet, and cheer on the Berkeley Kite Wranglers in the West Coast Kite Championships. (Gaydos)

Through Sun/1

10 a.m.–5 p.m., free

(free shuttle service to and from North Berkeley BART, 11 a.m.–5:30 p.m.)

Berkeley Marina, Cesar Chavez State Park

www.highlinekits.com

 

FILM

“Midnites for Maniacs: Macho Man-iacs Quadruple Feature”

In typical Castro Theatre tradition, Midnites For Maniacs unites Bay Area movie geeks with esoteric tastes and a palate for the weird and cult-y. Saturday is “Macho Man-iacs,” the quinto-mother of all manly movies with Stallone-starring Nighthawks (1981), Jean Claude Van Damme’s breakout film Bloodsport (1986), and two gems from the mine of John Carpenter B-movie bliss: They Live (1988) and Big Trouble in Little China (1986). Finally, this testosterone-charged program, with no X chromosomes in sight, concludes with a “Secrete Midnite Film.” All we know is it’s from 1989, not on DVD, and as the website insists, “You won’t believe there’s a 35mm print of this!” I’d bet money it’s a low-budget action flick starring a retrosexual with bad hair. (Lattanzio)

Films start at 2 p.m., $10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

MONDAY 2

MUSIC

Bomb the Music Industry!

If punk rock’s traditional values are DIY and egalitarianism, then Jeff Rosenstock of Bomb the Music Industry! is a stone cold reactionary. He’s known for blurring the line between fans and bandmates until it’s more or less invisible — bring a guitar or horn to a BTMI show, and there’s a good chance you’ll be invited onstage. Unswerving as the band’s commitment to aesthetic integrity might be, however, nobody could ever accuse BTMI of taking itself too seriously. Like their labelmates Andrew Jackson Jihad, Rosenstock and company leaven their scathing social commentary with lighthearted wit and eminently pogo-worthy arrangements. (Zach Ritter)

With Shinobu and Dan Potthast

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

TUESDAY 3

THEATER

MacHomer: The Simpsons Do Macbeth

Two of the most influential cultural icons ever, Shakespeare and The Simpsons, and two of art’s saddest sacks, Homer and Macbeth, finally arrive together on one stage, and in the form of one actor, in MacHomer: The Simpsons Do Macbeth. This solo show puts the Bard in Bart as Canadian import Rick Miller performs a daunting feat of incantation –– aside from that bewitching incantation “Double, double, toil and trouble” –– with voice impressions of more than 50 characters from the animated series. Miller is damn’d spot on, in both his display of an uncanny vocal talent and a commitment to making Shakespeare more accessible for younger audiences. (Lattanzio)

Through Aug.. 7

8 p.m. (also Aug. 6–7, 10:30 p.m.), $30–$40

Bruns Amphitheater

100 California Shakespeare Way, Orinda

(510) 548-9666

www.calshakes.org 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Music listings

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Music listings are compiled by Paula Connelly and 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 at listings@sfbg.com.

WEDNESDAY 28

ROCK/BLUES/HIP-HOP

Black Seeds, Holdup, Pacific Dub Slim’s. 9pm, $15.

Brian Blade and Jim Wilson Hotel Utah. 9pm, $10.

Goodnight Loving, Wrong Words Knockout. 9pm, $6.

Jack Curtis Dubowsky Ensemble, Hurd Ensemble, Electrosonic Chamber Café du Nord. 8pm, $10.

Morcheeba Fillmore. 8pm, $35.

Pepper Rabbit, Candy Claws, That Ghost Hemlock Tavern. 9pm, $7.

Phosphorescent, Little Wings, J. Tillman Bottom of the Hill. 9pm, $12.

Pocahaunted, Mi Ami, Late Young, Peking Lights Rickshaw Stop. 8pm, $10.

DANCE CLUBS

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

Club Shutter Elbo Room. 10p, $5. Goth with DJs Nako, Omar, and Justin.

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.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

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 29

ROCK/BLUES/HIP-HOP

Big Head Todd and the Monsters Fillmore. 8pm, $31.50.

Chatham County Line, Emily Bonn and the Vivants, Walking in Sunlight Hotel Utah. 9pm, $7.

*Cormorant, Stonehaven, Mary Shelley, Deafhaven, DJ Rob Metal Thee Parkside. 9pm, $8.

A Decent Animal, Twilight Sleep Café du Nord. 9pm, $10.

Generalissimo, Ovipositor, Cartographer Hemlock Tavern. 9pm, $6.

Eric Lindell Coda. 9pm, $15.

*”Kelley Stoltz’ Jukebox” Amnesia. 10pm, $5. With Drunk Horse and Hot Lunch.

Mantles, Fungi Girls, Baths Knockout. 9:30pm, $6.

Negative Trend, Hashashins, Monarchs Bottom of the Hill. 9pm, $8.

Lucky Peterson Biscuits and Blues. 8 and 10pm, $20.

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

Villagers, Bart Davenport, Greg Ashley Rickshaw Stop. 8pm, $12.

FOLK/WORLD/COUNTRY

Baraka Moon UCSF Milberry Conference Center, 500 Parnassus, SF; www.barakamoon.com. 7:30pm, $20.

Bluegrass Old Time Jam Atlas Café. 8pm, free.

Kunkel and Harris Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-7. DJs Pleasuremaker and Señor Oz spin Afro-tropical, 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.

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 DJs spinning R&B, Hip hop, classics, and soul.

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.

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

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

FRIDAY 30

ROCK/BLUES/HIP-HOP

Addison, Junior Panthers, Soft Bombs Thee Parkside. 9:30pm, $7.

Bare Wires, Ty Segall, Sandwitches, DJ Fur Amnesia. 9pm, $5.

Dragons, Throwback Suburbia, Impediments, Adam Bones Thee Parkside. 9pm, $8.

Il Duetto San Francisco Italian Athletic Club, 1630 Stockton, SF; (415) 781-0165. 7pm, free.

Kinky Friedman, Carletta Sue Kay Great American Music Hall. 9pm, $30.

Griddle, Boy in the Bubble, Grand Lodge Red Devil Lounge. 9pm, $8.

Interstellar Grains, Sean Tabor Band Café du Nord. 9:30pm, $10.

Kacey Johansing Art Tap, Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787, www.ybca.org. 6pm, free.

Level 42, World Famous Rick and Russ Show Regency Ballroom. 9pm, $27-44.

Connie Lim, Blackstone Heist, Narwhal Brigade Hotel Utah. 9pm, $8.

Mad Caddies, B Foundation, Kung Pow Bottom of the Hill. 9:30pm, $15.

Mission Players Grant and Green. 9pm, free.

Lucky Peterson Biscuits and Blues. 8 and 10pm, $20.

*Soilwork, Death Angel, Augury, Mutiny Within Slim’s. 8pm, $23.

Yung Mars Project with 40 Love Coda. 10pm, $10.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

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

Larry Carlton Trio Yoshi’s San Francisco. 8 and 10pm, $22-32.

FOLK/WORLD/COUNTRY

Jessica Fichot Red Poppy Art House. 9pm, $15.

Other Room Revolution Café, 3248 22nd St., SF; (415) 642-0474. 8:45pm, free.

Ultra World X-tet Old First Church, 1751 Sacramento, SF; (415) 474-1608. 8pm, $14-$17.

DANCE CLUBS

Down to Earth Rickshaw Stop. 10pm, $15. With J Boogie, Polish Ambassador, and Alxndr.

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 Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

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

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

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.

Jam On It Elbo Room. 10pm, $5. Hip-hop with DJ Soul Sister, DJ Quest, DJ Centipede, La Femme Deadly Venoms, and more.

Meat vs. Death Guild DNA Lounge. 9:30pm, $4-8. Industrial, gothic, electro, and more with Decay, BaconMonkey, Joe Radio, Melting Girl, and Netik.

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

Teenage Craze Dance Party Knockout. 10pm, $3. Twist, surf, and garage with DJs Sergio Iglesias, Russell Quann, and dX the Funky Gran Paw.

Twelves, Marc Romboy, John Tejada Mezzanine. 9pm, $20.

SATURDAY 31

ROCK/BLUES/HIP-HOP

As I Lay Dying, Between the Buried and Me, Underoath Warfield. 4:30pm, $32. Also with Bless the Fall, Acacia Strain, Architects, Cancer Bats, and War of Ages.

Dave Rude Band, FlexXBronco, Monte Casino Bottom of the Hill. 9:30pm, $12.

Delgado Brothers Biscuits and Blues. 8 and 10pm, $20.

Destruments Coda. 10pm, $10.

Quinn Deveaux Revolution Café, 3248 22nd St., SF; (415) 642-0474. 8:45pm, free.

Diego’s Umbrella, Real Nasty, Loyd Family Players Elbo Room. 10pm, $10.

*400 Blows, Turks, Swann Danger Knockout. 10pm, $8.

Go Van Gogh, Lee Vilensky Trio Blue Macaw, 2565 Mission, SF; (415) 920-0577. 9pm.

Hooks, Mongoloid, Minks El Rio. 9pm, $8.

Hudson Criminal, Death Valley High, King Loses Crown, Weapons of the Future Submission, 2183 Mission, SF; www.sf-submission.com. 8pm, $7.

Mad Maggies Blackthorn Tavern, 834 Irving, SF; (415) 564-6627. 10pm.

*Nathaniel Rateliff, Pearly Gate Music, Kira Lynn Cain Café du Nord. 9:30pm, $12.

Rantouls, Saucy Jacks, Dirty Cupcakes Hemlock Tavern. 9:30pm, $6.

Swingin’ Utters, Cute Lepers, Stagger and Fall Slim’s. 9pm, $16.

Tempermentals, Rock Fight, Psychology of Genocide, Hukaholix Thee Parkside. 3pm, free.

Kenseth Thibideau, Danny Paul Grody, Radius Hemlock Tavern. 5pm, $5.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Giovenco Project Coda. 7pm, $7.

Larry Carlton Trio Yoshi’s San Francisco. 8 and 10pm, $25-32.

FOLK/WORLD/COUNTRY

Malo, Lava, Blanca Great American Music Hall. 8pm, $25.

Angus Martin and Gabriel Ekedal, Lua Cheia Amnesia. 6pm, $8-10.

Doug Martin Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

Orquesta en Bumba The Ramp, 855 Terry Francois, SF; (415) 6221-2378. 5pm, $10.

Pete Devine Jug Band, Quinn Deveaux Amnesia. 9:30pm, $8-10.

DANCE CLUBS

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

Ceremony DNA Lounge. 10pm. House music.

DeeCee’s Soul Shakedown Club Six. 9pm, $15. With DJs J Davey, Honor Roll, Irie Dole, I-Vier, Dans One, Sake One, Pam the Funktress, Ant One, Zita, and many more spinning hip hop, funk, electro, dancehall, reggae, and more.

Go Bang! Paradise Lounge. Recreating the diversity and freedom of the 70’s/ 80’s disco nightlife with DJs Said, Carnitas, Brown Amy, Steve Fabus, Sergio, and more.

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.

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.

Three Kinds of Stupid Dance Party Rickshaw Stop. 9pm, $12. With live sets by Memoryhouse and Baths, plus resident DJs Brother Grimm, Chris Baty, and BAS.

SUNDAY 1

ROCK/BLUES/HIP-HOP

“Cabaret Showcase Showdown” Café du Nord. 8pm, $15. With Tom Shaw Trio and the Whoa Nellies.

Dark Dark Dark, Indianna Hale, Fight or Flight Amnesia. 9pm, $7-10.

Il Gato, Bill Baird, Jesse Woods Hemlock Tavern. 9pm, $6.

Rickie Lee Jones, Meklit Hadero Sigmund Stern Grove, 19th Ave at Sloat, SF; www.sterngrove.org. 2pm, free.

Squeeze, English Beat Fillmore. 8pm, $42.50.

T-Model Ford and Gravel Road, Horror-X Thee Parkside. 8pm, $12.

Tarfufi, Silian Rail, Honeycomb Rickshaw Stop. 8pm, $10.

FOLK/WORLD/COUNTY

Los Compas The Ramp, 855 Terry Francois, SF; (415) 6221-2378. 5pm, $6.

VW Brothers Coda. 8pm, $10.

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, Maneesh the Twister, and guest Roommate.

For the Future Café Cocomo, 650 Indiana, SF; (415) 824-6910. 1pm, $15. With DJs Halo, David Harness, Moniker, Adnan, Cali, and more. A benefit for NextAid.

Fresh Ruby Skye. 6pm, $25. With DJs Jamie J. Sanchez and Lee Decker. Benefitting Healing Waters.

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?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

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

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

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

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

MONDAY 2

ROCK/BLUES/HIP-HOP

Bomb the Music Industry!, Shinobu, Dan Potthast Bottom of the Hill. 9pm, $8.

We Landed On the Moon Elbo Room. 9pm.

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 Decay, Joe Radio, 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.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

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 3

ROCK/BLUES/HIP-HOP

Aunt Dracula Hemlock Tavern. 9pm, $6.

Melissa Culross Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

Dopecharge, Bog People, Autistic Youth, Verraterisch Knockout. 9pm, $5.

Lindy LaFontaine Grant and Green. 9pm, free.

Matisyahu, Dub Trio Regency Ballroom. 8pm, $32.

Quitzow, Battlehooch, Setting Sun Rickshaw Stop. 8pm, $10.

Watson Twins, Ferraby Lionheart Café du Nord. 8pm, $12.

FOLK/WORLD/COUNTRY

Mucho Axe, Fogo Na Roupa Elbo Room. 9pm, $7.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. With DJs Johnny Repo and Taypoleon.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

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.

McGoldrick to challenge Fang for BART Board?

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The calls are already going out: former Supervisor Jake McGoldrick ought to challenge James Fang for BART Board. Bruce Balshone reported enthusiastically on the draft Jake effort in the Examiner, and when I called McGoldrick tonight, he seemed open to the idea. After all, Fang has been on the board 20 years, is the lone Republican elected official from San Francisco — and frankly, hasn’t done much of anything important in terms of improving transit (or controlling the BART police).


I called McGoldrick tonight to ask about it, and he told me he’s open to the idea. “I’m just juggling and weighing parts of my life,” he said. “I’m a teacher, the president of a union, the president of the Richmond District Democratic Club and a grandfather.” But he added: “The one thing that’s absolutely true is that James Fang need to be replaced. It doens’t have to be me, but I’m giving it serious consideration.”


Of course, he said (in typical McGoldrick fashion) that his family has to sign off: “I finally got home after eight years at City Hall and made some soup instead of being a supe,” he said. “I asked my wife about it, and she thought I was talking about Bart Simpson or something.”


Stay tuned.

Fantasy island

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johnny@sfbg.com

MUSIC The Aunt Charlie’s in the video for Myles Cooper‘s song “Gonna Find Boyfriends Today” is a massive tree with a vagina dentata doorway where cupcakes, eggs, top-hatted Mr. Peanuts and white-gloved strawberries dance, while Muppets sing a chorus. Nestled in the tenderest spot of the city’s loins, just off Market Street, the Aunt Charlie’s of San Francisco is a different place, but not really. One night a week, it’s the site of High Fantasy, a club hosted by Cooper and Alexis Penney that — as Cooper says — “belongs to the fantasies of those who come and need to imagine and party.”

Aunt Charlie’s is also one nexus of a mini-movement of sorts of truly new gay pop music in 2010. Witty, both ironic and utterly sincere, and catchier than any mega-production you might hear on the radio, Cooper’s bedroom reggaeton — or, to use his phrase, digital dancehall — debut single is one of its anthems. “I made a YouTube video to remember the song when I wrote it,” he explains, when asked about “Gonna Find Boyfriends Today”‘s genesis. “I still have it. I was on Ambien late at night. The writing took like 30 seconds, but coming up with the chord changes and sound was more cognitive. I was listening to ‘Supermodel,’ the Rupaul song, and the first line is ripped off from it.”

Decked out in gonzo cartoon cover art by Skye Thorstenson, who made the song’s video, “Gonna Find Boyfriends Today” has just been released as a 7-inch single by Transparent in England, where the fabled weekly New Musical Express recently placed Cooper ninth on a list of “The 50 Most Fearless People in Music,” one spot below Lady Gaga. Tonight, the fearless man with the brush cut and Mr. Rogers attire is camped out a table at Aunt Charlie’s, where DJ Bus Station John is prepping for his weekly night, Tubesteak Connection. “Bus Station, where is my boyfriend tonight?,” a regular calls out from the bar. “Oh, she’s around,” John answers.

Cooper is about to go on a summer trip to Chicago, then Africa, then Chicago again. Two nights before, at High Fantasy, a chorus of four performers serenaded him with Toto’s “Africa.” “I felt like somebody cared,” he says, with characteristic low-key geniality. Many people travel to Africa, but not many make music videos with close relatives during the trip — that’s Cooper’s goal. “I’m writing a song, an anthem called ‘You’ve Got to Love Your Family’,” he says. “I don’t always get along with my family, and I feel like this is a test. It’ll be funny to do the video with them lip-syncing the song. We’ll be on safari, and it’ll capture my family’s funny interaction with me. My mom never wants to be on camera.”

It’s this kind of true directness and simple originality that likely inspired NME to deem Cooper one of the 10 most fearless musicians on the globe. His surface appearance of intense normalcy is paired with wild creativity. “I got these shoes because they kind of remind me of a Noe Valley 50-year-old in a way that’s sexy to me,” he says, pointing down to his feet. “My fashion choices are perverse and I like to be in costume.” At High Fantasy, that costume might include a glitter-encrusted Bart Simpson T-shirt with Tupac tattooed on Bart’s stomach. At a Lilith Fair-inspired drag night he once put on at The Stud, his look included “a flannel skirt and a dolphin airbrushed on my ankle and and really ugly Doc Marten sandals and a tie-dyed shirt and gross curly wig.”

Cooper’s look and outlook has some connections to a recent day gig working with boys and girls aged 5 and 6. There might be moments where he wishes some kids’ face were an iPad so he can create or communicate on the job, but there’s an honest and committed through-line between his daytime life and nightlife. A recent show by his group Myles Cooper USA included giant acid house yellow smiley faces that were painted by the kids. He says he recently gave them a fashion poll: which label is better, Ed Hardy or Baby Phat? Baby Phat won by one vote, cast by him (“I like the cat on the logo”).

Cooper used to play in the Passionistas, a three-piece that put out one excellent pop-punk album in 2007 before disbanding. Going solo allows him to edit himself while giving his imagination free rein. That means he can incorporate his visits to Chicago (and greater journey to and from the Windy City and Africa) into the music he’s making today; the city is where he filmed the video for his next single, “Hair,” a many-voiced delight that places him alongside Morrissey and Jens Lekman in the hairdo-song hall of fame. “House music has always been a mysterious thing to me, because I’ve always thought of it as this perfected music that wasn’t made by people,” he says, when asked about the sound of Chicago. “I don’t think that anymore, I see how human it is. Even if the people I see are just playing records, I want to see what tempo they are, what key they’re in, what people are doing as they hear the music, and what they’re looking like when they do it.”

 

BIG LOVE

“I had a crush on Myles for a while, I thought he was so hot and the perfect boyfriend for me,” Alexis Penney says at Aunt Charlie’s. It’s a few weeks later, and Penney is prepping the bar for another night of High Fantasy. We’ve met at the apartment she shares with Dade Elderon of Party Effects, where she puts Band-Aids in a pair of high-heeled shoes before we head out, a little move that seems especially necessary less than half an hour later, when she’s scaling — quickly and faultlessly — a wooden ladder-like staircase to find and gather decorations. “The trick to having a club is that you have to go out a lot, so people know you,” Penney declares, gathering and arranging a train of white tulle that’s just long enough for the Bride of Godzilla.

Thing is, Penney — who grew High Fantasy out of Thing, a night she put on with Seth Bogart of Hunx and His Punx — shouldn’t necessarily need to go out to be known. Her first recording, “Lonely Sea,” produced by Nick Weiss of Teengirl Fantasy, could be the number one hit of 2010 for anyone who ever had a heart. Like Cooper’s “Gonna Find Boyfriends Today,” it takes touchstones of gay pop past — in this case, the churchy keyboard sounds and insistent crossover house beat of songs like “Supermodel” and Crystal Waters’ “Gypsy Woman” — and adds some plaintive MIDI saxophone sounds at just the right moment, while wedding it to a beautifully frank and completely modern vocal about a broken relationship.

Penney is a busy girl. She edits, writes and photographs for SORE, an online magazine that captures San Francisco gay nightlife. SORE was born in Kansas City, where Penney is from, when she and a friend named Roy and Cody Critcheloe from the group SSION decided they wanted “a sort of punk answer” to the popular lifestyle magazine BUTT. “I photograph things because I think they look funny, I don’t do it because it’s nightlife photography,” Penney says, bunching a ball of electric blue tulle into a ball against the back wall of the bar. “My ultimate fantasy for SORE, which will never happen, would be for it to be a print magazine. None of this ‘We talk about sex, but we make $100,000 a year’ material. Real gay life.”

Penney’s gay life, buoyed by friends like Monistat, is realer than most. “I wander around in my T-shirt and jeans a lot in the daytime, that’s normal,” she says. “But I needed to challenge myself with fashion. And [cross-dressing] went in line with the fact that I was dating someone [Bogart] who owned a vintage store. We were constantly thrifting and I had so much clothing at my disposal. I decided I’d just wear a bra, because you just don’t see a guy wearing a bra. Or I’d wear a bra and a lift, or a really slutty cocktail dress. I dress in women’s clothes interchangeably. I don’t trip about it. As much as people in SF say they’re trans-friendly, people really trip about gender. A lot of drag queens, they’re in or they’re out. I don’t even care.”

True. Except in Penney’s case, not caring is actually caring more than most people have the guts to in a society where every micro-subculture seems to breed conformity. It’s this directness, different from Cooper’s, or Bogart’s flirty and radically seductive candor, that distinguishes the music that Penney has made so far with Weiss. “I instantly felt a musical connection with Alexis, and the shine of her confident aura,” Weiss writes, when asked about first meeting Penney and the making of “Lonely Sea.” “My celebratory buoyant house beat mixed with Alexis’ love-lost lyrics so instantly I knew we had a hit.”

Both Penney and Bogart (as H.U.N.X.) have been recording with Weiss, and the results are everything from moving (“Lonely Sea”) and slinky and ebulliently powerful (Penney’s “Like the Devil”, the sun to “Lonely Sea”‘s elemental moon, and every bit its equal) to sexy in an existentially lonely way (H.U.N.X.’s “Can A Man Hear Me”) and hilarious (H.U.N.X.’s vampire cruising track “I Vant to Suck Your Cock”). For the prodigious Weiss, the connection to Penney might go back to a shared childhood love of Annie Lennox, particularly her 1992 album Diva. “Seth and Alexis are both really hyper-specific about what they’re going for,” he says, breaking down the collaborations. “Seth likes to work really fast and doesn’t usually go over two takes on a song. Alexis likes to throw out tons of reference points while we’re writing: ‘Give me something a little more trip hop-acid-tropical-wave-current please! And could you make it a little more world?'”

“Myles [Cooper] and I nerd out over music and songwriting over text message. He’s totally a visionary,” Weiss goes on to enthuse. In the separate but connected sounds of Cooper, Penney, H.U.N.X. and Teengirl Fantasy, all the wonderful gender-blur and sexuality of 1992 — when Lennox went solo and Boy George burst back into the limelight via The Crying Game — are remade anew, at a time when lifestyles feels like strait-jackets. There is inspiration to be taken from these artists’ love and support for one another on a daily and a big-picture basis. It’s the kind of force that can make changes within a broader culture, at least on small, rippling levels. This is gay pop in 2010: not striking mannered classic gay or rock poses, but instead allowing fabulous and tricky versions of one’s self to manifest and bloom.

“I could talk for days about nothing,” Penney says at one point, just before another night of High Fantasy begins. But really, she has something to say: “My relationship with music is that if I can’t connect emotionally with it, I just don’t like it.” And another thing: “I get really messy and really wasted but I always know where I’m at and who I am.” And another: “I always respect the person who you remember from the party. I want to be irreverent and confident enough to look like a freak.” And another: “Everyone wants to be something, but not everyone admits it to themselves.” And yet another: “I’m 23, I’ve tried every drug, I’ve never said no to sex, and here I am — I’m totally crazy.”

And — what the hell — one more thing: “I’ve got a lot to give. I’ve got a big heart, and a big boner.”

www.mylescooper.com
www.myspace.com/alexispenneymusic
www.myspace.com/gayestmusicever
www.myspace.com/mylescooper

Stage listings

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

THEATER

OPENING

BAY AREA

 

Blithe Spirit Live Oak Thatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $12-15. Opens Fri/13, 8pm. Runs Fri-Sat, 8pm; also August 19, 8pm. Through August 21. Actors Ensemble of Berkeley presents the Noel Coward play, directed by Hector Correa.

ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. July 29, Aug 5, 12, 19, 26, 9pm. Through Aug 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Sept. 4. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

Cindy Goldfield & Scrumbly Koldewyn in Cowardly Things New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $20-28. Thurs-Sat, 8pm. Through July 31. Cindy Goldfield and Scrumbly Koldewyn in a tribute to Noel Coward.

Dead Certain Royce Gallery, 2901 Mariposa; (866) 811-4111. $12-28. Thurs-Sat, 8pm. Through August 14. Expression Productions presents a psychological thriller by Marcus Lloyd..

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun, 8pm. Through August 29. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

How the Other Half Loves Phoenix Theatre, 414 Mason; (800) 838-3006, www.offbroadwaywest.org. $35, Thurs-Sat, 8pm. Through July 31. In Alan Ayckbourn’s 1971 comedy, a night of infidelity propels two colliding couples into menacing a third, a pair of innocents unwittingly drawn into the whole affair as alibis. The collisions are made all the more kinetic by the fact that Ayckbourn cheekily drops the two principal couples into overlapping living rooms, where they continually brush by each other in ironic obliviousness. At the outset of this droll two-act, Fiona Foster (a smart, cucumber-cool Sylvia Kratins) has just slept with Bob Phillips (a brilliantly sourpussed James Darbyshire), junior colleague of her husband Frank (Jeff Garrett, exuding the animated splendor of the full-on English twit), on the night of the couple’s wedding anniversary (pure coincidence for the forgetful, loveless Fiona). In loose coordination with lover Bob, Fiona explains her late night absence with reference to a pair of vague acquaintances, the Featherstones (Jocelyn Stringer and Adam D. Simpson). Bob does the same with Teresa (a spunky Corinne Proctor), his homebound wife and a new, deeply disgruntled young mother. Naturally, back-to-back dinner parties with said alibis ensue, much to the horror and chagrin of the adulterers. Off Broadway West Theatre Company’s production, smoothly helmed by Richard Harder, makes the most of the complex staging as both time and space collapse over intersecting dining tables. If the play is slow to catch fire, it reaches a nice sustained peak that proves worth the going. Shaky accents from Garrett and especially Simpson can distract at times, but Harder’s cast is generally solid and engaging, with particularly enjoyable work from Darbyshire and Proctor as the volatile younger Phillips with their crass bickering, canned erotic energy, and barely countenanced off-stage baby. (Avila)

The 91 Owl African American Arts Cultural Complex, 762 Fulton; 574-8908, www.brownpapertickets.com. $10-25. Nightly, 8pm. Through Thurs/22. A production of Bernard Norris’s play about the life of a San Francisco bus stop.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through August 29. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

Piaf: Love Conquers All Eureka Theatre, 215 Jackson; (800) 838-3006, www.brownpapertickets.com. $25-36. Tues-Fri, 8pm; Sat, 2 and 8pm. Through August 7. Tone Poet Productions brings a portrait of Edith Piaf to the stage.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Througb Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory (“Peaceweavers”), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of “Esta es Nuestra Lucha” passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Nicole Gluckstern)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

*when i die, i will be dead Mama Calizo’s Voice Factory, 1519 Mission; (800) 838-3006, www.mcvf.org. $15-20. Thur-Sat, 8pm. Through Sat/24. This sparkling pair of new dance-theater pieces from director-choreographer Alicia Ohs unexpectedly marks the final production at the Mission Street haunt of Mama Calizo’s Voice Factory, which perforce closes its doors at the end of the month as a search for a new space continues. It’s hard to imagine a more feisty, clever and poignant way to mark the otherwise somber milestone than this final Mission Street edition of MCVF’s DIY residency (co-produced with Choyoh! Productions and THEOFFCENTER). The first piece, “New York, I Love You, I hate You . . . Now Dance!,” unfurls and unravels a dance audition in the Big Apple with insight and incisive humor—cuttingly performed by a bold, charismatic cast that includes Ay.Lin, Hana Erdman, Harold Burns, and Jose Navarrete. It amounts to a singular and low-key–sensational tribute that puts the “us” back in chorus. The companion piece, “Dokuen” (Japanese for “solo”), is another surprise, a fresh and charming meditation on creativity, communication, and communion that cycles through a series of dynamic encounters between choreographer, dancers, and domestic, all on a tightrope walk between the concrete and the ineffable. Its sublime moments of imperfect quiet and stillness say it all, since even here there’s so much going on—room yet to create and destroy. (Avila)

Young Frankenstein Golden Gate Theatre, 1 Taylor; 551-2000, www.shnsf.com. $30-99. Thurs-Sat, 8pm; Sun, 2pm; also Wed/21, 2 and 8pm. Through Sun/25. For all its outlandish showmanship, Mel Brooks’s other movie-turned-musical is not quite as grand a beast as The Producers. Still, the adventures of Victor Frankenstein’s reputation-conscious grandson, Frederick Frankenstein—played with exceeding charm and surgeon-like skill by major cut-up Roger Bart, originator of the role on Broadway—remains a monster of a show, in more ways than one. The rapid-fire repartee, for starters, is scarily deft, the comic timing among a first-rate cast all but flawless (even when milking a line shamelessly), the fancy footwork (choreographed by director Susan Stroman) pretty fancy, and the mise en scène holds some attractive surprises as well. At the same time, and despite the fecund humor revolving around questions of size and virility, the show’s actual two-and-a-half-hour length proves a bit wearying, especially as many of the best jokes (though by no means all) are the much-loved and universally much-repeated gags from the film. Moreover, Brooks’s songs, while very able, rarely rise to memorable and sometimes feel perfunctory or a bit busy. One of the glorious exceptions is the blind hermit scene (played brilliantly by Brad Oscar), which combines the hilariously plaintive song “Please Send Me Someone” with a lovingly faithful rendition of the original spoof for a sequence that literally smokes. (Avila)

BAY AREA

Auctioning the Ainsleys Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through August 8. TheatreWorks begins its 41st season with a world premiere of a play by Laura Schelhardt about a family putting their lives up for sale.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Sat/24, July 31, 8pm; Sun/25, Aug 1, 7pm. Through August 1. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*Machiavelli’s The Prince Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centralworks.org. $14-25. Thurs-Sat, 8 p.m.; Sun, 5pm. Through August 22. Set in an intimate salon-space in the Berkeley City Club, this stage adaptation of one of the most famous documents on political power ever written gains a certain conversational quality. In fact, the script, penned by Gary Graves, is really just one long conversation—an imagined encounter between Nicolo Machiavelli and the man he dedicated his treatise to, Lorenzo de Medici II. Machiavelli (Mark Farrell) has been called by de Medici (Cole Alexander Smith)

to possibly regain favor in his court after a long banishment. With him he brings a notebook of his musings on gaining and retaining political power, which he bestows on Lorenzo for him to read. As the Duke of Florence, Smith plays his character with the measured dignity and watchful countenance of a career mobster. He protests the extremism of his former teacher’s philosophy of rule even as he is casually seduced by its implications. Farrell’s Machiavelli tries to play his position with calculated Mephistopheles cool. However, he cannot escape the obvious taint of his own failures, and eventually, for all his talk of power, he is revealed to be ultimately powerless, though his ideas remain with de Medici, long after he himself is let go. (Gluckstern)

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept. 26. Marin Theatre Company presents a swashbuckling version of the classic.

 

PERFORMANCE/DANCE

BATS Improv Theatre Bayfront Theater, Fort Mason Center, B350 Fort Mason; 474-6776, www.improv.org. Fri-Sat, 8pm. Through July 31. Bay Area Theatresports presents an evening of theater and comedy.

The Bowls Project: Secrets of the Apocalyptic Intimate Yerba Buena Center for the Arts, Sculpture Court, 701 Mission; 978-2787, www.ybca.org. Various times. Through August 22. Charming Hostess presents a series of performances in conjunction with an interactive sound sculpture.

Bridge Builders and Other Unconventional Women CounterPULSE, 1310 Mission; (800) 838-3006, www.counterpulse.org. Wed/21-Thurs/22, 7pm. $6-12. Flyaway Productions presents its Arts and Activism Apprenticeship performance by young women.

Litquake: Fool Brava Theater, 2781 24th St; 641-7657, www.litquake.org. Sat/24, 8pm. $22.50-25. Litquake presents a staged reading from the novel by Christopher Moore.

Liz Grant Variety Pack Comedy Show Purple Onion, 140 Columbus; 200-8781, www.brownpapertickets.com. Fri, 4:30pm. Through Sept 3. $10. A changing lineup of stand up comedy.

Porchlight 8th Anniversary Show Verdi Club, 2424 Mariposa; 861-9199, www.verdiclub.net. Porchlight celebrates a birthday with stories from Adam Savage, Arisa White, Anthony Bedard, Kari Kieman, Scott Kravitz, Jawad Ali, and others.

Stand-up Comedy Showcase Bazaar Cafe, 5927 California; 831-5620, www.dannydechi.com. Wed/21, 7pm. Free. A showcase hosted by Danny Dechi.

Tadtarin Dance Mission Theater, 3316 24th St; 273-4633, www.enricolabayen.com. Fri/23-Sat/24, 8pm; Sun/25, 7pm. $25. The world premiere of a dance piece performed by Labayen Dance/SF.

BAY AREA

Hamlet: Blood in the Brain Bruns Amphitheater, Orinda; (510) 548-9666, wwwcalshakes.org. Mon/26, 7:30pm. California Shakespeare Theatre presents a one-time performance by students of Oakland technical High School.

Love Boat Capers RODA Theatre, 2025 Addison, Berk; www.gilchun.com. Sat/24, pm; Sun/25, 2pm. A dance play based on the TV series!

Pro-Mehserle rally breaks out in Walnut Creek

7

Supporters of former BART police officer Johannes Mehserle rallied in Walnut Creek this afternoon, eleven days after protests and violence erupted in Oakland July 8, when Mehserle was convicted July 8 of involuntary manslaughter for fatally shooting unarmed Oscar Grant on New Year’s Day 2009 on a BART platform in Oakland.

The rally occurred outside the Superior Courthouse in Walnut Creek on Ygnacio Valley Road.  

Witnesses say the supporters were outnumbered by the cops and the paparazzi, and outnumbered and outvoiced by the “Justice for Oscar Grant” counterdemonstrators by about 2:1.

“While helicopters whirled overhead and riot police stood by, counterdemonstrators chanted ‘Justice for Oscar Grant’ and ‘Oscar did not have to die – we all know the reason why.'” a witness told the Guardian. “They flanked the Mehserle supporters, who stood mostly silent, holding up signs like ‘Understanding will permit healing’ and ‘Thank you for keeping my streets safe.’ There was no sign of open antagonism between the camps, although a bystander reported that words were exchanged initially and things were about to get heated when the police closed ranks and made it clear they would shut the whole thing down.”

Board accepts EIR, but vows to amend Candlestick-Shipyard plan

14

Text by Sarah Phelan, images by Luke Thomas


At the end of a ten-hour hearing to appeal the final environmental impact report  for the city and Lennar’s massive Candlestick-Shipyard redevelopment project, the Board voted 8-3 to accept the FEIR, with only Sups. John Avalos, Chris Daly and Eric Mar voting to reverse certification of what they said was a flawed document.


But the vote does not mean the Board has voted to accept the city and the developer’s final redevelopment plan. That plan will come before the Board on July 27, and the supervisors are expected to introduce a slew of amendments, in addition to  five amendments that Board President David Chiu introduced earlier this week.


These amendments are intended to address longstanding concerns about toxins at the shipyard, limited liability on the part of the developer, the questionable need for a bridge over Yosemite Slough, the reality that Bayview residents may be cut out of any upcoming jobs, and the desire to nail down efforts to use public power at the site


“We can’t do the amendments here, we are frozen out, all we can do is an up and down vote on the EIR for now,” Sup. Ross Mirkarimi told the Guardian last night. 
Mirkarimi anticipates that the Board will seek additional mitigations, such as requiring liquidated damages to shore up a community benefits agreement that Labor entered into with Lennar in May 2008.


Mirkarimi said the Board would also seek to increase workforce development benefits.
“Thirty percent of the target workforce population are ex-offenders, so while they might get training, currently they won’t get jobs other than construction,” Mirkarimi observed.


Mirkarimi was proud of the Public Power amendment that Chiu has already lintroduced, pointing to an ordinance that he and then Sup. Gerardo Sandoval introduced and Mayor Gavin Newsom signed into law, in March 2006. This public power ordinance established that “where feasible, the City shall be the electricity provider for new City developments, including military bases and development projects.”


“PG& E was ripped when we pushed that through,” Mirkarimi said.


During yesterday’s marathon hearing, the supervisors grilled city staff on issues that have proved to be key sticking points, as the city seeks to win final project approvals, even though they cannot address these issues with amendments until the July 27 meeting.


The Board questioned the wisdom of moving forward with development on the Shipyard, as the Navy continues to clean up radiological contamination and other toxins at the site, including Parcel E-2, which contains some of the nastiest pollution at the yard.


“Why not just wait until the CERCLA process is completed?” Sup. Campos asked, referring to the fact that the Navy is responsible for shipyard clean up, under CERCLA, which is also known as the Superfund Act.


Campos question came after acclaimed environmental scientist Wilma Subra and national environmental human rights lawyer Monique Harden, challenged the sanity of having the Navy digging out toxins while a developer simultaneously installs infrastructure at the same site.


Subra, who works in Superfund sites throughout the U.S, warned the Board that it’s very common to find contamination at these sites after they have been declared clean.


“So, the number of samples isn’t the magic answer,” Subra said, referring to the city’s constant refrain that the Navy has taken thousands of samples at the site. Subra also warned that it is not uncommon for a contractor to dig into an area that has been capped, thereby potentially exposing workers and the community to contamination and resulting in legal stand-offs, as various parties argue as to who has responsibility to fix the resulting mess.


Harden, who is based in New Orleans but also has an office in D.C., expressed concern over the plan to begin construction on some shipyard parcels, even as the Navy continues to remove radiologically contaminated sewers and other deep infrastructure at the site.
“That’s like a person jumping up and down on a bed that another person is trying to make up,” Harden said


But Michael Cohen, Mayor Gavin Newsom’s chief economic advisor countered that there was no scientific evidence to support Subra or Harden’s concerns.


“It’s a very common situation, especially on brownfields,” Cohen said, (though the Shipyard is a Superfund site that’s been contaminated with radiological waste that was sandblasted off ships returning from a Bikini Atoll atomic testing experiment gone awry.)


“It’s the basis for shipyard artists and the police being on the site for many years,” Cohen continued. “It’s safe based on an extraordinary amount of data.”


But Cohen did agree that language in Chiu’s Parcel E-2 amendment should be changed from “should” to “shall” to indicate that city oversight is a requirement, not a request, when it comes to final decisions over the transfer of this particular parcel.


Mark Ripperda of U.S. EPA assured the Board that his agency is not going to permit transfer of parcels for development until cleanup is completed.
“We are not going to allow any transfer until we are convinced it’s safe,” Ripperda said.


Sup. Eric Mar chastised the EIR for its apparent failure to adequately discuss the impacts of the proposed development on schools in the surrounding area.


“There is less discussion of the impacts on schools than there is of the A-Bomb, which was held at the Shipyard for 1 to 2 days,” Mar said. “The analysis seems very weak.”


And Daly expressed frustration that the Board was being asked to take a decision when it lacked sufficient information about and understanding of the project.


“How do we know it’s safe? ” Daly asked, noting that, “Money talks, bullshit walks.”
(His point resonated as City staff scrambled to find key information within the 7,000 pages of comments and responses in the massive FEIR documents, and Amy Brownell of the city’s Public Health Department rattled off a series of measurements and schedules that few on the Board seemed to understand.)


“The risks are acceptable,” Brownell said. “And the only people allowed on the property [during the development] will be the ones doing the work.”


The Board also challenged the need for a bridge over the environmentally sensitive Yosemite Slough, especially in the wake of the June 2010 election in which Santa Clara voters approved building a new stadium for the 49ers near Great America.


“One reason I’ve been given for [the need for the bridge] is the financial viability of this project,” Campos said.


Cohen replied that if the city does not to build the bridge, “it elevates the financial risk.”


“Parcel C [on the shipyard] has been zoned for green tech, and for major employers, having that direct connectedness to BART and the T-Third is very important.”


Cohen also indicated that, thanks to the project’s huge reliance on tax increment financing, the loss of the bridge would translate into lost property tax revenues.


“Some of the repayment comes from generation of tax increment financing, so the failure to have a bridge here, degrades the potential of property tax revenues, and so you get much less tax increment,” Cohen stated.


The Board also expressed concerned that under the current terms of the deal they are now set to consider July 27, the developer has limited liability—an arrangement that has got supervisors worried that the city, and Bayview residents whose increased property taxes will help pay for the development, could end up on the wrong end of the financial hook.


Campos pointed to the disposition and development agreement (DDA) that the city drew up with Lennar.
“I’m specifically worried about a provision that on the face of it limits the developer’s liability,” Campos said, pointing to language that seems to say that “monetary damages are inappropriate”—conditions that Campos deemed, “Very unusual.


Cohen responded that the deal reflects the reality that, “the Navy, not Lennar is responsible for the cleanup.”
He added that the city retains the legal ability to sue, various remedies and, ultimately, “the right of reverter” (which folks call the “nuclear option” since it involves kicking out the developer, but losing everything in the process.)


“This is an incredibly frontloaded project,  in which we have the ability to terminate the developer at the cost of millions of dollars,” Cohen said.


But while the city and the developer ultimately affirm EIR certification, the decision left the Bayview community deeply divided, with many concerned that the FEIR failed to address their concerns, while others rejoiced, believing that they will benefit from jobs that will be created during the development’s 10-15 year build out and beyond. Only time will tell how it all plays out, but stay tuned as the Board prepares to try and make the plan the best it can in face of all these competing concerns.


 

Beyond the rage

46

rebeccab@sfbg.com

Downtown Oakland became supercharged with emotion in the hours following the July 8 announcement of the verdict in the trial of former BART police officer Johannes Mehserle. And in the days that followed, the city remained electrified as residents struggled to make sense of the verdict, the rioting that occurred in its wake, and the historic significance of these developments.

But as the emotions dissipate, the issues behind the verdict and its aftermath remain — along with a series of questions that could determine whether this intensely scrutinized shooting of an unarmed man will lead to any changes in police practices or the justice system, as well as how the community will react if the judge imposes a light sentence.

After being moved out of the Bay Area because the publicity surrounding the case, a Los Angeles jury found Mehserle, a white officer, guilty of involuntary manslaughter for fatally shooting Oscar Grant, a 22-year-old unarmed black man who was detained on a BART train platform in Oakland on Jan. 1, 2009 following reports of a fight.

The verdict stood out as an almost unprecedented conviction of an officer in a case involving deadly use of force, and a departure from an all-too-familiar narrative in which tragedies resulting from police shootings bring no consequences for those responsible for pulling the trigger. However, in the wake of the verdict, Grant’s family members made it clear that they did not believe that justice had been served.

“This involuntary manslaughter verdict is not what we wanted, nor do we accept it,” Oscar Grant’s uncle, Cephus “Bobby” Johnson, said at a July 10 press conference at True Vine Ministries, a West Oakland church. “It’s been a long, hard road, but there are chapters in this war. The battle’s just getting started.”

To Grant’s relatives and a coalition of supporters who came together in response to the shooting, the trial is intrinsically linked to a long history of police brutality that occurs with impunity in cases involving youth of color. Meetings organized by clergy and community members have been held weekly in West Oakland over the past 19 months with the ultimate goal of bringing about greater oversight of the BART police and effective police reform on a broader scale.

On July 9, the U.S. Department of Justice announced that its Civil Rights Division, the U.S. Attorney’s Office, and the FBI have opened an investigation into the shooting and would determine whether prosecution at the federal level is warranted. Defense Attorney Michael Rains also made a motion to move Mehserle’s sentencing to a date later than Aug. 6, the date it was originally expected.

As the events of July 8 solidify into the Bay Area’s collective memory, attention is now shifting toward the next steps, and to lingering questions. Mehserle’s sentencing is key: will his sentence be light, reflecting the jury’s conclusion that he simply made a mistake — or will it include substantial prison time, reflecting the fact that he shot and killed an unarmed man without justification? Will he receive a lighter sentence than someone else without a criminal record found guilty of involuntary manslaughter simply because of his identity as a former officer with law enforcement organizations still in his corner? If Mehserle receives a long sentence, will it signify a shift in a justice system that many perceive as biased — or a stand-alone result of intense public scrutiny?

And as a result of all this, will the BART police finally get the type of training and serious civilian oversight they so badly need?

 

RAW REACTION

On the day the verdict was announced, thousands turned out for a peaceful rally near Oakland’s 12th Street BART Station and City Hall to hear speakers sound off about how their lives had been affected by police brutality.

As night fell, looting and rioting began to break out as the media covered scenes of rage set against small trash fires, causing anger and frustration for many Oakland residents who were dismayed and frightened by the chaos and disorder. More than 80 arrests were made, and dozens of stores including Sears, Whole Foods, Subway, Foot Locker, and numerous banks were damaged or looted. Police efforts to respond to the situation gave downtown city blocks the feeling of a war zone for several hours.

Reactions to the verdict, and the chaotic aftermath that followed, varied in the following days.

“The truth is that in American history, this is both a high point and a low point,” Olis Simmons, executive director of Youth UpRising — an Oakland nonprofit that works with youth of color — told the Guardian the following day. Speaking to the fact that an officer had been convicted in a case involving a wrongful death, she said: “I think it really is a signal that America is changing. This is the farthest we’ve ever gone.”

She said she hoped that people who were infuriated enough to react violently on the evening of July 8 would channel that energy toward constructive goals of pushing for a more satisfactory outcome. Before rallies and later rioting began that night, Youth UpRising sent people into the crowd to hand out glossy flyers proclaiming “violence isn’t justice.”

Davey D Cook, an independent radio journalist who extensively covered activity surrounding Grant’s death on a news site called Davey D’s Hip Hop Corner, said he thought the mainstream media was ready to have “a field day” with the riots, pointing out that they ran special coverage in the days leading up to verdict, building up anticipation of violent outbreaks. He also said that the scope of the rioting should be kept in perspective.

On his July 9 KPFA radio show, Hard Knock Radio, Cook added a salient point: “Broken windows can be replaced, and in two weeks, they will be. Stolen merchandise can be replaced, and it will be. But who’s going to replace this justice system that got looted? What insurance policy takes care of that?”

Just before the July 10 press conference, a town hall meeting was held inside True Vine Ministries. It was crammed full of supporters from Oakland, San Francisco, and beyond who listened as Minister Keith Muhammad — a representative of the Nation of Islam who has worked closely with the Grant family and traveled to Los Angeles to watch the trial — spoke at length. Muhammad was dressed immaculately in a suit and tie, and spoke with an air of fiery conviction.

“In the outcome of this case, there is surely more to be resolved that has yet to be addressed,” Muhammad said. He emphasized that “we’re not satisfied,” but added: “You should know that dissatisfaction is the foundation of all change.”

He raised a number of questions about the proceedings, asking why there was an absence of African Americans on the jury, and why the judge called an early recess when Grant’s teenage friend, Jamil Dewar, sobbed uncontrollably on the witness stand — but not when Mehserle sobbed on the stand. He noted that Grant’s friends were kept in handcuffs for six hours after witnessing Grant’s death.

In the days following July 8, much was also said about mainstream media coverage of the events, in particular the notion that “outside agitators” would come in and start trouble. “I do not like this divisive campaign to divide our community and protestors by calling people outsiders,” Oakland defense attorney Walter Riley wrote in a statement posted on Indybay.org. “This is a great metropolitan area … we expect people from all over the map to participate in Oakland. Calling people outsiders in this instance is a political attack on the movement. The subtext is that the outsiders are white and not connected to Oakland. From the days of the civil rights movement to now, the outsider labeling failed to address the underlying problems for which people came together. We must engage in respectful political struggle. I understand the frustration. I do not support destruction and looting as political protest.”

 

LOOKING FORWARD

Mehserle’s conviction suggests the jurors believed his defense that he meant to draw and fire his Taser instead of his gun. In legal terms, settling on involuntary manslaughter, rather than second-degree murder or voluntary manslaughter, means the jury was not convinced beyond a reasonable doubt that Mehserle had malice toward Grant. But the jury found that he was criminally negligent when he failed to notice that he had his gun instead of his Taser in the moments before he pulled the trigger.

“In California, and really in any state, it is extremely difficult for jurors to convict a police officer. There’s an extreme reluctance to do that,” Whitney Leigh, an attorney who formerly worked in the San Francisco Public Defender’s Office, told us.

“There are undoubtedly instances where things like this have happened at some time in the past in California, that weren’t videotaped,” Leigh continued. “But for the videotape, if you walked 10 witnesses in who said that what happened, happened, no one would believe them if the officer took the stand and said that’s not what happened. The only reason there’s a case at all is that there’s a videotape.”

Leigh said he thought that unless the public develops a better awareness that police misconduct regularly occurs, “individuals are going to continue to be victimized by a system that effectively encourages officers to believe that they can act with significant impunity.”

Asked whether he thought it was likely that the federal government would decide to step in after concluding its investigation, he said it was a tough call. “The Justice Department is highly selective in the cases it chooses to prosecute for these crimes,” he cautioned. “That said, the kinds of cases they choose are ones that tend to have a lot of public attention and concern, so this fits within that category. Since it’s such a public case, it can have more of a widespread impact.”

If Mehserle was prosecuted at the federal level, the case would invoke Criminal Code 18 U.S.C. Sec. 242, used when a government agent or an individual acting under the color of authority denies someone their civil rights through force, threats, or intimidation, based on their race, gender, or another protected category.

Then again, the federal government’s decision over whether or not to step in may be linked to the degree of severity of Mehserle’s sentence.

California Penal Code Section 193 specifies the mitigated, midterm, and aggravated sentences for involuntary manslaughter: two, three, or four years in state prison, respectively. Because Mehserle’s case involves his personal use of a firearm, a sentence enhancement of three, four, or 10 years can be added to his prison time under California Penal Code Section 12022.5.

The judge will weigh circumstances to determine Mehserle’s sentence, possibly including his record as a police officer, his criminal record, age, remorse, and other factors, explained Jim Hammer, a former prosecutor and current San Francisco Police Commission member. The judge could toss out the sentence enhancement for personal use of a gun — and there’s a possibility he would deem extreme circumstances, such as his police record, to warrant probation rather than prison time. But Hammer said he thought both of those outcomes are unlikely.

“The judge will want to appear more than fair, not giving special treatment,” Hammer said. “Judges have to stand [for] election too, and in the light of the fact that somebody’s dead, I think the chance of probation is incredibly slim.”

Even if Mehserle receives a light sentence and then faces prosecution at the federal level, there is a chance that information about his past record as an officer — which was not admitted as evidence, thanks to laws that afford protections for police officers in these kinds of cases — would continue to be shielded. The protection applies even though Mehserle resigned.

“The average person just wants courts to be fair,” Leigh said. “And there’s an inherent unfairness in a system that allows a government or a police department that has all the resources and records to … use against you while shielding what might be much more serious and relevant acts by police officers. That’s one change that would be great if that did happen.”

A key legal issue in the case and any possible federal case is reasonable doubt, Hammer said. “Reasonable doubt is everything, and no one talks about it. They just say, ‘Oh, he didn’t have intent.’ That’s not the issue. Can anybody really, honestly say that they don’t have some doubts about his intent?”

At the same time, Hammer tempered his legal analysis with some understanding of Grant’s mother’s pain in light of what happened to her son and as the verdict was reached.

“If the dictionary had three pictures of murder for a picture image, one would be shooting somebody in the back who is unarmed,” he told the Guardian. “What she’s saying is not outrageous. If it were my relative I would probably call it murder too. She’s not crazy.”

As things continue to unfold with Mehserle’s sentencing and the federal civil rights investigation, civil litigation is in the works too. Wrongful death civil lawsuits will likely be filed against BART by Oakland civil rights attorney John Burris on behalf of Grant’s mother, as well as another suit by five friends who were with Grant the night he was killed. BART settled a suit filed on behalf of Tatiana Grant, the slain man’s five-year-old daughter, in January. That total settlement should amount to more than $5.1 million, according to a media release on Burris’ website.

During an interview after the July 10 press conference, Johnson was asked how Grant’s young daughter was doing. He responded: “Tatiana is still struggling with the issue of when her daddy’s coming home. So it’s going to take time for her, when she does understand that he is not coming back home.”

Outside Grant’s family, many observers hope to see systemic change come out of this tragedy. Assembly Member Tom Ammiano introduced legislation to create civilian oversight of BART police after the shooting, but was unhappy to see how it was watered down during the legislative process. Now he wants to see stronger reforms.

“I think Oscar Grant’s death was inevitable based on the lack of caring about how those police were trained,” he told us. “If you’re going to have the kind of independent civilian oversight that’s going to prevent a repeat of what happened to Oscar Grant, you can’t have this namby-pamby law. The mantra has been, well, this is better than nothing. Unless they’re made to do it … it’s not going to happen the way we want.”

Stage listings

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

THEATER

ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. July 29, Aug 5, 12, 19, 26, 9pm. Through Aug 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Beijing, California Thick House Theater, 1695 18th St; www.asianamericantheater.org. $15-25. Thurs-Sat, 8pm; Sun, 5pm. Through Sat/17. Asian American Theater Company presents a new play by Paul Heller set in the year 2050, when China invades America.

Cindy Goldfield & Scrumbly Koldewyn in Cowardly Things New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $20-28. Thurs-Sat, 8pm. Through July 31. Cindy Goldfield and Scrumbly Koldewyn in a tribute to Noel Coward.

Comedy Ballet The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-25. Thurs-Sat, 8pm, Sun, 3pm. Through Sun/18. Dark Porch Theatre presents an outlandish and unusual dance and theater hybrid.

Dead Certain Royce Gallery, 2901 Mariposa; (866) 811-4111. $12-28. Thurs-Sat, 8pm. Through August 14. Expression Productions presents a psychological thriller by Marcus Lloyd.

Foresight Fort Mason Southside Theater, Building D; www.fortmason.org. $22-27. Fri-Sat, 8pm; Sun, 2 and 8pm. Through July 18. Easily Distracted Theatre presents a new play by Bay Area filmmaker Ruben Grijalva.

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun, 8pm. Through August 29. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

How the Other Half Loves Phoenix Theatre, 414 Mason; (800) 838-3006, www.offbroadwaywest.org. $35, Thurs-Sat, 8pm. Through July 31. In Alan Ayckbourn’s 1971 comedy, a night of infidelity propels two colliding couples into menacing a third, a pair of innocents unwittingly drawn into the whole affair as alibis. The collisions are made all the more kinetic by the fact that Ayckbourn cheekily drops the two principal couples into overlapping living rooms, where they continually brush by each other in ironic obliviousness. At the outset of this droll two-act, Fiona Foster (a smart, cucumber-cool Sylvia Kratins) has just slept with Bob Phillips (a brilliantly sourpussed James Darbyshire), junior colleague of her husband Frank (Jeff Garrett, exuding the animated splendor of the full-on English twit), on the night of the couple’s wedding anniversary (pure coincidence for the forgetful, loveless Fiona). In loose coordination with lover Bob, Fiona explains her late night absence with reference to a pair of vague acquaintances, the Featherstones (Jocelyn Stringer and Adam D. Simpson). Bob does the same with Teresa (a spunky Corinne Proctor), his homebound wife and a new, deeply disgruntled young mother. Naturally, back-to-back dinner parties with said alibis ensue, much to the horror and chagrin of the adulterers. Off Broadway West Theatre Company’s production, smoothly helmed by Richard Harder, makes the most of the complex staging as both time and space collapse over intersecting dining tables. If the play is slow to catch fire, it reaches a nice sustained peak that proves worth the going. Shaky accents from Garrett and especially Simpson can distract at times, but Harder’s cast is generally solid and engaging, with particularly enjoyable work from Darbyshire and Proctor as the volatile younger Phillips with their crass bickering, canned erotic energy, and barely countenanced off-stage baby. (Avila)

The 91 Owl African American Arts Cultural Complex, 762 Fulton; 574-8908, www.brownpapertickets.com. $10-25. Nightly, 8pm. Through July 22. A production of Bernard Norris’s play about the life of a San Francisco bus stop.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through August 29. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

Piaf: Love Conquers All Eureka Theatre, 215 Jackson; (800) 838-3006, www.brownpapertickets.com. $25-36. Tues-Fri, 8pm; Sat, 2 and 8pm. Through August 7. Tone Poet Productions brings a portrait of Edith Piaf to the stage.

Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory ("Peaceweavers"), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of "Esta es Nuestra Lucha" passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Nicole Gluckstern)

Reading My Dad’s Porn and French Kissing the Dog The Marsh Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. Thurs-Sat, 8pm. Through Sat/17. The title of San Francisco writer-performer Cherry Zonkowski’s confessional solo show gives only a little away—a passing detail from the Nordic diversions of a spirited army brat and daughter of an alcoholic father—but the rest of the narrative leaves even less to the imagination. An account of Zonkowski’s initiation into the sex party and BDSM scene, Reading My Dad’s Porn bounces gleefully between comically graphic depictions of sweaty, writhing Bay Area meet-and-greets and a childhood and young adulthood buried in family dysfunction, a loveless marriage, and the grueling teaching load of a recent English PhD. Ultimately, it’s the story of a woman finding her own identity and community, and if the outlines sound familiar they also feel that way. The straightforward plot—peppered with humorous details and asides (as well as the odd song, accompanied by accordionist Salane Schultz, alternating nights with Aaron Seeman)—lacks both urgency and characters of much complexity. The story’s patina of outré sex, meanwhile, is far from revelatory and too superficial and jokey to offer much dramatic heft. Nevertheless, the show, developed with director David Ford, draws a limited appeal from the force of Zonkowski’s extroverted personality, whose orientation sexual and otherwise skews toward fun—although her more aggressive attempts to corral the audience into participating (mainly vocally) in the show’s narrative high jinx may put some off even more than the fisting by the snack table. (Avila)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

Young Frankenstein Golden Gate Theatre, 1 Taylor; 551-2000, www.shnsf.com. $30-99. Thurs-Sat, 8pm; Sun, 2pm, also Tues/13, July 20, 8pm; Wed/7, July 24, 21, 2 and 8pm. Through July 25.

For all its outlandish showmanship, Mel Brooks’s other movie-turned-musical is not quite as grand a beast as The Producers . Still, the adventures of Victor Frankenstein’s reputation-conscious grandson, Frederick Frankenstein—played with exceeding charm and surgeon-like skill by major cut-up Roger Bart, originator of the role on Broadway—remains a monster of a show, in more ways than one. The rapid-fire repartee, for starters, is scarily deft, the comic timing among a first-rate cast all but flawless (even when milking a line shamelessly), the fancy footwork (choreographed by director Susan Stroman) pretty fancy, and the mise en scène holds some attractive surprises as well. At the same time, and despite the fecund humor revolving around questions of size and virility, the show’s actual two-and-a-half-hour length proves a bit wearying, especially as many of the best jokes (though by no means all) are the much-loved and universally much-repeated gags from the film. Moreover, Brooks’s songs, while very able, rarely rise to memorable and sometimes feel perfunctory or a bit busy. One of the glorious exceptions is the blind hermit scene (played brilliantly by Brad Oscar), which combines the hilariously plaintive song "Please Send Me Someone" with a lovingly faithful rendition of the original spoof for a sequence that literally smokes. (Avila)

BAY AREA

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. July 24, 31, 8pm; Sun/18, July 25, Aug 1, 7pm; Fri/16, 9pm. Through August 1. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

Left of Oz Ashby Stage, 1901 Ashby, Berk; (800) 838-3006, www.brownpapertickets.com. $25-50. Fri-Sat, 8pm, Sun, 7pm. Through Sun/18. Stephanie’s Playhouse presents a lez-queer musical comedy following the out west adventures of Dorothy.

Speech & Debate Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $34-55. Wed-Sat, 8pm; Sun, 2pm, 7pm; Tues, 7pm. Through Sun/18. Aurora Theatre closes its 18th season with Stephen Karam’s comedy about three teen misfits connected to a small town sex scandal.


PERFORMANCE/DANCE

BATS Improv Theatre Bayfront Theater, Fort Mason Center, B350 Fort Mason; 474-6776, www.improv.org. Fri-Sat, 8pm. Through July 31. Bay Area Theatresports presents an evening of theater and comedy.

The Bowls Project: Secrets of the Apocalyptic Intimate Yerba Buena Center for the Arts, Sculpture Court, 701 Mission; 978-2787, www.ybca.org. Various times. Through August 22. Charming Hostess presents a series of performances in conjunction with an interactive sound sculpture.

Liz Grant Variety Pack Comedy Show Purple Onion, 140 Columbus; 200-8781, www.brownpapertickets.com. Fri, 4:30pm. Through Sept 3. $10. A changing lineup of stand up comedy.

"San Francisco Olympians Festival" Exit Stage Left, 156 Eddy; www.sfolympians.com Fri/16-Sat/17, 8pm, $10. A series of one-act perfomances by No Nude Men Productions.

Fix the BART police force – or disband it

4

18 months after a BART cop shot Oscar Grant, the transit agency still doesn’t have effective police oversight

EDITORIAL Who murdered Oscar Grant? Part of the equation is the years of neglect of the BART Police. — Assembly Member Tom Ammiano

We’re angry, too.

Angry that a police officer who shot and killed an unarmed man could wind up with little or no prison time. Angry that the news media whipped up such a fervor over the potential for a riot in Oakland that it almost guaranteed someone would show up and break a few windows. Angry that the jury who decided this case was 400 miles away and included no African Americans.

But mostly we’re angry that 18 months after a BART cop shot Oscar Grant, the transit agency still doesn’t have effective police oversight. And until the BART board recognizes that it still has 200 poorly trained, poorly supervised,* armed officers on the streets — and that this shooting wasn’t an anomaly, it was simply the latest in a series of criminal acts by BART police officers that led to the deaths of innocent people — and until the BART Board starts treating this like the emergency that it is, the problems are going to continue.

There are elements of this case that are historic — and very positive. This is the first time we can remember that a police officer in California has faced murder charges for an on-duty shooting. That alone sends a powerful message — and the Alameda County District Attorney deserves immense credit for taking the case to trial. And let’s not forget: Johannes Mehserle was, in fact, convicted. With the additional penalties for using a handgun, he could wind up with a sentence of more than 10 years.

Much of that is now in the hands of Los Angeles County Superior Court Judge Robert Perry, who will sentence Mehserle later this summer. The judge in an involuntary manslaughter case has considerable discretion; he could, conceivably, sentence Mehserle to probation, and the killer of an unarmed man could walk away with no jail time at all. Perry could sentence him to five years (of which the former officer would probably serve no more than three). He could also go as high as 14 years, which seems more reasonable.

Most of the protesters in Oakland were peaceful; most recognized that the verdict was mixed, that at least Mehserle was convicted, and that there’s still a chance justice will be done. It’s hard to imagine that the patience of the community will last long in the wake of an unacceptably short sentence.

But even if Perry issues a sentence that reflects the crime, there’s still the problem of the BART Police. This isn’t the first time a BART cop has killed an unarmed person; twice before, the subway system’s finest have committed crimes just as heinous as the one that put Johannes Mehserle in the dock. The difference is that the previous shootings — which we covered in depth and the mainstream media ignored — were never caught on video. BART never took either killing seriously, never changed police oversight procedures — and shouldn’t be surprised that nothing changed.

Now the agency, with much reluctance and gnashing of teeth, has created a modest civilian oversight program. But it’s not enough — and the reason is simple: The BART directors don’t want to spend the time it takes to monitor and control an armed police force. They’ve always happily delegated that job to someone else — a general manager, an assistant general manager, a police chief — and never done the job they were elected to do.

Now time’s up. The BART directors need to take direct control of the police, including holding hearings on disciplinary action and quickly acting on complaints against problem officers. Or they need to recognize that they can’t run a police force, disband the BART police, and let a professional law enforcement agency from one or more of the BART counties take over.

Fix the BART police force – or disband it

0

EDITORIAL Who murdered Oscar Grant? Part of the equation is the years of neglect of the BART Police. — Assembly Member Tom Ammiano

We’re angry, too.

Angry that a police officer who shot and killed an unarmed man could wind up with little or no prison time. Angry that the news media whipped up such a fervor over the potential for a riot in Oakland that it almost guaranteed someone would show up and break a few windows. Angry that the jury who decided this case was 400 miles away and included no African Americans.

But mostly we’re angry that 18 months after a BART cop shot Oscar Grant, the transit agency still doesn’t have effective police oversight. And until the BART board recognizes that it still has 200 poorly trained, poorly supervised,* armed officers on the streets — and that this shooting wasn’t an anomaly, it was simply the latest in a series of criminal acts by BART police officers that led to the deaths of innocent people — and until the BART Board starts treating this like the emergency that it is, the problems are going to continue.

There are elements of this case that are historic — and very positive. This is the first time we can remember that a police officer in California has faced murder charges for an on-duty shooting. That alone sends a powerful message — and the Alameda County District Attorney deserves immense credit for taking the case to trial. And let’s not forget: Johannes Mehserle was, in fact, convicted. With the additional penalties for using a handgun, he could wind up with a sentence of more than 10 years.

Much of that is now in the hands of Los Angeles County Superior Court Judge Robert Perry, who will sentence Mehserle later this summer. The judge in an involuntary manslaughter case has considerable discretion; he could, conceivably, sentence Mehserle to probation, and the killer of an unarmed man could walk away with no jail time at all. Perry could sentence him to five years (of which the former officer would probably serve no more than three). He could also go as high as 14 years, which seems more reasonable.

Most of the protesters in Oakland were peaceful; most recognized that the verdict was mixed, that at least Mehserle was convicted, and that there’s still a chance justice will be done. It’s hard to imagine that the patience of the community will last long in the wake of an unacceptably short sentence.

But even if Perry issues a sentence that reflects the crime, there’s still the problem of the BART Police. This isn’t the first time a BART cop has killed an unarmed person; twice before, the subway system’s finest have committed crimes just as heinous as the one that put Johannes Mehserle in the dock. The difference is that the previous shootings — which we covered in depth and the mainstream media ignored — were never caught on video. BART never took either killing seriously, never changed police oversight procedures — and shouldn’t be surprised that nothing changed.

Now the agency, with much reluctance and gnashing of teeth, has created a modest civilian oversight program. But it’s not enough — and the reason is simple: The BART directors don’t want to spend the time it takes to monitor and control an armed police force. They’ve always happily delegated that job to someone else — a general manager, an assistant general manager, a police chief — and never done the job they were elected to do.

Now time’s up. The BART directors need to take direct control of the police, including holding hearings on disciplinary action and quickly acting on complaints against problem officers. Or they need to recognize that they can’t run a police force, disband the BART police, and let a professional law enforcement agency from one or more of the BART counties take over.

Editor’s Notes

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tredmond@sfbg.com

Broken windows can be replaced, and in two weeks, they will be. Stolen merchandise can be replaced, and it will be. But who’s going to replace this justice system that got looted? What insurance policy takes care of that?

Davey D Cook, Hard Knock Radio, KPFA, July 9

I’m not going to argue with the jury that convicted Johannes Mehserle of involuntary manslaughter in the death of Oscar Grant. I didn’t sit through the entire trial; I didn’t hear all of the testimony; I didn’t get the judge’s instructions on the law. I know it looks a lot like murder when you take a gun and shoot someone in the back, but the law requires intent, and the jury clearly believed — based on the evidence presented at trial — that the white officer made a mistake and never wanted to kill the young black man.

Based on the evidence I’ve seen — the videotape of the shooting, which, like many Bay Area residents, I’ve watched dozens of times— Mehserle had plenty of opportunity to back off, to recognize that he was about to fire a weapon at a man who was already on the ground and under police control. And remember: a Taser can also be lethal.

But the jury didn’t see evidence of murder, and voluntary manslaughter is a strange amalgam that’s very hard to fit with this case. If the judge sentences Mehserle to something close to the maximum (14 years), then some form of justice will have been done.

I say some form because it’s impossible to talk about this case without talking about race.

If Oscar Grant had been a white guy — even a drunk, belligerent, obnoxious white guy — I don’t think he ever would have been shot. The cops deal with annoying white people all the time, and they don’t get beat up, shot, or abused anywhere nearly as often as black people. That’s just reality.

Well-trained police officers working for professional law enforcement agencies are taught to be sensitive to race issues. They’re also taught how to make sure not to confuse a pistol with a Taser. It doesn’t always work — anyone who follows the criminal justice system knows that racism is very much a part of life. (And, of course, the BART police force is not a professional operation, and its officers aren’t well trained.)

If Mehserle had been a black kid from Hunters Point who was involved in a shooting death — even if he didn’t pull the trigger, even if he never meant to kill anyone — he’d be going to prison for a long, long time. The very fact that people are discussing the possibility of probation or a short sentence for Mehserle is a statement about the unfairness of our justice system.

And that’s not going to get fixed in two weeks. *

Protests turn to riots in wake of Mehserle verdict (VIDEO)

In the hours following the announcement of that Johannes Mehserle had been found guilty of involuntary manslaughter for fatally shooting Oscar Grant in the back on a BART platform on New Year’s Eve 2009, downtown Oakland became a drama-filled scene that changed minute by minute.

In the early hours, rallies were held, with community leaders speaking out against the killing of Oscar Grant and police brutality in general. At least 1,000 protesters gathered peacefully at the intersection of 14th and Broadway streets to hear a series of speakers venting anger. Representatives from the nonprofit Youth UpRising and other groups tried to discourage violence, but anger and frustration erupted into acts of vandalism once the rally came to a close and the night set in. Around the same time, police strapped on gas masks, readied clubs, and issued a dispersal order.

Around 8:30 bottles started flying among shouts of “fuck the police,” and “no justice, no peace.” A window was smashed at a Foot Locker near 14th and Broadway, and another window came down at the Far East National Bank, across the street. Looting followed, as did graffiti tagging, and trash cans lit ablaze.

By 10 p.m., things descended into further disarray as smaller crowds advanced north on Broadway and Telegraph, with just a few hundred continuing to smash windows at Whole Foods, Sears, Starbucks, and several other locations. The Guardian was on the scene and caught much of the early activity and some of the later rioting on film. The videos are presented below in chronological order. The Guardian left a crowd of less than 50 rioters near Whole Foods at Bay Place and Vernon Street, around 10:30.

http://www.youtube.com/watch?v=O_t8w7-_bVc
Shortly after the verdict was announced, Oscar Grant’s sister-in-law, Yolanda Mesa, tearfully addressed a small crowd outside Oakland City Hall. Video by Wendi Jonassen

http://www.youtube.com/watch?v=V1qclrgIOtE
A rally being held in the middle of the intersection at 14th and Broadway in downtown Oakland dissolved into chaos when police in riot gear approached and announced through a megaphone, “We are here to assist you in your peaceful protest.” Video by Rebecca Bowe

http://www.youtube.com/watch?v=Si0sH_v0oq8
As a marching band played in the background, activists hoisted a sign onto a lamppost over the intersection of 14th and Broadway in downtown Oakland. Video by Rebecca Bowe

http://www.youtube.com/watch?v=Y9S144Tptbg
A protester challenging police in the midst of demonstrations in downtown Oakland was tackled by officers in riot gear. Video by Alex Emslie

http://www.youtube.com/watch?v=V4veyVC204E
Oakland City Council member Rebecca Kaplan gave an interview at the line between demonstrators and police as she linked arms with others at 12th Street and Broadway. Council member Jean Quan stood nearby. Video by Alex Emslie

http://www.youtube.com/watch?v=EiV2-kp5Gc8
Police declared the protest to be an unlawful assembly and issued an order to disperse just before 9 p.m. The police charged, and this reporter got caught in the fray. Video by Alex Emslie

http://www.youtube.com/watch?v=NBwMMiFEe-o
Rioters ignited a trash can and dragged it down 15th Street toward the police line at around 9:30 p.m. Video by Alex Emslie

http://www.youtube.com/watch?v=z2eIW9YTwzQ
The riots took a noticeable turn just before 10 p.m. Even as the crowds diminished, more fires were ignited and store front windows were broken between 15th and 17th streets on Broadway as and rioters began to move further North. Video by Alex Emslie