Energy

Ollie beats

Jesse Hawthorne Ficks
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0
Ollie beats

caitlin@sfbg.com

MUSIC Tommy Guerrero likes to skate down Potrero Hill. He’s been doing it since he was a young pup street boarder — one of the first to go pro, in fact — cruising down those steep residential declines that, looking south from SoMa, resemble like nothing so much as that scene from Inception where the dream city folds on top of itself. Guerrero skates smoothly from one legendary SF career to another, a shape-shift neatly illustrated by the release party for his eighth solo album Lifeboats and Follies at Cafe Du Nord Saturday, Feb. 5.

Despite the requests for autographs that he still gets; the occasional cravings his beat-up body experiences for skating (“It’s so raw and the energy is so fucking gnarly. Once you’ve had a taste of it, there’s no turning back.”); and a job that most ex-skate rats would kill for — he’s the art director for Krooked, a subset of Potrero Hill skate company Deluxe — he’s really more into music these days. “I would love to have all that time to work in the studio. I want to retire [from skate design] in a year,” he says, half-jokingly — but still longingly.

Maybe it’s a grass-is-always-greener thing, but until now he’s done a good job of balancing his various passions. Even in the 1980s and ’90s when Guerrero was grinding out his signature moves on the driveways and suicide hills of the city, back when he was popularizing Public Enemy in Japan by skating to the group’s tracks during competitions, music was always playing a supporting role. He and brother Tony played in punk bands, including Free Beer (a name that made for alluring concert flyers).

Nowadays Guerrero makes layered instrumental music that’s appropriately enough a mix of many different elements: chill jazz with electronic crescendos, a little Latin percussion, maybe a horn solo easefully inserted. Guerrero has a DJ-like impulse to play with genres. “I just hear so much shit in my head, this is what comes out.” Apparently his albums cause havoc in the Amoeba cataloging system. “I’ve seen it in electronic, rock, alternative, even experimental or some shit,” he laughs, sitting cross-legged in a patio booth at Thee Parkside, black leather Vans (his own signature design) on his feet.

He’s in the middle of doing some promotional work for Lifeboats and Follies, but like the rest of his projects, you get the feeling that Guerrero would be doing the same thing even if he never got paid a dime. After failing to resolve differences with his old label, Quannum, Guerrero bought the entire stock of his last album, From the Soul to the Soul, back from the company. He’s mulling over what to do with it — maybe give CDs away at Saturday’s show?

Guerrero never gained the Thrasher notoriety he got from skating in his musical career. But he casually mentions that he is, as the saying goes, big in Japan. He performs there a lot and gets off on being able to take risks with in his live performances that wouldn’t go over well with American audiences looking to hear the same old thing. “They can love J-pop and, at the same time, they can love John Zorn,” he says of his Japanese fans. It makes sense that Guerrero would gravitate toward an audience looking for a more diverse experience, one that trusts that whatever he’s popping off with — on the skateboard or mixing board — is gonna turn heads. 

TOMMY GUERRERO: LIFEBOATS AND FOLLIES RELEASE PARTY

Sat/5 9:30 p.m., $12

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com>

The road, Thorrior

Jesse Hawthorne Ficks
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1
The road, Thorrior

arts@sfbg.com

MUSIC There’s no easy way to describe Valient Thorr. Hailing from Chapel Hill, N.C., the quintet has labored throughout its career under the strain of countless casual characterizations, each less accurate than the one before it. Reached by phone in Raleigh, N.C., as he prepared for the band’s impending tour with Motorhead, singer Valient Himself gives the wry rundown.

“Forever, in The Onion, it said ‘Kiss-like band, biker band’ or some shit. None of us ride motorcycles!” he scoffs. Nor, for that matter, does the band wear elaborate makeup or sell branded coffins. The mistakes, however, continued. “People would say something like ‘Lynyrd Skynyrd-esque’ or some shit like that,” complains Valient. “We don’t play Southern rock. We have accents from the South because those are the colloquialisms that we have been accustomed to since we crash-landed here. Or they look at ‘Thorr’ and they say, ‘Oh, they’re Vikings.’ If you could pick three adjectives that we get called the most that are totally wrong, they’d be Southern, Viking, biker metal.”

Now, if you’ve been paying attention so far, you’ll have noticed that the singer goes by an outlandish pseudonym and makes offhand references to things like “crash landing.” By “here,” in the previous paragraph, he means “planet Earth.” This is because the band Valient Thorr claims, with a straight face, to be from the inside of the planet Venus. Valient Himself, a former sixth-grade teacher, sticks to his story throughout the interview, even when gently prodded to discourse on non-Venusian topics.

The band’s beginnings can be traced to East Carolina University, where the five Thorrs (Valient Himself, Eidan, Lucian, Sadat, and Dr. Professor Nitewolf Strangees Thorr) were masquerading as undergraduates. Nurtured by the college radio culture that defined their adopted home state for much of the 1990s, the band soon discovered the geographic advantages of hailing from the Tar Heel State, which features nine midsized cities along the axis of Highway 40, which neatly bisects it into northern and southern halves.

Before long, Valient Thorr was traveling nationwide, hitting 47 cities in 52 days on its first trip out. This relentless dedication to touring would come to define the band, which has effectively been on tour since Valient’s career in the classroom ended in 2005. That event also marked the last time he cut his beard, a fiery red thatch that has since attained truly epic proportions.

Though Valient Thorr’s music — a combination of the rabid, breakneck pace of punk rock and the precision guitar work of classic Thin Lizzy — produces some infectious, exultant tunes, the onstage charisma of the band in general and the singer in particular forms the most important part of its appeal. Clad in impossibly tight pants, cherry-red wrestling shoes, and little else, Valient prowls the stage soaked in sweat, striking mock-muscleman poses and exhorting the audience with the inexhaustible, manic energy of a true rock ‘n’ roll evangelist.

The power of Valient Thorr’s proselytizing can be seen at any show. A growing legion of die-hard fans, called Thorriors, pledge allegiance to the band above all others, often sporting customized jean jackets as emblems of their dedication. In that sense, at least, the band is like Kiss. One Thorrior, a Kansas City native, has even been granted an honorary Venusian surname; “Tim Thorr,” as he is known, “has more Thorrior tattoos than anyone else” explains Valient. “We call him the True Believer.”

Touring with a band as well-known as Motorhead, Valient Thorr is sure to win more converts to its cause. But whether people like it or not, or whether they believe it or not, the Thorrs will be out there. “I think performing is in your blood,” Valient says. “I think everyone was born to do something. We didn’t go to school to be rock ‘n’ rollers — it’s just something that came out of us. It’s an idea that started and it just had to happen.” *

VALIENT THORR with Motorhead, Clutch

Wed/2, 8 p.m.; $35

The Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com

 

Dreadfully fun

Jesse Hawthorne Ficks
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0
Dreadfully fun

Dead Space 2

(Visceral Games/Electronic Arts), Xbox 360, PS3, PC

GAMER Survival horror might be the game genre most affected by the environment it’s played in. You’ll see the best results when a player agrees to meet the title halfway: turning out the lights and turning up the volume. Then it’s up to the developers to deliver on their half of the equation. Though generally lauded when it released in 2008, the original Dead Space launched with promise but ultimately was content to repeat itself for the majority of its playtime.

Dead Space 2 delivers. An homage to movies like 1979’s Alien and 1997’s Event Horizon (which it most closely resembles), the Dead Space series is set in a future where space travel allows humans to embark on “planet cracking” missions, wherein all celestial bodies of the galaxy are prime meat for resource-exhausting expeditions. On one such expedition the shuttle finds an alien artifact, contagion, blah blah blah … zombies. A pretty first-rate “previously on” feature in the main menu will catch anyone up to speed.

As engineer Isaac Clarke, it’s up to you to survive this “necromorph” outbreak, this time aboard a space station named the Sprawl. Armed with a ton of weaponry and a little kinetic energy module, you’ll have to escape another apocalypse of the undead, as always by dismembering their arms and legs (and tentacles).

Perhaps taking a cue from last year’s Mass Effect 2‘s streamlining successes, Dead Space 2 is far more linear and cinematic than its predecessor. But unlike that other similarly space-themed sequel, the divide between what is lost and what is gained in the transition is far less apparent. In embracing the hallmarks of any good survival horror series — jump scares, the feeling of dread around each corner, and limited supplies — this sequel is less about innovation than it is about refinement.

Contrary to the drab shuttle hallways of the first game, the Sprawl was once a bustling metropolis and the environments you encounter are much more varied. From a church to a mall to zero-gravity space walks, the freshness in each area keeps it exciting. While the scares range from terrifyingly atmospheric (a bloodstained and deserted daycare center is especially eerie) to inelegant “monster closets” where enemies pop out of vents as you walk past, the game is never boring.

After a promising debut and a bit of a misstep with the God of War-aping Dante’s Inferno (2010), with Dead Space 2 developer Visceral Games has crafted an adventure that begs to be played more than once. Aspects remain overly familiar but, like the best franchises, the Sprawl provides players with a compelling setting and sense of dread that they’ll happily return to.

Music Listings

Andrew Lam
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0

WEDNESDAY 2

ROCK/BLUES/HIP-HOP

Corruptors, Heroine, Vanishing Breed Knockout. 9:30pm, $6.

Generalissimo, Blind Shake, Guitar vs. Gravity Hotel Utah. 9pm, $7.

Bobby Long Café Du Nord. 9:30pm, $15.

*Motorhead, Clutch, Valient Thorr Warfield. 8pm, $38.

Professor Burns and the Lilac Field, Eric Maskol, Maya Dorn Milk. 8:30pm, $5.

Das Racist, Hottub, DJ Vin Soi Independent. 8pm, $15.

Sweet Chariot, Victory and Associates, Calls Elbo Room. 9pm, $6.

Tristen, Billy and Dolly, Corner Laughers Rickshaw Stop. 8pm, $10.

Tunnel, Foolproof Four, Word Bottom of the Hill. 9pm, $8.

Wood Brothers Yoshi’s San Francisco. 8pm, $17.

JAZZ/NEW MUSIC

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

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

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

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

DANCE CLUBS

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

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

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

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

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

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

THURSDAY 3

ROCK/BLUES/HIP-HOP

Ólafur Arnalds Great American Music Hall. 8pm, $17.

Shawn Colvin Yoshi’s San Francisco. 8pm, $34.

Leather Feather, Heart Touch, Dr. Madd Vibe, Sistas in the Pit, Punk Funk Mob Cellspace, 2050 Bryant, SF; www.sfindie.com. 9pm, $10. Part of SF Winter Music Festival.

Limousines, Aaron Axelsen, Miles the DJ Rickshaw Stop. 10pm, $12. Presented by Popscene.

Little Creatures, Casy and Brian El Rio. 10pm, free.

Mangled Bohemians, Lickets, Shores Hemlock Tavern. 9pm, $6.

Mercury Falls Kaleidoscope, 3109 24th St, SF; www.kaleidoscopefreespeechzone.com. 9pm, $8.

Midnight Snackers, Badugi, Late Night Drive Kimo’s. 9pm, $6.

Mofo Party Band Biscuits and Blues. 8 and 10pm, $16.

Nels Cline Singers with Yuka C. Honda, Paul Riola Independent. 8pm, $16.

Social Distortion, Aggrolites, Chuck Ragan Warfield. 9pm, $35.

Tennis, Lord Huron, Air Waves Bottom of the Hill. 9pm, $12.

That Ghost, Hymn for Her Amnesia. 9pm.

Toasters, Inciters Red Devil Lounge. 8pm, $12.

JAZZ/NEW MUSIC

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

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

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

FOLK/WORLD/COUNTRY

Country Casanovas Atlas Café. 8pm, free.

DANCE CLUBS

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

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

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

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

Electric Feel Lookout, 2600 16th St, SF; www.fringesf.com. 9pm, $2. Indie music video dance party with subOctave, Blondie K, and guest DJ Lifeline.

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

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

Holy Thursday Underground SF. 10pm, $5. Bay Area electronic hip hop producers showcase their cutting edge styles monthly.

JFK of MSTRKRFT, Nisus, Shane King Mighty. 9pm, $15.

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

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

Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro.

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

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

FRIDAY 4

ROCK/BLUES/HIP-HOP

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

Les Aus, Huan Hemlock Tavern. 9:30pm, $8.

“Battle of the Bands: Finals” DNA Lounge. 5:30pm, $12. With Handshake, Thy Winter Shadow, Boondock Squad, and more.

Blisses B, Acadia Collective, Ben Keeler Hotel Utah. 9pm, $8.

Ethan Bortnick and His Musical Time Machine Regency Ballroom. 8pm, $29-50-39.50.

Cat Power Fillmore. 9pm, $35.

Church Great American Music Hall. 8pm, $35.

Shawn Colvin Yoshi’s San Francisco. 8pm, $34.

Definite Articles, She Beards, Gems, Bryan McPherson Bottom of the Hill. 9:30pm, $10.

Exrays, Tim Cohen’s Magick Trick, Fiveng, DJ Cyclist Café Du Nord. 9pm, $12.

“14th Annual One Night Stand” Slim’s. 8pm, $13. Local bands perform cover songs.

Frail, Rykarda Parasol, Slpwlkrs Rickshaw Stop. 8pm, $10-15.

Hi-Rhythm Hustlers, Slim Jenkins Verdi Club, 2424 Mariposa, SF; www.oldtimey.net. 9pm, $10.

Claudette King Biscuits and Blues. 8 and 10pm, $20.

Los Shimmy Shakers, Foolproof Four, Taxes, Yoma Band, Shit Outta Luck, Thief, Nervous Energy Cellspace, 2050 Bryant, SF; www.sfindie.com. 8pm, $10. Part of SF Winter Music Festival.

Social Distortion, Lucero, Chuck Ragan Warfield. 9pm, $35.

FOLK/WORLD/COUNTRY

Forro Brazuca, DJ Alfie1Bateria Elbo Room. 10pm, $10.

Valerie Orth and friends Red Poppy Art House. 8pm, $10-15.

JAZZ/NEW MUSIC

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

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

DANCE CLUBS

Braza! Som.10pm, $10. With DJs Vanka, Elan, and Caasi.

Deeper 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With rotating DJs spinning dubstep and techno.

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

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

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

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

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

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

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

Strangelove Cat Club. 10pm, $6. Six-year anniversary featuring goth and industrial with DJs Tomas Diablo, Joe Radio, Xander, and Orko.

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

SATURDAY 5

ROCK/BLUES/HIP-HOP

Communist Kayte, Icekats and the Mengz Thee Parkside. 3pm, free.

Devil’s Brigade, Roger Miret and the Disasters Thee Parkside. 9pm, $12.

*400 Blows, Skinwalker, Longmont Potion Castle El Rio. 10pm, $8.

Tommy Guerrero Café Du Nord. 9:30pm, $12.

Hurry Up Shotgun, X-Ray Press, Third Victim of Abigail Rutledge Hemlock Tavern. 9:30pm, $6.

Lakeside Yoshi’s San Francisco. 8 and 10pm, $25-35.

Led Zeppelin 2 Slim’s. 9pm, $16.

Rod Piazza and the MIghty Flyers Biscuits and Blues. 8 and 10pm, $22.

Pollux, Pine and Battery, Lite Brite, Gentlemen Bottom of the Hill. 9pm, $12.

Grace Potter and the Nocturnals Fillmore. 9pm, $20.

Roy G. Biv and the Mnemonic Devices, Semi Feral, Aaron Lee and the Love Vigilantes, Sorry Mom and Dad Kimo’s 9pm, $8.

JAZZ/NEW MUSIC

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

FOLK/WORLD/COUNTRY

Brothers Comatose, Green String Farm Band Amnesia. 9pm, $7.

Rodney Crowell Great American Music Hall. 9pm, $26.

I.R.B. Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

“Khaliji Night” Arab Cultural and Community Center, Two Plaza St., SF; www.arabculturalcenter.org. 7pm, $15. With singer-oud player Naser Musa and percussionist Faisal Zedan.

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

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

DANCE CLUBS

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

Everlasting Bass 330 Ritch. 10pm, $5-10. Bay Area Sistah Sound presents this party, with DJs Zita and Pam the Funkstress spinning hip-hop, soul, funk, reggae, dancehall, and club classics. Foundation Som., 2925 16th St., SF; (415) 558-8521. 10pm.

Gemini Disco Underground SF. 10pm, $5. Disco with DJ Derrick Love and Nicky B. spinning deep disco.

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

Kontrol Endup. 10pm, $20. With resident DJs Alland Byallo, Craig Kuna, Sammy D, and Nikola Baytala spinning minimal techno and avant house.

Leisure Paradise Lounge. 10pm, $7. DJs Omar, Aaron, and Jet Set James spinning classic britpop, mod, 60s soul, and 90s indie.

New Wave City: New Romantic Night DNA Lounge. 9pm, $7-12. DJs Skip and Shindog spin dreamy 80s.

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

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

Sensualite 111 Minna. 8pm, $20. Sexy party with burlesque, cookies, and the authors of Cockfidence: The Extraordinary Lover’s Guide to Being the Man You Want to Be and Driving Women Wild.

Souf Club Six. 9pm, $7. With DJs Jeanine Da Feen, Motive, and Bozak spinning southern crunk, bounce, hip hop, and reggaeton.

Soundscape Vortex Room, 1082 Howard, SF; www.myspace.com/thevortexroom. With DJs C3PLOS, Brighton Russ, and Nick Waterhouse spinning Soul jazz, boogaloo, hammond grooves, and more.

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

Three Kinds of Stupid Dance Party Rickshaw Stop. 9pm, $12. With Sugar and Gold, Yip Deceiver, and DJs BAS, Chris Baty, and Brother Grimm.

Twelves, White Mike, Nisus Mezzanine. 9pm, $16.

SUNDAY 6

ROCK/BLUES/HIP-HOP

Fracas, Kicker!, Bite, FUKM, Sad Boy Sinister Cellspace, 2050 Bryant, SF; www.sfindie.com. 6pm, $10. Part of SF Winter Music Festival.

Hymn for Her Hemlock Tavern. 9pm, $6.

Plain White Ts, Parachute, Miggs Fillmore. 8pm, $22.50.

JAZZ/NEW MUSIC

Jennifer Bryce and Josh Workman Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Joe Warner Trio Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8pm, free.

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

FOLK/WORLD/COUNTRY

John Meeks Thee Parkside. 4pm, free.

DANCE CLUBS

Afterglow Nickies, 466 Haight, SF; (415) 255-0300. An evening of mellow electronics with resident DJs Matt Wilder, Mike Perry, Greg Bird, and guests.

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

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

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

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

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

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

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

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

MONDAY 7

ROCK/BLUES/HIP-HOP

Asada Messiah, Dimesland, Catacomb Creeps Elbo Room. 9pm, $6.

Atomic Tom, Maniac Café Du Nord. 9:30pm, $12.

Guitar Shorty Biscuits and Blues. 8 and 10pm, $20.

JAZZ/NEW MUSIC

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

Randy Weston Yoshi’s San Francisco. 8pm, $30.

DANCE CLUBS

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

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

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

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

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

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

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

TUESDAY 8

ROCK/BLUES/HIP-HOP

Assateague, Wooly Moon Amnesia. 9pm.

Tina Dico Swedish American Hall (upstairs from Café Du Nord). 8pm, $16.

Lazarus, Michael Beach, Colossal Yes Hemlock Tavern. 9pm, $6.

Dominique Leone, Sit Kitty Sit, Tzigane Society Bottom of the Hill. 9pm, $8.

Tony Lucca, Lauren Shera Café Du Nord. 9:30pm, $12.

Sebadoh, Quasi Great American Music Hall. 8pm, $20.

Guitar Shorty Biscuits and Blues. 8 and 10pm, $20. Lolita Sweet Yoshi’s San Francisco. 8pm, $20. JAZZ/NEW MUSIC Nick Culp Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Bombshell Betty and Her Burlesqueteers Elbo Room. 9pm, $10. Burlesque and live music with Fromagique. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx.

 

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

Don’t nobody still give a damn?

Mary Magee
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33

For the second day in a row, Aboriginal Blackmen United (ABU), a community organization that represents unemployed construction workers from Bayview Hunters Point, embarassed University of California officials by blocking the front gate of UC’s $1.7 billion Mission Bay hospital project.


ABU members claim UCSF is refusing to hire workers from local neighborhoods and they say they are prepared to go to jail if their demands aren’t met.

“At 6: 30 this morning, we were full of energy,” ABU President James Richards said on the first day of the protest. And ABU members recalled that they saw ” nothing but skunks”  when they arrived outside the construction site at 6 a.m.


“They’d locked up everything and guarded back fence, so we stopped everyone from coming in this front entrance, including management and cars,” Richards said, as he stood outside UC’s 16th Street and Fourth Street construction site, while ABU members chanted, “If we don’t work, nobody works.”


Richards said the police told employees to go around to the site’s back entrance, as they made calls, trying to figure out what was going on.

“We’ve been out here every day for almost a year and nothing has changed except the paperwork,” Richards continued. “We have qualified union workers standing outside the job site that are ready, willing, and able to work and if the community doesn’t work, no one works.”

But UC officials say they want the Mission Bay Hospitals project to be a model for the nation of how to put people to work, even though, as a state agency, they cannot mandate local hire requirements or give preference to any particular domicile.

“UC is very committed to maximizing local hire where we can,” Cindy Lima, executive director of the Mission Bay Hospitals project, said. “It’s unfortunate that there is a protest because it gives the sense that we haven’t been working with the community, when in fact we have been working with the Mayor’s Office, CityBuild and every stakeholder interested in this project, including ABU.”

Richards said ABU decided to mount their protest this week for two main reasons: to challenge UC’s claims that it has been hiring more local residents at the site, and to register anger over the distribution of a  flier that encouraged local residents interested in working at the UC site and other construction projects in town to sign up with a group called the San Francisco Workforce Collaborative.


The flier, which fueled suspicions that UC is trying to divide the city’s disadvantaged communities, named Dr. Arelious Walker as President of BayView Hope Community Development Corporation.


“We at the San Francisco Workforce Collaborative partnered with BayView Hope CDC are currently doing sign-ups in ALL trades to afford you the opportunity to work on these projects,” the flier stated.


Richards was particularly outraged that Walker was calling his group “the San Francisco Workforce Collaborative,” since this was the name UC used to describe its community outreach efforts last year.


“We guys were with Walker when he was fighting the Nation of Islam’s attempt to stop development at the shipyard, so it hurts so bad to see this,” he said, pointing to a copy of Walker’s flier, which listed Jan. 25 and Jan. 27 as sign-up dates at Walker’s Gilman Avenue building.

“All I know is that ABU is here for the long run and we’re prepared to go to jail,” Richards said. “Never again will we stand by and let people come into the southeast community and take our jobs. We’re going to fight until the end.”


“When Dwayne Jones was with the City, DPR [which is UC’s construction contractor] was trying to notify him about requirements for job hire, and Jones was supposed to notify ABU for job placements, but now we find out that they have brought in another consultant,” Richards said, noting that Jones has left the city and now works for Platinum Advisors. “And now all of a sudden, UC hires this company and is giving this list to DPR?” Richards continued, noting that UC has hired a consultant called Marinus Lamprecht to handle job submissions at its hospital site, but no one from ABU had been hired, despite the fact that Richards submitted five names to UC, months ago.


“We’ve been demonstrating at this site and marching down the street, and UC was telling us at that time, we’re gonna put some of your folks to work,” Richards said. ” All I know is that ABU is working diligently to try and get our people hired. We want to be the first organization, not the only organization to have people work here. After demonstrating and protesting for over a year, we feel that the people who brought UC to the table and supported the city’s new local hire legislation have the right to work first. But it always seems that the powers-that-be go outside our community to cause division amongst the community.”

“We’ve been here since 6 a.m. today and this is the community,” Richards continued. “No so-called community leaders have joined forces with us, including pastors and political leaders. And that’s why we say, don’t nobody give a damn about us, but us.”

Reached by phone, UCSF’s news director Amy Pyle clarified that in recent weeks UC has committed to voluntary hiring goals at the site. The goals start at 20 percent, and increase 5 percent each year until the completion of the project in 2014, Pyle said.

This means UCSF’s voluntary local hiring plan was put together shortly after the Board of Supervisors approved Sup. John Avalos’ mandatory local hire legislation for city-funded projects. Former Mayor Gavin Newsom refused to sign Avalos’ legislation, leaving Mayor Ed Lee to figure out how to implement Avalos’ legislation, which mandates 20 percent local hire this year, increasing 5 percent each year until mandatory 50 percent goals are reached. And UCSF officials stress that, as a state agency, UC can’t have quotas and isn’t subject to the city’s local hire mandates, since its hospital project is not city-funded. But they note that the university has set voluntary local hiring goals, held monthly meetings with stakeholders, and is currently working on carving out financial incentives to encourage contractors to achieve these voluntary goals.

“Our voluntary goals are not a result of their protest,” UCSF news director Pyle said. “We have been aware of the local hire concerns since before they were protesting. So, I don’t think people should expect there to be a quid pro quo.”

And Lima observed that UC has tried to maximize local hire on construction sites, since 1993. “It’s ranged from 7 to 24 percent, so the average has been about 12 percent,” she said, stressing that a lot has changed in recent years, regarding UCSF, local hire, and the overall economy.

“For a start, this project is six times larger than anything we’ve done,” Lima said. “There’s been a shift in capacity of community groups. The city has centralized its actions, concerning local hire efforts. And now it’s advancing its local hire goals, and then there’s the economy.”

Lima said that it’s because of this changed landscape that UCSF is ramping up its efforts to hire local residents.

“While we cannot mandate that our contractors hire locally, we are holding monthly meetings that are open to all community stakeholders,” she said. “We are doing extensive outreach to offer any stakeholders to submit names. We are keeping a list so as jobs become available. We are able to provide those names to unions for job call opportunities. And we have tried to carve out part of our payment to contractors to put it into an incentive program if they hit those goals.”

Lima said the final details of the incentive plan haven’t been worked out.
“But they are substantial,” she said.

She insisted that ABU did not succeed in completely shutting down UC Mission Bay Hospitals’ construction site in the last two days, and she claimed that if the goals of UCSF’s voluntary local hire program are reached, UC will double its historical local hire average, eventually.

Lima pointed to UC Mission Bay’s website where minutes of a Jan. 13 meeting between UCSF and representatives for the local workforce are posted.

Those minutes show that UCSF has agreed to work with its Mission Bay construction contractor DPR “to ensure that qualified San Francisco residents have access to jobs, Lima said, and that names can be submitted to consultant Marinus Lamprecht, using submission forms available here.

UCSF also intends to prepare trade-by-trade name call opportunities and has promised to report on actual local hiring progress at monthly community workforce meetings to be held the second Thursday of each month, she said.


UCSF’s news director Amy Pyle clarified that under UC’s voluntary local hire program,  “local residents mean people who live in San Francisco generally.”


“Of course we are looking to be good neighbors and hire people from an area we know has been hard hit,” Pyle said.

Meanwhile, Lima said UC has not entered into any contract with BayView Hope CDC and requested a copy of Walker’s flier to see if his group “overstepped.”
“For many years, UC did have a memorandum of understanding with the community and was working with a group called the San Francisco Workforce Collaborative,” Lima clarified. “The name has lasted, but the organization has changed. It was very successful historically, and there’s been an effort in the community to resurrect that group and make it stronger, but the landscape has changed, so we decided to open the doors to everybody.”

According to Lima, any interested party can now submit names to UC’s sign-up list.

“I carry that list around with me,” Lima said, promising folks will be hired in the order their names are received, if they match available opportunities.

“The contractors talk to the subcontractors who give them their best monthly estimates,” Lima said, noting that the subcontractors arrive with a core crew and then call the unions to fill their remaining needs.


Lima said part of the current uproar over local hire at UC Mission Bay’s hospital site stems from the misperception that there are lots of jobs available now.


“Job opportunities should ramp up in May, but right now, they are installing 1,052 structural piles,” she said. “So if there is an opportunity for a carpenter or a laborer to get decks built, we call the union.”

Lima added that folks are welcome to review data that UC’s compliance officer gathers.
‘It’s in our and the community’s best interest to put people to work,” she said.

But so far UCSF’s stance has continued to angered ABU members. They note that the university’s local hiring rates hovered at less than 10 percent until a series of ABU-led community protests in late 2010 forced UCSF and its contractor DPR  to request voluntary reporting of worker residency. 

And while UCSF claims that local employment is on the rise at the site, ABU questions the reliability of the university’s self-reported performance at the site. As a result, ABU imembers continued to protest at the site Jan. 26, even as efforts appeared to be underway to address their concerns.

“Dr. Walker called us, he was apologetic,” ABU’s Ashley Rhodes told the Guardian Jan. 26, referring to BayView Hope CDC’s flier. “And the Mayor’s Office just called, saying they wanted to talk with James [Richards, ABU’s leader]. So, that’s where he is right now. But tomorrow we may go to jail.”

Rhodes noted that on Jan. 26, DPR hired one carpenter from ABU’s list.  “And a female receptionist is being interviewed, but we still have three out of five names we submitted last year to bring in,” he said.

Outside UC’s Mission Bay construction site , Michelle Carrington, a 58-year-old Hunters Point resident, continued her protest for a second day straight.

“I’ve been out of work for ten years,” Carrington said, noting that she has over a decade of construction experience as a flagger and an operating engineer.
“I graduated from YCD in 1999,” she said, referring to Young Community Developers. “Dwayne Jones trained me. He just left the Mayor’s Office and now he is working to help us get jobs.”

Snap Sounds: Reuber

John Elberling
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0
Snap Sounds: Reuber

REUBER
Ring
(Staubgold)

This is the most characterful techno album in a long, long while. Instead of obeying minimalist trends, Reuber goes for something epic — Ring is Kosmische, but much more enthusiastic and lively and cheerfully vulgar (the finale verges on trance) than anything that sound’s huge cluster of revivalists have put forth in the past few years. The surging syncopation is Moroder-esque or Tangerine Dream-y rather than studious, and the album’s energy verges on gonzo, from the coiling, roiling metro-ride momentum of “Ringer” — the centerpiece and highlight — to the tribal fervor that lingers at the far edges of the two tracks before and after it. Performance clips of his Tuvan throat techno after the jump!
 

Reuber live — Nov. 16, 2008 (clip 1)

Reuber live — Nov. 16, 2009 (clip 2)

 

Getting free

Jesse Hawthorne Ficks
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3
Getting free

rebeccab@sfbg.com

Shane Bauer and Josh Fattal have been held captive in Evin Prison in Tehran for more than 540 days, and their friends and supporters in the Bay Area have been mounting an extraordinary campaign pushing for their release.

On July 31, 2009, Bauer and Fattal were hiking with Sarah Shourd, who is Bauer’s fiancée, through green mountains in Iraqi Kurdistan. The three UC Berkeley graduates had traveled from Damascus for a recreational visit. They were wandering nearby Ahmed Awa, a popular tourist destination where hundreds of people had flocked to camp, to visit a waterfall and enjoy the peace and quiet of the mountains.

They say they didn’t realize how close they were to Iran, which has no diplomatic ties to the United States.

Shourd told the Guardian she’s not sure whether they accidentally traversed the Iranian border, because it was unmarked. “We had no intention of being anywhere near Iran,” she said. “And if we were, we’re very sorry.”

Iranian officials surrounded them, speaking in Farsi, which they couldn’t understand. They were arrested on suspicion of spying and taken into custody. Before being taken to prison, one phoned a friend, Shon MeckFessel — who had been traveling with them but opted not to go on the hike because he wasn’t feeling well — to alert him that something had gone wrong. That would be the last communication any of them would have with close friends or family members for months.

Shourd was finally released on bail Sept. 14, 2010 on humanitarian grounds after spending 410 days in solitary confinement. She was reunited with family and friends — but Bauer and Fattal have remained in detainment ever since.

Since returning to the United States, Shourd has thrown her energy into advocating for their release — and she’s not alone. “Everyone in the family has been working tirelessly for all 18 months,” she said, “which is far, far longer than we ever imagined in our worst nightmares.”

 

FIGHTING FOR FREEDOM

While Shourd was still in prison, her mother, Nora, gave up her home and job to move in with Bauer’s mother, Cindy Hickey, and work for their release full-time. Fattal’s older brother, Alex, suspended his graduate studies at Harvard to dedicate himself to the campaign. His mother, Laura Fattal, stopped working to devote herself to the campaign.

“That’s just family alone,” Shourd noted. “If you start to look to how many people have contributed to our campaign and how many ways, it just blows your mind.” Soon after her release, Shourd put out a call for people to hang banners proclaiming the innocence of Bauer and Fattal and calling for their release. In response, nearly 60 banners were unfurled in 25 different countries.

Shourd has made countless media appearances since her release, and even put out an MP3 of a song she composed while in solitary confinement, which can be downloaded as a way to support the Free the Hikers campaign. Their story has drawn the interest of prominent figures. On Jan. 19, Noam Chomsky released a video offering to testify on their behalf if a trial is held, saying Bauer and Fattal “have dedicated themselves to advocating for social and environmental justice in Africa and elsewhere, and they truly embody the spirit of humanitarianism.”

Others who have publicly defended the trio include President Barack Obama, who issued a statement in July saying none of the hikers ever worked for the U.S. government, addressing Iranian accusations that they were there to commit espionage. United Nations Secretary General Ban Ki-Moon and the Archbishop Desmond Tutu have called for their release. A documentary has been produced about their plight, and a second one is in the works.

In San Francisco, artists and musicians have responded in droves to a call for support. An art auction that will benefit the campaign is planned for Jan. 29, featuring the work of more than 80 artists, plus live musical performances. As a nod toward Bauer’s work in photojournalism, the event will emphasize photography, and notables such as Mimi Chakrova, Taj Forer, Roberto Bear Guerra, Ken Light, the LUCEO Photo Collective, Susan Meiselas, Lianne Milton, Mark Murrmann, Alec Soth, and others have donated work. Among the artists who donated pieces are Marianne Bland, Mark Brecke, Teresa Camozzi, Andreina Davila, Eric Drooker, and former Board of Supervisors President Matt Gonzalez.

In early February, a music benefit will be held at the Bottom of the Hill to benefit the campaign. Titled “They Sing These Songs In Prison,” the event will feature performances of The Nightwatchman — that’s Tom Morello of Rage Against the Machine — plus Jolie Holland, accordionist Jason Webley, and Ryan Harvey & Lia Rose.

“The funding is to support the campaign to free Shane and Josh, and it goes to a wide array of needs that we have, like translation into Farsi, travel for media, and meeting with some various embassies and governments that are involved in advocating for Shane and Josh’s release,” Shourd explained. “Also, some of the money will probably go toward legal fees, and website fees, and materials for the campaign from flyers to business cards to t-shirts.”

 

WHO ARE THE HIKERS?

The campaign to advocate for their release has been tagged Free the Hikers, but the identities of the three young people (Bauer and Fattal are both 28, Shourd is 32) go much deeper than that. They’re social-justice advocates, antiwar activists, writers, environmentalists, travelers, and creative thinkers with deep ties to the Bay Area.

Shourd, who lives in Oakland, was teaching English to Iraqi refugees when she was in Syria, as well as practicing some journalism. Fattal, who taught at Aprovecho — an education center in Oregon focused on sustainability and permaculture — had been traveling to India, South Africa, and other places through the International Honors Program to lead workshops on health and sustainable technology before visiting his friends in Syria.

“Josh is an environmentalist, he’s a teacher, he’s an incredible, incredible, generous and selfless man,” Shourd said. “As soon as you meet him, you feel what an extraordinary and unique human being he is. I was friends with him for years before he came to visit us in Damascus, and he decided to travel with us to Northern Iraq to Iraqi Kurdistan to learn about Kurdish culture, to see another diverse aspect of the Middle East.”

Bauer wrote for publications such as The Nation, Mother Jones, and the Christian Science Monitor. A photojournalist who has won multiple awards and had his work published internationally, Bauer has documented everything from tenant conditions in San Francisco SROs to conflict-ridden regions in Africa and the Middle East. Bauer also wrote an article for the Guardian about an Oakland residence that is famous among East Bay anarchists (See “Hellarity burns,” May 27, 2008).

“Shane has an incredible passion for pursuing truth and complicating our ideas about other parts of the world, about conflicts around the world and at home,” Shourd noted. She added that many of his stories serve to highlight “some of the very specific ways that the U.S. presence in Iraq has taken a toll on innocent people.”

Before their ill-fated excursion, Shourd said she’d heard from multiple westerners and her Arabic tutor that Iraqi Kurdistan was a safe and enjoyable place to visit. “It’s often referred to as ‘the other Iraq’ because it’s a semiautonomous region designated as a no-fly zone by the U.S. government,” she explained. “It’s actually a part of the Middle East that has a very positive fingerprint from the U.S. government because they helped protect the Kurdish people from Saddam Hussein. So Northern Iraq is not a dangerous place for Americans or westerners to go, and no American has ever been killed in Northern Iraq, which is just phenomenal after a decade of war and occupation.”

She said Bauer, Fattal, and MeckFessel were all enthusiastic about the trip, and after researching it online, the four felt they had enough information to travel there. “We ordered a special Lonely Planet guide of Northern Iraq, and a friend of ours who went a month before we did borrowed it and lost it, so we didn’t have the Lonely Planet guide,” she noted. “But we still felt we had enough information about it to travel there and really believed we had nothing to fear.”

 

SOLITARY

Shourd credits her fiancé and her friend with helping her through “every minute of prison,” even though she was alone in her cell for 23 hours a day. At first she wasn’t allowed to see them at all, but after some time had passed, guards allowed her to visit with them in an outdoor courtyard for 30 minutes a day. Later, that brief time together was increased to an hour.

“There’s no way I could have maintained hope and maintained my own sanity and the strength that it took to get through every day of isolation and depravity and uncertainty and fear,” she said. “The emotional strength that that took, and the discipline that it took, really Shane and Josh and I all created together in the little time that we had, through the unconditional support and love we had for each other.”

Since they didn’t speak Farsi and the guards spoke very little English, it was difficult to communicate basic needs, and Shourd described the experience as being surrounded by hostility.

“Whenever I just started to slip away mentally, Shane and Josh would bring me back, and the knowledge that they were going to be there for me was the only thing that got me through 410 days of solitary confinement,” she said. The three thought up activities to give themselves something to look forward to, like marking time with small courtyard celebrations and special food they saved to share together or discussing topics in an organized format. “We had almost like a curriculum that we followed of study, and sort of intellectual exploration,” she explained.

They were only allowed to have pens for one month — that was the easiest month, Shourd said. But the rest of the time, even though they weren’t permitted to write things down, they were allowed to read. “Books were our lifeline. We read the same books in concert, we took turns reading books and passed them back and forth when we saw each other in the courtyard. And we would memorize dates and memorize poetry and recite poetry to each other and test each other on dates,” Shourd said.

“Josh would give me math problems to do in my head because he knew I was trying to get better with algebra. We had a dictionary that we passed back and forth, and we would make stories from words in the dictionary and tell each other these really intricate fantastical stories that we came up with. Anything to keep your mind busy.”

Beginning in her second month in prison, Shourd also passed the time by composing songs. A month went by before she was able to share the first one with Bauer and Fattal, but when she did finally sing it for them, they learned the words and sang it with her. “When we were together in the outdoor courtyard, they would just tell me to sing louder,” Shourd said. “I know they’re singing those songs now.”

The intellectual drills, storytelling, math problems, and singing weren’t merely a remedy for boredom. “You have to really keep your mind strong and busy so that you don’t get sort of swallowed up by the abyss of fear and loneliness that encroaches on you day by day in that kind of situation,” she said.

 

LOOKING AHEAD

Despite the time, energy, and effort spent on the campaign to free all three, no one can say for sure just when Bauer and Fattal will finally be reunited with family and friends. In November, Iranian authorities said that a trial previously scheduled for that month had been postponed, but the Free the Hikers campaign is calling for them to be released without a trial.

“They don’t deserve to be there one minute longer than I was, and they never deserved to be there in the first place,” Shourd said. “They should be shown the same kind of humanitarianism that they have put into action in their lives, through their work.”

Amnesty International is among many of the groups that have called for the Iranian government to release the two young men. “One year after their arrest, the Iranian authorities’ failure to charge them with illegal entry into Iran or more serious charges, such as espionage, has fueled speculation that the Iranian authorities are holding them as a bargaining chip,” notes a statement released July 2010 by Amnesty International, an international human rights organization.

Meanwhile, Shourd has been contemplating what her experience would have been like if the U.S. and Iran actually maintained diplomatic ties, and she published an opinion piece on CNN International calling for greater communication between the governments.

“I think it’s their responsibility to their people to do that, and I think it’s a tragedy that there’s been 30 years of practically no relationship between Iran and the U.S.,” Shourd said. “It’s a tragedy for countless Iranian Americans in this country who have a hard time visiting their relatives in Iran, sending them money, even just getting information about them or visiting their homeland.”

She began her opinion piece by recounting the time that a prison guard brought her freshly picked roses, an uncommon gesture of kindness during her incarceration. “In the worst of circumstances, the most extraordinary acts of human kindness emerge,” she told the Guardian. “They were rare. The vast majority of my experience was empty and desolate. But the times that the guards were kind to me … will stay with me for the rest of my life.” *

ART AUCTION TO FREE ALL THREE

Saturday, Jan. 29, 7 p.m.

SomArts Cultural Center

934 Brannan, SF

Musical performances by The Ferocious Few, Devon McClive and Sons, Grant Hazard and Lorin Station

www.artforssj.tumblr.com/#about

THEY SING THESE SONGS IN PRISON

Featuring The Nighwatchman, Jolie Holland, Jason Webley, Ryan Harvey & Lia Rose

Thursday, Feb. 10, 8:30 p.m., $12–$18

Bottom of the Hill

1233 17 St., SF

www.bottomofthehill.com

To learn more, visit www.freethehikers.org, www.freeourfriends.eu

Working to dance, dancing to live

Jesse Hawthorne Ficks
-
5
Working to dance, dancing to live

arts@sfbg.com

DANCE When people ask what I do, I tell them I dance. I don’t tell them I work as a receptionist part time, or that I work events in a restaurant. I tell them I dance because, although it’s more glorious-sounding than my odd jobs, it’s also more important. These side jobs exist merely to facilitate the dance. They are expendable; dancing is not. But while dance fuels me physically and emotionally, it fails me financially. For better or worse, there is a whole community of dancers and choreographers in the Bay Area who share this same conundrum to lesser or greater degrees.

So what do Pilates instructors, nannies, dog walkers, waitresses, and personal assistants have in common? They are all jobs with variability in work scheduling, and they are just a handful of the flexible jobs employing Bay Area freelance dancers. Over the past month I’ve interviewed about 20 of my fellow dancers and have been heartened at the abounding courage found in the local dance community to pursue alternate lifestyles to continue dancing.

Daria Kaufman has an MFA in Dance from Mills College. She teaches Gyrotonic, works as a receptionist at a yoga studio, and does administrative work for the Subterranean Art House. “One of the major challenges for dancers and choreographers is money — how to afford classes, rehearsal space, and theater rentals, to name a few,” Kaufman says. “I’ve done a lot of work-study over the years to combat the issue of affording dance classes. Most studios have a work-study program — clean for an hour and a half, get a free class, that sort of thing. Some studios offer a similar deal for renting out rehearsal space.”

Adaptability is necessary. Schedules vary day to day and month to month according to who’s teaching which classes, who’s working on what project, and what jobs will work around those opportunities. Often the most flexible jobs can be found in the food industry. Evening shifts allow dancers and choreographers to take morning classes and rehearse through the day, while variability in shifts provides flexibility when it comes to evening performances.

Angela Mazziotta, a dancer with Cali & Co., works at Squat and Gobble Cafe and Crepery in the Marina. “Although I don’t work enough to be considered full time, I make enough to pay rent, eat, and dance,” Mazziotta says. “There are days that I long to have a ‘big girl’ job for security, insurance, and more financial cushion. The reality is that those full-time jobs don’t offer a lot in terms of flexibility, and the hours of operation coincide with dance classes and rehearsals.”

The downside of the restaurant business is the relentless fatigue it piles on a body. Foundry dancer Joy Prendergast discovered that a café job was too taxing and now primarily teaches dance and baby-sits. Project Thrust choreographer Malinda LaVelle also found the strain to be too much. “I stopped working restaurants because the physical aches and pains of dancing were compounded by the strain of standing on my feet until 2 a.m. and then getting up the next morning and dancing again.” After working five nights a week, LaVell quit the restaurant scene to walk dogs and pursue receptionist work.

Fitness-related instruction jobs are another popular money-making source. Many dancers are certified in Pilates, Gyrotonic, or yoga as a way to subsidize their income. “Teaching’s a great way to make consistent money,” says Gyrotonic instructor Andi Clegg. “I’ve been able to constantly shift my teaching schedule around shows or other dance-related work I am involved in.” SF Conservatory of Dance student Emily Jones finds Pilates adaptable to her lifestyle: “I sometimes wish that I had a job where I could just turn off my brain and go on autopilot. But then I think about all the people I know who have café jobs and how they wish they could do something a little less numbing.”

Perhaps the most obvious way for a dancer to make money is to teach dance. Gretchen Garnett, director and choreographer of Gretchen Garnett and Dancers, taught dance 25 hours a week at three different studios around the Bay Area when she first moved here. Since getting married, she has been able to teach a more reasonable 14 hours a week at two dance studios and dedicate more time to her company. Whitney Stevenson, who moved to SF within the past year to dance, enjoys teaching gymnastics to children because she gets to be active.

Although an active job like teaching classes or working in a restaurant might seem perfect for someone physically inclined, many dancers find it essential to sit down and rest their bodies while working. Gabby Zucker does transcription and reads drafts for author and music critic Jeff Chang. “It may sound silly, but I prefer desk jobs to waiting tables or working retail because I feel it’s important to rest my body when I’m not dancing,” Zucker says.

A more common sedentary line of work for dancers is administration. Maggie Stack works as the administrative assistant for the San Francisco Conservatory of Dance, and for her, the support and promotion of dance goes hand-in-hand with the medium. But for Julia Hollas, dancer and administrator for Dandelion Dance Theater, the realm of arts administration also became a bane. “There is always too much work, not enough funding, and the incredibly good people who stay in the field consistently take on more than they can comfortably handle,” says Hollas, who is currently seeking Pilates certification. “There is something quite noble about that fact, and I will always feel admiration for anyone who works as an administrator in the dance world. But what I was beginning to see in myself was a consistent state of burnout that took away from the inspiration I needed to pursue my art as I wanted.”

There are also those who take on jobs that are out of the ordinary. Darya Chernova moved here from Russia and was amazed by all the dance opportunities and classes available. Luckily, she found a job to facilitate that interest. “I have been working at the farmers market for an apple orchard farm for five years,” Chernova says. “Farmers market work is great but tiring. It can be very physical and socially exhausting. But I love fruit and being outside.”

Kaitlin Parks, who worked as an EMT before the job became too overwhelming, is another example. “Lights, sirens, and the glory of helping fellow humans are great, but the 10-hour shifts and the physical and emotional demands were dipping into my energy and attention for dance,” she says. “I currently dance with Alyce Finwall Dance Theater, the courage group, baby-sit for six different families, teach young children’s dance classes, and teach both EMT skills and CPR.”

When it comes down to it, making a life in dance is often an act of creativity in itself. Rachel Dichter helps organize people’s closets. Tyson Miller works room service at the Mandarin Oriental. Ri Molnar models for art classes, gardens, and assists people with disabilities. Paul Laurey lives in a theater basement with low rent to redirect time and financial resources to dance. While some may respond to his living situation with pity or concern, for him the luxury of pursuing dance outweighs any sacrifice in creature comforts.

Of course, pursuing dance becomes a whole different story when a family is involved. InkBoat dancer Dana Iova-Koga found that having a life in dance took on new meaning with a daughter. “Now that I am a mother, I’ve had to get more intentional with dancing,” Iova-Koga says. “It’s much harder to find the time to do it, and it has to be very planned out. But now, when I get to perform, it feels more essential and I appreciate being there in a whole new way.”

“Until recently, the key to making dance possible in my life was seeking out alternative lifestyles that allowed me to step aside from the money equation for the most part,” she continued. “This was much simpler to do as a single person, before becoming a family. We are still figuring out how we can keep the dance growing and maintain a sense of stability for our daughter.”

Although it’s a difficult balance to maintain, Bay Area dancers are more than up to the challenge of cultivating a life around a physically demanding art form with few monetary payoffs. Though it may demand fortitude, creativity, and a willingness to diverge from a more conventional lifestyle, the personal rewards of a life filled with inspiration and love-filled work are indeed great.

Music Listings

Andrew Lam
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0

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

WEDNESDAY 26

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8 and 10pm, $15.

Apopka Darkroom, Little Mercury, Brain on Fire Hemlock Tavern. 9pm, $6.

*Blowfly Yoshi’s San Francisco. 8pm, $20.

Domeshots, Kajillion, Ilona Staller Bottom of the Hill. 9pm, $8.

Grand National, Outlier Red Devil Lounge. 8pm, $6.

Handsome Family, Sean Rowe Café Du Nord. 8pm, $15.

Tanya Morgan, Big Pooh, Roc C 330 Ritch. 9pm.

Religious Girls, Actors, Thralls, Spiro Agnew Public Works, 161 Erie, SF; www.publicsf.com. 8pm, $5.

JAZZ/NEW MUSIC

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

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

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

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

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

FOLK/WORLD/COUNTRY

Jorge Drexler Mezzanine. 9pm, $32.50.

Victoria George, Tom Luce, Jeremy D’Antonio Hotel Utah. 8pm, $8.

DANCE CLUBS

Audio1 Underground SF. 10pm, $5.

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

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

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

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

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

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

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

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

THURSDAY 27

ROCK/BLUES/HIP-HOP

George Clinton and Parliament Funkadelic Yoshi’s San Francisco. 8 and 10:30pm, $45.

“Finger Gunsapalooza” Stud. 9:30pm, $3. With Zoo, Moira Scar, Prizehog, Broads, and more.

Free Energy, Postelles, AB and the Sea Independent. 8pm, $14.

Kyro, Ben Fuller Band, Chelsea TK and the Tzigane Society Red Devil Lounge. 8pm, $6.

Phil Manley Amoeba, 1855 Haight, SF; www.amoeba.com. 6pm, free.

Moe. Fillmore. 7pm, $27.50.

JT Nero, Suzanne Vallie Amnesia. 9pm, $5.

*Pansy Division, Minks, Bad Backs Eagle. 9:30pm, $8.

Pebble Theory, Whitney Nichols, Kindness and Lies, Keely Valentino Café Du Nord. 8pm, $10.

Garrett Pierce, Miller Carr with Nico Georis Hemlock Tavern. 9pm, $6.

Suzanne Vega Palace of Fine Arts Theatre, 3301 Lyon, SF; www.palaceoffinearts.org. 8pm, $25-100.

Walking in Sunlight, New Heirlooms, Middle Maki, Hugo Hotel Utah. 7:30pm, $7.

JAZZ/NEW MUSIC

Steve Lucky and the Rhumba Bums Biscuits and Blues. 8 and 10pm, $20.

Savanna Jazz Trio and Jam Session Savanna Jazz. 7:30pm, $5.

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

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

FOLK/WORLD/COUNTRY

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

Elaine Romanelli with Josh Fox Union Room at Biscuits and Blues. 8:30 and 10pm, $10.

DANCE CLUBS

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

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

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

Gigantic Beauty Bar. 9pm, free. With DJs Eli Glad, Greg J, and White Mike spinning indie, rock, disco, and soul.

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

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

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

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

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

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

Popscene Loves the Smiths and Joy Division Rickshaw Stop. 10pm, $10. With live sets by This Charming Band and Dead Souls, plus DJs Aaron and Omar.

FRIDAY 28

ROCK/BLUES/HIP-HOP

“Blues at the Crossroads: Robert Johnson Centennial Concert” Regency Ballroom. 8pm, $33-50.50. With Big Head Todd and the Monsters, David “Honeyboy” Edwards, and more.

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

Deerhoof, Ben Butler and Mousepad, Nervous Cop Great American Music Hall. 9pm, $16.

Darwin Deez, Fol Chen, Friends Hemlock Tavern. 9:30pm, $12.

Dopecharge, Rat Face, Desperate Hours, Mundo Muerto, Neighborhood Brats Kimo’s. 9:30pm, $7.

Ian Hunter Fillmore. 9pm, $35.

Monotonix, Ty Segall, Nodzzz Rickshaw Stop. 8:30pm, $12.

Robert Randolph and the Family Band Independent. 9pm, $25.

Rx Bandits, Fake Problems, Native Bottom of the Hill. 9pm, $17.

Thingers, Reptiel Make-Out Room. 7:30pm, $7.

Tip of the Top Sheba Lounge, 1419 Fillmore, SF; www.shebalounge.com. 9pm.

21st Century, Sloe, Roosevelt Radio Café Du Nord. 9pm, $12.

Walter Trout Biscuits and Blues. 8 and 10pm, $22.

Wallpaper, K. Flay, Dance Party Slim’s. 9pm, $19.

FOLK/WORLD/COUNTRY

Albino!, DJ Jeremiah Elbo Room. 10pm, $10.

Baxtalo Drom Amnesia. 9pm, $7-10.

Kitka and Milla Milojkovic with the Chicago Tamburasi Croatian American Cultural Center, 60 Onondaga, SF; www.croatianamericanweb.org. 8pm, $20.

Aaron Novik Red Poppy Art House. 8pm, $10-15.

Chuchito Valdes Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 10pm, $25-45.

JAZZ/NEW MUSIC

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

*Royal Crown Revue Yoshi’s San Francisco. 8pm, $20.

Marlena Teich Savanna Jazz. 7:30pm, $8.

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

DANCE CLUBS

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

Duniya Dancehall Blue Macaw, 2565 Mission, SF; (415) 920-0577. 10pm, $10. With live performances by Duniya Drum and Dance Co. and DJs dub Snakr and Juan Data spinning bhangra, bollywood, dancehall, African, and more.

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

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

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

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

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

Lovetech + Slayers Club Two Year Anniversary Party Public Works, 161 Erie, SF; www.publicsf.com. 9pm. With Mochipet, Flying Skulls, Slayers Club, and more.

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

Psychedelic Radio Club Six. 9pm, $7. With DJs Kial, Tom No Thing, Megalodon, and Zapruderpedro spinning dubstep, reggae, and electro.

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

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

Toxic Avenger, Autoerotique, Girls N Boomboxes Mezzanine. 9pm, $25.

*True Skool 1015 Folsom. 10pm, $30. Celebrating 12 years of true hip-hop music with Black Thought of the Legendary Roots Crew, DJ J. Perios, Zumbi of Zion I with DJ Vinroc, and more.

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

SATURDAY 29

ROCK/BLUES/HIP-HOP

ALO Fillmore. 9pm, $22.50.

Burnt, Synrgy, Santos Perdidos El Rio. 9pm, $5.

George Clinton and Parliament Funkadelic Yoshi’s San Francisco. 8 and 10:30pm, $45.

Get Up Kids, Steel Train, River City Extension Slim’s. 8:30pm, $25.

Hot Toddies, Attachments, Scrabbel Rickshaw Stop. 8:30pm, $10.

Michael Landau Union Room at Biscuits and Blues. 8:30 and 10:30pm, $5.

Mazer, Hyde Street Band El Rio. 6pm, free.

Robert Randolph and the Family Band Independent. 9pm, $25.

Rx Bandits, Fake Problems, Native Bottom of the Hill. 9pm, $17.

Spanish Bombs, Chuck Prophet and Chris Von Sneidern Great American Music Hall. 9pm, $17.

Weekend, Terry Malts, Speculator Hemlock Tavern. 9:30pm, $10.

JAZZ/NEW MUSIC

Feldman Webern Jones San Francisco Conservatory of Music Concert Hall, 50 Oak, SF; www.sfsound.org. 8pm, $15.

Linda Kost Savanna Jazz. 7:30pm, $8.

Bill Ortiz Biscuits and Blues. 8 and 10pm, $20.

Chuchito Valdes Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 10pm, $25-45.

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

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

FOLK/WORLD/COUNTRY

La Gente Red Poppy Art House. 8pm, $15.

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

DANCE CLUBS

Big Top Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $5. Nicki Minaj tribute night with DJs Heklina and Josh Sparber.

Boston Beat Anu, 46 Sixth St, SF; www.anu-bar.com. 10pm, free. House, techno, and trance with Doppelganger, Tari, ndK, and David West.

Dance Party Project One Gallery, 251 Rhode Island, SF; www.p1sf.com. 11pm. With Orange Drink Music’s Chicago house chiptunes and more.

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

Industry Turns Five! Mighty. 10pm, $30. With DJ Tony Moran, Jamie J. Sanchez, and Luke Johnstone.

120 Minutes Elbo Room. 10pm, $5-8. With Gatekeeper, oOoOO, Whitch, Nako, Robert Disaro, and Sara Toon.

Pop Roxx DNA Lounge. 9pm, $5-10. With a live performance by My First Earthquake, plus DJ sets by KidHack, Aaron, Mitch, and Starr.

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

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

SUNDAY 30

ROCK/BLUES/HIP-HOP

Blows, Sonny and the Sunsets Great American Music Hall. 8pm, $15.

Bonjay, Casy and Brian, Ghosts on Tape, Lurv Rickshaw Stop. 8pm, $7.

Daniel Lanois’ Black Dub Independent. 8pm, $27.

44s Biscuits and Blues. 8 and 10pm, $15.

Get Up Kids, Steel Train, River City Extension Bottom of the Hill. 8pm, $25.

Glitter Weekend, Smoke and Feathers, Lecherous Gaze Hemlock Tavern. 9pm, $6.

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

Underoath, Thursday, A Skylit Drive, Animals as Leaders Regency Ballroom. 7:30pm, $22.

JAZZ/NEW MUSIC

John Santos, Larry Vuckovich Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Savannah Jazz Trio and Jam Session Savanna Jazz. 7:30pm, $5.

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

FOLK/WORLD/COUNTRY

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

Andre Thierry and Zydeco Magic Knockout. 3pm, $5.

DANCE CLUBS

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

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Ludachris, and guest DJ Theory.

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

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

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

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

Superbad Sundays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With DJs Slopoke, Booker D, and guests spinning blues, oldies, southern soul, and funky 45s.

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

MONDAY 31

ROCK/BLUES/HIP-HOP

Against Me!, Cheap Girls, Fences Slim’s. 8pm, $16.

Arctic Flowers, Face the Rail, Livid, Hooray for Everything Knockout. 9:30pm, $6.

Kacey Johansing, Bird by Bird, Sean Smith, Revenge of Light Wilderness Elbo Room. 9pm, $5.

*Tift Merritt and Simone Dinnerstein Yoshi’s San Francisco. 8pm, $30.

JAZZ/NEW MUSIC

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

DANCE CLUBS

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

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

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

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

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

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers. Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs. TUESDAY 1 ROCK/BLUES/HIP-HOP Against Me!, Cheap Girls, Fences Slim’s. 8pm, $16. Guverment, Curse of Panties, Broken Cities Elbo Room. 9pm, $6. Lotus Moons, Electric Shepherd, These Hills of Gold Bottom of the Hill. 9pm, $8. Michael Rose, Mysic Roots Band, cvDub Independent. 9pm, $25. Wobbly, Blanketship, Teenage Sweater Hemlock Tavern. 9pm, $7. JAZZ/NEW MUSIC Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx

Not your guru’s asana

Andrew Lam
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Not your guru’s asana

Why put 12 year-old aged balsamic vinegar from Modena, Italy into a chocolate truffle?  Well, because it tastes surprisingly great, for one thing. But also, according to Dave Romanelli, one of the presenters at last weekend’s flexibly diverse San Francisco Yoga Journal Conference, because it can heighten your yoga practice. Enlightenment through chocolate? We’ll take it.

New York-based Romanelli taught a class called “Yoga  and Chocolate,” and like many of the conference’s fifty presenters, he brought a yogic flavor to the conference influenced as much by his personal path to the mat as ancient teachings. In other words, fundamentalist ayurveda this was not.

Referred to as “Yeah Dave” by his friends (as in, “yeah, Dave, whatever…”), Romanelli has penchant for stoner-esque musings that eventually left him with the radical idea that to flourish in today’s fast-paced society, yoga should be made accessible to a broad audience. 

In the ’90s, Romanelli and a partner started At One, a chain of trendy yoga studios in Phoenix that Romanelli says in an interview with SFBG were meant to “bust through the stereotypes” that yoga is pretentious and unconnected to daily life. In 2009 he published a book called Yeah Dave’s Guide to Livin’ in the Moment, an irreverent manual to enjoying life in the here and now. These days, he travels the country leading workshops that seek to initiate people into a yogic lifestyle through careful attention to the senses – which he engages with the help of wine and exotically-flavored chocolate provided by Yoga and Chocolate co-founder and master chocolatier Katrina Markoff.  

“Yoga and Chocolate” was one of over a hundred classes, guest lectures, all-day intensive workshops, and special events that filled the San Francisco Hyatt over the MLK Day weekend, ranging from fiery asana practices to contemplative journeys through yogic philosophy.  The scads of famous yogis in attendance included teachers like Ana Forrest, creator of the healing-based Forrest Yoga approach, Seane Corn, an internationally celebrated yoga teacher, activist and humanitarian, and San Francisco’s own Baron Baptiste, whose parents opened the city’s first yoga center in 1955 and who has shared his empowering vinyasa yoga with classes around the world.

With so many presenters — and with nearly half of conference attendees yoga teachers in their own right — the expo left the downtown hotel rife with pairs of groovy tie-dyed pants and hundreds of bare feet riding up and down the Hyatt’s escalators. In a city like San Francisco, it’s not surprising that the traditional Indian practice could draw such a huge audience – but the sight of so many modernized classes begged the question: Patanjali compiled the yoga sutras no later than 150 BC, and we’ve been mulling them over ever since. How much is really left to learn?

The answer is “a lot” if this year’s offerings were to be believed. Joining “Yoga and Chocolate” was MC Yogi’s “Ganesh is Fresh,” a hip-hop inspired retelling of the story of the elephant-headed deity Ganesh, remover of obstacles. (Fyi, if you’re a harmonious hip-hop head, it’s also the name of a track on MC Yogi’s 2008 album “Elephant Power.”) Another high-energy choice was “Bollywood Vinyasa,” a cardio-heavy yogic workout set to bright rhythms of bhangra and Bollywood music. 

“I never intended to be a yoga teacher,” said Hemalayaa, the class’ teacher and the Canadian-born daughter of Indian parents. “I started practicing as a way to guide myself, be a leader for myself,” she announced to the students before her. The seed of “Bollywood Vinyasa” was planted during darker days in Hemalayaa’s 20s, when she would come home and blast Bollywood music as a way of shaking out her troubles. After having grown to the lively beats, she was able to incorporate them into her study of yoga. “Now I teach as a way to continue my study. Being a leader to others helps me stay true to myself.”

Romanelli agrees on the importance of applying traditional yogic teachings in a way that’s applicable to our own life stories. He has no problem using his own life experiences – like having man-boobs and wearing too much cologne on prom night in pursuit of after-party action – to draw laughs and convince his students that self-reflection can be fun.  

His style is a definite departure from traditional yogic teaching (ashtanga yogis advocate pratyahara, withdrawal of the senses from external objects, as a means of attending to the inner self). But, in Yeah Dave’s opinion, sensual experience can be the first step toward getting people to pay attention and eventually journey inward.  

“In today’s society, how realistic is closing off the senses?” he asks. “People are afraid to be alone with themselves on a three by six mat.” He admits that people often need help to make the first step. “And if it has to be chocolate, then so be it,” he grins.

For information on next year’s Yoga Journal Conference stretch out to www.yjevents.com/sf

Grind fidelity

Jesse Hawthorne Ficks
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Grind fidelity

arts@sfbg.com

MUSIC For years, critics have written about heavy metal using the vocabulary of biology — the increasingly byzantine music was framed as an evolutionary process, a family tree of genre and subgenre. Given the nature of the predominant acts at heavy metal’s initial apex, this move made perfect sense. Metal has always been a supremely visceral music, acutely concerned with human bodies, from the imperious god-beings of Judas Priest lyrics (are you standing by for Exciter?) to the figures’ inverse: the cadavers depicted by the gleeful medical dictionary versification of Carcass.

Human bodies will always be tethered to metal. But for not entirely arbitrary reasons, I’ve been finding it interesting these days to map out the unfolding universe of metal spatially — as doom continues to position itself as the vanguard of the music (and with good reason), creating sprawling, planar worlds of tone, this approach seems like a productive step toward thinking about the specifically musical elements that link so many disparate styles within the coordinates of the blanket term “metal.” It also seems conducive to starting arguments with your friends about bands and shit, which is a constructive goal in its own right.

If funeral doom represents this (sonic) world-creating move, then grindcore represents its spatial inverse, an implosion of familiar dynamics into dense, indecipherable fragments that are over too quickly to unfold in time. There’s always been something hilarious and perverse about this anti-musical gesture, which is perhaps best explained by the genre’s bifurcated history — as much as it was an antecedent to later metal styles, grindcore was also fundamentally the next logical extreme of punk rock, and thus, rock ‘n’ roll reduced to its most unpleasant and confrontational.

Fundamentally, grindcore has always had a healthy sense of humor about itself: former Napalm Death guitarist Justin Broadrick, as quoted in Albert Mudrian’s book Choosing Death, recalls doubling over with laughter during early rehearsals as he and his fellow bandmates pushed then-drummer Mick Harris to blast away on his kit at increasingly nonsensical speeds. This pervasive sense of fun underlying even some of the most aggressive bands is perhaps one reason why a genre that tends to allow itself an extremely narrow musical space in which its ideas can stretch out has lasted for so damn long.

Napalm Death’s Scum (Earache), the first grindcore record (hypothetical metal-nerd/Siege/Extreme Noise Terror fan: stop yelling at the newspaper; you’re making a scene …) was released in 1987, 24 years ago. Since then, grindcore is still going strong, while countless styles, seemingly more complex, have exhausted themselves and bored their former fanbases in the interim. (Even crabcore, a genre that combined the dynamism of Casio keyboard demos with the showmanship of inexplicably squatting while playing guitar, has fallen by the wayside.)

Speaking of improbable, heroic survivors, what better venue to host the 10th anniversary of Short, Fast, and Loud, a massive showcase of all things grind, than Berkeley’s 924 Gilman, which, like grindcore, has been sticking it to the mainstream’s delicate sensibilities for more than 20 years by simply existing?

This year’s installment is a two-day affair, featuring an impressive collection of scene favorites (including several alumni of the legendary Slap A Ham Records) mostly spanning the West Coast, with one extremely notable exception being New York City’s legendary Brutal Truth. Undeniably one of the genre’s greats, Brutal Truth affects the kind of balance between righteous, politically-conscious anger and the unbalanced energy of the maelstrom of noise and blastbeats and buzzsaw-on-sheet-metal riffs that characterizes its medium. Come watch bodies collide in the space of one of the Bay Area’s most culturally significant venues at what promises to be one of the most thrillingly merciless shows of the year. BLAST! *

SHORT, FAST, AND LOUD

Jan. 21

Brutal Truth, Lack of Interest, Plutocracy, Voëtsek, Iron Lung, D.H.C.

Jan. 22

Flagitious Idiosyncrasy in Dilapidation, Capitalist Casualties, Bastard Noise, Despise You, P.L.F.

Population Reduction

7 p.m. both nights, $12 each

924 Gilman, Berk.

(510) 525-9926

924gilman.org

www.924gilman.org

Live Shots: Chaka Khan, The Warfield, 01/14/2011

Jesse Hawthorne Ficks
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0

Sometimes going to a show is not just about the artist, but also about the audience. Fans have the ability to bring so much energy and excitement to a performance, and that’s exactly what went down this past Friday night at the Warfield, when super diva extraordinaire Chaka Khan took the stage.

Of course, Chaka’s peeps were there to see her. (Dare I say worship her?) But they were also there to get loud, funky, and show off some mighty fine threads. Before the performance even started, people were up from their seats, dancing in the aisles, woot-wooting in unison, to whatever the heck the DJ decided to play next, as they waited for Chaka to come out.

But before Chaka, there was Chrisette Michele, an up-and-coming R&B artist, whose chill tunes and limitless eyelashes really could take your breath away. And then Chaka arrived and the theater packed with groupies totally lost it. For some reason the Warfield decided to put seats out for this show, but there was no way anyone was going to sit on them, at all. Chaka found her groove long, long ago, and she still has it — and somehow I know she always will.

Otherworldly energy

Jesse Hawthorne Ficks
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Otherworldly energy

Over the course of nine full-length albums, Neurosis has proven its metal mettle, at least on record. To truly appreciate what the band is capable of, however, you’d have to witness one of its legendary live performances, which despite their decreasing frequency are becoming more and more transcendent. Next week, Bay Area headbangers will have two opportunities to do so, both at the Great American Music Hall, where the band plays its first hometown shows since New Year’s Eve 2008.

Reached by phone from his Idaho abode, Neurosis guitarist Steve Von Till underscores the primacy of the live experience. “There’s no way the emotion and intensity of what we do live can be captured,” he says. “It has to do not only with the look and the sound but also the energy in the room and the way the bass hits you in the chest.”

The band’s music is nothing if not hard-hitting. Though its members coalesced in 1985 as a rampaging hardcore outfit, Neurosis eventually evolved into a musical force defined by its deliberate, inexorable pacing, sprawling arrangements, and thunderous crescendos. Slabs of detuned, distorted guitars blend with throat-ravaging vocals courtesy of Scott Kelly, second guitarist Von Till, and bassist Dave Edwardson. Though this combination is orthodox, the band’s frequent use of samples, inventive instrumentation, and stately acoustic interludes is anything but.

The “look” of Neurosis is handled by journeyman musician and artist Josh Graham, now a permanent member of the band, who crafts visceral, tectonic visuals during performances in real time, displaying them on a giant screen behind the band. “Certain themes are permanently tied to certain songs,” Van Till explains, “but he performs them. It’s always fluid and always changing, though he’s always trying to keep it clearer and keep it evolving with the music.” So lost are the band’s other members in their own instruments that they have next to no idea what’s going on onscreen. Thankfully, they don’t care: “We have absolute trust in what he’s doing.”

Neurosis is currently preparing to reissue its seminal 1992 album Souls at Zero, which marked an important milestone in the evolution of the band’s sound. “We were crawling out of our hardcore roots and struggling with our instruments,” Van Till explains. “Through touring those songs, we really began to understand that we could totally surrender to the power of this music. It was way bigger than us, and way bigger than any preconceived notions we had about what the music should be. It was like a spiritual, driven force that demanded [things] of us.” While crafting their follow-up the next year, the band members continued to subsume themselves to this otherworldly energy: “Over the course of Enemy of the Sun, we tried to facilitate that [demand] in the songwriting process as well, trying to find the ultimate non-interruption of flow. We’re not very angular. We don’t have lots of crazy time-signature changes or cerebral shifts — we really try to have it go from one place to the next.”

Despite 25 years together as a band, the inescapable drive to create Neurosis music continues unabated: “We’ve been in this band our entire adult lives, and it influences everything we do,” Van Till confides. “Everything in our lives affects how Neurosis music is going to evolve. Everything we hear, everything we see, everything we feel. Life’s trials and tribulations. All of it speaks to what’s happening in the music.”

Something is happening, and Neurosis’ many devoted fans will be overjoyed to hear that the band has been playing “two new songs that are pretty close” during their recent run of shows. “We basically have some skeletons that will really evolve into the next record,” says Van Till. This is momentous news, but the guitarist urges patience: “When that happens, we don’t force it. In some ways, we don’t feel all that responsible for creating [the music], and in a lot of ways — sure, somebody comes up with a riff or somebody comes up with an idea — but it’s an unspoken spirit when we’re all together in a room — it’s just magic and it just clicks.” Van Till insists that nothing can or should be accomplished in a hurry: “We trust the process, and the process is one of starting with some ideas, jamming them out, destroying them, and then having the come back together as a whole that’s greater than anything we could have thought of ourselves.”

Listening to the guitarist talk about his band’s next record, one gets the sense that its arrival will be characterized by the same deliberate, gradual escalation that typifies the band’s heavily-amplified climaxes. No matter which angle you approach Neurosis from, an emphasis on trust — and on the attendant forfeiture of control — is paramount. Speaking of the band’s live performances, Van Till echoes this theme: “We just want to be lost in the trance of the situation, and we hope that the people present also want to just surrender and become a part of it.” Those who attend the show would do well to heed his words. *

NEUROSIS

with U.S. Christmas, Yob (Sat/15), Saviours (Sun/16)

Sat/15–Sun/16, 9 p.m., $21

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750 www.gamh.com

Psychic Dream Astrology

Jesse Hawthorne Ficks
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Jan. 12-18

ARIES

March 21-April 19

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

TAURUS

April 20-May 20

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

GEMINI

May 21-June 21

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

CANCER

June 22-July 22

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

LEO

July 23-Aug. 22

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

VIRGO

Aug. 23-Sept. 22

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

LIBRA

Sept. 23-Oct. 22

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

SCORPIO

Oct. 23-Nov. 21

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

SAGITTARIUS

Nov. 22-Dec. 21

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

CAPRICORN

Dec. 22-Jan. 19

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

AQUARIUS

Jan. 20-Feb. 18

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

PISCES

Feb. 19-March 20

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

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

Stage Listings

Jesse Hawthorne Ficks
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Stage listings are compiled by Johnny Ray Huston. 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 complete listings, see www.sfbg.com.

THEATER

OPENING

Bone to Pick and Diadem Exit on Taylor, 277 Taylor; (800) 838-3006, www.cuttingball.com. $15-50. Previews Fri/14-Sat/15, 8pm; Sun/16, 5pm. Opens Jan 20, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. Cutting Ball Theatre presents a pair of plays by Eugenie Chan.

The Companion Piece Z Space at Theatre Artaud, 450 Florida; (800) 838-3006, www.themarsh.org. Call for price. Previews Tues/18, 7pm; Jan 19 and 20, 7pm; Jan 21, 8pm. Opens Sat/22, 8pm. Runs Thurs 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Feb 13. Z Space presents the world premiere of a new play by Mark Jackson, with Beth Wilmurt and Christopher Kuckenbaker.

Out of Sight The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Previews Thurs/13 (through Jan 21). Opens Jan 22, 8pm. Runs Thurs and Sat, 8pm; Sun, 3pm (except Sun/16 at 7pm). The Marsh presents a new solo show by Sara Felder.

BAY AREA

The Last Cargo Cult Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Opens Wed/12, 8pm. Call for dates and times. Through Feb 20. Mike Daisey stars in a one-man show about obsession with commerce.

ONGOING

Clue Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-35. Wed-Fri, 8pm; Sat, 7 and 10pm. Through Feb 19. Boxcar Theatre presents a play based on a movie based on a board game.

Dirty Little Showtunes! A Parody Musical Revue New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Sun/16. Tom Orr’s adults-only holiday show returns, with direction by F. Allen Sawyer and musical direction by Scrumbly Koldewyn.

*Forever Tango Marines’ Memorial Theatre, 609 Sutter; 771-6900; www.marinesmemorialtheatre.com. $45-100. Call for dates and times. Through Wed/12. Luis Bravo’s atmospheric showcase is a slick, showy mélange of music and dancing whose fluid precision and assemblage of talent make it hard to resist. Cheryl Burke heads up an amazing 13-member ensemble of very stylishly draped dancers (exquisite costuming by Argemira Affonso) who singularly, all together, and of course in dramatic couplings, blend supreme control and dramatic restraint with unabashed sexual allure and volcanic energy. The orchestra, meanwhile, under direction of Eduardo Miceli, creates the intoxicating ether that sets everything in motion. (Avila)

The Lion in Winter Actors Theatre, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Wed-Sat, 8pm. Through Sat/15. Actors Theatre of SF presents James Goldman’s play of palace intrigue.

Lost in Yonkers Kanbar Hall, Jewish Community Center SF, 3200 California; 292-1233, www.jccsf.org/arts. $20-39. Thurs-Sat, 8pm; Sun, 2 and 7pm. Through Jan 16. There’s a lot to like about Grandma Kurnitz (Naomi Newman), though she’d do her best to discourage you from thinking it. Her grown children are as neurotic a collection of misfits as you would expect at a Woody Allen family reunion, her grandchildren are afraid of her, and she hasn’t had a single friend in the 30+ years she’s lived in Yonkers. Set during World War 2, Neil Simon’s Lost in Yonkers portrays a family coming to terms with the times, and more importantly with itself over the course of ten months, as teenaged Jay (Zachary Frier-Harrison) and Arty (Noah Silverman St. John) are left in their Grandmother’s grudging care while their father Eddie (Greg Alexander) trawls the South for scrap metal to pay off an impatient loan shark. Meanwhile, their flighty yet sincere aunt Bella (Deb Fink), a grown woman with the mental attributes of a preteen Pollyanna, actually does the work of holding together the family that Grandma just can’t help but to try to scare off at the slightest provocation. A deliberately-paced production, some of the more emotional content flags a little in the translation, but a tightly-wound face-off between the boys and their Uncle Louie (Søren Oliver) — a small-time mobster with an Alexei Sayle air — and a surprising revelation from Bella are superbly played. (Gluckstern)

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

BAY AREA

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Feb 13. Don Reed’s one-man show continues its extended run.

Lemony Snicket’s The Composer is Dead Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. Call for dates and times. Through Sat/15. Berkeley Rep premieres the new musical, written by Lemony Snicket, with music by Nathaniel Stookey.

*Of the Earth – The Salt Plays Ashby Stage, 1901 Ashby; (510) 841-6500, www.shotgunplayers.org. $17-30. Thurs-Sat, 8pm; Sun, 5pm. Through Jan 30. If those whom the gods favor die young, it’s probably just as well for Odysseus (Dan Bruno) that Zeus (Rami Margron) happens to be irked at him. That Zeus occasionally manifests as a scary nurse with a penchant for ballroom dance is one of but many mysterious angles Jon Tracy teases out of the standard Odysseus myth. Another involves the instant-messaging potential of paper planes; a third, a blunt addiction metaphor for warmongering. In what must surely be a happy coincidence, the design elements and staging of Of the Earth are curiously similar to those of the recent Cutting Ball production of The Tempest. Characters leaping about from floor-to-ceiling ladders to physically embody shipwrecks and monsters, a handful of actors playing multiple roles, watery video installations, even the allusion to mental illness and modern psychiatry are threads that tie the two productions, however unsuspectingly, together. Happily for The Shotgun Players, their version floats above the comparison with a host of extra tension-drivers—the sinuously menacing fighting-style of Posiedon (Anna Ishida), the heart-throb pounding of Taiko drums, the sensual machinations of Circe (Charisse Loriaux), the clever usage of Penelope’s (Lexie Papedo) “tapestry” to weave together the action. And though at times the thread is broken mid-scene, we are finally given to understand that this epic tale of war’s fallout is first and finally a story of love. (Gluckstern)

Strange Travel Suggestions The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Jeff Greenwald stars in a one-man show about the vagaries of wanderlust.

 

PERFORMANCE/DANCE

Gush Brava Theater, 2783 24th St; 6470-2822, www.brava.org. Thurs/13 through Jan 29. $15-35. Brava presents a dance series curated by Joe Goode.

Women of the Way Festival Shotwell Studios, 3252-A Shotwell; and The Garage, 975 Howard; (800) 838-3006, www.ftloose.org. Call for dates and times; Thurs/13 through Jan 30. $15-20. The dance festival celebrates it 11th anniversary with 23 new shows.

BAY AREA

SF Ethnic Dance Festival Auditions Zellerbach Hall, UC Berkeley campus, Berk; 474-3914, www.worldartswest.org. Sat/8, 10am-6pm; Sun/9, 10am-7pm. $10. The second of two weekends of auditions for this year’s festival, open to the public.

So dreamy

Jesse Hawthorne Ficks
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So dreamy

Of all the indie bliss-bands to break through in the last year, Teengirl Fantasy — coming to town Sat/8 — is the dreamiest. Not just in the heart-dotted Tigerbeat vein, although TF’s spangly Angelfire website (teengirlfantasy.angelfire.com) certainly plays on giggle-driven hormone rushes.

No, Oberlin College students Logan Takahashi and Nick Weiss also meticulously tap into a subconscious slipstream of musical influences — 1990s R&B, ’70s soul, Balearic house, Windham Hill new age, bubblegum pop — that roils with allusive energy but never jolts upright into blunt nostalgia or jokey parody. The meticulously layered synth-and-sample compositions on debut album 7AM don’t lead directly to the dance floor either. Instead, they amble ecstatically down some long, spectral hallway toward a distant rave. When performing live, however, Teengirl Fantasy moves multitudes.

SFBG Are you guys still in the midst of your big tour? And did you really play the Great Wall of China?

Nick Weiss We still have one semester left of school, so we tour constantly during school breaks. We played a festival near the Great Wall in August. It was amazing — China was such a nuts place to be. Even though the government attempts to create such a restrictive environment, there are plenty of punks and people who party really out of control. One night we were taken to a Go Kart track around 1 a.m. The place where you bought your tickets was also a bar, so everyone was drunk driving!!! It ruled!!

SFBG You’ve mentioned before that one of the aims of your music is to capture a certain dreaminess or “half-asleep” sensation. There’s a rad sound art exhibition going on from L.A.’s 323 Projects right now that reminded me of you. It’s called “from one side to the other, I’ve dreamed that too.” Basically, you call this number, (323) 843-4652 from anywhere until Jan.17 and it plays an array of sound art pieces made by different people. What would you put on a Teengirl Fantasy Hotline?

Logan Takahashi My voicemail answering message is a recording of one of those Buddha Machines made by FM3. I’ve always thought that was a pretty clever idea for a product or a piece, just a bunch of simple, really pleasant infinite loops.

SFBG Speaking of dreaminess and loops, I think one of the best tracks of the year is “Dancing in Slow Motion” from 7AM. It totally reminds me of how everything sounds when you’re trying to say something in a dream and you wake yourself up — this kind of shivery mumbling. Guest singer Shannon Funchess’ sublimated diva delivery is right on.

NW We met Shannon through her Light Asylum bandmate Bruno Coviello, who coincidentally lived at the studio we were working in. However, we had already seen Light Asylum a bunch of times and knew how amazing her voice was. We wrote the song pretty quickly, but our initial impulse was to make a huge ballad, the size of The-Dream but with a dreamier twist …

SFBG: I also adore the “Dancing in Slow Motion” video, directed by Mark Brown. Between that and the “Cheaters” and “Portofino” videos, you’ve been tagged as adopting a “visualizer” aesthetic. How much input have you had with your videos and the visual manifestation of your music?  

NW: We really just choose an artist whose work we really love, give them the track, and let them do whatever they want. Working with Mark Brown, Kari Altmann, and the legendary IASOS has been so cool… we really love the videos each of them made. I wouldn’t call them pure “visualizer,” I’d say that their looks are pretty intentional rather than automated.  However maybe we just have a pretty high tolerance for rave graphix. I could watch fractals pulse to trance for hours.

LT: Honestly we never intentionally were looking for a unifying aesthetic between our videos, but it is kind of funny to go back and look at the things they have in common. I spent a lot of time watching ‘beyond the mind’s eye’ videos as a child and I think that had an effect on my threshold for abstract 3D FX.

SFBG The title of your album, 7AM is kind of an in-joke to old-school ravers, conjuring up both the kooky bombast of KLF’s “3AM Eternal” and warehouse bragging, as in “Dude, I was there at 7 a.m. when Richie Hawtin dropped ‘Pacific 707.'” Do you guys deliberately build references and concepts into your tracks beforehand, or do they come out of a more organic jamming process?

NW It really is an organic process. We won’t usually start talking about a track until after we’ve written and recorded it. Once we start mixing, we might talk references. But when we’re writing, it’s really more about capturing the live feeling and strengthening improvisations.

LT It helps for us to keep that element of viscerality and response as part of the songwriting process.

SFBG Detroit techno seems a touchstone for you …

LT Detroit!!!! Still trying to make it to the Detroit Electronic Music Festival, hopefully this year. Huge fan of the music that comes out of that city.

TEENGIRL FANTASY with Pictureplane, Tormenta Tropical, and Donuts DJs. Sat/8, 10 p.m., $5––$10. Elbo Room, 647 Valencia, SF. www.elbo.com.

Chris Daly’s Final Say

Mary Magee
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Chris Daly’s Final Say

As part of my effort to compile a list of most roastable moments of Sup. Chris Daly‘s decade-long career at City Hall, I asked the termed-out D6 supervisor if he would sit down for an exit interview. And shortly before Christmas, when there was still hope the Board would select a progressive interim mayor, and Daly had not yet vowed to politically haunt Board President David Chiu with shouts of, “It’s on like Donkey Kong” , we arranged to meet me at the Buck Tavern on Market Street, which Daly, who now holds the liquor license, is threatening to rename “Daly’s Dive.”

As it happens, the lion’s share of our conversation ended up taking place by cell, since Daly got stuck in late afternoon commuter traffic, as he drove to San Francisco from Fairfield, where his wife and children have lived since April 2009, making him a fitting symbol of the East-Bay-and-beyond migration pattern of couples who live in San Francisco, until they have more than one kid.

Except not all couples with two small kids get to move into one of two foreclosed properties that the in-laws bought with $545,000 cash in spring 2009. At the time, Daly’s critics accused him making such a mess of governing the city that he had decided against raising his own family here. Daly predictably disagreed. “There are few people who think about the future of San Francisco and the health of the city more than me,” Daly told reporters, explaining that his wife wanted family support raising their children, so she had moved to the same cul-de-sac as her parents, as Daly continued to live in a condo in San Francisco with roommates and to see his family on weekends.

Anyways, on the dark and stormy night that I interviewed Daly in mid-December, he acknowledged that he was going to be in for one helluva roast at the Independent on Jan. 5. in the worst possible sense of the tradition.
“Will there be controversial subjects, things that on the face of it, are not very nice? Yes,” Daly said.

And then he claimed he had agreed to this ordeal, because, under the roast’s traditional format , he would get to go last—and thus would get to have the last word.
“Why would I want to end my City Hall career like this? Because I get to go last, and can really say what’s on my mind,” Daly said. “Unless the D.J. wants to say something as he’s spinning.”

Daly’s comment suggests that folks who attend his roast at the Independent will witness a historically vicious verbal drubbing on all sides, since no one has ever accused Daly of holding back from saying what was on his mind. Even if it has led to seemingly counterproductive “We are shocked, SHOCKED!” responses. Like the time Sup. Michela Alioto Pier introduced an ultimately doomed etiquette ordinance, after Daly swore at a constituent during a City Hall meeting, in 2004.

Daly said at the time that he comes from a background as a housing-rights organizer on the streets of Philadelphia and San Francisco, where confrontation was an effective political tool. But he also claimed that he had learned an important lesson.
“In the future it’s going to be better for me personally and politically to focus my energy positively on the people I care about instead of negatively on the people I think are doing them harm,” Daly reportedly said.

Fast forward six years, and Daly is unrepentant about his record of fighting for low-income people, while openly defying City Hall’s unwritten rules of etiquette.
“Etiquette always seemed a little silly, something for the ‘other’ San Francisco, for the prim and the proper and that’s not what I am concerned about,” Daly said. “I’m aware of the turn-the-other-check philosophy, and, if I were religious, I’d be out of the Old Testament. I’d be, if someone pokes you in the eye, I’d poke back.”

Daly says he stopped caring about etiquette towards the end of his first year in office. “When those in power use that power to put down those who are less advantaged, when I see that, I respond quickly and with as much force as I can to prevent them from doing that kind of thing again,” he said. “ If you want to attack homeless people for political advantage, I’m going to attack you right back. That’s not ‘proper,’ but I think it’s just.”

Daly says he also soon realized tthat the truth wasn’t the driver.
“I already knew that money, power and significant forces would be pushing back against me but then I discovered that the actual truth wasn’t what played out there in the world of spin. It’s like when the Examiner’s Josh Sabatini asked me how I want to be remembered, and I said, “Not as the caricature the Examiner created of me.”

Daly, who moved to San Francisco in 1993 to work on homeless and affordable housing issues, was at the heart of the movement around Ammiano’s 1999 write-in campaign for mayor, and part of the progressive sweep onto the Board, in 2000.

“For me, it’s never been about being a ‘good’ vote. I breathe leftist progressive politics,” Daly said. “Where I can make more of a mark is in terms of setting the stage for those votes and holding the line in districts that are not progressive. I’m very proud of my attempts to hold the line on issues, but the work doesn’t make any friends.”

Daly noted that after he made comments about Newsom’s alleged cocaine use during the 2007 Mayor’s race, downtown interests threw everything they had left at him.
‘They got a lot of hits in, but no total blows,” he opines. “Last time I checked, I saved the city $150 million on the Americas Cup deal that they were going to ram rod through.”

And so, as he prepares to begin life as a bar owner, don’t expect Daly to pass up opportunities to launch verbal attacks, if he believes they are warranted, political consequences be damned.

“People want to have the power without any of the negativity they associate with all the shit we have to deal with to build this power,” Daly added. “So, it’s all, Daly and [former Board President Aaron] Peskin took control of the Democratic Party at midnight. Well, how did you want us to take over? “

Daly claims if you take away “negatives” attributed to him, you take away his wins. “People call me a lot of things, but I’m not a loser, I win a lot” Daly added, noting that Democrats being nice to Republicans has led to losses in D.C., not gains. “So, yes, I’ve got a lot of negatives, and they’ve clearly been made into a target, but if I can take the hits, and help people I care about, I’m happy to do it. That’s what I’ve done for ten years.”

Daly says he’s become “pretty desensitized to criticism,” even as he admits to being a sensitive person, deep inside. “I don’t think I’d have quite the visceral response to poverty and oppression, if I wasn’t sensitive,” he said. “I care deeply about people’s struggles. That’s why I’m here, but I also have a pretty solid critique of capitalism and I know how to follow the money, so when I get criticized by some downtown mouthpiece, I know what time it is.”

Daly says he started the Daly Blog several years ago, to push back against what he felt was unfair treatment in the media. And he says he endorsed outgoing mayor Newsom for Lt. Governor, despite their long and antagonistic history, so progressives could have a shot at installing a mayor in Room 200.

“My money now is on the selection of the mayor going to the new Board, and Avalos getting it in the 13th round of voting,” Daly said.

Daly made that prediction three weeks before the progressives on the Board seem poised to hand the keys to R.200 to City Administrator Ed Lee—thereby eliciting Daly’s ballistic “Donkey Kong” outburst.

With the outgoing Board set to meet Friday to make a selection, here’s another Daly roastable moment, this time from Peskin, related to the fall-out that ensued after Daly made two appointments to the SFPUC, while serving as acting mayor for one day, while then Mayor Willie Brown was out of the country, on a trip to Tibet.

“When Mayor Willie Brown left office, Charlotte Schultz had an unveiling ceremony of Brown’s picture. Newsom, who by then was mayor, was presiding. And Charlotte had a beautiful easel with a golden drape over it. When she pulled back the curtain there was a picture of Daly, who was listed as “41st and a half” mayor presiding from 9 a.m. to 2 p.m. on October 22,” Peskin recalled, noting that under Daly’s picture there was another curtain that contained Brown’s actual portrait.”

And while Daly’s controversial statements and outbursts always make headlines, there is no denying that he helped make the progressive agenda, including establishing mandatory paid sick days, universal healthcare, and forcing developers to contribute in affordable housing or services for poor, an integral part of city policy.
 “The Chronicle used him as the poster child to try and dissuade anyone from supporting a progressive agenda,” former Sup. Jake McGoldrick observed. “He was used to smear any of our good ideas. And Chris never seemed to understand that some of us needed to be a little more sensitive, since we needed to get re-elected and didn’t represent districts that were as progressive as his. Personal attacks make the whole situation smell bad.”

Sup. John Avalos, who served as Daly’s legislative aide until he was elected as D11 supervisor, acknowledged that a lot of folks have accused Daly of doing irreparable harm to the progressive movement and being a gift to Newsom and the moderates at City Hall.
“People try and make hay out of it,” he said. “But his antics have probably hurt him more than anyone,” Avalos added, noting that he ran in 2008 as Daly’s former legislative aide.
‘And it didn’t hurt me, and I made no bones about where I came from.”

And then there’s the fact Daly defeated the Chamber ’s Rob Black in the 2006 election. “We don’t do enough to have better relationships between ourselves,” Avalos added , reflecting on the divided progressive movement. “It’s more than just one person.”
 
Peskin for his part acknowledges that Daly will be missed on the Board.
 “He sucked the oxygen out of the room and made it all super lefty and caustic, and it certainly did not allow a better conversation to evolve,” Peskin said. “But it’s still going to be a pretty profound loss.”

Stage Listings

Jesse Hawthorne Ficks
-
0

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. For complete listings, see www.sfbg.com.

THEATER

OPENING

Lost in Yonkers Kanbar Hall, Jewish Community Center SF, 3200 California; 292-1233, www.jccsf.org/arts. $20-39. Previews Thurs/6-Fri/7, 8pm. Opens Sat/8, 8pm. Runs Thurs-Sat, 8pm; Sun, 2 and 7pm. Through Jan 16. The jewish Theater presents Neil Simon’s coming of age tale.

ONGOING

*Candid Dance Mission Theater, 3316 24th St; 273-4633, www.sweetcanproductions.com. $15-60. Call for dates and times. Through Sun/9. Sweet Can’s cosy pocket-circus at Dance Mission holds plenty of big-tent talent in its five-person cast (Jamie Coventry, Natasha Kaluza, Kerri Kresinski, Nobutaka Mochimaru, Matt White), backed by the ample multi-instrumental musicianship of Eric “EO” Oberthaler. This fleet 60-minute charmer (directed with strong ensemble choreography by Zaccho Dance Theatre’s Joanna Haigood) finds opportunities for creative expression and dazzling feats with whatever comes to hand (including using hands as feet). Performers dance around in trashcans, make hay with newspaper, or get seriously Fred Astaire with a broom (in White’s wowing solo). Goofy, family appropriate, but widely appealing and frequently eye-popping (Kaluza rocking 20 hula hoops, for inst, or Kresinski’s powerful aerial dance), Candid is can-do entertainment. (Avila)

Dirty Little Showtunes! A Parody Musical Revue New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Jan 16. Tom Orr’s adults-only holiday show returns, with direction by F. Allen Sawyer and musical direction by Scrumbly Koldewyn.

*Forever Tango Marines’ Memorial Theatre, 609 Sutter; 771-6900; www.marinesmemorialtheatre.com. $45-100. Call for dates and times. Through Jan 12. Luis Bravo’s atmospheric showcase is a slick, showy mélange of music and dancing whose fluid precision and assemblage of talent make it hard to resist. Cheryl Burke heads up an amazing 13-member ensemble of very stylishly draped dancers (exquisite costuming by Argemira Affonso) who singularly, all together, and of course in dramatic couplings, blend supreme control and dramatic restraint with unabashed sexual allure and volcanic energy. The orchestra, meanwhile, under direction of Eduardo Miceli, creates the intoxicating ether that sets everything in motion. (Avila)

The Lion in Winter Actors Theatre, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Wed-Sat, 8pm. Through Jan 15. Actors Theatre of SF presents James Goldman’s play of palace intrigue.

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Siddhartha, the Bright Path The Marsh Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through Sun/9. Marsh Youth Theater presents a holiday celebration, directed by Lisa Quoresimo.

BAY AREA

Becoming Julia Morgan Berkeley City Club, 2315 Durant, Berk; (510) 984-3864, www.brownpapertickets.com. $24-30. Fri-Sat, 8pm; Sun, 5pm. Through Sun/9. Janis Stevens stars in Belinda Taylor’s play about the trailblazing architect.

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Feb 13. Don Reed’s one-man show continues its extended run.

Lemony Snicket’s The Composer is Dead Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. Call for dates and times. Through Jan 15. Berkeley Rep premieres the new musical, written by Lemony Snicket, with music by Nathaniel Stookey.

Of the Earth – The Salt Plays: Part 2 Ashby Stage, 1901 Ashby; (510) 841-6500, www.shotgunplayers.org. $17-30. Thurs-Sat, 8pm; Sun, 5pm. Through Jan 30. Shotgun Players present the second half of writer and director Jon Tracy’s Odyssey-inspired tale, with music by Brendan West.

PERFORMANCE/DANCE

All My Children The Marsh MainStage, 1062 Valencia; (800) 838-3006, www.themarsh.org. Tues/11, 7:30pm. $10-15. A Marsh Rising performance of a play by Matt Smith, directed by Bret Fetzer.

Comedy Returns to El Rio! El Rio, 3158 Mission; 522-3737, www.koshercomedy.com. Mon/10, 8pm. An evening of comedy with Maureen Langan, Harmon Leon, Ray Ferrer, Candy Churilla, and Lisa Gedulgig.

Will Franken: “Scenes in Every Sunset” Purple Onion, 140 Columbus; www.willfranken.com. Fri/7, 8pm. $20. The comedian presents a one-man show.

A Funny Night for Comedy Actors Theatre, 855 Bush; 345-1287, www.NatashaMuse.com. Sun/9, 7pm. $10. Natasha Muse and co-host Ryan Cronin present an evening of comedy, with headliner Mary Van Note.

Tim Lee Punch Line Comedy Club, 444 Battery; 397-7573, www.punchlinecomedyclub.com. Tues/11, 8pm. $20. The local comedian and former biologist performs.

BAY AREA

SF Ethnic Dance Festival Auditions Zellerbach Hall, UC Berkeley campus, Berk; 474-3914, www.worldartswest.org. Sat/8, 10am-6pm; Sun/9, 10am-7pm. $10. The first of two weekends of auditions for this year’s festival, open to the public.

Light fantastic

Jesse Hawthorne Ficks
-
0
Light fantastic

arts@sfbg.com

VISUAL ART/MUSIC Suzy Poling greets me by the half-open front gate of Queen’s Nails Projects and hands me a Sapporo tallboy. It’s freezing outside, and not much warmer inside. And dark. But not for long: within moments, she’s turning on a projector at the top of a tall ladder, running tape through a bulky Pioneer tape deck on top of a giant Moog, and spinning transparent mobiles that are suspended from the spaces’ ceiling, all while explaining her thoughts on making art and the ideas behind her current show, “Zone Modules.” Analog sound growls like an electric beast. The big square room expands to an outer space with rough edges, as projector light refracted from glass and mirrors floats like electric stars across a gray-silver moon on one a wall.

“I think I’m into it,” Poling wonders out loud, looking at the wall fixture. “In this exhibition, there’s an overall idea of future decay.” She’s telling the truth, not spinning an artist’s statement, and yet there’s also a current of energy and motion coursing through the room. At a certain point I realize that things are moving all around me, including behind my shoulder, a corner-of-the-eye feeling that is disconcerting and exciting — in terms of immersion, it evokes Bruce McClure’s and Anthony McCall’s explorations of live cinema, or an inverted version of the effects created by Yayoi Kusama’s infinity rooms. “I think people want to get in touch with infinity rooms [right now],” Poling agrees, when I mention Kusama. “It makes sense to get in touch with the planet we’re on and everything around it.”

This is just the beginning of “Zone Modules,” and just a hint of the constantly intersecting sonic and visual energies at play in Poling’s broader art endeavors, a growing and morphing constellation that connects colorfully primordial photos of geysers to layered, artificial experiments in grayscale. We walk to the next room, a small black space with an old black-and-white television in one corner tuned to an eternal 1920s movie dreamscape. “Everyone really liked this room for some reason [at the opening],” Poling says with a shrug, as swirling fog gives way to a close-up of a cut jewel on the small screen. “It’s like hanging out in a black room with a boob tube — it’s a classic hypnosis.”

The relaxed humor and pleasure in this room, though “experiential,” as Poling put it, is not common in today’s art world. It puts me in mind of Cary Loren, a friend of Poling’s from Detroit (and a member of the influential noise band Destroy All Monsters), whose viewpoint possesses a similar enjoyment of pop culture mutation — one that’s not kitschy, but imaginative in a raw, imperfect, individual manner. Poling’s years growing up and exploring the abandoned spaces of Detroit and then Chicago are central to what she’s making today. “It’s so cold and there’s some strange individuals there,” she says affectionately, when I bring up the Midwest. “I drew a lot of my inspiration from the Congress Theatre, this old movie palace from the 1920s on Milwaukee Avenue. I used to live inside it. I started [ the musical project] Pod Blotz there, because I could bring an organ up onto the stage.”

For around a decade, Poling has lived in Oakland, perhaps the closest thing that California has to offer to those kinds of urban autonomous zones. As we move to another room in “Zone Modules” and she talks about a geometric costume she used to wear to early Pod Blotz shows — “I thought, ‘I love theater of Bauhaus, I love Dada, I love the Vienna actionists, and I’m going for this !” — I’m struck by the unashamed enthusiasm for different periods and styles of art, some outre or out of fashion, within her work. To say it’s refreshing in these jaded times would be an understatement. But this isn’t naïve art — it’s gradually formulating a personal vision informed by everything from optics and opthamology to Russian avant-garde posters. “I’m not going to deny these things — I like [Laszlo] Moholy-Nagy!,” Poling exclaims at one point.

“I could reinstall this installation a bazillion different ways and it would always be different,” Poling says, as a characterful projected object darts like a dragonfly around the corner of an adjacent room. Not all artists could make such a claim, and fewer still could say it and have the idea be exciting. Poling credits the endless potential for combinations present in “Zone Modules” to curator Julio Cesar Morales’s insights about what to leave out of the show, but I think it also has something to do with the her experiences collaborating with artists on an international scale, and her kinship with them. Along with her best friend Kamau Patton, she was part of Official Tourist, an artist group that included members from Bosnia and Japan. “I’ll relate to a friend in Belgium in Dolphins into the Future who makes psychedelic spacey new age music,” she says, when talking about the music of Pod Blotz. “But then I also really relate to Haters in Los Angeles. They make totally different kinds of music, but they have a deep respect for each other.”

In the back room of “Zone Modules,” Poling’s paintings — which layer paint over vinyl and and paper to create interruptions in form and shape — share space with geometric sculptural and light experiments. I stare into the triangular eye of a metallic sculpture in the center of the room and through a tetrahedral passageway, spy another trangle, this time painted. “I like having the ability to just go into making art with people,” Poling says. “That feeling that the creation station is out there.” 

SUZY POLING: ZONE MODULES

Fri.–Sat., 11 a.m.–6 p.m.

Closing performance with Death Sentence: Panda, Chen Santa Maria

Fri/7, 8–11p.m.

Queen’s Nails Projects

3191 Mission, SF

www.queensnailsprojects.com

Out with the old

Jesse Hawthorne Ficks
-
6
Out with the old

On the chilly morning of Dec. 21, a crowd of prominent local and state figures huddled in an industrial parking lot overlooking the brick smokestack of the Potrero power plant, which has been in operation for more than 40 years. It was the winter solstice, the morning after a lunar eclipse, and an historic environmental moment for San Francisco.

A longstanding battle to shut down the aging, polluting power plant was finally coming to an end, and it would be effectively shuttered as the calendar flipped to the new year. Although the past decade had been marked by political infighting and a relentless push to persuade the California Independent System Operator (CAISO) to shut it down sooner, the tone that day was buoyant as people made the rounds, embracing one another and offering congratulations and thanks.

Among those who lined up before the media were Mayor Gavin Newsom, who will be sworn in as lieutenant governor in early 2011; Sup. Sophie Maxwell, whose 10 years on the Board of Supervisors is coming to a close; City Attorney Dennis Herrera, who’s thrown his hat into the mayoral race; and San Francisco Public Utilities Commission General Manager Ed Harrington, whose name has been floated as a contender for interim mayor.

Each of these local politicians played a role in the contentious battle to close the plant, and each candidly admitted that shouting matches on the subject had erupted over the years. Yet they all expressed thanks to one another and to community members in the Potrero Hill, Dogpatch, and Bayview/Hunters Point neighborhoods, where residents were most directly affected by the noxious air pollution generated by the plant.

“They say it takes a village to raise a child. Well, it takes a state and a city to close this power plant,” said Maxwell, whose District 10 includes the neighborhoods affected by the power plant. “I started working on these plants when I took office, and now the plants are leaving with me.” Maxwell was credited with displaying dogged persistence and playing an instrumental role in pushing for the shutdown the plant.

“There were a lot of phone calls, there were a lot of arguments, there were a lot of disputes. But the fact of the matter is that everybody was focused on the same goal — and that was getting this plant shut down,” said Herrera, who has also been a key player in the decade-long fight to shut down the plant.

Newsom sounded a similar note. “I want to compliment everybody for their steadfastness and their devotion to this process,” the mayor said. “We didn’t always necessarily agree.”

Joshua Arce, who worked with community members to shut down the plant as part of his work with the Brightline Defense Project, was clearly pleased by the announcement. “It’s a fantastic day. We’re at last going to see the billowing smokestack come down, and for good,” Arce said.

The shutdown finally came to pass because the CalISO, which regulates the state power grid, was willing to accept new energy system upgrades as sufficiently reliable. For years, despite the community’s insistence that the plant was having an unacceptable impact on public health and disproportionately affected low-income communities of color, CalISO refused to terminate a contract requiring the plant to stay in operation for grid-reliability purposes.

However, new pieces to the city’s energy puzzle were recently fitted into place. The Trans Bay Cable, a 53-mile submarine power line that can transmit 400 megawatts of electricity from a Pittsburg generating station to San Francisco, became fully operational Nov. 23, months behind schedule. Meanwhile, a Pacific Gas & Electric Co. re-cabling project deemed important to San Francisco’s electricity reliability was completed Dec. 5.

“This plant has been part of the reliable supply for San Francisco … for a long time. And more recently, it actually provided the security for San Francisco should anything happen outside of San Francisco,” Yakout Mansour, president and CEO of the CalISO said during the shutdown ceremony. “But the time is here to replace the plant with an alternative to make the city more secure and reliable with much less polluting options.”

The CalISO issued a letter to the plant owner, which recently merged with another company and changed its name from Mirant to GenOn, stating that the must-run agreement would be terminated effective Jan. 1. The date of the final termination is Feb. 28, pending approval from the Federal Energy Regulatory Commission (FERC).

Now the major question is what will become of the power plant site, a vast strip of industrial real estate wedged between Illinois Street and the waterfront. “Many ideas have been thrown out there. People have come to us and said everything from office and industrial and research and development, to wind turbines,” noted Sam Lauter, a local spokesperson for GenOn. Lauter noted that community meetings would be held soon to discuss the future site use.

The site was previously owned by PG&E, and the utility is responsible for cleaning up lingering toxic residue including lampblack, a byproduct of coal processing, left behind when PG&E sold the site. Because of the pollution, residential units cannot legally be constructed on the site, even after cleanup.

There is one unfortunate consequence to shuttering the plant. According to plant manager Mike Montany, five or six of the 28 employees of the plant will lose their jobs. The rest will either retire or go to work at a new facility, he said.

While San Francisco will be poised to ring in the new year with improved air quality thanks to the elimination of its last polluting energy facility, residents of the area where the city’s power will now be sourced from won’t be so lucky. They are faced with the construction of two new power plants. The undersea Trans Bay Cable will run from the PG&E’s substation in San Francisco — a humming network of cables and transformers located beside the power plant that will stay put after the shutdown — to a generating station in Pittsburg, located in the delta near the confluence of the Sacramento and San Joaquin rivers.

GenOn owns the Pittsburg power plant, and it recently held a groundbreaking ceremony for a new power plant in neighboring Antioch, called Marsh Landing. At the same time, the California Public Utilities Commission (CPUC) recently gave the green light for another new power plant in that area. The $1.5 billion PG&E facility would be located in Oakley, which borders Antioch. It won commission approval Dec. 16, despite an earlier decision rejecting the proposal.

The plans for new power plants were approved just after the conclusion of an important United Nations convention on Climate Change in Cancún, Mexico, and amid news reports highlighting scientists’ conclusion that polar bears have a shot at survival only if serious efforts are taken to reduce greenhouse gas emissions. While the cheerful ceremony to shut down the Potrero power plant was a satisfying conclusion to a long battle, there’s a long road yet ahead in the overarching struggle against climate change.

Stage Listings

Jesse Hawthorne Ficks
-
0

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. For complete listings, see www.sfbg.com.

THEATER

ONGOING

*Candid Dance Mission Theater, 3316 24th St; 273-4633, www.sweetcanproductions.com. $15-60. Call for dates and times. Through Jan 9. Sweet Can’s cosy pocket-circus at Dance Mission holds plenty of big-tent talent in its five-person cast (Jamie Coventry, Natasha Kaluza, Kerri Kresinski, Nobutaka Mochimaru, Matt White), backed by the ample multi-instrumental musicianship of Eric “EO” Oberthaler. This fleet 60-minute charmer (directed with strong ensemble choreography by Zaccho Dance Theatre’s Joanna Haigood) finds opportunities for creative expression and dazzling feats with whatever comes to hand (including using hands as feet). Performers dance around in trashcans, make hay with newspaper, or get seriously Fred Astaire with a broom (in White’s wowing solo). Goofy, family appropriate, but widely appealing and frequently eye-popping (Kaluza rocking 20 hula hoops, for inst, or Kresinski’s powerful aerial dance), Candid is can-do entertainment. (Avila)

Cavalia: A Magical Encounter Between Horse and Human White Big Top, 4th St at China Basin; 9866) 999-8111, www.cavalia.net. $69-144. Call for dates and times. Through Tues/4. A show with horses, aerial performers, actobats, and more.

Dirty Little Showtunes! A Parody Musical Revue New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Jan 16. Tom Orr’s adults-only holiday show returns, with direction by F. Allen Sawyer and musical direction by Scrumbly Koldewyn.

*Forever Tango Marines’ Memorial Theatre, 609 Sutter; 771-6900; www.marinesmemorialtheatre.com. $45-100. Call for dates and times. Through Jan 12. Luis Bravo’s atmospheric showcase is a slick, showy mélange of music and dancing whose fluid precision and assemblage of talent make it hard to resist. Cheryl Burke heads up an amazing 13-member ensemble of very stylishly draped dancers (exquisite costuming by Argemira Affonso) who singularly, all together, and of course in dramatic couplings, blend supreme control and dramatic restraint with unabashed sexual allure and volcanic energy. The orchestra, meanwhile, under direction of Eduardo Miceli, creates the intoxicating ether that sets everything in motion. (Avila)

Joyful Noise: A Gospel Celebration of Christmas Southside Theater, Fort Mason Center; 345-7575, www.LHTSF.org. $25-50. Call for dates and times. Through Fri/31. Lorraine Hansberry Theatre presents a rechristened version of their Black Nativity production.

The Lion in Winter Actors Theatre, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Wed-Sat, 8pm. Through Jan 15. Actors Theatre of SF presents James Goldman’s play of palace intrigue.

Mr. YooWho’s Holiday NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $10-18. Fri-Sat, 8pm; Sun, 2pm. Through Sun/2. European clown Moshe Cohen returns to SF for a third run at NOHspace.

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Santaland Diaries Eureka Theatre, 215 Jackson; (800) 838-3006, www.brownpapertickets.com. $20-30. Nightly, 8pm. Through Thurs/30. David Sinaiko returns as Crumpet in Combined Artform’s ninth annual production of the David Sedaris play.

Shrek The Musical Orpheum Theatre, 1192 Market; (888) SHN-1799, www.shnsf.com. $30-99. Tues, 8pm, Wed, 2 and 8pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm (no performance Fri/31). Through Sun/2. Eric Petersen stars in the stage version of the animated blockbuster.

Siddhartha, the Bright Path The Marsh Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through Jan 9. Marsh Youth Theater presents a holiday celebration, directed by Lisa Quoresimo.

BAY AREA

Arabian Nights Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2549, www.berkeleyrep.org. $34-73. Call for dates and times. Through Thurs/30. Tony-winning Mary Zimmerman’s production makes a return to Berkeley Rep.

Becoming Julia Morgan Berkeley City Club, 2315 Durant, Berk; (510) 984-3864, www.brownpapertickets.com. $24-30. Fri-Sat, 8pm; Sun, 5pm. Through Jan 9. Janis Stevens stars in Belinda Taylor’s play about the trailblazing architect.

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Feb 13. Don Reed’s one-man show continues its extended run.

Lemony Snicket’s The Composer is Dead Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. Call for dates and times. Through Jan 15. Berkeley Rep premieres the new musical, written by Lemony Snicket, with music by Nathaniel Stookey.

Naughty and Nice: A Meg and Billy Christmas Aurora Theatre Company, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $23-25. Call for dates and times. Through Thurs/30. Bay Area husband and wife cabaret duo Meg Mackay and Billy Philadelphia return with a holiday show.

Of the Earth – The Salt Plays: Part 2 Ashby Stage, 1901 Ashby; (510) 841-6500, www.shotgunplayers.org. $17-30. Thurs-Sat, 8pm; Sun, 5pm. Through Jan 30. Shotgun Players present the second half of writer and director Jon Tracy’s Odyssey-inspired tale, with music by Brendan West.

The World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston, Berk; (800) 838-3006, www.themarsh.org. $8-50. Wed-Thurs, 11am). Through Thurs/30. The Amazing Bubble Man’s show presents flying saucer bubbles and other wonders.

PERFORMANCE/DANCE

Cheapest and Greatest New Year’s Eve Stand-Up Show Phoenix Theatre, 414 Mason; (800) 838-3006, www.brownpapertickets.com. Thurs/30, 7pm; Fri/31, 7 and 9:30pm. Stand-up comedy by W. Kamau Bell, Janine Brito, and Dwayne Kennedy.

Clown Cabaret TJT The Jewish Theatre, 470 Florida; 522-0786, www.climatetheater.org. Mon/3, 7 and 9pm. $15. The Clown Conservatory and others gather to perform.

Forking II: A Merry Forking! Christmas Off-Market Theatres, 965 Mission; (800) 838-3006, www.pianofight.com. Call for dates and times (through Thurs/30). PianoFight presents a holiday-themed choose-your-own-adventure play.

Frisco Fred’s Magic and More New Year’s Eve Show Actors Theater, 855 Bush; 646-0776, www.comedyonthesquare.com. Fri/31, 7:30pm. $40. The comedian-juggler presents a New Year’s show.

Mr. Nifty’s News Year’s Eve Vaudeville Extravaganza USF Presentation Theater, 2350 Turk; (800) 838-3006, www.brownpapertickets.com. Fri/31, 9pm. $25. Trainwreck Riders, Dr. Science, and others ring in 2011.

New Year’s Eve Mayhem with Michael Meehan and His Merrymakers Actors Theater, 855 Bush; 646-0776, www.comedyonthesquare.com. Fri/31, 10pm. $40. The stand-up comedian leads the countdown to midnight.

Not Your Normal New Year’s Eve Herbst Theatre, 401 Van Ness; 392-4400, www.NYNYE.com. Fri/31, 8-10pm. Stand-up comedy from Brent Weinbach, Moshe Kasher, and others.

Romane Event Comedy Show Make Out Room, 3225 22nd St; 647-2888, www.pacoromane.com. Wed/29, 8pm. $7. The comedian hosts Joe Tobin and others.

BAY AREA

Big Fat Year End Kiss Off Comedy Show XVII Rhythmix Cultural Works, 2513 Blanding, Alameda; (510) 865-5060, www.rhythmix.org. Fri/31, 7 and 10pm. $25-35. Will Durst, Johnny Steele, and others perform.

Striking 12 TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Call for dates and times (through Fri/31). $56-75. Indie pop group GrooveLily ushers in the new year a rewired version of Hans Christian Andersen’s The Little Match Girl.

Psychic Dream Astrology

Jesse Hawthorne Ficks
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Dec. 29-Jan. 1

Mercury Retrograde is over on the 30th.

ARIES

March 21-April 19

There may be some loss that you’re dealing with, or one that’s brewing. Create closure this week with what was and inject life into your hopes for what can be. Release attachments in exchange for a better year.

TAURUS

April 20-May 20

Forget making a mad dash to this years’ finish line with everything all tidily packaged up. Reflect on where you have happiness in your life and where you need it — and then bring that wisdom with you into 2011.

GEMINI

May 21-June 21

How about an end of the year cleanse? Clear out all the distractions and obstacles to the good vibes you’ve got around (and inside!) you. Make sure you don’t repeat the mistakes of ’10 in 2011, and start on it today.

CANCER

June 22-July 22

To create the kind of life you really want, you have to be willing to change some things up. Exit 2010 meditating on the concept of creativity. If you’re not approaching your life with it, stress will rein in your New Year.

LEO

July 23-Aug. 22

Put your dick back in your pants, Leo. Make sure your ego is yer buddy and not a little soldier wrecking havoc on your life. They say “pride comes before a fall,” and you should think on that this week. End 2010 with humility.

VIRGO

Aug. 23-Sept. 22

Reflect on where you made progress this year and where you sat in mental limbo, rehashing ideas and events. Promise to make 2011 your year for active reflection and mobilization. Self-inflicted pain be gone!

LIBRA

Sept. 23-Oct. 22

There is no excuse for stewing on things till you blow a fuse. Say what needs to be said so you can let the past can stay right where it belongs (behind you). Envision new beginnings for a New Year.

SCORPIO

Oct. 23-Nov. 21

Get yourself together, pal, lest you start ’11 with bad vibes. Fear is a hound that will sniff you out if you’re not careful. Instead of focusing your energy on worries, think decisively about what you choose.

SAGITTARIUS

Nov. 22-Dec. 21

The thing about opportunity is that crappy ones sometimes yield the best results and seemingly awesome ones can turn bad on you in a second! Know yourself well enough to see chances for growth in 2011.

CAPRICORN

Dec. 22-Jan. 19

If you’re too focused on your end game you’ll miss the point, Cap. The Universe wants you to take responsibility without guilt trips or blame games. Put that in your 2011 pipe and smoke it.

AQUARIUS

Jan. 20-Feb. 18

If you were to have a serious talk with yourself it should go like this: “Aquarius, you are awesome, but there’s some stuff in our relationship that isn’t working for me. Let’s promise to get along better in 2011.”

PISCES

Feb. 19-March 20

Make sure the fun and games you pursue in the New Year have a soul and a conscience, Pisces. Avoid anxiety and pain by doing the right thing by your own standards, even if it’s less exciting. 

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

 

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