Berkeley

Google sez bike this way

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Just in time for the sun’s critically acclaimed debut, the Internets has once again plotted to increase our digital dependence. Google Maps now has a bicycling option!

If you’re a biker in San Francisco or Oakland, you don’t need me to tell you that you gotta pick your routes around these cities. One false move and you’re falling into the ruts of MUNI train tracks or on a freeway on-ramp (don’t laugh, it happens… to me). But no longer, or at least less often, will you have to deal with these small catastrophes.

Just type in your start and finish and the Goog has your most two wheel friendly route between A and B sorted. Sure, it’s basically an algorithm that connects the marked paths and wide shoulders easily visible on your SF Bike Map– Google’s still at beta when it comes to the ins and outs of our city’s considerable altitude changes, or our multi-tiered, if not hierarchical ways of getting the bridge and tunnelers in and out of here. A quick search for the route between my pad and my night job advised me to head up Eddy Street, which my quads tend to eschew for the less demarcated, but more planar blocks of Turk and Golden Gate. And tell the site you’re headed for a wild night out from SF to East Bay to see that new William T. Wiley showing at UC Berkeley and the site will recommend pedaling across the Bay Bridge- via the Ferry Building. But they’re trying, goddammit.

At least now your out of town houseguests won’t wind up hyperventilating on Van Ness Avenue on that loaner cruiser bike anymore. So for today, digital corporate megalith, you get golf claps- you are one step closer to becoming the website I go to for everything, all the time, always.

A lost San Francisco saga

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arts@sfbg.com

MUSIC “There are great artists and musicians who will never be discovered,” says Herman Eberitzsch Jr. III “That’s the way it is,” he reasons. “There’s only so much room at the top.”

That’s why you’ve most likely never heard of Eberitzsch (pronounced “eh-bur-itch”) despite his remarkable music talent. He has a name straight out of a gothic fairy tale — far from the iconic, slick-sounding syllables associated with San Francisco’s psychedelic soul renaissance during the late 1960s and ’70s. Yet his recordings hold up to the best of them. “We had a strong conviction that we were the next big thing,” Eberitzsch says. “But we weren’t.”

Each generation harbors a certain aesthetic mood that mutates and evolves under the prescient vision of a limited number of innovators. Their fresh styles, resonant at first, then become formulated and stagnant, disseminated in the norm. We then await the next genius, or at least a movement of collective creativity, to shake things up. But what attunes us to one artistic strand, pregnant with a world of open-ended meaning and feeling, rather than another with just as much potential richness? How do we come to discern between the vanguard and the wayward? And what if we miss something in the process?

Eberitzsch’s unlikely story might just read like a rediscovery of what we overlooked. He recorded hours of bluesy soul fueled by free-form jazz throughout the ’70s that never saw commercial release. He arranged, wrote, sang, and funkified the keys on dozens of songs with mainstays of Santana’s circuit (Coke Escovedo, Linda Tillery), Lee Oskar of War, and Sly Stone’s drummer, Greg Errico, among many others. Most of the musicians who recorded on Eberitzsch’s own arrangements were, by and large, no-namers, yet it’s their music which now stands out.

Eberitzsch’s songs leap and wander. They gracefully move the spirit while grounding the body in rich, earthy grooves. They are a naive and inspiringly audacious attempt at channeling the sort of raw expression that challenges, mesmerizes, fights, and loves. In the midst of so much experimental and groundbreaking sound, Eberitzsch’s music either missed the ears of the right A&R rep or was just not the right kind of different.

 

A CHANCE REDISCOVERY

Now Eberitzsch is sitting across from me in a café near his former Potrero district home, excited to tell his story. He greets me as Allen Ginsberg (my look-alike visage intact, masked in dark beard and glasses), and I feign appreciation for the well-meaning reference, knowing that although Ginsberg had quite a poetic sharpness, he wasn’t the best-looking fellow. But Eberitzsch’s generous charm and earnest happiness with the course his life has taken, despite the disappointments, quickly win me over. Waves of amiable energy overtake the slightly weathered rasp in his voice. A youthful, idealistic Eberitzsch naturally emerges in the course of minutes. In a way, he’s been waiting for this interview for 40 years.

“Atlantic told me, ‘We don’t hear it at this time,'<0x2009>” Eberitzsch says, highlighting the elusive way a record company executive might elongate time, stretching the curt word like a worn rubber band. “But when you invest your life and your heart and soul into a project of your own creation, your own little children of songs, you don’t throw them away. You don’t send them down the River Styx,” he says, laughing. “So I put ’em in the basement.”

That’s where record collector Daniel Borine mistakenly found the two-inch apex tapes, 35 years later, while doing photo research for a reissue project on lost Bay Area modern soul. What those tapes hid — a dusty time capsule of relentless insight and vigor — amazed Borine. In a move away from the prideful hoarding that typically characterizes collectors, Borine wanted to share the tapes with a larger audience and finally do justice to Eberitzsch’s music. He pursued the new and quickly growing business of recorded music archaeology and preservation, an endeavor that mirrors what so many archivists have done already for literature, film, and visual art. Borine had the tapes mastered and organized the tracks into coherent volumes. He plans to put out four full-length records of Eberitzsch’s brilliant efforts, titled the HE3 Project, over the coming years on his own upstart Family Groove Records.

The first chapter of the compilation is set for release on March 30. It focuses on Eberitzsch’s trailblazing efforts from three distinct recording sessions between 1971 and 1974. These recordings capture Eberitzsch’s far-reaching artistry — a grounded and soulful angle on space-jazz psychedelia, informed as much by Weather Report as by Robert Johnson. This is the story of the man behind the HE3 Project.

 

ORIGINS OF A WOULD-BE TRAILBLAZER

Herman Eberitzsch Jr. III was born in San Francisco’s colorful Portola neighborhood in 1947. He grew up in a German household, where he learned to play the classical composers — Mozart, Bach, Beethoven, and Brahms — at a young age. But somewhere along the way Eberitzsch caught the funk and couldn’t let go. “In my room I listened to James Brown,” he recalls. “When I grooved and played the boogie, I had a powerful left foot that shook the ground. My left foot took down the house, so I eventually had to move out.”

Eberitzsch conjured doo-wop on the corner with the young funky drummer Greg Errico, who lived down the street. He was enraptured by the blues in Oakland, danced to jazzy R&B grooves in San Francisco, and witnessed the emergence of a new psychedelic sound at the Fillmore and in the streets. Immersed in the Bay Area’s magnetic music community, he naturally gravitated to the keys again. “I figured out how to play funky style clavinet and piano,” Eberitzsch says. “They called me Funky Knuckles for short.”

At 21, the freshly-dubbed Funky Knuckles joined a band with Boots Hughston called Sword and the Stone, and was booked by Bill Graham to perform at the Fillmore. The outfit transitioned into a quartet, Shane, with Santana’s David Brown on bass. They hustled around the city making $10 an hour and all the beer they could drink. The city bubbled over with an unparalleled creative force. The time was electric.

That same year — 1968 — Eberitzsch attended UC Berkeley to study psychiatry. But he quit after one semester to pursue music as a career, preferring the organic therapeutic powers of rhythm and melody to the structured treatment of question and answer. “Music is a much more pure form of psychiatry. It has two potentials: it either incites you to create, or it soothes the savage beast,” he says. “I became a knowledgeable person of people through music.” And cyclically, Eberitzsch’s improvisational music erupted from kinetic relationships with people.

Read part two of “A lost San Francisco saga” here.

Rep Clock

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Schedules are for Wed/17–Tues/23 except where noted. Director and year are given when available. Double features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. "Other Cinema:" "Extreme Animation," works by Paper Rad, Nate Boyce, Martha Colburn, and more, Sat, 8:30.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, Berk; (510) 841-4824. Awakening from Sorrow: Buenos Aires 1997 (Epperlein and Knoop, 2009), Fri, 7.

CAFÉ OF THE DEAD 3208 Grand, Oakl; (510) 931-7945. Free. "Independent Filmmakers Screening Nite," Wed, 6:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. Alice in Wonderland (Burton, 2010), through April 1, 1, 4, 7, 9:45.

CENTER OF LIGHT 2944 76th Ave, Oakl; (510) 207-6593. Free. The Age of Stupid (Armstrong, 2009), Fri, 7:30.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10. An Education (Scherfig, 2009), call for dates and times. The Art of the Steal (Argott, 2009), call for dates and times. The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (Ehrlich and Goldsmith, 2009), call for dates and times. North Face (Stölzl, 2008), call for dates and times. A Prophet (Audiard, 2009), call for dates and times. The Girl With the Dragon Tattoo (Oplev, 2009), March 19-25, call for times. Live! (Guttentag, 2007), with director Bill Guttentag in person, Sun, 7.

FOUR STAR 2200 Clement, SF; www.thrillville.net. $10. "Thrillville:" •Monsturd (Popko and West, 2003) and Retardead (Popko and West, 2008), Thurs, 7:30. Local cult classics with filmmakers and cast in person, plus live music by Meshugga Beach Party.

GOETHE-INSTITUT 530 Bush, SF; www.goethe.de/sanfrancisco. $7. "New German Cinema:" Parkour (Rensing, 2009), Wed, 6:30.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. The Secret of Oz, Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. "CinemaLit Film Series: Star Power, A Month of Meryl Streep:" A Cry in the Dark (Schepisi, 1988), Fri, 6.

ODDBALL FILMS 275 Capp, SF; (415) 558-8117, info@oddballfilm.com. $10. "India Films: The Naked Eye," Fri, 10. "Under the Sea: Maritime Movies from the Archives," Sat, 10.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. "Film 50: History of Cinema:" Last Year at Marienbad (Resnais, 1961), Wed, 3. "Joseph Losey: Pictures of Provocation:" The Servant (1963), Sun, 5; These Are the Damned (1965), Sun, 7:20. San Francisco International Asian American Film Festival, Wed-Sat. See film listings for schedule.

PARAMOUNT 2025 Broadway, Oakl; 1-800-745-3000, www.oebs.org. $20-65. "The Mighty Wurlitzer: Music at the Movies:" The General (Keaton and Bruckman, 1926), Fri, 8; Sun, 2.

PIEDMONT 4186 Piedmont, Oakl; (510) 464-5980. $5-8. "Cult Classics Attack 5:" The Neverending Story (Petersen, 1984), Fri-Sat, midnight; Sun, 10am.

PLAYHOUSE THEATER 40 Main, Tiburon; www.tiburonfilfestival.com. "Tiburon International Film Festival," March 18-26. Check web site for program information.

RED POPPY ART HOUSE 2698 Folsom, SF; www.redpoppyarthouse.org. $8-12. Marina of the Zabbaleen: Portrait of a Child Recycler (Wassef, 2008), Sun, 7.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. Night of Lust (Bénazéraf, 1963), Wed-Thurs, 7:15, 9:30 (also Wed, 2). Fantastic Mr. Fox (Anderson, 2009), Fri-Mon, 7:15, 9:15 (also Sat-Sun, 2, 4). The Road (Hillcoat, 2009), March 23-25, 7, 9:20 (also March 24, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Closed for renovation until April 1.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "Human Rights and Film:" Petition (Zhao, 2009), Thurs, 7:30. "2009 British Television Advertising Award Winners," Sat-Sun, 2, 4 (also Sat, 6, 8).

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. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

Baby: A Musical Off-Market Theatres, 965 Mission; 1-800-838-3006, www.roltheatre.com. $20-32. Previews Thurs/18, 8pm. Opens Fri/19, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through April 18. Ray of Light Theatre performs a comedy about pregnancy.

Ramble-Ations: A One D’Lo Show Brava Theater Center, 2781 24th St; 647-2822, www.brava.org. $10-25. Opens Wed/17, 8pm. Runs Thurs-Sat, 8pm; Sun, 3pm. Through April 3. Performance artist D’Lo offers up a comedic solo show from a unique (gay, Hindi, Sri Lankan, SoCal, hip-hop) perspective.

Truce Noh Space, 2840 Mariposa; 826-1958. $10-25. Previews Wed/17, 8pm. Opens Thurs/18, 8pm. Runs Wed-Sat, 8pm. Through April 3. Playwright-performer Marilee Talkington stars in Vanguardian Productions’ presentation of her autobiographical work about a woman struggling with impending blindness.

ONGOING

…And Jesus Moonwalks the Mississippi Cutting Ball Theater, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Opens Fri/19, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. Through April 11. Cutting Ball presents this deeply personal fantasy play inspired by the myth of Demeter and Persephone and directed by Amy Mueller.

Caddyshack: Live! Dark Room, 2263 Mission; 401-7987, www.brownpapertickets.com/event/99361. $20. Fri-Sat, 8pm. Through March 27. The Dark Room presents Jim Fourniadis’ live adaptation of the iconic movie.

Death Play EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. $15-20. Thurs-Sat, 8pm. Through March 27. Thunderbird Theatre Company presents the third installment in the comedy series by Sang S. Kim.

*Den of Thieves SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40. Tues, 7pm; Wed-Sat, 8pm (also Sat, 3pm). Through April 17. Stephen Adly Guirgis has been good to SF Playhouse. The company already scored big with two of the New Yorker’s gritty, dark and sharply funny plays, Our Lady of 121st Street and Jesus Hopped the ‘A’ Train. Director Susi Damilano continues the streak with SF Playhouse’s latest, the less heavy but very funny Den of Thieves, about an unlikely foursome of inept bandits caught trying to heist a Mafioso’s safe under a discotheque in Queens — a simple tale that gives plenty of scope to Guirgis’s muscular way with dialogue and the clash of characters. The story opens on a depressed recovering kleptomaniac, Maggie (an affectingly understated Kathryn Tkel), and her 12-step sponsor Paul (the excellent Casey Jackson), a nerdy fast-talking mixed-race former safecracker, whose Jewish grandfather headed up a famous crime ring that robin-hooded their take to library construction for kids in the neighborhood. Enter Maggie’s former boyfriend, a Puerto Rican tough named Flaco (a hilariously spot-on Chad Deverman), with his new squeeze, erotic dancer Boochie (a deftly comic Corinne Proctor), and a lead on a large traceless sum of cash. Suddenly the smell of big money sends recovery out the window and makes uneasy bedfellows of the motley, hostile bunch. Enter angry but softhearted mobster Little Tuna (Ashkon Davaran), his sadistic sidekick Sal (Peter Ruocco), and big gun Big Tuna (Joe Madero). Facing mob vengeance, it’s time for some fast-talking and deal making among the mini-den, and all bets are off. The ending seems to have eluded Guirgis a little, but the way there makes for meaty comedy, while the exceptional cast sells the conceit so beautifully they make it a crime to miss. (Avila)

Desperate Affection Royce Gallery, 2901 Mariposa; www.expressionproductions.com. $28. Thurs-Sat, 8pm. Through April 10. Expression Productions presents a dark comedy by Bruce Graham.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed, 8pm. Through April 28. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

*Juliet Little Theatre, Creative Arts Bldg, San Francisco State University, 1600 Holloway; http://creativearts.sfsu.edu/events/1412/juliet. $8-12. Thurs/18-Sat/20, 8pm; Sun/21, 2pm. Can a cast of seven Juliets a Romeo and Juliet make? Very much so. In fact, this devised work, directed by Mark Jackson and beautifully brought to life by an exceptional student cast from SF State’s theater department, conveys not just the poetry but the sheer energy, surprise, and shock of living — at the very heart of the work — better than any recent straight-ahead production in recent memory. This vibrant, movement-based, and repeatedly stunning postmodern Juliet retains the dramatic arc of Shakespeare’s tragedy, yet runs another parallel arc of its own, exploring the perspective of Juliet as an extremely intelligent, vital and growing young woman by ingeniously refracting her through the lives and memories of seven actors, six female (Arisa Bega, Charlotte Gulezian, Meredith, Frannie Morrison, Megan Trout, Mai Kou Vang) and one male (Dara Yazdani). The results are not to be missed, providing something truly unique as well as one of the most compelling ways into a text that refuses to die despite a million bad productions. Excellent scenic and lighting designs (by Hannah Murray and Clyde Sheets, respectively) and a truly outstanding sound design by Matt Stines offer fine mood-casting support throughout. (Avila)

KML Preaches to the Choir Jewish Theater, 470 Florida; www.killingmyblobster.com. $15-20. Thurs-Fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through March 28. The award-winning sketch comedy group takes aim at the higher powers in this piece directed by Paco Romane.

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through April 11. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky, and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. (Avila)

*Mirrors In Every Corner Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. $15-25. Thurs/18-Sun/21, 8pm. Try to ask someone who’s ever felt marked by the color (any color) of their skin if they believe in a post-racial society, and see what kind of a response you elicit. That there is no tidy answer to this potentially messy question is a conundrum well-illustrated by playwrite Chinaka Hodge’s hypothetical fable of a white-skinned baby born into an African-American family. Each member of the family has a different reaction to and relationship with the mysterious blonde-haired changeling Miranda, dubbed "Random". Her father, who dies when she is young, is reported to have hated her. Her oldest brother Watts (Daveed Diggs) claims to understand her best, but in trying to get her to unravel what it means to be "black" vs. "white", reveals himself to be as confused as anyone by the lack of a single definition. Her mother Willie—played tough and no-nonsense by Margo Hall (who also plays the teenaged Miranda)—loves her unconditionally, yet ultimately sacrifices her for the well-being of the greater family unit. Hodge’s first full-length play, Mirrors succeeds in strong performance, warm humor, and crackling, poetic dialogue, but fails to adequately resolve how it is that the otherwise uncompromising Willie lets the low card of an unfortunate accident trump her otherwise strong hand of "colorblind" maternal loyalty. With Dwight Huntsman and Traci Tolmaire. (Gluckstern)

Now and at the Hour EXIT Stage Left, 156 Eddy; 673-3847, www.theexit.org. $15-25. Fri-Sat, 8pm. Through March 27. EXIT presents the subtly unnerving show by theatrical magician Christian Cagigal.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Sat, 8pm; Sun, 7pm. Through April 24. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $18-50. Wed-Fri, 8pm (April 16, show at 9pm; starting April 24, no Fri shows except May 28, 8pm); Sat, 5pm; Sun, 3pm. Through May 30. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Shopping! The Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.brownpapertickets.com. $27-29. Fri-Sat, 8pm. The musical is now in its fifth year at Shelton Theater.

Something You Might Want Stagewerx Theatre, 533 Sutter; www.catchynametheatre.org. $16. Fri-Sat, 8pm; Sun, 3pm. Through March 28. CatchyNameTheatre presents this dark comedy written and directed by Jim Strope.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-35. Thurs-Sat, 8pm. Through March 27. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

The Sugar Witch New Conservatory Theatre Center, 25 Van Ness; 861-4914, www.nctcsf.org.

Wed-Sat, 8 pm; Sun, 2pm. Through April 4. NCTC presents the premiere of Nathan Sanders’ crime story.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-27. Days and times vary. Through April 11. Berkeley Rep presents a sexy and intriguing new show from Naomi Iizuka.

*East 14th Laney College Theatre, 900 Fallon St, Oakl; www.east14thoak.eventbrite.com. $10-50. Fri-Sat, 8:30pm. Through March 28. Also at the the Marsh Berkeley in March. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

Handless Central Stage, 5221 Central, Richmond; 1-800-838-3006, www.raggedwing.org. $15-30. Thurs-Sat, 8pm. Through March 27. Ragged Wing Ensemble presents Amy Sass’ re-invention of the folk-tale The Handless Maiden.

*Learn to be Latina La Val’s Subterranean, 1834 Euclid, Berk. impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 27. Impact Theatre continues its 14th season with the world premiere of Enrique Urueta’s play.

Singin’ in the Rain Julia Morgan Center for the Arts, 2640 College, Berk; (510) 665-5565, www.berkeleyplayhouse.org. $19-28. Fri/19, 7:30pm; Sat/20, 2 and 7pm; Sun/21, 1 and 6pm. Berkeley Playhouse presents this classic musical.

PERFORMANCE

"All Star Magic & More" SF Playhouse, Stage Two, 533 Sutter; 646-0776, www.comedyonthesquare.com. Sun, 7pm. Ongoing. $20. Magician RJ Owens hosts the longest running magic show in San Francisco.

"Bananaritis!" CounterPULSE, 1310 Mission; 1-800-838-3006, www.brownpapertickets.com. Sat, 8pm. $20. Tim Rubel Human Shakes presents a performance piece that examines queer relationships.

BATS Improv Theatre Bayfront Theater, Fort Mason Center, B350 Fort Mason; 474-6776, www.improv.org. Fri-Sat, 8pm. $17-20. The Theatresports show format treats audiences to an entertaining and engaging night of theater and comedy presented as a competition.

"The Cat’s Pajamas" Make-Out Room, 3225 22nd St; www.makeoutroom.com. Mon, 8pm. $5. This month’s installment of the performance series hosts the Revolutionary Poets Brigade, among other acts.

"HyperReal" Yerba Buena Center for the Arts Forum, 701 Mission; 978-ARTS, www.ybca.org. Thurs-Sat, 8pm. $25. Bay Area artist Sara Kraft debuts her tech-vs-mind exploration, a fusion of text, song, sound, movement, and video.

PianoFight Studio 250 at Off-Market, 965 Mission; www.pianofight.com. Mon, 8pm. Through March 29. $20. The female-driven variety show Monday Night ForePlays returns with brand-new sketches, dance numbers, and musical performances.

"Sheherezade X: A Year in Review (2009)" Phoenix Theatre, 414 Mason; 885-8526. Fri-Sat, 8pm. Through March 27. $25. Short plays by local writers take on topics as varied as Muni and Bernie Madoff.

"Two on a Party" Artaud Theater, 450 Florida; 1-800-838-3006. Sat-Sun, 8pm. $18-20. Word for Word performs the Tennessee Williams work before they head off to present it in France.

VergeFest Garage, 975 Howard; 885-4006. Fri-Sun, 8pm. $10-20. Featuring contemporary dance, improvisation, and performance.

Virgin Play Series Magic Theatre, Fort Mason Center, Bldg D, Marina at Laguna, SF; 240-4454, http://magictheatre.org. Mon, 6pm. Free (reservations recommended). Through March 29. Magic Theatre presents Martha Heasley Cox’s series of staged readings of works currently in development. This week: Ryan Purcell’s Brazilian musical Marinheiro.

Rapera rules everything around her: Ana Tijoux rising

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As ever and ever the divide grows between what we hear on the radio versus what’s truly fly in hip hop these days, Ana Tijoux plots her coming to America. Born to Chilean parents who fled from the brutal reign of Augusto Pinochet, the MC’s life reads as the manifesto for the counterculture universality of hip hop. How to express the feelings stirred up by moving across the world at 14? How about coming to a country whose democratically elected president was slaughtered, replaced by a dissident-torturing dictator, that happens to be where your parents grew up? Tijoux found her anger reflected in the rhymes of the American rappers of the early ’90s- and shortly after, used their “force” to raise her own voice. She’s been a player on the South American hip hop scene ever since, and is releasing her second solo album, 1977, which may be her most personal project yet, looping scenes from a remarkable life story with her direct, staccato flows. Here in the Bay, we’re getting a chance to catch her beats live (Thurs/25, La Peña Cultural Center), not too long after her debut among the gringos at South by Southwest. She wanted me to tell you that if you were born in 1977, you get into the Berkeley show for free. Read on to our telephone chat with Tijoux, an awesome conversation tweaked but a little by the intricacies of chatting with a translator and my own gradually stiffening Spanish.

San Francisco Bay Guardian: Your family fled Chile to escape Pinochet’s dictatorship. How old were you when your family moved back to? What led them to move back at that time?

Ana Tijoux: I was born in Peru, but after the coup my parents moved to France. I was 14, and it was 1990 when we moved back to Chile. It was always our plan that when we could come back to Chile, we would come back as a family. My childhood was fantastic, but all I knew of Chile were the stories my parents had told me. I had an image of the country, but when I got back, it was very different. There was another way for everything, another way to go to school. Now that I’m older, though, I can see that [adjusting to my new life] was one the things that made me strong.

SFBG: Tell me about how you got involved in hip hop.

AT: I began to rhyme in Chile, but when we lived in France my mother used to work with [homeless teenagers], who loved to listen to hip hop. I used to go with mother to her work and listen to NWA and other hip hop groups from France. I began to listen to hip hop thanks to my mother! In Chile I found the way to say everything that I was feeling through rhyming. I began to rhyme when I was 18 or 19.

 

Dig Tijoux’s life, animated- and the sexiest Public Enemy tee ever- on the video from 1977’s title track

 

SFBG: What was the hip hop scene like in Chile back in those days?

AT: What happened with Chile in hip hop, the scene is very strong in relation to the rest of Latin America. It was very strong then, but it’s even bigger now.

 

SFBG: What, if any, challenges did being a rapera in a budding hip hop scene bring?

AT: There were none. I always felt the support of my friends. I never felt different because I was a female. Maybe there was more respect, they wouldn’t say bad words in front of me. My colleagues were proud there was a woman on stage.

 

SFBG: Your upcoming tour will be the first time you’ve performed in the United States. What are your feelings on bringing your music up here?

AT: I’m happy and more anxious than nervous, because whenever I travel to another country there’s a new energy. I’ve toured in France, Spain, Switzerland, Argentina, Venezuela, Cuba, Mexico- all over.

 

SFBG: Is hip hop culture different here in the States?

AT: Of course it will be different- different and similar. But it will be the same music and the same energy.

 

SFBG: You mentioned in one article I read that you wanted to bring back the hip hop of ’92-’95- what is it about that era that you like?

AT: I feel that hip hop was more simple then, more to the point. It was more personal, the golden age of hip hop. For me, all the albums from that time are classic. I like the force and anger. I’m sure it’s nostalgic too- those were the years I learned I could make something, say what I was thinking. One of my favorite albums is Enter the Wu Tang (36 Chambers), but there are so many good ones.

 

SFBG: What shows will you be checking out when you’re not performing at South by Southwest?

AT: Flying Lotus.

 

SFBG: Why’d you name your album 1977— I know that’s the year of your birth, what were you trying to say by invoking that time?

AT: That’s also the name of a song on the album. I wanted to make a number in the album.

 

ANA TIJOUX

Thur/25 8 p.m., $12-15

La Peña Cultural Center

3105 Shattuck, Berkeley

(510) 849-2568

www.lapena.org

Elusive finger-picker Ed Masuga reappears with five shows

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By Chloe Roth

For the past four years, Ed Masuga has consistently delivered pure folk music. His dichotomously sharp finger-picking guitar and soft melodies make for easy, pleasing listening, and if you close your eyes you might find yourself transported to a Dust Bowl-era railway car. Steeped heavily in the folk tradition, his songs are simultaneously old-fashioned, timeless, and timely. With the bare minimum of Internet presence, the elusive San Francisco-based songster, though he can’t be called a Bay Area “native,” maintains a mysterious backwoodsman identity. The almost literary stories of his youth seem to come straight out of a Dickens novel. I caught up with Mr. Masuga (that has a nice ring to it!) to ask him how his itinerant childhood has informed his work.

The youngest of 10 children, Masuga lived a rootless childhood, constantly drifting with his large family from shack to motel to forest to casino, usually around the San Bernadino Mountains and Big Bear Lake. Returning from the hospital with a birth tag on his wrist that read “Boy Masuga,” and for lack of a chosen name, his family referred to him as “Boy” for the first few years of his life. “When people started calling me Danny, my actual name,” Masuga says, “I refused, preferring to go by my middle name Eddie, after the ’70s country singer Eddie Rabbit.” Masuga grew up around music, his folks and family always singing together wherever they went. Masuga says that his father, who came from a polka-singing Polish family, “has always seemed somehow to know every song out there,” which probably helped him win a trip to Puerto Rico on an episode of “Name That Tune” when Ed was “just a tyke.” And his mother’s traveling occupation, as a cook in bar kitchens, exposed him to a whole world of juke box country music.

Out of all the places Masuga has lived over the years (the East Coast, Alaska, Ohio, Oregon, Colorado, Arizona, and Montana), he says that the Bay Area, especially the trees and hills of the East Bay, “has something special that always brings me back.” Of Berkeley in particular, where he has lived sporadically since 1999, Masuga says “it’s kind of like a second home for me in a way. Or a third or fourth.”

Both his 2006 self-titled debut and his 2008 sophomore record Lonely Dog consisted solely of Masuga’s unadorned voice and guitar. His new record, Let Me Tune My Heartstrings, breaks away from the sparseness of the first two albums. Female vocal harmonies by Ed’s “longtime best friend-extraordinaire Kate Grindlay” meld flawlessly with his voice to create a new fullness, rich and soulful. Flying solo in the past, his live performance has recently evolved into a group project with Grindlay on accompanying vocals, Ethan Lee on bass, and Mike Carreira on drums.

If you check his MySpace page every now and again like I do, hoping to see a local show listed, you’ll oft be disappointed. But Ed Masuga has made a sudden reappearance in the Bay Area, with five shows scheduled over the next two months in San Francisco, Berkeley, Oakland, and Bolinas. Jump on the bandwagon quickly, for with Ed’s wandering ways, who knows when you’ll catch him in the Bay again.

The Green Party’s nadir

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This should be a great time for the Green Party. Its namesake color is being cited by every corporation and politician who wants to get in good with the environmentally-minded public; voters in San Francisco are more independent than ever; and progressives have been increasingly losing the hope they placed on President Barack Obama.
But the Green Party of San Francisco — which once had an influence on city politics that was disproportionate to its membership numbers — has hit a nadir. The number of Greens has steadily dwindled since its peak in 2003; the party closed its San Francisco office in November; and it has now lost almost all its marquee members.
Former mayoral candidate Matt Gonzalez, school board member Jane Kim, community college board member John Rizzo, and Planning Commissioner Christina Olague have all left the party in the last year or so. Sup. Ross Mirkarimi — a founding member of the Green Party of California and its last elected official in San Francisco — has also been openly struggling with whether to remain with an organization that doesn’t have much to offer him anymore, particularly as he contemplates a bid for higher office.
While a growing progressive movement within the Democratic Party has encouraged some Greens to defect, particularly among those with political ambitions, that doesn’t seem to be the biggest factor. After all, the fastest growing political affiliation is “Decline to State” and San Francisco now has a higher percentage of these independent voters than any other California county: 29.3 percent, according to state figures.
Democratic Party registration in San Francisco stood at 56.7 percent in November, the second-highest percentage in the state after Alameda County, making this essentially a one-party town (at last count, there were 256,233 Democrats, 42,097 Republicans, and 8,776 Greens in SF). Although Republicans in San Francisco have always outnumbered Greens by about 4-1, the only elected San Francisco Republican in more than a decade was BART board member James Fang.
But Republicans could never have made a real bid for power in San Francisco, as Gonzalez did in his electrifying 2003 mayoral run, coming within 5 percentage points of beating Gavin Newsom, who outspent the insurgent campaign 6-1 and had almost the entire Democratic Party establishment behind him.
That race, and the failure of Democrats in Congress to avert the ill-fated invasion of Iraq, caused Green Party membership to swell, reaching its peak in San Francisco and statewide in November 2003. But it’s been a steady downward slide since then, locally and statewide.
So now, as the Green Party of California prepares to mark its 20th anniversary next month in Berkeley, it’s worth exploring what happened to the party and what it means for progressive people’s movements at a time when they seem to be needed more than ever. Mirkarimi was one of about 20 core progressive activists who founded the Green Party of California in 1990, laying the groundwork in the late 1980s when he spent almost two years studying the Green Party in Germany, which was an effective member of a coalition government there and something he thought the United States desperately needed.
“It was in direct response to the right-wing shift of the Democrats during the Reagan and Bush Sr. administrations. It was so obvious that there had been an evacuation of the left-of-center values and policies that needed attention. So the era was just crying out woefully for a third party,” Mirkarimi said of the Green Party of California and its feminist, antiwar, ecological, and social justice belief system.
But he and the other founding Greens have discovered how strongly the American legal, political, and economic structures maintain the two-party system (or what Mirkarimi called “one party with two conservative wings”), locking out rival parties through restrictive electoral laws, control of political debates, and campaign financing mechanisms.
“I’m still very impassioned about the idea of having a Green Party here in the United States and here in California and San Francisco, vibrantly so. But I’m concerned that the Green Party will follow a trend like all third parties, which have proven that this country is absolutely uninviting — and in fact unwelcoming — of third parties and multiparty democracy,” Mirkarimi said.
Unlike some Greens, Mirkarimi has always sought to build coalitions and make common cause with Democrats when there were opportunities to advance the progressive agenda, a lesson he learned in Germany.
When he worked on Ralph Nader’s 2000 presidential campaign — a race that solidified the view of Greens as “spoilers” in the minds of many Democrats — Mirkarimi was involved in high-level negotiations with Democratic nominee Al Gore’s campaign, trying to broker some kind of leftist partnership that would elect Gore while advancing the progressive movement.
“There was great effort to try to make that happen, but unfortunately, everyone defaulted to their own anxieties and insecurities,” Mirkarimi said. “It was uncharted territory. It had never happened before. Everyone who held responsibility had the prospect of promise, and frankly, everybody felt deflated that the conversation did not become actualized into something real between Democrats and Greens. It could have.”
Instead, George W. Bush was narrowly elected president and many Democrats blamed Nader and the Greens, unfairly or not. And Mirkarimi said the Greens never did the post-election soul-searching and retooling that they should have. Instead, they got caught up in local contests, such as the Gonzalez run for mayor — “that beautiful distraction” — a campaign Mirkarimi helped run before succeeding Gonzalez on the board a year later.
Today, as he considers running for mayor himself, Mirkarimi is weighing whether to leave the party he founded. “I’m in a purgatory. I believe in multiparty democracy,” Mirkarimi said. “Yet tactically speaking, I feel like if I’m earnest in my intent to run for higher office, as I’ve shared with Greens, I’m not so sure I can do so as a Green.”
That’s a remarkable statement — in effect, an acknowledgement that despite some success on the local level, the Green Party still can’t compete for bigger prizes, leaving its leaders with nowhere to go. Mirkarimi said he plans to announce his decision — about his party and political plans — soon.
Gonzalez left the Green Party in 2008, changing his registration to DTS when he decided to be the running mate of Nader in an independent presidential campaign. That move was partly necessitated by ballot access rules in some states. But Gonzalez also thought Nader needed to make an independent run and let the Green Party choose its own candidate, which ended up being former Congress member Cynthia McKinney.
“I expressly said to Nader that I would not run with him if he sought the Green Party nomination,” Gonzalez told us. “The question after the campaign was: is there a reason to go back to the Green Party?”
Gonzalez concluded that there wasn’t, that the Greens had ceased to be a viable political party and that it “lacks a certain discipline and maturity.” Among the reasons he cited for the party’s slide were infighting, inadequate party-building work, and the party’s failure to effectively counter criticisms of Nader’s 2000 and 2004 presidential campaigns.
“We were losing the public relations campaign of explaining what the hell happened,” he said.
Gonzalez was also critical of the decision by Mirkarimi and other Greens to endorse the Democratic Party presidential nominees in 2004 and 2008, saying it compromised the Greens’ critique of the two-party system. “It sort of brings that effort to an end.”
But Gonzalez credits the Green Party with invigorating San Francisco politics at an important time. “It was an articulation of an independence from the Democratic Party machine,” Gonzalez said of his decision to go from D to G in 2000, the year he was elected to the Board of Supervisors.
Anger at that machine and its unresponsiveness to progressive issues was running high at the time, and Gonzalez said the Green Party became one of the “four corners of the San Francisco left,” along with the San Francisco Tenants Union, the Harvey Milk LGBT Democratic Club, and the San Francisco Bicycle Coalition, which helped set a progressive agenda for the city.
“Those groups helped articulate what issues were important,” Gonzalez said, citing economic, environmental, electoral reform, and social justice issues as examples. “So you saw the rise of candidates who began to articulate our platform.” But the success of the progressive movement in San Francisco also sowed the seeds for the Green Party’s downfall, particularly after progressive Democrats Chris Daly, Tom Ammiano, and Aaron Peskin waged ideological battles with Mayor Gavin Newsom and other so-called “moderate Democrats” last year taking control of the San Francisco Democratic Party County Central Committee.
“Historically, the San Francisco Democratic Party has been a political weapon for whoever was in power. But now, it’s actually a democratic party. And it’s gotten progressive as well,” Peskin, the party chair, told us. “And for a lot of Greens, that’s attractive.”
The opportunity to take part in that intra-party fight was a draw for Rizzo and Kim, both elected office-holders with further political ambitions who recently switched from Green to Democrat.
“I am really concerned about the Democratic Party,” Rizzo, a Green since 1992, told us. “I’ve been working in politics to try to influence things from the outside. Now I’m going to try to influence it from the inside.”
Rizzo said he’s frustrated by the inability of Obama and Congressional Democrats to capitalize on their 2008 electoral gains and he’s worried about the long-term implications of that failure. “What’s going on in Washington is really counterproductive for the Democrats. These people [young, progressive voters] aren’t going to want to vote again.”
Rizzo and Kim both endorsed Obama and both say there needs to be more progressive movement-building to get him back on track with the hopes he offered during his campaign.
“I think it’s important for progressives in San Francisco to try to move the Democratic Party back to the left,” Kim, who is considering running for the District 6 seat on the Board of Supervisors, told us. “I’ve actually been leaning toward doing this for a while.”
Kim was a Democrat who changed her registration to Green in 2004, encouraged to do so by Gonzalez. “For me, joining the Green Party was important because I really believed in third-party politics and I hope we can get beyond the two-party system,” Kim said, noting the dim hopes for that change was also a factor in her decision to switch back.
Another Green protégé of Gonzalez was Olague, whom he appointed to the Planning Commission. Olague said she was frustrated by Green Party infighting and the party’s inability to present any real political alternative.
“We had some strong things happening locally, but I didn’t see any action on the state or national level,” Olague said. “They have integrity and they work hard, but is that enough to stay in a party that doesn’t seem to be going anywhere?”
But many loyal Greens dispute the assertion that their party is on the rocks. “I think the party is going pretty well. It’s always an uphill battle building an alternative party,” said Erika McDonald, spokesperson for the Green Party of San Francisco, noting that the party plans to put the money it saved on its former Howard Street headquarters space into more organizing and outreach. “The biggest problem is money.”
Green Party activist Eric Brooks agrees. “We held onto that office for year and year and didn’t spend the money on party building, like we should have done a long time ago,” he said. “That’s the plan now, to do some crucial party organizing.”
Mirkarimi recalls the early party-building days when he and other “Ironing Board Cowboys” would canvas the city on Muni with voter registration forms and ironing boards to recruit new members, activities that fell away as the party achieved electoral successes and got involved with policy work.
“It distracted us from the basics,” Mirkarimi said. Now the Green Party has to again show that it’s capable of that kind of field work in support of a broad array of campaigns and candidates: “If I want to grow, there has to be a companion strategy that will lift all boats. All of those who have left the Green Party say they still support its values and wish it future success. And the feeling is mostly mutual, although some Greens grumble about how their party is now being hurt by the departure of its biggest names.
“I don’t begrudge an ambitious politician leaving the Green Party,” said Dave Snyder, a member of the Golden Gate Bridge, Highway, and Transportation District Board of Directors, and one of the few remaining Greens in local government.
But Snyder said he won’t abandon the Green Party, which he said best represents his political values. “To join a party means you subscribe to its ideals. But you can’t separate its ideals from its actions. Based on its actions, there’s no way I could be a member of the Democratic Party,” Snyder said.
Current Greens say many of President Obama’s actions — particularly his support for Wall Street, a health reform effort that leaves insurance companies in control, and the escalation of the war in Afghanistan — vindicate their position and illustrate why the Green Party is still relevant.
“The disillusionment with Obama is a very good opportunity for us,” McDonald said, voicing hope they Green can begin to capture more DTS voters and perhaps even a few Democrats. And Brooks said, “The Obama wake-up call should tell Greens that they should stick with the party.”
Snyder also said now is the time for Greens to more assertively make the case for progressive organizing: “The Democrats can’t live up to the hopes that people put on them.”
Even Peskin agrees that Obama’s candidacy was one of several factors that hurt the Green Party. “The liberal to progressive support for the Obama presidency deflated the Greens locally and beyond. In terms of organizing, they didn’t have the organizational support and a handful of folks alienated newcomers.”
In fact, when Mirkarmi and the other Green pioneers were trying to get the party qualified as a legal political party in California — no small task — Democratic Party leaders acted as if the Greens were the end of the world, or at least the end of Democratic control of the state Legislature and the California Congressional delegation. They went to great lengths to block the young party’s efforts.
It turns out that the Greens haven’t harmed the Democrats much at all; Democrats have even larger majorities at every legislative level today.
What has happened is that the Obama campaign, and the progressive inroads into the local party, have made the Greens less relevant. In a sense, it’s a reflection of exactly what Green leaders said years ago: if the Democrats were more progressive, there would be less need for a third party.
But Mirkarimi and other Greens who endorsed Obama see this moment differently, and they don’t share the hope that people disappointed with Obama are going to naturally gravitate toward the Greens. Rizzo and Kim fear these voters, deprived of the hope they once had, will instead just check out of politics. “They need to reorganize for a new time and new reality,” Rizzo said of the Greens.
Part of that new reality involves working with candidates like Obama and trying to pull them to the left through grassroots organizing. Mirkarimi stands by his decision to endorse Obama, for which the Green Party disinvited him to speak at its annual national convention, even though he was one of his party’s founders and top elected officials.
“After a while, we have to take responsibility to try to green the Democrats instead of just throwing barbs at them,” Mirkarimi said. “Our critique of Obama now would be much more effective if we had supported him.”
Yet that’s a claim of some dispute within the Green Party, a party that has often torn itself apart with differences over strategy and ideology, as it did in 2006 when many party activists vocally opposed the gubernatorial campaign of former Socialist Peter Camejo. And old comrades Mirkarimi and Gonzalez still don’t agree on the best Obama strategy, even in retrospect.
But they and other former Greens remain hopeful that the country can expand its political dialogue, and they say they are committed to continuing to work toward that goal. “I think there will be some new third party effort that emerges,” Gonzalez said. “It can’t be enough to not be President Bush. People want to see the implementation of a larger vision.”

Music mitzvah

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MUSIC I am a Judaism junkie. I love Fiddler on the Roof. I read Heeb magazine online. And I collect Jewish puns the way Midwest moms used to collect Beanie Babies. But until recently, I knew shockingly little about Jewish music. Turns out the term doesn’t just refer to music made by Jews (sorry, Beastie Boys), nor is it limited to songs sung in synagogue. Even the broad genre of klezmer music is just one facet of an ancient and dynamic musical tradition that mixes the theme of Jewish experience with Jewish languages like Yiddish, Hebrew, Ladino (Judeo-Spanish), and Judeo-Arabic dialects, all translated through crosscultural musical tropes. And just as the Jewish experience continues to grow and change, so does the music associated with it.

It is this ongoing genre-bending cultural conversation that the 25th edition of Berkeley’s Jewish Music Festival, hosted by the Jewish Community Center of the East Bay, will honor. “This year, we’re focusing on that dialogue between the sacred and the secular,” said director Eleanor Shapiro. “The idea was music that’s revelation as well as revelry.”

The program starts with sacred Jewish and Muslim music from the Middle East, performed by the award-winning Yuval Ron Ensemble (whose founder and namesake, incidentally, won an Oscar for the score of the comedy short West Bank Story). Next up is a free concert for Jewish sacred music that can be sung during the Sabbath and on Passover (which starts several days later).

The lineup takes a contemporary turn with the American premiere of Diaspora Redux, a jazzy, avant-garde project created by top musicians from New York, Berlin, and Buenos Aires, and featuring members of Klezmer Buenos Aires, who were a hit at the 2007 festival and will perform as a duet during a special Monday matinee. Sunday sees the West Coast premiere of Saints and Tzadik, a collaboration between Grammy-winning Celtic singer Susan McKeown and Klezmatics alum Lorin Sklamberg.

As if that isn’t enough, four of the festival’s musicians will host a four-hour master class for seasoned musicians. And, for the first time, the festival will return for one day in July for a free, outdoor concert featuring local Jewish music talent and a new work from award-winning composer Dan Plonsey exploring the theme of becoming an adult.

Shapiro says the intention of the festival has always been twofold: entertainment and education. With that in mind, JCC East Bay will host a pre-festival roundtable of expert scholars to discuss the Jewish musical revival on March 14, a discussion that won’t be necessary to enjoy the coming concerts but will “help frame the music with a historic background.” Shapiro is particularly proud to present a full festival of music that wouldn’t be heard many other places, given that Jewish music is often buried within the broad genre of roots or world music.

But with such an eclectic lineup, it might be hard for Jewish music novices like me to know where to start or what to prioritize. Shapiro’s advice? “If you’re spiritually-oriented, come to Yuval Ron. If jazz-oriented, come to Diaspora Redux. If you like folk, come to Saints and Tzadiks. If you play the accordion or piano, don’t miss Klezmer Buenos Aires. And if you have kids, try the matinee on Monday.”

Me? I’ll do my best to go to all of ’em, especially the event in July, which will feature an instrument petting zoo. I’m also going to bring all my gentile sisters and goy boys along. After all, Shapiro says of Jewish music, “you don’t have to be Jewish to either do it or like it.”

JEWISH MUSIC FESTIVAL

March 14–29 and July 11

Multiple locations, including

Jewish Community Center of the East Bay

1414 Walnut, Berk.

(510) 848-0237

www.jewishmusicfestival.org

 

Hop on the St. Patty’s wagon

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culture@sfbg.com

EVENTS Diarmuid Philpott, chairman of this year’s St. Patrick’s Day parade and president of the Irish United Societies, knows a thing or two about SF’s glorious Irish heritage, the holiday’s significant religious and cultural roots, and of course, where the party is for the upcoming week. “First of all, it’s a celebration of being Irish,” Philpott explains. “Everyone wants to be Irish on St. Patrick’s Day. And they are welcome to be Irish on St. Patrick’s Day!” So don that emerald green, and buckle down for a hooley of a time.

 

“GETTING THE JOB DONE: IRISH CITIZENS AND A LIFETIME OF CIVIL SERVICE”

What have the Irish ever done for you? Learn about their contributions to our city at this panel discussion, featuring local paddies from the public and private sectors and moderated by Tony Bucher of the Irish Herald. The event is part of the Irish Crossroads Festival, which celebrates the intersection of roots and modernity in Irish culture today.

Thur/11, 7 p.m., free

United Irish Cultural Center

2700 45th Ave. , SF

(415) 810-3774

www.irishamericancrossroads.org

 

159TH ANNUAL ST. PATRICK’S DAY PARADE AND FESTIVAL

The largest celebration of Emerald Isle culture west of the Mississippi is taking over downtown this weekend — and you want in on the dancin’, pipin’ action. Afterward, head to the Civic Center street festival, featuring vendors, activities, a beer garden and Irish gypsy jazz group, the Doug Martin Avatar Ensemble.

Parade: Sat/13, 11:30 a.m. , free

Starts at 2nd St. and Harrison, SF

Festival: Sat/13 and Sun/14, 11 a m.-5 p.m., free

Civic Center Plaza, SF

www.sfstpatricksdayparade.com

 

ST. PATRICK’S DAY BLOCK PARTY

For a family-oriented celebration, jet down to the United Irish Cultural Center, which will be co-hosting this al fresco event with Java Beach. There’ll be food, drink, games for the kids, jumpy castles — and a zoo across the street if you really want to make a wee one’s day.

Sun/14, 11 a .m.- 4 p.m., free

45th Ave. (between Sloat and Wawona), SF

(415) 661-2700

www.irishcentersf.org

 

HARRINGTON’S BLOCK PARTY

Sure, we’re a city that doesn’t lack for a superlative Irish pub in which to celebrate St. Patty’s — Durty Nelly’s, the Plough and Stars, and the Chieftain come to mind — but Harrington’s joins with neighborhood businesses for a celebration right in the FiDi of it all, closing down the block for performances by Ben Hunter and Celtic Scandal, the Kennelly Irish dancers and big, steaming plates of corn beef and cabbage.

Wed/17, 11 a m-1 a m., free

245 Front, SF

(415) 392-7595

 

BOG SAVAGES

Get a load of the reggae-laced tones of these Irish rebel rockers, who’ve got the street cred to back it up. Frontman Kevin Barry escaped from Belfast’s Long Kesh prison in the IRA’s 1983 “Great Escape.” They rock.

Wed/17, 8:30 p.m., free

Maggie McGarry’s

1353 Grant, SF

(415) 399-9020

www.maggiemcgarrys.com

 

FATHER YORKE DAY

A salute to a real hero. Father Yorke was a 19th century Irish revolutionary and labor activist. His service takes place each year here at All Saint’s — a sober end to a holiday season that can be anything but.

Sun/28, 10:30 p.m., free

All Saints’ Chapel Holy Cross Cemetery

1500 Mission, Colma

www.sfstpatricksdayparade.com

And though the Guinness be full of vitamin D and goodness, take ‘er easy — the real Irish celebrate responsibly. Berg Injury Lawyers are sponsoring the same free cab rides home on St. Patty’s that they do on New Year’s. Call Luxor Cabs at (415) 282-4141 for a lift in the city, or Veterans Cab at (415) 282-4141 for Oakland, Alameda, or Berkeley .

Our weekly picks

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WEDNESDAY 10th

DANCE

Alvin Ailey American Dance Theater


Today, Alvin Ailey American Dance Theater is as much Judith Jamison’s company as it was Ailey’s. Having reluctantly taken on the company’s artistic directorship after Ailey’s death, Jamison has led the troupe for the last 20 years with remarkable perspicacity and skill. Jamison may not be a great choreographer, but she is a great company director and dance visionary. This anniversary season sports three Bay Area premieres. Borrowing the title from Jamison’s autobiography, Ronald K. Brown, something of a visionary himself, set his new Dancing Spirit in her honor. Company dancer-choreographer Matthew Rushing’s Uptown looks to the Harlem Renaissance for inspiration. Finally, Jamison contributes Among Us (Private Spaces: Public Places), a series of vignettes set to a jazz score by Eric Lewis. (Rita Felciano)

8 p.m. (through Sat/13), $36–$62

Zellerbach Hall

UC Berkeley campus, Berk.

(510) 642-9988

www.calperformances.org

THURSDAY 11th

VISUAL ART

Pepe Moreno


Exploring the life of one of the most iconic characters in the history of comic books, the new "Batman: Yesterday and Tomorrow" exhibit at the Cartoon Art Museum spotlights Bruce Wayne and his crime-fighting alter-ego, starting from his creation by artist Bob Kane and running through his many transformations over the years. Groundbreaking artist Pepe Moreno will be on hand tonight to discuss his revolutionary 1990 graphic novel Batman: Digital Justice, which was written and illustrated using computer hardware and software — one of the first such endeavors undertaken in the comics world. (Sean McCourt)

7 p.m., $5 donation requested

Cartoon Art Museum

655 Mission, SF

(415) 227-8666

www.cartoonart.org

EVENT

Thirsty Bear Beer Tasting


I’m hardly the first person to hop on the eat-everything-organic bandwagon. But when you live in San Francisco, it’s only a matter of time before you start shopping at farmers markets in hopes of finding the perfect toxin-free mango or avocado. Now you can add "organic beer connoisseur" to your list of titles by attending Thirsty Bear’s free organic beer tasting and workshop. You’ll learn all there is to know about sustainable brewing techniques, and get to sample some of the tastiest beers immediate area has to offer. (Elise-Marie Brown)

12-1:30 p.m., free

Green Zebra Environmental Action Center

50 Post, SF

(415) 346.2361

www.thegreenzebra.org

MUSIC

A Sunny Day in Glasgow


A Sunny Day in Glasgow wants you to rethink shoegaze. The Philadelphia trio layers their instruments in a manner that resembles a 21st-century Cocteau Twins, but their wall of sound is never as heavy, aiming instead for a sunny pop atmosphere you wouldn’t expect from the genre. Sometimes the accompanying vocals by Annie Fredrickson and Josh Meakim are maddeningly hard to make out beneath the waves of sound, but then they emerge clearly at just the right moment, like a breath of fresh air. Last year’s sophomore album Ashes Grammar (Mis Ojos Discos) was a sprawling mega-mix of moods, with songs bleeding into songs willy-nilly, and it’s safe to figure that their live show would reflect such a singular aural experience. If the critical reactions to Ashes Grammar are any indication, chances are good A Sunny Day in Glasgow won’t be performing in spaces as tiny as the Hemlock for long. (Peter Galvin)

With the Gold Medalists and Apopka Darkroom

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

EVENT/MUSIC

Free Party for Experience Hendrix Tour


Inspired by Jimi Hendrix’s significant contributions to the music world, his father formed Experience Hendrix, a series of tribute concerts. Debuting in 1995 at Seattle’s Bumbershoot Arts and Music Festival, the show has been on the road ever since. The tour comes to the Warfield tonight with a lineup that includes Band of Gypsys’ original bassist Billy Cox, along with Joe Satriani, Kenny Wayne Shephard, Eric Johnson, Susan Tedeschi, and Jonny Lang. Before the show, Hard Rock Café hosts a party with a raffle for tickets and transportation to the show. (Lilan Kane)

4 p.m., free

Hard Rock Café

Pier 39, SF

(415) 956-2013

www.hardrock.com/sanfrancisco

FRIDAY 12th

MUSIC

The Temper Trap


Although these guys were featured in (500) Days of Summer, don’t let that fool you into thinking they’re strictly light and whimsical. Just reminiscing on the first time I saw them gets me giddy inside. Drumsticks flew everywhere, and Dougy Madagi whaled uncontrollably in the mic as the crowd absorbed every drop of their soaring energy. Let’s just say these guys know how to put on a serious show. Now the Melbourne, Australia rockers are making their second trip here as headliners. (Brown)

9 p.m., $22.50

The Fillmore

1805 Geary, SF

(415) 346-6000

wwwvenation.com

COMEDY

Dave Attell


You wanna know why you’ve never seen television commercials for Jägermeister? Dave Attell knows a few good reasons. Attell is perhaps best known to mainstream audiences for his stint hosting Comedy Central’s Insomniac, a hilarious late-night, booze-fueled TV program where he explored what to do in various cities while on tour. This weekend the sometimes abrasive but always gut-bustingly funny comedian brings his high-proof standup to the city for the weekend, covering a variety of topics, including the aforementioned elixir and its propensity for instigating debauchery. (McCourt)

8 p.m. and 10:15 p.m. (also Sat/13) , $35.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

DANCE

ODC/Dance


How many modern dance companies do you know with two in-house choreographers? These ensembles usually swim an eclectic rep or feature the work of a single artist. ODC/Dance is very much the exception because of KT Nelson and Brenda Way, two dance-makers who couldn’t be more different in terms of style, artistic temperament, musicality, and sources of inspiration. Every season offers at least one new piece from each. This year, Way is working with composer/performer Pamela Z on Waving Not Drowning (A Guide to Elegance), a response to a 1963 manual on etiquette. Nelson turns to Mozart’s glorious Piano Concerto No. 20 in D minor for Labor of Love, in which she explores what she calls "committed adult love" — the stresses and joys experienced by couples in relationships. (Felciano)

March 12/ 7 p.m. (through March 28), $15–$45

Novellus Theater

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-ARTS

www.odcdance.org

SATURDAY 13th

COMEDY

Martin Lawrence


Damn, Gina! Even if he’s fallen off your radar after donning the "Eddie Murphy fat suit" in Big Momma’s House (2000), you have fond memories of Martin Lawrence from such early comedic ventures as the TV series Martin, the host of HBO’s Def Comedy Jam or the tabloid field-day "Running Down Ventura Boulevard Yelling at Cars." In 2010, Lawrence is taking a break from film and returning to his roots with a stand-up tour, where his manic delivery really has room to breathe. Though he often finds himself an easy target, there is no doubt Lawrence is a huge star and these tickets are going to sell out — so get to steppin’! (Galvin)

8 p.m. (also Sun/14), $42.75–$77.50

Paramount Theatre

2025 Broadway, Oakl.

(510) 465-6400

www.paramounttheatre.com

MUSIC

E.C. Scott


E.C. Scott works a crowd, inciting laughter and tears. Atlantic Records’ cofounder Jerry Wexler praised her as "one honest-to-God soul singer." She’s become a major staple in the blues circuit in the Bay Area and beyond. Scott grew up singing in St. John’s Missionary Baptist Church in Oakland and cites gospel as a major influence. She’s shared the stage with Lou Rawls, Ray Charles, Patti Labelle, and John Lee Hooker, and in 1994, signed a multirecord deal with Blind Pig Records that resulted in a Downbeat award and W.C. Handy nomination for Soul/Blues Female Artist of the Year. (Lilan Kane)

8 p.m., $20

401 Mason, SF.

(415) 292-2583

www.biscuitsandblues.com

MUSIC

Youth Brigade


Formed by brothers Adam, Mark, and Shawn Stern in 1980, Youth Brigade made its mark on the early California punk scene with empowering anthems like "Fight to Unite" and DIY action. The trio started the Better Youth Organization to promote shows and put out records for themselves and their friends’ bands. Thirty years later, the group still plays with raw, rebellious energy and spirit. The sprawling new box set Let Them Know: The Story of Youth Brigade and BYO Records chronicles their efforts. (McCourt)

9 p.m., $18

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

SUNDAY 14th

MUSIC

Scarlett Fever


Local fans of punk, rockabilly, hot rods, burlesque, and more join together today for a very special cause — the annual "Scarlett Fever" show, an all-day benefit for Scarlett James, teenage daughter of Rosa and Bob James, who suffers from Rett syndrome, a childhood neurodevelopmental disorder that leads to the loss of many motor skills. The annual event helps pay for her care and raises money for research into the disorder. Her father is a veteran musician (playing in Del Bombers) and each year has enlisted the help of some stellar talent. Today’s event includes Big Sandy and the Fly Rite Boys, Three Bad Jacks, Stigma 13, Ghost Town Hangmen, plus live burlesque — courtesy of Hubba Hubba Revue — and raffles, including one for a new custom motorcycle. (McCourt)

1 p.m., $15

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

TUESDAY 16th

FILM

Remembering Playland at the Beach


If you haven’t yet met Laffing Sal, it’s time for you to take a trip to (dreaded) Fisherman’s Wharf and the (free) Musée Mécanique. As every self-respecting San Franciscan knows, Sal once presided over the Funhouse at Playland at the Beach, an amusement park along Ocean Beach that had its heyday in the 1910s and ’20s (but didn’t close until 1972). The most famous film to feature Sal’s terrifying cackle is 1948’s The Lady From Shanghai — but no doubt you’ll get an earful in Tom Wyrsch’s brand-new doc, Remembering Playland at the Beach, which is stuffed with archival footage, photographs, and interviews. Appropriately, the film debuts at the Balboa, just blocks from the former site of Playland’s famous midway. (Cheryl Eddy)

7 and 9:15 p.m., $6.50–$9

Balboa Theatre

3630 Balboa, SF

(415) 221-3117

www.balboamovies.com

FILM

Palestine Cinema: A Shorts Program


The Red Vic has partnered with the Arab Film Festival for a tempting "second look" at a series of short works by a new and international generation of Palestinian filmmakers, originally screened as part of AFF 2009. Topping the lineup is Riyad Deis’ Swesh Swesh, set during the Arab Revolt in Palestine in 1936–39, as a farming family reluctantly harbors a revolutionary fugitive and finds its traditional beliefs challenged in the resulting exchange. The one-night-only program also includes Lesh Sabreen by Bay Area–trained Muayad Alayan (and shot by SF filmmaker Christian Bruno). It focuses on a young couple trapped, literally, between the wall of Israeli occupation and their families’ own conservative mores. (Robert Avila)

7:15 and 9:15 p.m., $6-9

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

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Events listings

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Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY

Women in Publishing Intersection for the Arts, 446 Valencia, SF; (415) 626-2787. 7pm, $5-15 sliding scale. Learn more about the history and current state of feminist publishing at this panel discussion with current and former publishers and editors from the Bay Area.

THURSDAY 11

Claim the Block Contemporary Jewish Museum, 736 Mission, SF; (415) 252-4655. 7pm, free. Attend this reading by young Bay Area writers from Mission High School, Hilltop High School, and the San Francisco Public Library as part of a WritersCorps museum reading series. Visit www.sfartscommission.org/WC for info on other readings.

Original Plumbing Books Inc., 2275 Market, SF; (415) 864-6777. 7:30pm, free. Celebrate the release of the second issue of Original Plumbing magazine, a trans male quarterly that gives trans men the opportunity to express themselves in words and images. Editors Amos Mac and Rocco Kayiatos will be present.

BAY AREA

Celebrate Copwatch Ashkenaz, 1317 San Pablo, Berk; (510) 548-0425. 7:30pm, $10-20 sliding scale. Celebrate the 20th anniversary of Copwatch, founded by three women in 1990 to monitor police actions, at this Women’s Day event featuring a live performance by Sisters in the Pit, special guests, poets, and speakers.

Paper Politics Pegasus Books Downtown, 2349 Shattuck, Berk.; (510) 649-1320. 7:30pm, free. Attend this book release for Paper Politics: Socially Engaged Printmaking Today with editor Josh Macphee and others discussing politically and socially engaged printmaking and a book that showcases print art that uses themes of social justice and global equality.

Thrillville Forbidden Island, 1304 Lincoln, Alameda; (510) 749-0332. 8pm, free. Watch Forbidden Planet (1956) on Forbidden Island’s indoor drive-in at this retro pop culture cabaret featuring prizes, futuristic cocktails, and a live performance by the Tomorrowmen.

FRIDAY 12

BAY AREA

"State of Public Education" Education Public Library, UC Berkeley, 2600 Tolman Hall, Berk.; stateofeducationsymposium.eventbrite.com, registration requested. 8:15am, free. Take part in this day-long symposium bringing together scholars and policy-makers in education from across California to discuss economic, political, and social issues related to public education today.

SATURDAY 13

Bay Area Anarchist Book Fair San Francisco County Fair Building, Golden Gate Park, Lincoln and 9th Ave., SF; (415) 431-8355. Sat. 10am-6pm, Sun. 11am-5pm; free. Featuring over 55 vendors and author events featuring San Francisco poet laureate Diane di Prima, John Zerzan, Tommi Avicolli Mecca, and many more.

Queericulum Mama Calizo’s Voice Factory, 1519 Mission, SF; www.playajoy.org/queericulum. 10am, $20. Attend this day-long educational , regenerative, homocentric retreat featuring homo-focused workshops, dinner theater cabaret, and a celebratory dance party with DJs Lord Kook, Samnation, and StudlyCaps. Dinner, refreshments, and raffle tickets available for purchase. Suggested attire is "fabulous comfortable pajamas."

St. Patrick’s Day Festival and Parade Festival at Civic Center Plaza, SF. 10am-5pm, free. Parade starts at 2nd St. at Market and proceeds to Civic Center Plaza, SF. 11am, free. Celebrate Irish history and culture with a full day of performances, live music, arts and crafts, food, drinks, and more. Everyone’s Irish on St. Patrick’s Day.

Writers with Drinks Make Out Room, 3225 22nd. St., SF; 7:30pm, $5-10 sliding scale. Enjoy a spoken word variety show that helps raise money for local causes featuring Mary Gaitskill, Jerry Stahl, Michael Shea, Dylan Landis, and Alli Warren.

BAY AREA

"Artist Residencies" Berkeley Art Center, 1275 Walnut, Berk.; (510) 644-6893. 4pm, $5-10 sliding scale. Learn about the different types of artist residencies and how to research, locate, and apply for them at this panel discussion led by artist and CCA lecturer Susan Martin.

Empowering Women of Color Conference MLK Jr Student Union, UC Berkeley, Bancroft at Telegraph, Berk.; ewocc.berkeley.edu. Sat. 9:30am-5:30pm, Sun. 9:30am-2:30pm; $25 one day, $45 both days. Honor the legacy of women of color in the U.S. at this conference titled, "Intergenerational Wisdom: Celebrating Our Past, Present, & Future," dedicated to issues affecting women at every stage of their lives with workshops, speakers, panels, performances, networking, and vendors of interest to all age groups.

SUNDAY 14

Pi Day Exploratorium, 3601 Lyon, SF; (415) EXP-LORE. 1pm, $15. Celebrate Pi, the never ending number, and Einstein’s birthday by creating Pi puns, taking part in activities, rituals, and Pi-related antics, and eating a slice of pie prepared by the museum staff.

Sex Furniture and Bedroom Olympics Good Vibrations Polk Street Gallery, 1620 Polk, SF; (415) 345-0400. 5:30pm, free. Let Dr. Carol Queen, PhD show you how to incorporate sex furniture into the bedroom including instructions on how to use "the Ramp" and "the Wedge" and a contest to win a new "Axis."

The Vegetarian Myth San Francisco Public Library, Main Branch, 100 Larkin, SF; (415) 557-4484. 12:30pm, free. Hear author Lierre Keith discuss her new book, The Vegetarian Myth: Food, Justice, and Sustainability, which examines the destructive history of agriculture, champions eating locally, and reveals the risk of a vegan diet.

MONDAY 15

BAY AREA

Re:Imagining Change Pegasus Books Downtown, 2349 Shattuck, Berk.; (510) 649-1320. 7:30pm, free. Hear author Patrick Reinsborough discuss his new book that provides resources, theories, hand-on tools, and case studies which outline practical methods for amplifying progressive causes in popular culture.

"We Need a Total Revolution" Pacific Film Archive Theater, 2575 Bancroft, Berk.; (510) 848-1196. 4pm, $10-$20. Hear Sunsara Taylor, writer and activist, make the case for why there is no biological, god-given, or man made reason why the oppression of women throughout the world has to remain this way and how we can change things through communist revolution.

TUESDAY 16

Persian New Year Persian Center, 2029 Durant, Berk.; (510) 548-5335. 6pm, free. Welcome spring by taking part in the Persian custom of jumping over a bonfire to welcome spring. Featuring Persian food, music, and dance.

Stage listings

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Stage listings are compiled by Molly Freedenberg. 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. For further information on how to submit items for the listings, see Picks. For the complete listings, go to www.sfbg.com.

THEATER

OPENING

Death Play EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. $15-$20. Opens Thurs/11. Runs Thurs-Sat, 8pm. Through March 27. Thunderbird Theatre Company presents the third installment in the comedy series by Sang S. Kim.

…And Jesus Moonwalks the Mississippi Cutting Ball Theater, 277 Taylor; (800) 838-3006, cuttingball.com. $15-$30. Previews Fri/12-March 18. Opens March 19. Runs Thurs-Sat, 8pm; Sun, 5pm. Through April 11. Cutting Ball presents this deeply personal fantasy play inspired by the myth of Demeter and Persephone and directed by Amy Mueller.

KML Preaches to the Choir Jewish Theater, 470 Florida; www.killingmyblobster.com. $15-$20. Opens Thurs/11. Runs Thurs-Fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through March 28. The award-winning sketch comedy group takes aim at the higher powers in this piece directed by Paco Romane.


ONGOING

Beauty of the Father Phoenix Theatre, 414 Mason; (800) 838-3006, www.offbroadwaywest.org. $30. Thurs/11-Sat/13, 8pm. Off-Broadway West’s season opener offers the Bay Area a first look at the somewhat messy but ultimately rewarding 2006 drama by Cuban American Pulitzer Prize–winner Nilo Cruz ("Anna in the Tropics"). (Avila)

Caddyshack: Live! Dark Room, 2263 Mission; 401-7987, www.brownpapertickets.com/event/99361. $20. Fri-Sat, 8pm. Through March 27. The Dark Room presents Jim Fourniadis’ live adaptation of the iconic movie.

*The Caucasian Chalk Circle A.C.T., 415 Geary; www.act-sf.org. $10-$82. Tues-Sat, 8pm; Wed/10, Sat/13, and Sun/14, 2pm. After bringing his acclaimed pared-down "Sweeney Todd" to ACT in 2007, director John Doyle returns with Bertolt Brecht’s inspired take on the biblical Judgment of Solomon, a story whose faith in the essential decency of people—especially those not completely corrupted by power over, and under, others—is here counterpart to a damning and rousing dissection of war, politics and the justice system/racket. (Avila)

Death Play EXIT Theatre, 156 Eddy; 289-6766, www.thunderbirdtheatre.com. $15-$20. Thurs-Sat, 8pm. Through March 27. Thunderbird Theatre Company presents the third installment in the critically acclaimed sketch comedy series "Serve By Expiration" by Sang S. Kim.

Desperate Affection Royce Gallery, 2901 Mariposa; www.expressinproductions.com. $28. Thurs-Sat, 8pm. Through April 10. Expression Productions presents a dark comedy by Bruce Graham.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed, 8pm. Through March 31. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-$50. Sat, 8:30pm; Sun, 7pm. Through April 11. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. (Avila)

*Mirrors In Every Corner Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. Thurs-Sun, 8pm. Through March 21. Try to ask someone who’s ever felt marked by the color (any color) of their skin if they believe in a post-racial society, and see what kind of a response you elicit. That there is no tidy answer to this potentially messy question is a conundrum well-illustrated by playwrite Chinaka Hodge’s hypothetical fable of a white-skinned baby born into an African-American family. Each member of the family has a different reaction to and relationship with the mysterious blonde-haired changeling Miranda, dubbed "Random". Her father, who dies when she is young, is reported to have hated her. Her oldest brother Watts (Daveed Diggs) claims to understand her best, but in trying to get her to unravel what it means to be "black" vs. "white", reveals himself to be as confused as anyone by the lack of a single definition. Her mother Willie—played tough and no-nonsense by Margo Hall (who also plays the teenaged Miranda)—loves her unconditionally, yet ultimately sacrifices her for the well-being of the greater family unit. Hodge’s first full-length play, Mirrors succeeds in strong performance, warm humor, and crackling, poetic dialogue, but fails to adequately resolve how it is that the otherwise uncompromising Willie lets the low card of an unfortunate accident trump her otherwise strong hand of "colorblind" maternal loyalty. With Dwight Huntsman and Traci Tolmaire. (Gluckstern)

Now and at the Hour EXIT Stage Left, 156 Eddy; 673-3847, www.theexit.org. $15-$25. Fri-Sat, 8pm. Through March 27. EXIT presents the subtly unnerving show by theatrical magician Christian Cagigal.

Oedipus el Rey Magic Theatre, Building D, Fort Mason Center; 441-8822, www.magictheatre.org. $20-$55. Days and times vary. Through Sun/14. Luis Alfaro transforms Sophocles’ ancient tale into an electrifying myth, directed by Loretta Greco.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Sat, 8pm; Sun, 7pm. Through April 24. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $15-$50. Thurs-Fri, 8pm; Sat, 5pm. Through April 18. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.brownpapertickets.com. $27-$29. Fri-Sat, 8pm. SF’s longest running original musical begins its fifth year at Shelton.

Something You Might Want Stagewerx Theatre, 533 Sutter; catchynametheatre.org. $16. Fri-Sat, 8pm; Sun, 3pm. Through March 28. CatchyNameTheatre presents this dark comedy written and directed by Jim Strope.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-$35. Thurs-Sat, 8pm. Through March 27. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

The Sugar Witch New Conservatory Theatre Center, 25 Van Ness; 861-4914, www.nctcsf.org.

Various days and times through April 4. NCTC presents the premiere of Nathan Sanders’ crime story.

What Just Happened? The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-$50. Fri/12-Sat/13, 8pm. The Marsh presents Nina Wise’s improvisation-based sow about personal and political events which have transpired over the previous 24 hours.

What Mama Said About ‘Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-$25. Thurs-Sun, 8pm. Through July 30. Writer/performer/activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.


BAY AREA

Beebo Brinker Chronicles Brava Theater Center, 2781 24th St; 641-2822, www.brava.org. $20-$30. Thurs/11-Sat/13, 8pm. The regional premiere of Kate Moira Ryan and Linda S. Chapman’s play adapted from a series of pulp novels.

Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-$27. Days and times vary. Through April 11. Berkeley Rep presents a sexy and intriguing new show from Naomi Iizuka.

*East 14th Laney College Theatre, 900 Fallon St, Oakl. www.east14thoak.eventbrite.com. $10-$50. Fri-Sat, 8:30pm. Through March 28. Also at the the Marsh Berkeley in March. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

Handless Central Stage, 5221 Central, Richmond; (800) 838-3006, www.raggedwing.org.$15-$30. Thurs-Sat, 8pm. Through March 27. Ragged Wing Ensemble presents Amy Sass’ re-invention of the folk-tale The Handless Maiden.

*Learn to be Latina La Val’s Subterranean, 1834 Euclid, Berk. impacttheatre.com. $10-$20. Thurs-Sat, 8pm. Through March 27. Impact Theatre continues its 14th season with the world premiere of Enrique Urueta’s play.

Singin’ in the Rain Julia Morgan Center for the Arts, 2640 College, Berk; (510) 665-5565, www.berkeleyplayhouse.org. Check Web for days, times, and prices. Through March 21. Berkeley Playhouse presents this classic musical.


PERFORMANCE

"All Star Magic & More" SF Playhouse, Stage 2, 533 Sutter; 646-0776, www.comedyonthesquare.com. Sun, 7pm. Ongoing. Magician RJ Owens hosts the longest running magic show in San Francisco.

30th Anniversary Celebration of New Works African American Art and Culture complex, 762 Fulton; 292-1850, www.culturalodyssey.org/tickets. Thurs-Sat, 8pm; Sun, 3pm. $20. In celebration of Black History Month and National Women’s Month, Cultural Odyssey presents a festival featuring The Love Project, The Breach, and Dancing with the Clown of Love.

BATS Improv Theatre Bayfront Theater, Fort Mason Center, B350 Fort Mason; 474-6776, www.improv.org. Fri-Sat, 8pm. $17-$20. The Theatresports show format treats audiences to an entertaining and engaging night of theater and comedy presented as a competition.

"Cabaret Showcase Showdown" Martuni’s, 4 Valencia; www.dragatmartunis.com. Sun, 7pm. Katya Ludmilla Smirnoff-Skyy and Mrs. Trauma Flintstone are proud to continue the individual contests.

The Capitol Steps Kanbar Hall, JCCSF, 3200 California; 292-1233, www.jccsf.org/arts. Sun, 4 and 7pm. $46-$50. The musical political satire troupe made up of former Congressional staffers, return with a new administration to poke fun at.

"Death as a Salesman" Jellyfish Gallery, 1286 Folsom; deathasasalesman.org. Fri-Sat, 8pm. Teahouse of Danger Productions present Douglass Truth’s one-woman musical.

"Performance Art in Front of an Audience Ought to be Entertaining" The Garage, 975 Howard; 975howard.com. Fri-Sat, 8pm. Resident Art Workshop presents Sean Fletcher and Isabel Reichert in a sordid art-world drama.

PianoFight Studio 250 at Off-Market, 965 Mission; www.pianofight.com. Mon, 8pm. Through March 29. $20. The female-driven variety show Monday Night ForePlays returns with brand new sketches, dance numbers, and musical performances.

"Rocky Horror Picture Show" Roxie, 3117 16th St; www.barelylegal.rhps.org. Sat, 11:30pm. Barely Legal presents the cult classic.

"Sex and the Bible: The Opera (Part I)" Community Music Center, 544 Capp; (707) 474-7273, www.goathall.org. Fri-Sat, 8pm; Sun, 7pm. $10-$15. San Francisco Cabaret Opera presents the world premiere of Mark Alburger’s 8-=minute work-in-progress.

"Slaughter City" Zellerbach Playhouse, UC Berkeley Campus, Berk; (510) 642-8827, tdps.berkeley.edu. Fri-Sat, 8pm; Sun, 2pm. $10-$15. Naomi Wallace’s labor play plays, ingeniously, on the great tropes of history and labor struggle but it also labors, a little too hard, in accomplishing it all. Its poetical realism provocatively mingles the gritty, visceral, blood-and-cartilage realities of labor, laboring bodies and labor history (in all its racial and gendered complexity) with a supernatural time-tripping duo—something like the dialectic personified—to sometimes powerful, and sometimes muddled effect. Nevertheless, the 1996 work—about a group of meatpacking workers organizing, fighting, and flirting among themselves, and the odd outsider who joins them—has never seemed more timely, and the production offered by UC Berkeley’s theater department, directed by Catherine Ming T’ien Duffly, sports expansive and powerful aural and visual landscapes (courtesy of composer–sound designer Chris Huston, scenic designer Eric E. Sinkonnen, lighting designer David K.H. Elliott and video designer Kwame Braun) and competent, sometimes truly compelling acting from its student cast. (Avila)

"Unscripted: unscripted" Off-Market Theater, Studio 205, 965 Mission; 869-5384, www.un-scripted.com. Thurs-Sat, 8pm. The Un-Scripted Theater Company kicks off its eighth season with an improvised improv show.

Virgin Play Series Locations vary. Mon, 6pm. Through March 29. Magic Theatre presents Martha Heasley Cox’s series of staged readings of works currently in development.


BAY AREA
"Eemax and Zurno’s Amazing Circus Humans" Kinetic Arts Center, 785 7th St, Oakl; (510) 444-4800, www.kineticartscenter.com. Sat, 7pm; Sun, 2pm. $10-$15. Circus Spire presents a circus show featuring theatre, puppets, contortionists, acrobatics, circus aerials, and clowns.
"Flamefuze" Art House Gallery and Cultural Center, 2905 Shattuck, Berk; (510) 472-3170. Sun, 3pm. $10. Take a neo-gypsy trip through time and space with traditional flamenco and fusion with Dani Torres and Amigos.

Alerts

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By Adrián Castañeda

alerts@sfbg.com

WEDNESDAY, MARCH 10

 

Courage to Resist

Come help fill envelopes at a mailing party — with pizza — for this antiwar group’s newsletter and appeal for support.

5:45–10:45 p.m., free

55 Santa Clara. No. 126, Oakl.

www.couragetoresist.org

 

Eat up, America

Hear a conversation on food politics with Jill Richardson, author of Recipe for America. Issues include the farm bill, community food projects, and school lunches. Be part of the conversation to learn how you can take action by voting with your fork.

7:30 p.m., free

101 Morgan Hall, UC Berkeley campus

www.agrariana.org/programs

FRIDAY, MARCH 12

 

Berkeley Critical Mass

Help revive Berkeley Critical Mass. Meet at the Ashby BART Station for a musical and mellow bike ride thought the East Bay. Ride ends at Long Haul Infoshop for Slingshot newspaper’s 22nd birthday party.

6 p.m., free

3124 Shattuck, Berk.

www.thelonghaul.org

SATURDAY, MARCH 13

 

Dance for Buck

Join this dance party-plus-art-auction fundraiser for jailed activist Marilyn Buck, who will be released after 25 years at the Federal Corrections Institute in Dublin. Speakers include Jewell Gomez and Phavia Kujichagulia.

7 p.m., $10–$50

401 26th St., Oakl.

Sparksfly2010@gmail.com

 

To women!

Attend a Women’s Day event with more than 30 community organizations to celebrate the role of women in society. Local dancers, musicians, and speakers, including KPFA’s Lakota Harden.

10 a.m., free

3400 Macdonald, Richmond

(510) 620-6502

SUNDAY, MARCH 14

 

California’s next act

Come learn about the California Democracy Act, a proposed initiative to repeal the two-thirds majority requirement in the state Legislature, and what you can do ensure it makes the ballot. Hosted by theological firebrand, the Rev. Byron Williams.

7 p.m., free

1924 Cedar, Berk.

www.bfuu.org

 

Radical changers

Celebrate International Women’s Day with a rousing discussion on the role of education in the fight for women’s liberation. The eventl features a panel of feminist activists and a performance by MC Aima the Dreamer. Proceeds benefit Bay Area Radical Women.

3 p.m., $5

625 Larkin, SF

www.radicalwomen.org

MONDAY, MARCH 15

 

Squatting, Barcelona style

Hear author and activist Peter Gelderloos on the social activist movement and use of autonomous space in Barcelona. Discussion will focus on how the prevalence of squatted spaces has affected the architectural structure of Europe and how this differs in the U.S..

7 p.m., $3

Station 40

3030B 16th St., SF

www.anarchist-studies.org

TUESDAY, MARCH 16

 

Tip one for Earth

It’s time for Henry George Historical Society’s gathering of environmentalists and social drinkers. Peter Brastow, director of Nature in the City, will speak on local environmental issues.

7 p.m., free

189 Ellsworth, SF

www.henrygeorgehistoricalsociety.org Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; 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.

Guardian reporter’s inside story on arrested protesters

17

Story and photos by Jobert Poblete

I thought I was keeping a safe distance, observing Day of Action protesters as they went onto Interstate 880 to block traffic rather than participating, until a line of riot cops came barreling towards where I stood by the side of a freeway offramp. But my flight instinct took over, and I found myself running along northbound 880 with my notebook and pen still in my hands. What had been an impressive but otherwise peaceful protest was taking a surreal turn. But maybe I should start from the beginning.

As a recent UC Berkeley grad, I had been on campus many times in the last few months, invited by friends to support the occupations and protests that were fueling an extraordinary movement to defend public education. So I was excited to go out on March 4th to cover the Day of Action in the East Bay. This was a new experience for me. Like any good Berkeley grad, I’ve participated in my share of protests, but now I was a Bay Guardian news intern and this was the first time I was going out as a reporter.

There was a lot to be impressed with that day. In Berkeley, activists had succeeded in creating a broad coalition made up of graduate and undergraduate students, faculty, union members, lecturers, and campus workers and staff. These constituencies were well-represented Thursday morning.

Berkeley organizers were also working to expand their movement beyond the university. Callie Maidhof, a graduate student in anthropology, told me that March 4th is the “first attempt to organize beyond a single system, to organize across California, across the public education systems, and across the nation.”

On the four and a half mile march from Berkeley to downtown Oakland, there was plenty of evidence that they were succeeding. As the Berkeley contingent marched down Telegraph Ave., it was joined by middle school and high school students who brought their own concerns about teacher layoffs and program cuts.

At the rally in Oakland, I spoke to high school students who had walked out of their schools to participate. Sophomore Sienee Dakina from Oakland’s Envision Academy told me that her school lost three teachers because of budget cuts. “We feel like it’s not right,” Dakina said. “We’re losing our teachers.” Ninth graders Victoria Romero and Andrea Barba from Life Academy told me that they were protesting so that the school district would “not take our dreams away.”

When the rally ended, some people were headed to San Francisco to take part in the big rally at Civic Center. I knew that there would already be Guardian reporters there, so I decided to stay in Oakland for what was being billed as an after-protest dance party and “snake march.”

The dance party started around 4:30 with a couple hundred people taking Broadway accompanied by a mobile sound system, black flags, and large banners that declared “We Have Decided Not to Die” and “Occupy Everything.” For the first time that day, I saw riot cops in full force. I read these as signs that something dramatic was probably in store. The dance party wound its way through downtown Oakland, stopping in front of the UC Office of the President before heading towards West Oakland.

I was at the back of the march, talking to an Oakland teacher who was telling me about layoffs at his school, when the police started warning the crowd that they could face arrest. I fell behind and was playing catch-up as a group of around 150 people took to the freeway. I decided to stick by the offramp and watched as a bicyclist, who appeared to be riding on the freeway away from the march, got violently tackled by a fast-moving line of cops.

It was at this point that another line of cops started up the offramp and I fled up the freeway. An officer on a motorcycle yelled at me to continue and join the protesters or face arrest. I ran to catch up with the crowd, which was in chaos as the police approached. (I later learned that, in the chaos, a local high school student fell off the elevated highway and was taken to Highland Hospital with serious injuries.) I saw two kids – perhaps as young as 12 or 13 – trying to get away on skateboards. I was with a cluster of journalists as a line of cops and a blur of batons fell upon a group on the far side of the southbound lanes. We retreated to the dividing wall, me still clutching my pen and notebook, holding my hands in the air.

We were ordered to lay on the ground. My pen was still out so I continued taking notes. An officer noticed me and ordered me up. I explained that I was a reporter and offered to show him proof of my affiliation with the Guardian. “But you’re on a freeway,” he said. “You’re under arrest.” He did help me secure my notes and camera.

I was handcuffed and ordered to kneel on the side of the highway with the protesters, next to a friend from Berkeley, a graduate student at the journalism school. We knelt for hours waiting for the buses that would take us to Glenn Dyer jail in Oakland and Santa Rita jail in Dublin. A handful of stranded motorists cheered, presumably for the protesters, and in one of the lofts next to the freeway, a resident had posted a sign that said “FUCK U Protesters.”

I was sent to Santa Rita with around 100 of those arrested on the freeway. We were informed that we would be charged with misdemeanors and released, but it was clear that our numbers had overwhelmed the jail’s systems. Deputies told us that we would be in there for 10 hours. Ten hours turned into 20, most of that time spent in a cold concrete cell, seven feet long and seven feet wide, with 14 other inmates. There wasn’t room for all of us to lie down at the same time. The fluorescent lights were kept on all night, and I was disoriented, groggy.

The sheriff’s deputies joked about IEDs and half-heartedly threatened us with prison clichés. An agent with U.S. Immigration and Customs Enforcement visited my cell and questioned me and another person of color, asking us for our names and where we were born. My cell mates, worried about the possibility that an undocumented student had been arrested, discussed whether we should refuse to answer their questions. An inmate in a nearby cell hurled obscenities at the “protesters.” But most of the other inmates were merely curious. A few held up their fists in solidarity as they were led past our cell.

I shared cells with a diverse group of people, some I had known for years: a teacher’s aid, a Berkeley freshman computer science major, a veteran, an older man who called himself a communist, and a handful of community college students from Modesto. There were a number of other journalists: two stringers working for Democracy Now!, a reporter from the Daily Californian, and a friend who was covering the protest for Indybay.org. I had seen other journalists with big video rigs on the freeway, but one of the other arrestees told me that they had been allowed to leave.

We passed the time as best we could. The Berkeley computer science major taught us how to fold origami cranes. One of the other reporters gave an impromptu teach-in about some Bay Area residents imprisoned in Iran. We took advantage of the concrete cell’s unique acoustic properties by humming harmonies. A few cells over, the women agitated for food and we got bologna sandwiches and a strange powdered juice that tasted like the color yellow. Mostly, we tried to sleep, in fetal positions, sitting up, or curled around the toilet using our arms, shoes, and rolls of TP for pillows.

There were also discussions about the movement: how to make it broader, how best to organize and make decisions, and what should come next. It was clear to me that many of the people I was with did not know that they would end up on a freeway, but if there were any regrets, no one in my cell let that on. One man commented that the movement was getting bigger – earlier protests had resulted in dozens of arrests, but this one had 150 people taking a freeway. Another said that only the movement “intellectuals” were taking militant action. A community college student objected to that point. Earlier, he had joked about the $6 increase in his fees, but now he spoke bitterly and passionately about how he considered himself working class and not an intellectual. The budget cuts had made him feel that a quality education at a UC was getting further from his grasp.

I was not released until around 4 p.m. on Friday, charged with two misdemeanors – unlawful assembly and obstructing a public place – and ordered to appear in court April 5. Outside the jail, a small crowd of supporters had been gathered all day and it did not take long to find a familiar face and a ride back home.

A friend who had worked through the night to rally support and secure attorneys told me that a lot of students were upset about what had happened. They were critical about what they called a lack of planning and angry that protesters had been led into an action they did not fully understand and did not fully prepare for.

But the freeway action also showed how far the movement has come. Resistance to the budget cuts has spilled out of the universities and gotten bigger, broader, and, yes, perhaps more foolhardy. From my vantage point on that elevated highway, the movement has definitely upped the ante and more and more people are calling the bet.

Elmwood emerges

0

By Robyn Johnson

After months of restoration, the corner space that used to be Ozzie’s Soda Fountain has finally opened this week to reveal an upscale French-style cafe. While many may lament the closure of Berkeley’s last soda shop in favor of a yet-another coffee joint, Elmwood Cafe does offer something quite unique. According to the little paper pamphlets available on the counter, the shop will donate half of its profits to charities. I’m really excited (and curious) how this business model will work out in the long run.

I was also charmed by the bright, cheery interior—the owner decided to keep as much of the original 1920s architectural details as possible, right down to the red stools that line the counter—and, of course, the food. With quite a few Cafe Fanny veterans at the helm, the conscientious menu reflects that establishment’s renown for the healthful, hearty, and organic. So be prepared for dishes like porridge, paninis, soups, salads, and stews.

I tried the cappuccino—good but nothing totally remarkable—and the cranberry coffee cake, the customer (and barista) favorite so far. It truly was tasty, with a delicate, crunchy top speckled with powdered sugar and a rich yellow cake that enveloped gobs of tangy cranberry.

The only foreseeable issue is the relatively high price (the cappuccino and coffee cake set me back about $7), but considering half your expenditure goes to charity, it might be a worthy treat.

Elmwood Cafe
2900 College, Berk
(510) 843-1300

Day of Action field reports

3

We’re starting to get some field reports from today’s big Strike and Day of Action — which culminates in a 5 p.m. rally in Civic Center Plaza — from some Guardianistas who we have covering various marches. And it sounds like the turnout is big and lively.

Over at SF State, hundreds of protesting students blocked 19th Avenue before being cleared by police. Then, for those students who hadn’t walked out in protest of rising fees and declining class offerings, someone pulled a fire alarm and shut down classes that way.

Meanwhile, in the East Bay, intern Jobert Poblete is with a march that he estimates to be a couple thousand people that has taken Telegraph Avenue and is trying to go all the way from the UC Berkeley campus to downtown Oakland, where they’ll rally in the Frank Ogawa Plaza outside Oakland City Hall this afternoon. So far, they’ve met with little resistance or police activity.

Currently, there are already hundreds of protesters outside Oakland City Hall, which has been locked down, and the crowd is expected to swell to several thousand once the Telegraph protest and other East Bay events converge there. It’s the same story outside San Francisco City Hall, where a rally is now underway with several satellite protests making their way there now.

See Alerts for more on the various marches and check back to this post later for updates and photos.  

2:15 update: Brady Welch reports that around 100 Mission High students have walked off campus together and are now marching up Valencia Streets, banging drums and chanting slogans, with some SFPD squad cars providing an escort. We’ve also heard from various sources through SF and the East Bay that there’s been more than a dozen smaller protests, many of them involving grade school children carrying protest signs. SF Public Press has an interesting report by a former Guardian intern on that phenomenon.

Shot of crowd at East Bay march.

And a couple photos from Brady Welch:

 

This photo (taken from inside Oakland City Hall by my friend, Deputy City Attorney Alix Rosenthal, less than an hour ago) shows a smaller than expected turnout:

Meanwhile, San Francisco Mayor Gavin Newsom has issued a statement of support for the Day of Action that begins, ““I join the thousands of students, parents and teachers across California and here in San Francisco today calling for adequate, equitable education funding for our public schools and universities.”

Newsom also opposed the Iraq War but never took part in any of the peace marches (unlike progressive members of the Board of Supervisors, who marched and gave speeches at the events), but I’m headed to the Civic Center rally soon, so I’ll let you know if he makes an appearance. We’ll have more extensive coverage of today’s events and what they mean tomorrow.

UPDATE: Guardian intern Jobert Poblete was among 150-200 people arrested in the East Bay during the Day of Action protests this evening, a group that he says including several journalists. Details are sketchy in the brief messages that we’ve had from him, but most of the arrests reportedly occurred when the protesters briefly blocked Interstate 880. They’ve been taken to Alameda County Jail in Dublin where jail personnel tell us most of those arrested are likely to be cited and released sometime tonight. Meanwhile, a 5 p.m. rally at Civic Center Plaza in San Francisco was packed with an exhuberant crowd of several thousand, the largest demonstration there in years. We’ll have a full report of the day’s events tomorrow.

Rep Clock

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Schedules are for Wed/3–Tues/9 except where noted. Director and year are given when available. Double features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $10. "Disposible Film Festival": Artist Spotlight: Buttons Vol 2 by Red Bucket Films," Fri, 8; "Artist Spotlight: Ben Slotover and Peter Waldeck," Sat, 2; "Artist Spotlight: Alex Itin," Sat, 3:30; "Disposible Film Workshop," Sun, noon. "Other Cinema: Cinéma Abattoir," Sat, 8:30. Co-presented by San Francisco Cinematheque.

CAFÉ OF THE DEAD 3208 Grand, Oakl; (510) 931-7945. Free. "Independent Filmmakers Screening Nite," Wed, 6:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. The Red Shoes (Powell and Pressburger, 1948), Wed-Thurs, 7, 9:40 (also Wed, 1:30, 4:15). Alice in Wonderland (Burton, 2010), March 5-April 1, 1, 4, 7, 9:45. No screenings March 11 or 14.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10. Broken Embraces (Almodóvar, 2009), call for dates and times. An Education (Scherfig, 2009), call for dates and times. Fish Tank (Arnold, 2009), call for dates and times. North Face (Stölzl, 2008), call for dates and times. "The Cinema of Jan Troell:" TBA, Wed, 7; As White as Snow (2001), Thurs, 7; Here is Your Life (1966), Fri, 7; The Emigrants (1971), Sat, 2; The New Land (1972), Sat, 7. The Most Dangerous Man in America: Daniel Ellsgerg and the Pentagon Papers (Ehrlich and Goldsmith, 2009), March 5-11, call for times. "Oscar Night America," Sun, 3:30. Live Academy Awards telecast; this event, $55.

ELMWOOD 2966 College, Berl; (510) 433-9730, www.rialtocinemas.com. $10. Until the Light Takes Us (Aites and Ewell, 2008), March 5-11. Call or check website for times.

EXPLORATORIUM 3601 Lyon, SF; www.exploratorium.edu. $15. "After Dark: Distortion," psychedelic animation by local filmmaker Kerry Laitala and "visual music" by the late musicologist Harry Smith, Thurs, 6.

GOETHE-INSTITUT 530 Bush, SF; www.goethe.de/sanfrancisco. $7. "Michael Haneke: Cinema of Provocation:" The Piano Teacher (2001), Wed, 6:30.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Money as Debt: Part One, Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. "CinemaLit Film Series: Star Power, A Month of Meryl Streep:" The French Lieutenant’s Woman (Reisz, 1981), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. "Film 50: History of Cinema:" Rashomon (Kurosawa, 1950), Wed, 3. "Jan Troell in Person:" Everlasting Moments (2008), Thurs, 7. "Love Letters and Live Wires: Highlights from the GPO Film Unit (1936-1939)," Fri, 7; Tues, 7:30. "Joseph Losey: Pictures of Provocation:" M (1951), Fri, 8:40 and Sat, 6:30; The Big Night (1951), Sat, 8:45; The Boy With Green Hair (1948), Sun, 3.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. The Beaches of Agnès (Varda, 2008), Wed, 2, 7, 9:20. Precious: Based on the Novel Push By Sapphire (Daniels, 2009), Thurs-Sat, 7, 9:20 (also Sat, 2, 4:20). The Muppet Movie (Frawley, 1979), Sun-Mon, 7:15, 9:20 (also Sun, 2, 4). 35 Shots of Rum (Denis, 2008), March 9-10, 7:15, 9:25 (also March 10, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Leonard Cohen: Live at the Isle of Wight 1970 (Lerner), Wed-Thurs, 6:40, 8, 9:30. My Son, My Son, What Have Ye Done (Herzog, 2009), Wed, 8:50. Precious: Based on the Novel Push by Sapphire (Daniels, 2009), Wed, 6:45. "Disposible Film Festival: Competitive Shorts," Thurs, 8. Check website for Fri-Tues program information.

SAN FRANCISCO CINEMATHEQUE Dolby Screening Room, 100 Potrero, SF; www.sfcinema.org. Free. "Hey! A Dean Snider Birthday Celebration, Part One," Wed, 7:30. New Nothing Cinema, 16 Sherman, SF; www.sfcinema.org. Free. "Hey! A Dean Snider Birthday Celebration, Part Two," Wed, 8:30. San Francisco Museum of Modern Art, 151 Third St, SF; www.sfcinema.org. $5 or free with museum admission ($12). "75 Years in the Dark: Material and Illusion," Thurs, 7.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "Human Rights and Film:" 8 (Various directors, 2009), Thurs, 7:30.

Stage listings

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Stage listings are compiled by Molly Freedenberg. 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

Caddyshack: Live! Dark Room, 2263 Mission; 401-7987, brownpapertickets.com. $5-$20. Opens Fri/5. Runs Fri-Sat, 8pm. Through March 27. The Dark Room presents Jim Fourniadis’ live adaptation of the iconic movie.

Death Play EXIT Theatre, 156 Eddy; 289-6766, www.thunderbirdtheatre.com. $15-$20. Opens Sun/7. Runs Thurs-Sat, 8pm. Through March 27. Thunderbird Theatre Company presents the third installment in the critically acclaimed sketch comedy series "Serve By Expiration" by Sang S. Kim.

Men Who Have Fallen In and Out of Love with Me Off-Market Theatre, 965 Mission; www.fallenmadlyinlove.com. Opens Fri/5. Runs Fri-Sat, 8pm. Through March 20. Award-winning SF playwright and journalist Beth Soloway teams up with her daughter for the world premiere of this comedy about romance.

Now and at the Hour EXIT Stage Left, 156 Eddy; 673-3847, www.theexit.org. $15-$25. Opens Fri/5. Runs Fri-Sat, 8pm. Through March 27. EXIT presents the subtly unnerving show by theatrical magician Christian Cagigal.

Something You Might Want Stagewerx Theatre, 533 Sutter; catchynametheatre.org. $16. Opens Fri/5. Runs Fri-Sat, 8pm; Sun, 3pm. Through March 28. CatchyNameTheatre presents this dark comedy written and directed by Jim Strope.

The Sugar Witch New Conservatory Theatre Center, 25 Van Ness; 861-4914, www.nctcsf.org.

Opens Sat/6. Runs various days and times through April 4. NCTC presents the premiere of Nathan Sanders’ crime story.

BAY AREA

Singin’ in the Rain Julia Morgan Center for the Arts, 2640 College Ave, Berk; www.berkeleyplayhouse.org. Opens Sun/7. Runs Fri-Sun, times vary. Through March 21. Berkeley Playhouse presents an exciting stage adaptation of the ’20s classic.


ONGOING

Bay One Acts Festival Boxcar Theatre, 505 Natoma; 776-7427, www.threewisemonkeys.org. $12-$24. Dates and times vary. Through March 13. Three Wise Monkeys presents eleven short plays by Bay Area playwrights, including Cris Barth, Stuart Bousel, and Lauren Yee.

Beauty of the Father Phoenix Theatre, 414 Mason; (800) 838-3006, www.offbroadwaywest.org. $30. Thurs-Sat, 8pm. Through March 13. Off-Broadway West’s season opener offers the Bay Area a first look at the somewhat messy but ultimately rewarding 2006 drama by Cuban American Pulitzer Prize–winner Nilo Cruz ("Anna in the Tropics"). Set in contemporary Andalusia, in the south of Spain, it’s the story of an aging painter named Emiliano (Durand Garcia) whose best friend and near-constant companion is the ghost of Federico García Lorca (Michael Carlisi), poet and playwright long ago murdered by the fascists during the Spanish Civil War. Emiliano also lives with his mostly platonic sweetheart (Jeanette Sarmiento), whom he plans to marry after she divorces his other housemate, a young Moroccan immigrant named Karim (Chris Holland) who is tied to her for the green card but is also Emiliano’s sometime lover. When his long-estranged ex-wife back in the U.S. dies, he invites his grown daughter (Natasha Chacon) to come live with him, feeling the urge "to father her" again. She arrives for an indefinite stay instead, shedding the gloom of her mother’s death in the embrace of life under the Andalucian sun—and a smitten Karim in particular. There’s some piquancy to the unraveling of this romantic ménage, and real poetry in the language and perspective afforded through the magical realistic presence of Lorca, but despite Cruz’s muscular writing and ambitious thematic canvas, the drama flags at points and sometimes seems unsure of where it would take us or even the proper tone or color to employ. Nevertheless, artistic director Richard Harder helms a strong cast, which helps make the going worthwhile. (Avila)

*The Caucasian Chalk Circle A.C.T., 415 Geary; www.act-sf.org. $10-$82. Tues-Sat, 8pm; Wed, Sat, and Sun, 2pm. Through March 14. After bringing his acclaimed pared-down "Sweeney Todd" to ACT in 2007, director John Doyle returns with Bertolt Brecht’s inspired take on the biblical Judgment of Solomon, a story whose faith in the essential decency of people—especially those not completely corrupted by power over, and under, others—is here counterpart to a damning and rousing dissection of war, politics and the justice system/racket. Newly translated in fresh and piquant tones by Domenique Lozano, the text rings with contemporary significance, including a chiding reference to "change we can believe in" that neatly updates Brecht’s radical insistence on popular action over hopeful acquiescence to powerful leaders. The set is a junk-strewn yard, with various bits of theater rigging doubling as stage properties (like a descending bank of stage lights during a battle sequence). The ensemble cast, meanwhile, sings profusely—a cappella or to its own spare accompaniment—and renders characters in a hodgepodge of accents not entirely arbitrary (rulers talking like New York mobsters, for example, or upper-class war refugees speaking like Southern belles). The comedy can veer distractingly toward the hammy, and there’s probably a bit too much stylized abstraction at the outset (hard to imagine anyone unfamiliar with the story understanding exactly what’s going on from the chorus), but despite faults this is a welcome, timely production, engagingly realized in Doyle’s winkingly "makeshift" staging and the bold, eclectic performances he garners from ACT’s core company members, conservatory students and associates. (Avila)

Eccentrics of San Francisco’s Barbary Coast: A Magical Escapade San Francisco Magic Parlor, Chancellor Hotel Union Square, 433 Powell; 1-800-838-3006. $30. Fri-Sat, 8pm. Ongoing. This show celebrates real-life characters from San Francisco’s colorful and notorious past.

The Gilded Thick House, 1695 18th St. www.thegilded.com. $18-$30. Thurs/4, 7pm; Fri/5-Sat/6, 8pm; Sun/7, 2pm. The Curiouser Group presents a new musical by Reynaldi Lolong.

The Greatest Bubble Show on Earth Marsh, 1062 Valencia. (800) 838-3006, www.themarsh.org. $7-$50. Sun, 11am. Through April 3. The Amazing Bubble Man returns with his extraordinary family-friendly show.

Hearts on Fire Teatro ZinZanni, Pier 29; 438-2668, www.zinzanni.org. $117-$145. Wed-Sat, 6pm; Sun, 5pm. Through May 16. Teatro ZinZanni celebrates its 10th anniversary with this special presentation featuring Thelma Houston, El Vez, and Christine Deaver.

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-$50. Sat, 8:30pm; Sun, 7pm. Through April 11. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. Not to be missed, Randolph is a rare caliber of solo performer whose gifts are brought generously front and center under Matt Roth’s reliable direction, while her writing is also something special—fully capable of combining the twisted and macabre, the hilariously absurd, and the genuinely heartbreaking in the exact same moment. Frannie Potts’s hysteria at 30,000 feet, as intimate as a middle seat in coach (and with all the interpersonal terror that implies), is a first-class ride. (Avila)

Mirrors In Every Corner Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. Thurs-Sun, 8pm. Through March 21. Intersection for the Arts, Campo Santo, and the Living Word Project present the world premiere of Chinaka Hodge’s provocative show exploring race and identity from new perspectives.

Oedipus el Rey Magic Theatre, Building D, Fort Mason Center; 441-8822, www.magictheatre.org. $20-$55. Days and times vary. Through March 14. Luis Alfaro transforms Sophocles’ ancient tale into an electrifying myth, directed by Loretta Greco.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Sat, 8pm; Sun, 7pm. Through April 24. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $15-$50. Thurs-Fri, 8pm; Sat, 5pm. Through April 18. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-$35. Thurs-Sat, 8pm. Through March 27. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

What Just Happened? The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-$50. Fri-Sat, 8pm. Through March 13. The Marsh presents Nina Wise’s improvisation-based sow about personal and political events which have transpired over the previous 24 hours.

What Mama Said About ‘Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-$25. Thurs-Sun, 8pm. Through July 30. Writer/performer/activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

Wicked Orpheum Theatre, 1182 Market; 512-7770, www.shnsf.com. $30-$99. Tues, 8pm; Wed, 2pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm. Ongoing. Assuming you don’t mind the music, which is too TV-theme–sounding in general for me, or the rather gaudy décor, spectacle rules the stage as ever, supported by sharp performances from a winning cast. (Avila)


BAY AREA

An Anonymous Story by Anton Chekhov Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, centralworks.org. $14-$25. Thurs-Sat, 8pm; Sun, 5pm. Through March 28. Central Works presents a new play adapted from the Checkhov novella.

Beebo Brinker Chronicles Brava Theater Center, 2781 24th St; 641-2822, www.brava.org. $20-$30. Thurs-Sun, 8pm. Through March 13. The regional premiere of Kate Moira Ryan and Linda S. Chapman’s play adapted from a series of pulp novels.

Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-$27. Days and times vary. Through April 11. Berkeley Rep presents a sexy and intriguing new show from Naomi Iizuka.

*East 14th Laney College Theatre, 900 Fallon St, Oakl. www.east14thoak.eventbrite.com. $10-$50. Fri-Sat, 8:30pm. Through March 28. Also at the the Marsh Berkeley in March. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. It returns the Bay Area native to the place of his vibrant, physically dynamic, consistently hilarious coming-of-age story, set in 1970s Oakland between two poles of East 14th Street’s African American neighborhood: one defined by his mother’s strict ass-whooping home, dominated by his uptight Jehovah’s Witness stepfather; the other by his biological father’s madcap but utterly non-judgmental party house. The latter—shared by two stepbrothers, one a player and the other flamboyantly gay, under a pimped-out, bighearted patriarch whose only rule is "be yourself"—becomes the teenage Reed’s refuge from a boyhood bereft of Christmas and filled with weekend door-to-door proselytizing. Still, much about the facts of life in the ghetto initially eludes the hormonal and naïve young Reed, including his own flamboyant, ever-flush father’s occupation: "I just thought he was really into hats." But dad—along with each of the characters Reed deftly incarnates in this very engaging, loving but never hokey tribute—has something to teach the talented kid whose excellence in speech and writing at school marked him out, correctly, as a future "somebody." (Avila)

*Learn to be Latina La Val’s Subterranean, 1834 Euclid, Berk. impacttheatre.com. $10-$20. Thurs-Sat, 8pm. Through March 27. Impact Theatre continues its 14th season with the world premiere of Enrique Urueta’s play.


PERFORMANCE

AIRspace Queer Performance Showcase The Garage, 975 Howard; 885-4006, 975howard.com. Wed-Thurs, 8pm. $10-$20. Kirk Read, Philip Huang, Baruch Porras-Hernandez, Dominika Bednarska, Jorge De Hoyos, and Awilda Rodriguez Lora perform.

"All Star Magic & More" SF Playhouse, Stage 2, 533 Sutter; 646-0776, www.comedyonthesquare.com. Sun, 7pm. Ongoing. Magician RJ Owens hosts the longest running magic show in San Francisco.

30th Anniversary Celebration of New Works African American Art and Culture complex, 762 Fulton; 292-1850, www.culturalodyssey.org/tickets. Thurs-Sat, 8pm; Sun, 3pm. Through March 14. $20. In celebration of Black History Month and National Women’s Month, Cultural Odyssey presents a festival featuring The Love Project, The Breach, and Dancing with the Clown of Love.

BATS Improv Theatre Bayfront Theater, Fort Mason Center, B350 Fort Mason; 474-6776, www.improv.org. Fri-Sat, 8pm. $17-$20. The Theatresports show format treats audiences to an entertaining and engaging night of theater and comedy presented as a competition.

"Celestial Science" EXIT Theatre, 156 Eddy; 440-8825, www.stallionmagic.com. Wed-Sat, 8pm. $15-$25. Stallion presents an interstellar voyage designed to empower, enlighten, erich, and encourage.

Don Carbone Dark Room, 2263 Mission; 401-7987, darkroomsf.com. Sat, 10pm. $8. The absurdist writer and performer presents an evening of two award-winning solo performances.

"In the Loop" Space Gallery, 1141 Polk; audreyheller.com. Sat, 8pm. Space Gallery presents a multi-media event featuring looped photography, video, installations, dance, and music.

"A Musical Seance" Hypnodrome, 575 10th St; www.brownpapertickets.com. Sun-Mon, 7:30pm. $20. Jill Tracy and Paul Mercer present their latest collaboration.

PianoFight Studio 250 at Off-Market, 965 Mission; www.pianofight.com. Mon, 8pm. Through March 29. $20. The female-driven variety show Monday Night ForePlays returns with brand new sketches, dance numbers, and musical performances.

"Reply/catalog for circles and unfinished cities" The Garage, 975 Howard; 885-4006, 975howard.com. Fri-Sat, 8pm; Sun, 4pm. $10-$20. RAW presents this performance work by Tableau Stations/Floor of Sky.

"Sex and the Bible: The Opera (Part I)" Community Music Center, 544 Capp; (707) 474-7273, www.goathall.org. Fri-Sat, 8pm; Sun, 7pm. Through March 14. $10-$15. San Francisco Cabaret Opera presents the world premiere of Mark Alburger’s 8-=minute work-in-progress.

"Slaughter City" Ezellerbach Playhouse, UC Berkeley Campus, Berk; (510) 642-8827, tdps.berkeley.edu. Fri-Sat, 8pm; Sun, 2pm. Through March 14. $10-$15. UC Berkeley’s Department of Theater, Dance, and Performance Studies presents a play by Naomi Wallace.

"Unscripted: unscripted" Off-Market Theater, Studio 205, 965 Mission; 869-5384, www.un-scripted.com. Thurs-Sat, 8pm. Through March 13. The Un-Scripted Theater Company kicks off its eighth season with an improvised improv show.

Virgin Play Series Locations vary. Mon, 6pm. Through March 29. Magic Theatre presents Martha Heasley Cox’s series of staged readings of works currently in development.

Zambaleta Carnaval Zambaleta, 2929 19th St; www.zambaleta.org. Sat, 11am-11pm. Free. San Francisco’s new school for world music and dance will transform its campus into an eclectic all-day jam session celebrating the spirit of Carnaval.


BAY AREA

"Hamlet: Blood in the Brain" Oakland Tech Auditorium, 4351 Broadway, Oakl; (510) 548-9666, www.calshakes.org. Mon, 6:30pm. California Shakespeare Theater and Oakland Tech High School host an evening of select scenes from the Advanced Drama Department’s award-winning production moderated by Jonathan Moscone.
"Something to be Proud of" PMCCA, 1428 Alice, Oakl; www.ticketweb.com. Sat, 7pm. $10-$20. Malonga Casquelourd Center for the Arts Dimensions Extensions Performance Ensemble presents this youth performance.
Upright Citizens Brigade Pan Theater, 2135 Broadway, Oakl; www.pantheater.com. Fri, 8 and 9:10pm. Ongoing. $14-$18. Upright Citizens Brigade Touring Co. brings the NYC funny to Oakland with this improve comedy show with guest performing troupes.

Alerts

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alerts@sfbg.com

THURSDAY, MARCH 4

 

Day of Action

Join thousands of teachers, parents, students, public sector workers, union members, and social justice activists to protest two years of devastating budget cuts to California’s public education system and other vital public services and to demand the creation of revenue measures to help solve the budget crisis.

Main rally

5 p.m., free

San Francisco Civic Center

Polk at Larkin

 

CCSF Rally

10 a.m. Rally featuring speak outs, teach-ins, and direct action. Corner of Ocean and Phelan, SF

Rally attendees will later join the 5 p.m. rally at Civic Center.

SFSU

12:15 p.m. Picket line march to Malcolm X Plaza, SFSU campus

12:30 p.m. Theater, spoken word, stenciling, and teach-In at Malcolm X Plaza, SFSU campus

3:30 p.m. Board Muni or shuttle to BART. Those at 19th St. Muni with a march T-shirt get a free pass

4:00 p.m. Gather at the steps of the Asian Art Museum, 200 Larkin, SF

5 p.m. Join the San Francisco Civic Center rally

 

Save Our Schools

March with parents, educators, and students from southeast area San Francisco public K-12 schools.

3 p.m. meet at 24th St. and Mission, SF

3:15 p.m. March to 16th St. and Mission to State Building at Van Ness and McAllister 4:30 p.m. Rally with United Educators of San Francisco (UESF) at the State Building, 455 Golden Gate 5 p.m. March to San Francisco Civic Center

 

Defend Public Services

Public transit supporters join educators to protest service cuts, with open mike and street theater.

1:30 p.m. Civic Center Plaza

 

March to Oakland

Join the picket lines with participants from UC Berkeley, Oakland Tech, Skyline High, Oakland Education Association, University Professional and Technical Employees, Coalition of University Employees, and the American Federation of Teachers and march to Oakland’s Frank Ogawa Plaza. Attendees join the 5 p.m. rally at Civic Center.

Frank Ogawa Plaza

Broadway at 14th St., Oakl.

Berkeley Public K-12 Schools

4 p.m. Join the community to line Martin Luther King Way from University to Dwight, Berk.

 

CSU East Bay Walkout

Noon Campus walkout and open mic speak out to defend public funding for public education featuring a delivery of demands to California State University East Bay President Mohammad H. Qayoumi. California State University East Bay, Agora Stage, Off Harder Road, Hayward

Chabot College

Noon Walkout and rally, 25555 Hesperian, Hayward

3:30 p.m. Leave for Civic Center rally

 

Laney College

11 a.m. walkout and rally

1 p.m.– 4 p.m. march to Frank Ogawa Plaza

Fruitvale BART

Meet at 11 a.m.

11:30 a.m.– 4 p.m. march to Frank Ogawa Plaza Oakland Public Schools

9:15 a.m. district wide “California’s Budget is a Disaster!” drill

11:30 a.m.–4 p.m. march to Frank Ogawa Plaza

UC Berkeley

7 a.m. Campus picketing

Noon Rally and action at entrance to Sproul Plaza, Telegraph at Bancroft

1 p.m. March to Oakland’s Frank Ogawa Plaza

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; 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.

 

Marshall amps

1

johnny@sfbg.com

VISUAL ART/MUSIC I’m walking with Jim Marshall from his apartment in the Castro to his favorite restaurant just around the corner. The T-shirt he’s wearing showcases one of his more famous photos, of Johnny Cash flipping the bird. Marshall tells me and his friend and assistant of 13 years, Amelia Davis, about another time he was wearing the shirt. When the person he was with said he wanted one, he promptly took it off and gave it to him. We sit down at a table, I turn on my old tape recorder, and Marshall asks me for my first question. I say, “Well, it’s not a question, but I guess the first thing I could observe about you is that you’ll give someone the shirt off your back.” He laughs.

This story, itself born from a story from Marshall, suits an article about him, because as the title of his one of his new books makes clear, a major foundation of his photography is trust. Almost every page of Trust: Photographs of Jim Marshall (Vision On, 165 pages, $34.95) illustrates the deep implicit bond between photographer and subject in Marshall’s work, an element largely lacking from the prefab realm of music photography today. At times, this trust makes for startling juxtapositions: more than once Marshall’s camera catches a singer — Mahalia Jackson at Carnegie Hall; BB King at the Fillmore West; Janis Joplin at an outdoor concert in San Jose; Big Mama Thornton in a San Francisco recording studio; Nina Simone at New York Town Hall; Big Joe Turner at Berkeley Folk Festival — wholly unguarded, with arms open wide. The gesture reflects Marshall’s wholehearted embrace of music, an approach that makes his best images sing.

Marshall is a San Francisco photographer. “I was just starting out during the Beat era, in 1959, hanging out in North Beach,” he says. “They called me Jaguar Jim because I had a Jag 120. I photographed at the Hungry Eye. Lenny Bruce was the first roll of color I ever shot — 10 frames. Fantasy Records called me up about 10 years ago and said, ‘Jim, we’ve got some of your shots here.’ I figured there was some Creedence [Clearwater Revival] stuff, or Otis Redding. But there were 10 slides [of Bruce] that had been stuck under a cabinet for 35 years.” One of those 10 frames can be found in Match Prints (HarperCollins, 208 pages, $40), a just-published collaborative monograph that juxtaposes photos by Timothy White with photos by Marshall. In the shot, Bruce is standing before a brick wall, and he has his arms outstretched — almost like he’s expecting to be arrested. He’s on stage.

The back and forth between White’s photos and Marshall’s in Match Print — also on display at New York’s Staley-Wise Gallery later this month — is partly a conversation between on-the-scene verité images and the carefully set designed studio shots that tend to dominate magazine profiles. But it’s also about iconography and a memorable pose: Jim Morrison taking a drag from a cigarette for Marshall, Robert Mitchum inhaling (unlike Bill Clinton) for White. Match Prints has a casual sense of humor, evident in the pairing of Cash giving the finger with a White shot of Elizabeth Taylor flipping two birds after stepping out of a limo. (It’s also made clear by Alice Cooper’s playfully catty comments about his sister-in-leopard-skin-boots Lil’ Kim.) But the lingering moments of the book, and ironically, the most contemporary visions, come from older black and white Marshall photos, such as one of a zaftig Mama Cass in the back of a car, or bouffant-and-eyeliner beauty Little Richard lost in thought. Cass’s style and Richard’s drag are very Bay Area rock n’ roll 2010.

Marshall’s photography is 2010 enough to be lodged in the White House at the moment. President Obama has a Marshall shot of John Coltrane (also within Trust) on the wall. “He [Obama] had a White House photographer take a picture of him reflected in the [frame’s] glass,” Marshall explains with pride. “He signed it, ‘To Jim — I’m a big fan of your work … and Coltrane!” A little later, back at Marshall’s apartment, I look at this photo, and think of Obama’s image and trust. In deed, is the President doing right by the artists?

At lunch, Marshall zooms in on a telling moment from Obama’s recent State of the Union address. “He said, ‘This administration this year will end discrimination against gays in the military.’ The camera was on four generals and admirals in front of Obama. The whole place stood up and applauded. Those motherfuckers didn’t blink, didn’t move — nothing. They just sat there stone-faced. That’s the last thing they wanted to hear.”

The trust recorded in Trust is a different kind of commitment than one offered by a political figure. The photo of Coltrane — itself reflective, a bit melancholy, even haunted — that Obama sees himself within is a chief example. “Miles [Davis] saw my pictures of Coltrane and saw that John trusted me, and that was good enough for Miles,” Marshall explains, after I tell him about a great Davis interview in which he proclaimed that his favorite thing to do was watch white people act stupid on TV. “Miles, he didn’t like white people a whole lot. But for some reason he liked me. He said, ‘You’re as crazy as me.'” The truth is, in America, then and now, that’s as good a reason as any to like someone.

Truth is another strong element of Trust. Marshall’s investment in emotional truth means that his opinions aren’t always orthodox. Trust contains some photos of the infamous 1972 Rolling Stones American tour — “I must have done two pounds of blow on that tour,” Marshall crows — also documented by Robert Frank in the movie Cocksucker Blues. “I was never a big Robert Frank fan, and I’ll tell you why,” Marshall says, with trademark intimate candor. “As good as [Frank’s classic 1958 monograph] The Americans is — and it’s one of the all-time great photo books, damn near as great as [1955’s] Family of Man — what Frank failed to do is this: he didn’t show in one picture, as far as I can remember, the joy of being an American. It’s cynical. That bothers the shit out of me.”

As much as Frank, Marshall is a primary documentarian of 20th century America, well aware of a time when great filmmakers and photographers had enough faith in the government to work for it. “I had a Baby Brownie [camera] when I was a kid,” he says, when asked how he found his calling. “Everything was blurry — you had to take the picture when the sun was at your back. But I won a track meet, the 50 yard dash, and a guy was taking pictures for the school. He had an early Leica. When we go back to my apartment I’ll show you my scrapbook — it has pictures of cameras cut out of magazines and pasted on the paper, with their prices written in pencil. He took a picture of me that was razor sharp, and I thought, ‘This guy has a magic box.'”

Marshall’s Leica images have their own magic, evident in monographs such as Tomorrow Never Knows — The Beatles’ Last Concert (1987), Monterey Pop (1992), Not Fade Away (1997), Proof (2004), and Jazz (2005). Trust distinguishes itself by the dominance of color images — Marshall laughs heartily when I tell him that the blue sky found in a pair of outdoor concert photos of Joplin is a California blue. The color in Marshall’s photos is super-real, to re-deploy a word Anthony DeCurtis applies to White in the introduction to Match Prints. It isn’t the cliché hallucinogenic vision found in so many recreations of drug trips or the ’60s, but instead an extra intensity, utterly pure.

“The single greatest performance I ever saw in my life was Otis Redding in Monterey [at Monterey Pop in 1967],” Marshall says, as we page through Trust. “Brian Jones was there as a guest, and he said, ‘I think Mick [Jagger] is one of the greatest singers, and our band is one of the best, but personally, you couldn’t give me a million pounds to follow Otis Redding on stage.’ It was that shattering of a performance.” The photo we’re looking at as he says this is deep black and rich blue, with fists to the fore. It’s a cry — a shout — into the night.

A pair of photos in Trust capture confidences exchanged between Johnny Cash and a top-of-the-world Bob Dylan — a country-folk echo of the gestures of confidence between Marshall, Coltrane, and Davis. Marshall laughs when I tell him of an anecdote about the great folk artist-archivist and magician Harry Smith slamming the door of his Chelsea Hotel room in the young Dylan’s face with a loud “Fuck off!” When Marshall first began to photograph Cash and Dylan, the upstart musician was uncooperative, until his idol set him straight about the man behind the lens. “Bob Dylan respected without equivocation two people,” says Marshall. “Johnny Cash and Pete Seeger.” Indeed, Trust’s American history isn’t just a rock star history, it’s a secret history, a braided folk tale that extends from Elizabeth Cotten to the unlikely yet perfectly logical friendship between Sly Stone and Doris Day. Its stunning photos of the Carter Family can inspire a conversation about Redding’s and Anita Carter’s individually magnificent versions of “I’ve Been Loving You Too Long.”

Back at Marshall’s apartment, a photo of his late friend Tim Hardin at Woodstock broods as quietly as one of Hardin’s ballads, near the fireplace. “A million people around him, and he’s totally alone,” Marshall says, as if he took the shot yesterday. The hallway is lined with photos, not just by Marshall, but more often by famous acuaintances, many of them layered gestures of friendship that need no inscription. Marshall takes out his teenage scrapbook and sets it down on a table by his autographed images of Obama and Joe DiMaggio. “This was from the late 1940s!” he says, his voice rising in amazement. “Isn’t that a mindfuck?” It sure is. Another mindfuck would be for the best musicians and biggest personalities of the Bay Area to step in front of Marshall’s Leica today.

 


 

A NEW LOOK: JIM MARSHALL AND FRIENDS PUT THE FOCUS ON MS

VISUAL ART/EVENT This month, from March 5–19, one of Jim Marshall’s iconic images of Janis Joplin will be showcased in Union Square. The shot, of Joplin at the Palace of Fine Arts with arms outstretched as she sits atop a colorful Volkswagen Beetle, is just one of a number of prints being auctioned up for sale by photographers such as Baron Wolman, Michael Zagaris, Herb Greene, Robert Altman, Bobby Klein, and Marshall.

The cause is treatment of — and public awareness and conversation about — multiple sclerosis. All of the proceeds from sales of the photography goes to MSFriends, a grass-roots nonprofit begun by Marshall’s longtime friend Amelia Davis. Marshall hired Davis as an assistant knowing she had MS, and one encounter with Davis makes it easy to see why: she’s committed and dedicated. In the case of MSFriends, this dedication involves providing 24/7 telephone peer support, running an organization staffed by people who have MS, in an effort to help people with MS and others understand and respond to a misdiagnosed and misunderstood disease. 

For more information about MSFriends Rock for MS and MSFriends, go to www.msfriends.org  

 

Expanding movement

1

rebeccab@sfbg.com

When University of California Berkeley students staged building occupations last fall, their furious, brazen response to startling tuition hikes and staff cutbacks captured the attention of the world, recalling the radical actions of earlier generations.

Yet the thrust behind the March 4 Strike and Day of Action, a mass mobilization for public education and services that is reaching into all corners of the state and spreading nationwide, appears to stem from widespread agitation that extends well beyond the flare-ups on college campuses.

"What’s historic about this is that pre-K through PhD has never walked together," said Lillian Taiz, president of the California Faculty Association, which represents faculty in the California State University system. "We have often been pitted against one another, and I think everyone feels finally, in the end, there is no difference in importance between pre-K and PhD. We need it all."

The historic new alliance faces an uphill climb in an environment characterized by a devastating budget crisis at the state level. California — the world’s eighth-largest economy — hovers around 47th in the nation in terms of per-pupil spending, and the most recent wave of budget rollbacks has cut to the bone.

Students and teachers across the Bay Area argue that with dramatic slashes in funding, the educational system is failing youth. Class sizes are ballooning to claustrophobic levels, students are unable to take their desired courses, fees are going up, bathrooms are getting cleaned less frequently, and staffers are getting stressed by overwhelming workloads. "Classes are jam-packed," Taiz says. "You have kids sitting on the floor. You have students just begging to be allowed in a class."

As University of California students decry a 32 percent hike in fees, the California State University system is suffering from damage inflicted by 2,000 faculty layoffs over the past year. The San Francisco Unified School District, meanwhile, is staring down an estimated $113 million budget deficit over the next two years, and 900 layoff notices recently were issued to teachers, librarians, secretaries, and other school employees to warn them that their jobs could be slashed by the end of the school year.

When San Francisco’s school district faced a gaping budget shortfall during the last budget cycle, it was propped up by a combination of Rainy Day Fund reserve dollars and stimulus funding from the American Recovery and Reinvestment Act. With no such safety nets in place this time around, anxiety levels are higher and the outlook is uncertain.

March 4 is shaping up to be more than an opportunity to vent frustrations to elected leaders. Instead, organizers describe it as a rallying point for a movement to defend public education that has caught on like wildfire, uniting people from different worlds. Pickets and rallies will be staged throughout the region. Thousands are expected to swarm Civic Center Plaza in San Francisco. Students from a handful of East Bay campuses are organizing marches to Frank Ogawa Plaza in downtown Oakland. Students and faculty from Berkeley will be boarding buses to take the message to Sacramento. The Oakland Unified School district will host a districtwide mock "disaster drill" to call attention to the disastrous budget. Even public transit activists opposed to the latest round of Muni service cuts and fare hikes are joining the protests, hoping to expand the discussion to support vital public services (for details on these and other events, see "Alerts" opposite this page).

"We’ve never gotten this level of activism over anything in SF since I’ve been here," says Matthew Hardy, communications director for United Educators of San Francisco. "There’s a growing movement for progressive taxation and budget reform instead of draconian cuts."

Taiz, who teaches history at Cal State Los Angeles, described March 4 as an opportunity to fill a void in leadership. "Historically, in these moments where ordinary people step up to the plate, you end up leading the leaders," she said. "We are kind of shocked, but in truth, we do know what has to be done." Quality education isn’t just important for young people, but for society as a whole, she argued. "I am a baby boomer, and if the folks coming up behind me don’t have really, really good jobs, I’m going to be eating dog food. Because those are the people who pay Social Security and pay the taxes."

In the week preceding March 4, teachers and students throughout the Bay Area were in a frenzy of preparation.

Carlos Baron, a theater professor at SF State, was wondering whether the grand procession of papier-mâché puppets his theater students will unveil on the March 4 Day of Action should take a V-shape or some other form. "The main puppet is the Draculator," explained Baron, a Chilean who directed plays in the Salvador Allende era before he began teaching at SF State in 1978. "It’s a cross between the Terminator-Governor and Dracula. But also it doubles as a banker and a general."

When asked how funding cutbacks affect students, Baron didn’t hesitate. "It impedes the creation of a positive vision for themselves and this society," he said. It stunts "the development of the imagination," he added. "We are trained as individuals to accept our failure and our smallness because we’re familiar with it. They don’t want an educated population, a sensitive population, a dreaming population. Would we select Schwarzenegger?"

Nicole Abreu Shepard, a first-grade teacher at Buena Vista Elementary in San Francisco’s Mission District, was collecting permission slips from parents to take her students to a rally and march down 24th Street. "The entire school is walking out," Abreu Shepherd said. Buena Vista’s art program exists solely because parents volunteer their time, she explained. More than half the students qualify for free or reduced lunch, and many incoming kindergarteners or preschoolers are new to the English language. Now there are proposals on the table to increase kindergarten class sizes to 25 or possibly even 30 students. "It’s sort of tying their hands behind their back and asking them to teach on one foot," she noted, and worried about the eventual result. "It’s going to be harder and harder to keep parents who could afford private school in a public school system."

Meanwhile, at the UC Berkeley campus, Krystof Cantor was sitting behind a table heaped with piles of radical literature bearing titles such as "After the Fall: Communiques from an Occupied California." Cantor, who earned his PhD in vision science in 2005, was joining student organizers in making one last push to drum up student interest in March 4 events at a multi-faceted event called "Rolling University." Late on the evening of Feb. 26, a dance party on the Berkeley campus morphed into a street riot — replete with ignited Dumpsters — in downtown Berkeley. The incident attracted media attention and drew public criticism from administrative officials.

The radicalized student movement that has erupted on the UC Berkeley campus is "very much about seizing power," Cantor told the Guardian several days before. "It’s been disruptive, it’s been militant, and it’s been creative. That’s very scary," to the administrators the movement is targeting, he added.

That focused pressure on UC administrators sets these students apart from the coalition of UC Berkeley faculty members and student government members and allies who are coordinating bus trips to protest in Sacramento March 4, he explained. "Sacramento’s not innocent, but it’s not like the administrators are just doing what they have to do," he charged, pointing to new construction projects on campus even as workers are hit with layoffs and furloughs, plus an increasing trend of privatizing on-campus jobs and services. "You can save the public sector by pouring money into it. But it won’t work if the people in charge … want to privatize everything."

Jasper Bernes, a graduate student in English who was seated next to Cantor, noted that the occupation tactic is catching on at other campuses. "I have no doubt that March 4 will greet us with news of many occupations," he said.

Baron, the Chilean theater professor, noted that some SF State students had occupied a business school building in protest of budget cuts. "They were pissed," he said. "They wanted to do something radical. They really inconvenienced a lot of people — but they took chances nonetheless. I went there, and I locked arms with them for awhile." At the same time, he wondered about how effective it was, he said.

And for all the months of preparation and visioning, Baron said he also wonders what will ultimately be borne out of the marches, rallies, pickets, and procession of lovingly crafted street puppets he helped breathe life into. For all the hard work and planning, he says, "My problem is not so much March 4. It’s March 5."

Questioning Prop. 16

4

rebeccab@sfbg.com

GREEN CITY In Sacramento, at a Feb. 26 joint legislative committee hearing about Proposition 16, a ballot initiative that Pacific Gas & Electric Corp. plans to sink $35 million into, PG&E executive Ed Bedwell found himself in the hot seat. Sen. Mark Leno and Assembly Member Tom Ammiano, who both represent San Francisco, joined Assembly Member Jared Huffman (D-San Rafael) in grilling Bedwell about an initiative that seems to be aimed directly at the efforts of San Francisco and Marin counties to establish alternative power providers to PG&E.

"What this measure is really about is limiting competition," Leno charged as the hearing got underway. "It’s not about anything else, right? In effect, this will do nothing but limit competition."

San Francisco and Marin are both in the process of creating community choice aggregation (CCA) programs, public entities that would offer electricity from clean, renewable technologies. Prop. 16, on the June ballot, would require two-thirds of voters to approve CCAs.

None of the state’s other investor-owned utilities have supported into the initiative, but representatives from the California Chamber of Commerce and the California Taxpayer’s Association joined Bedwell in testifying in favor of Prop 16.

Bedwell said he didn’t believe there is any motive behind it, a statement that prompted laughter from the audience. He argued that Prop. 16 would "give Californians the right to choose who would serve them." He quoted a professor at UC Berkeley’s Haas School of Business who said CCA is "fraught with danger" and added, "We couldn’t agree more."

But if Prop 16 passes, the likelihood that San Franciscans will be able to choose between PG&E or a power provider that offers 51 percent green electricity will be significantly decreased. And if PG&E rates continue to climb, customers will have no choice but to go along for the ride with this energy monopoly.

Mark Toney, executive director of the Utility Reform Network who testified against Prop. 16, said PG&E has requested rate increases amounting to 30 percent by 2013. In rural communities where unemployment is high and farmers rely on energy-intensive water pumping for irrigation, these ballooning energy costs would hurt the economy.

Michael Boccadoro of the Agricultural Energy Consumers Association, an organization representing 40,000 growers that usually partners with PG&E, testified against Prop. 16. "This will have a chilling effect, not just on CCA, but on the irrigation districts as well," he said. In the midst of a recession, "we’re in a very significant water crisis," he said. "Rate increases have a chilling effect on the farming community because we’re paying for higher-priced power from PG&E and we have to pump groundwater."

Paul Hauser, representing municipally-owned Redding Electric Utility, testified that if customers in his economically depressed territory were paying PG&E prices instead of the municipal rates, they would pay an extra $440 per year.

"Never … have I seen political activity by a regulated utility so far outside the bounds of acceptable conduct as PG&E’s sole sponsorship of the Constitutional Amendment politely referred to as Proposition 16," said John Geesman, former executive director of the California Energy Commission. Geesman noted that PG&E Corp. derives all its funding from PG&E Co., which is regulated by the California Public Utilities Commission, meaning ratepayer dollars are being siphoned into the $35 million devoted to the Prop 16 campaign.

"It ought to be illegal to take ratepayer dollars and use it against ratepayer interests," Geesman said.

San Francisco Sup. Ross Mirkarimi testified that the opposition could never amass as much funding for a fight against Prop. 16 as PG&E will spend to promote it. "It should be laughed out of the political arena anywhere near Sacramento," Mirkarimi said.

Yet it’s moving forward. Despite stern warnings from Leno that PG&E is flouting a state law saying utility companies must cooperate fully with CCA programs, Bedwell was free to leave after the tough questioning session from elected officials. Clustered in the hallway just after their pro-Prop. 16 testimony, the men in expensive suits were the ones laughing.

Bill Bennett, the only public official in California to take on PG&E

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William Morgan Bennett, 1918-2010

On the front page of the Guardian of Oct. 19, 1988, we ran a big picture of Bill Bennett with a caption that read: “Bill Bennett, the only public official in California to take on PG&E.”

The reason we featured Bennett was because the California Public Utilities Commission was poised to make yet another multi-billion giveaway to the Pacific Gas & Electric Company.

This time the CPUC would force the public to pay $3.4 billion worth of PG&E’s mistakes  at its Diable Canyon nuclear power plant and not one public official in San Francisco, home of the PG&E/Raker Act scandal, and not one from any other public agency or public institution was on hand to monitor the CPUC hearings and testify about the horrible impacts the Diablo rate hike will have on the public.

The lone, honorable exception was Bill Bennett. Our editorial noted, “The only public official in California who has taken on the case is Bill Bennett, a member of the State Board of Equalization and a former member of the CPUC, a determined old warrior who fought Diablo from the start and continues to do so today, on his own, against the odds and at considerable personal cost.”

To drive the point home about Bennett’s couirageous stand, we continued, “Those who ignored the case–for example, the supervisors, mayor and city attorney of San Francisco, the board of directors of BART, the regents of the University of California and their counterparts in every other public agency and institution that pays or represents people who pay PG&E bills–ought to be ashamed. The citizens of every city, county and district ought to look at their representatives and ask: Where were you when PG&E walked away with all the marbles.”

 The press in Northern California was ignoring the story, despite the colorful,  forceful and newsworthy campaign that Bennett was waging. He said he had called the  Chronicle and Examiner reporters to try to interest them in the story, but “it was useless so I gave up.”  Guardian Reporter Jim Balderston did the story and quoted Bennett  as saying, among other things, “This commission (the CPUC) must think long and hard of the welfare of the ratepayers and the shareholders of PG&E.” With no Bill Bennett on the CPUC, PG&E once again quietly walked away with billions in ratepayer money.

William Morgan Bennett, the public attorney  who for more than five decades fought the corporate goliaths from taking all the marbles, died Feb.9th at his home in Kentfield after a short illness. He was 91. An overflow crowd paid tribute  to his extraordinary life and career at services held on Feb. 12th at St. Patrick’s Church in Larkspur

When his daughter Joan phoned me about Bennett’s death, I realized once again how much the Guardian and the consumer and the rate-payer would miss Bennett. We are in the middle of PG&E’s biggest monopoly scam ever –Prop l6 and PG&E’s initiative to kill public power and community choice aggregation (CCA)– and Bennett is alas missing in action, for one of the first times in his life. Today, there are other public officials out there fighting PG&E, but there is nobody who can  take on PG&E and its allies as effectively as Bennett.

Our 1988 story had a sidebar with the head, “Bennett vs. PG&E: The 30 years war.” The sidebar recounted an incident characteristic of Bennett and the way he gave new meaning to the term public service.  In 1959 the El Paso/Pacific Northwest natural gas pipeline merger was all but approved by the CPUC, except for an appeal from Bennett as CPUC general counsel.  Before Bennett could file the appeal, he got a phone call from Gregory Harrison, a partner in the politically powerful law firm of Brobeck, Phleger and Harrison. Harrison asked Bennett if he was going to file. Bennett said yes and Harrison responded, “I told them you would say that.”

Harrison told Bennett he would be removed from the case if he filed the appeal. Bennett told Harrison he was going to call a press conference. Harrison responded. “I told them you would say that,” and hung up. Shortly thereafter, Bennett got a call from Gov. Brown, who asked him if he was going to file the appeal. Bennett said yes and Brown refused to discuss the matter further.

Twenty minutes later, Bennett got a telegram from Brown that stated, “You no longer represent me or the State of California in USA v El Paso.” This infuriated Bennett and fueled his relentless 14-year crusade to compel El Paso to divest itself of Pacific Northwest. because of its price-fixing and monopolistic implications for California. In 1969, appearing as a private citizen, he successfully argued the final U.S. Supreme Court appeal in the case, the last oral argument heard by the Earl Warren court.

The Washington Monthly caught the drama and precedent of Bennett’s appearance in its November 1971 issue. “His last appearance before the court in 1969
needs to have been witnessed. Standing alone against an array of the best legal talent that could be provided by El Paso, the states of California and Utah, lawyers for other gas companies and the U.S. government, represented personally by Solicitor General Erwin Griswold, Bennett attacked as the lone surviving avenging angel of the original antitrust action. Finger in the air, voice crying out in toners of retribution, he spoke brilliantly and forcefully without notes for an hour…In the process, Bennett impressed at least one justice privately, and many more observers, as one of the most brilliant and effective lawyers to have gotten to his feet to present oral arguments to the court during the last 14 years.”

 As the final footnote in this legal saga, Bennett  stopped El Paso’s efforts in Congress to pass legislation to void the breakup of El Paso. The result: the largest refund for California ratepayers in the history of regulation to date.  The decision set a  national precedent in antitrust law.

Bennett was born Feb. 20, 1918 in San Francisco to Lt. William M. Bennett of the San Francisco Police Department and Eva Curran of Amador. He attended Most Holy Redeemer Elementary School, St. Ignatius High School, the University of San Francisco and the Hastings College of Law. At the outbreak of World War II, he suspended his law studies and joined the U.S. Army Air Corps.

He was a B-17 pilot in the North African, Mediterranean and European theater of operations, l5th Air Force, 483rd Bombardment Group, 815th Squadron, stationed in North Africa and then in Foggia, Italy. The 483rd flew a total of 215 combat missions during 14 months of combat duty and Bennett was in the middle of it all. “Wherever there were major oil refineries, aircraft and parts factories, tank works, railroad terminals and marshaling yards, supply dumps, bridges and communication networks, he saw action,” Jane Bennett said.  He flew 35 missions and encountered severe flak and fighter attacks at some of the most heavily defended targets in Europe:  Linz’ Herman Goering Tank Works; Berlin’s Daimler-Benz Tank Works; Innsbruck; Vienna; Regensburg; Blechhhammer; Schweinfurt; Salzburg; Landshut; Moosbierbaum, and Ruhland where ME 262 German jets attacked his squadron.

The Tuskegee Airmen, the famous black squadron, escorted Bennett’s missions. “Their base was right next to my father’s,” Joan Bennett said. “They were separated on the ground but equal in the air. That is, they were  equal targets for the Germans.” Bennett often visited some of the fighters across the runway that segregated the blacks.   George McGovern,  the bomber pilot who later became a presidential candidate in l972, was stationed at a nearby base.  He flew B-24s.

Bennett flew some of the first shuttle missions into Russia.  As the bomber squadrons flew deeper into Germany, the planes did not have fuel or were too shot up  to return to their base in Italy. So the squadrons continued on to Poltova,  Russia, to get refueled  and repaired, and  then either flew back  immediately back to their base or stayed over night and flew back the next day.  The missions were kept secret during the war  but later became known as the “Poltova missions.”

 Of the original 646 crew members sent to Italy in March 1944, 38 per cent were killed or missing in action. His bomb group received numerous battle awards, including two outstanding unit presidential citations. Bennett was highly decorated and won three Oak Leaf Clusters, four Bronze Stars and the Distinguished Flying Cross. He was awarded the DFC  for his courage and skill in miraculously bringing his plane back from a mission over Worgi, Austria, in February, 1945.  Bennett’s plane was hit by heavy enemy fire and the two right engines were shot out. He told his crew to bail out but they refused because they counted on Bennett to pull  them through.  Bennett did, safely piloting his crippled plane over the Alps. When the plane limped back to its base in Italy, there was nothing left inside, because the crew had ditched everything to lighten the load.


Col. Paul L. Barton, Bennett’s commanding officer, pins the Distinguished Flying Cross on Bennett in a ceremony on May 12, l945, at the air base on the Sterparone farm in Foggia, Italy.  Gen. Twining, head of the l5th Air Force who ended up as Chief of Staff of the USAF after the war,  attended the ceremony.  “There was no Tom Hanks, Brad Pitt, Tom Cruise WWII move glamor,”  Bennett’s daughter Jane told me.  “The base itself was primitive: steel mats for runways.  Ankle deep mud in the winter along with snow, ice and rain. Open latrines, no toilet paper, tent-living with one crew per tent. No mess halls. One canteen of water per day, etc.”  She said the Bennetts visited the farm in l982.  “The runways were vineyards,” she recalled. “The briefing hall for the men still stands. The interior of white plaster is still lined with drawings of pinup girls. The young girl who lived on the farm during the war is now the owner of the family land. She was very gracious.  She invited us in for coffee.”

 After the war, Bennett finished  law school at the University of San Francisco and then embarked upon a remarkable career of public service. Until I started working on his obituary,  I knew nothing about Bennett’s distinguished war record as a bomber pilot.   But it is clear to me that, having followed Bennett through the years, that  his combat experience under artillery fire and with flak coming at him from all directions served him well in public life.  He spent most of his public career  as a tough, smart and  aggressive attorney who relished  taking on the big cases and the big corporate behemoths who were screwing the public on illegal mergers or monopoly rate increases. To him, this was just combat in a different theater of operations. Sometimes as a public attorney, sometimes acting as an individual citizen, he handled precedent-setting cases  in antitrust, regulatory and criminal law and argued six times before the U.S. Supreme Court. He earned the nickname “the legal Houdini” but I always thought of him as “Fighting Bill” Bennett.

 As a deputy attorney general, he successfully prosecuted public corruption trials in 1954-55 against the State Board of Equalization in San Diego and put l3 public officials in jail. From 1957-59, he handled the celebrated case of Caryl Chessman, known as “the redlight bandit.” After his argument before the U.S. Supreme Court, the court clerk quietly handed him a note from Associate Justice Felix Frankfurter. He wrote, “There is no reason why I should not tell you how admirably you represented the state in this important case.” The clerk told Bennett he should save the note because it was only the second such note that Frankfurter had ever written.

From 1957-58, Bennett represented the state before the CPUC and won many cases against utilities that resulted in hundreds of millions of dollars in ratepayer rebates. Gov. Brown appointed him chief counsel of the PUC in 1958.

In 1960 Bennett was invited to join Sen. John F. Kennedy’s campaign as an advance man canvassing a territory from Chicago to New York.  He became friends with JFK and was considered part of Kennedy’s “Irish mafia.” Kennedy asked him to head the Federal Power Commission but he rejected it to remain with his family.

Bill Bennett and then presidential candidate John F. Kennedy  are pictured in 1960 as they got off the campaign plane at O’Hare field in Chicago.  Bennett was an advance man for JFK and helped stage several rallies in Chicago. Then JFK and Bennett headed east to Hamtramck, Michigan, and finished up at the garment center in New York.  JFK asked Bennett to be head of the Federal Power Commission but Bennett turned the appointment down to remain in California with his family.

In 1962, after Brown appointed Bennett to the CPUC, he promptly took on PG&E with gusto.  With the support of the Sierra Club, Bennett filed the lone dissenting opinion against the CPUC’s approval of a nuclear power plant upwind of San Francisco at Bodega Bay. The  Bodega fight was started in the living room of Prof. Joe Neilands, a UC-Berkeley biochemistry professor and stoked along by the Neilands/CharlieSmith/David Pesonen gang, with help from the Chronicle and its executive editor Scott Newhall and environmental writer Harold Gilliam.  The battle caught on and became a national story and focal point for the emerging anti-nuclear movement. PG&E was forced by public opinion to withdrew its application and skedall down  to Diablo Canyon. And so did Bennett.
Bennett was later visited by the chairman of PG&E, Robert Gerdes. told Bennett, “We don’t mind you dissenting, but do you realize the Russians are trying to stop us from building atomic plants.”

During his CPUC tenure, Bennett led the commission to regularly reduce electricity and gas rates in response to rate cases before the commission. In 1968, then Gov. Ronald Reagan refused to reappoint Bennett to the commission and sent Bennett a letter apologizing for not being able to reappoint him. Reagan did not explain the reason. Before Reagan could kick him off the CPUC,  Bennett  had saved the consumers hundreds of millions of dollars. Ever after Bennett, the CPUC has operated on a supine  basis with PG&E and other utilities and has handed down rate increases and goodies to them on a virtual assembly line basis.  

I first met Bennett in 1967 in his CPUC office overlooking the Civic Center  in the  state building. Lee Fremstad, then the San Francisco correndent for the Sacramento Bee, took me in and introduced me. I had rarely seen a public official like Bennett. He knew about the Guardian and me, had some juicy story ideas for me, and a batch more for Fremstad. Fremstad bantered back and forth with Bennett, noting a couple of ideas but rejecting others as too much even for the Bee and its longtime public power posture.  Bennett was open, expansive,  full of Irish humor,  a populist Democrat full of opinions I liked, jutting the Bennett jaw to make a point, and the kind of guy  who might be good for a lively  three martini lunch.

I thought he would have made a wonderful newspaper columnist or editorial writer, if he could find a newspaper that would publish his  tough consumer-oriented opinions that so  agitated the PG&Es and Hearsts  of the region.  We always enjoyed  Bennett at the Guardian, endorsed and supported him and used him as a friendly source and inspiration.all through the years. 

When Bennett left the CPUC, Neilands and Smith held an appeciation dinner for him in Berkeley that brought together the Bodega Bay/public power warriors of the era.   This was a watershed moment for the Guardian and me.  My wife Jean and I went, met Bennett and Neilands et al and got initiated. We also met Peter Petrakis, a fan of Bennett’s, and a graduate student of Neilands. Neilands did our pioneering expose of the PG&E/Raker Act  scandal in l969.   Petrakis joined the Guardian and  followed up Neilands’ work with a series of investigative storiies that revived the scandal and  the public power movement in San Francisco.  Bennett, as I realized, was a catalyst.  

Bennett’s next move to stay in public service was to run for the State Board of Equalization and Franchise Tax Board. He won his first campaign in l970 even though his opponent outspent him $450,000 to $4,000, all his own money. He was relected to five more terms, despite refusing to accept campaign contributions, and continued to fight the good fight against the special interests in Sacramento and beyond. He was also a professor of law at Hastings while on the board.

Bill Bennett with his wife Jane in 1943 at the primary cadet school in King City, Calif. They were married 67 years.

Bennett is survived by his wife of 67 years, Jane, and sons William (wife Gwendolyn) of Lafayette, James (Paula) of Kentfield, Michael (Roxanne) of Manhattan, Kansas, and daughter Joan of Kentfield and grandsons Jimmy, Will, Jack, and Brendan of Kentfield.

The Bennett family obituary  sums up their patriarch: “Despite his friendships with president and esteemed jurists, his out-going nature was such that he was a friend to all. He was a populist democrat, consumer rights advocate, and a veritable David against the corporate world’s Goliaths, in the vein of his mentor and ultimately friend, Earl Warren. Even with such achievements, his most important and cherished career was as a father and family man. Upon retirement, he embarked upon his most rewarding and enjoyable career: a devoted, loving, entertaining husband, father, and grandfather. For them and through them, he will live forever ‘in his way.'” 

For me, I will stick with our cutline under Bennett’s picture on our l988 front page: “Bill Bennett, the only public official in California to take on PG&E.”

 

The Bennett family photo was taken in May,  2009, at the Napa airport. A B-l7 was touring the country and Bennett wanted to see it. Jane Bennett said he actually went through the plane. “It was not easy. The access was a skinny, steep, metal ladder to the cockpit. I don’t know how he got up it. He refused a ride in the plane. As he said, ‘If I cannot fly it, what’s the point.'”

How the UC regents avoided a PR mess with Bill Clinton

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Things were calm and peaceful outside San Francisco’s Fairmont Hotel, perched high atop a windy hill on Mason Street, as dark shiny vehicles rolled up to the stately entrance and well-dressed patrons filed in on the evening of Feb. 24. They were there to hear former President Bill Clinton deliver a speech titled “Don’t Stop Thinking About Tomorrow: Building a Better World,” as a benefit for the American Himalayan Foundation. The AHF is chaired by Richard Blum, a member of the University of California Board of Regents who is married to Sen. Diane Feinstein.

As guests arrived, a small group of workers tried to thrust neon green fliers into their hands. The fliers were headlined, “Tell Richard Blum to Stop Poverty at UC!” and charged that the UC Regents had approved a package of raises for UC executives on Jan. 21 even as front-line UC workers faced layoffs and cuts. The stack of Xeroxed fliers was a mere blip compared with what AFSCME Local 3299, the union that represents workers throughout the University of California system, had originally planned.

The union had organized a picket against Blum’s AHF event, which would have forced Clinton to cross a picket line in order to go in. Not only would this have created an unwanted spectacle, it could have marred the entire event. As AFSCME Local 3299 member Tim Thrush put it, “Bill Clinton is a friend of labor. AFSCME has worked with him a lot in the past … And Clinton will not cross the picket line.”

UC workers have been reeling in the face of massive layoffs and budget cuts. While the university administration contends that there is little it can do in the face of a decimated state budget, union workers point to examples of privatization on the UC campus as an alarming trend that is supplanting public-sector jobs and eroding California’s renowned public-education system.

AFSCME Local 3299 laid out three demands, according to organizer Danielle DiSilverio. While two — involving benefits for custodians at the Irvine campus and concerns about “reductions in time” at the Santa Cruz and San Diego campuses — have not been met, they did secure an agreement to abandon a plan to contract out jobs for shuttle drivers at UC Berkeley. Since the UC Berkeley shuttle drivers would be able to keep their jobs, Local 3299 called off the picket.

“We would prefer to not have to do this kind of stuff,” Thrush told the Guardian. “But unfortunately, in the world that Dick Blum operates in, we can’t get his attention unless we do stuff like this. As he works hard on poverty issues and gives money and time to poverty issues, he also makes decisions at UC that further the poverty problem of our lowest-paid workers. We want to keep reminding him that it’s not OK to do that.”