Energy

Willie Brown to speak in favor of Prop 16 tomorrow

A public forum will be held tomorrow at the California Public Utilities Commission to discuss Proposition 16, the ballot initiative that PG&E is bankrolling in order to require a two-thirds majority vote before any municipality can become an electricity provider.

The Guardian has received word that former San Francisco Mayor Willie Brown will be speaking in support of Prop. 16. We initially heard that he would be speaking on behalf of the California Chamber of Commerce, so we placed a call with the COC to verify whether that was the case. That prompted Robin Swanson, spokesperson for the Yes on 16 Campaign, to call and clarify that Brown is speaking on his own behalf. “He’s just speaking in support of Prop 16,” she said, speculating that maybe he was interested in the issue due to his own experience in local government.

Willie Brown formerly worked for PG&E providing “consulting services,” according to a 2007 annual report.
When asked whether Brown was approached by either PG&E or the Yes on 16 Campaign to speak in support of the initiative, Swanson said, “I don’t know how that came about.”

We placed a call to Brown to ask him directly, but haven’t heard back yet.

The public forum, which will begin with a press conference on the steps of the CPUC building at 505 Van Ness, will be held from 1 p.m. to 5 p.m. Additional information can be found here.

Stage listings

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

THEATER

OPENING

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

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

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

ONGOING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

PERFORMANCE

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

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

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

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

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

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

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

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

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

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

Psychic Dream Astrology

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March 17-23

ARIES

March 21-April 19

Setting your priorities with your ego will put you on a path that will bring you no joy. Slow down and reassess your motives before it’s too late to change direction and you’re stuck with damage control.

TAURUS

April 20-May 20

You are able to start something meaningful this week, so check in with yourself to see what feels most deserving of your awesomeness. Don’t waste energy seeking approval.

GEMINI

May 21-June 21

Just because you feel sad doesn’t mean you have to tear things up. Make creative changes that allow more room for what you want.

CANCER

June 22-July 22

Before you do anything rash, take a breather. This week’s theme is motive, and you better check yours. Don’t convince others about where you’re coming from — embody it.

LEO

July 23-Aug. 22

If everything has to go your way for you to feel fabulous, you are working off a shallow foundation. Develop tools for nurturing yourself even when you hit a rough patch.

VIRGO

Aug. 23-Sept. 22

Don’t pathologize yourself. Feeling bad is OK when you are experiencing crappy times, just like feeling excellent is the right response to the good stuff. Experience life without fearing your own head.

LIBRA

Sept. 23-Oct. 22

Handle yourself with a little restraint or you’ll lose yourself in others. If you set wise boundaries with the folks you care most about, you can sustain the good vibes you crave.

SCORPIO

Oct. 23-Nov. 21

Resist the temptation to barrel forward when you have no clue about what you’re doing. You’re likely to create more problems than you solve by pushing ahead. Cool it till you have a clearer game plan.

SAGITTARIUS

Nov. 22-Dec. 21

You can be such a visionary when you get out of your own way. Don’t focus on nasty "what ifs." Instead, focus on what you hope to create.

CAPRICORN

Dec. 22-Jan. 19

You are going to get through this, Cappy. You just need to stay focused on what’s in front of you rather than on all the baggage you brought with you. Let go of your rusty old ways this week and trust in your own strength.

AQUARIUS

Jan. 20-Feb. 18

You’re on the edge of a hecka big change and you need a breather, pal. Your best medicine right now is a time out, toddler style. Let your inner baby have a meltdown, then put her to sleep. When she wakes up, you’ll be ready for anything. *

PISCES

Feb. 19-March 20

Be willing to make some choices and take some risks. The time for procrastination has come and gone. Take responsibility for how your state of mind effects the people around you.

Jessica Lanyadoo has been a psychic dreamer for 15 years. Check out her Web site at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com.

Rapera rules everything around her: Ana Tijoux rising

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

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

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

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

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

 

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

AT: Flying Lotus.

 

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

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

 

ANA TIJOUX

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

La Peña Cultural Center

3105 Shattuck, Berkeley

(510) 849-2568

www.lapena.org

How’d you get so fly, SambaDa?

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Pop quiz! 

Q. A woman with the mic croons the bloco afro riddims of her childhood growing up in Salvador. Around her, percussion reigns king and it’s possible that a capoeira or samba dancer has snuck onstage to accentuate the party energy. Your body jumps to the beat. SambaDa has you in its grasp. But from whence does this musical group hail?

A. (Choose one)

-Rio de Janeiro, Brazil

-Santa Cruz, California

 

If you picked Santa Cruz, you owe yourself a pat on the back and a spangled samba getup. The crew, a hometown fave, is steeped well in the legacies of reggae, Brazilian worship of sun and sand, and Cali funk. SambaDa got its start as a capoeira group and with the arrival of lead vocalist Dandha de Hora from her home town of Salvador, Brazil, have become a celebration of surf culture and the wonder of the natural world. They’re celebrating the release of their fourth album, Gente!, a tribute to the community that has sponsored their musical success.

Sambada tears it down, Carnival style. Shows attract a multi-generational crowd, and inspire foot stomping, hip swaying and a healthy, hearty dose of dance. The best place to watch this music performed is on a beach, feet stomping some white sand… but until the Outer Sunset gains a beach bar and 40 degrees, the stage at the Independent (Sat/13) will more than do for this weekend. 

 

Sat/13 9 p.m., $13-15

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

Our weekly picks

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WEDNESDAY 10th

DANCE

Alvin Ailey American Dance Theater


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

8 p.m. (through Sat/13), $36–$62

Zellerbach Hall

UC Berkeley campus, Berk.

(510) 642-9988

www.calperformances.org

THURSDAY 11th

VISUAL ART

Pepe Moreno


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

7 p.m., $5 donation requested

Cartoon Art Museum

655 Mission, SF

(415) 227-8666

www.cartoonart.org

EVENT

Thirsty Bear Beer Tasting


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

12-1:30 p.m., free

Green Zebra Environmental Action Center

50 Post, SF

(415) 346.2361

www.thegreenzebra.org

MUSIC

A Sunny Day in Glasgow


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

With the Gold Medalists and Apopka Darkroom

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

EVENT/MUSIC

Free Party for Experience Hendrix Tour


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

4 p.m., free

Hard Rock Café

Pier 39, SF

(415) 956-2013

www.hardrock.com/sanfrancisco

FRIDAY 12th

MUSIC

The Temper Trap


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

9 p.m., $22.50

The Fillmore

1805 Geary, SF

(415) 346-6000

wwwvenation.com

COMEDY

Dave Attell


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

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

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

DANCE

ODC/Dance


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

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

Novellus Theater

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-ARTS

www.odcdance.org

SATURDAY 13th

COMEDY

Martin Lawrence


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

8 p.m. (also Sun/14), $42.75–$77.50

Paramount Theatre

2025 Broadway, Oakl.

(510) 465-6400

www.paramounttheatre.com

MUSIC

E.C. Scott


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

8 p.m., $20

401 Mason, SF.

(415) 292-2583

www.biscuitsandblues.com

MUSIC

Youth Brigade


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

9 p.m., $18

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

SUNDAY 14th

MUSIC

Scarlett Fever


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

1 p.m., $15

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

TUESDAY 16th

FILM

Remembering Playland at the Beach


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

7 and 9:15 p.m., $6.50–$9

Balboa Theatre

3630 Balboa, SF

(415) 221-3117

www.balboamovies.com

FILM

Palestine Cinema: A Shorts Program


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

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

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

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Live Shots: El Perro Del Mar and Taken By Trees, Café du Nord, 3/2/10

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Back in the early ’90s, when MTV played video after video and I was still a kid, I remember seeing tall, hot chicks like Sarah Assbring, the sole member of El Perro Del Mar, flash across the screen, dancing to Axl Rose and Aerosmith. Taking the stage, Assbring immediately struck me as a rock video model, her bright blonde hair chopped off with a stiff asymmetrical edge, lips dark with black-red lipstick, and lids full of smoky shadow. I was immediately envious of her black silky jumper, stitched with an oversupply of fabric under the sleeves that made for the perfect raven wings whenever she lifted her arms.

The sounds of El Perro Del Mar are always sweet and shy, much like the musician herself. She said very little and smiled even less, and yet had me wrapped around her every breath. When she sang, her eyes focused intently on an unknown object in the back of the room, with her eyebrows at a constant downward angle. Often she would raise her hands into the air or send them straight out in front of the mic, nearly reaching the fans in front. She was intense.

Highlights were “A Change of Heart,” which was as delightful live as it is on Love is Not Pop, and “Gotta Get Smart.” After singing the lyrics to the breakup anthem,, Assbring posed a question to the crowd: “Have you ever had your heart broken?”

“Two times,” a man in the front row answered.
“Will you ever be able to love again?” she asked him directly.
“I already have…thanks to you.”

The crowd giggled and awed; Assbring blushed and started “A Better Love” almost immediately. Near the end of the set she covered The XX’s “Shelter,” giving the song a smoky, jazzy twist that continued to build and build until its rushing end. When the set finished, the crowd cheered and yelped, hoping that the double-headliner show would still allow for an encore. Assbring and the band returned,  thanking the crowd for requesting their return with an ABBA-esque number, setting the perfect mood for Taken By Trees.

A multitude of drums and mallets filled the space with African beats, inviting Victoria Bergsman, the solo singer who takes on the name Taken By Trees onto the dark stage. After the first song finished and the crowd cheered, Bergsman’s wild eyes searched the room. A naughty smirk swept across her lips.

“I heard a wolf in the crowd and now I know where you are.”

In terms of energy, Bergsman’s songs were a stark contrast to El Perro Del Mar. Reminding of Lion King, with feel-good micro melodies galloping left and right, I wanted to dance and leap.

Bergsman dedicated a song to a dear friend, encouraged the crowd to clap, and consistently closed her eyes while she sang, often folding her hands in front of her. She was still and mischievous, always looking like she was planning her next cat attack.

Telling the crowd of her tour of San Francisco earlier that day, she explained that she was falling in love with the area.

“I’m thinking about moving here. Should I move here?” she playfully asked the crowd. Without a delay, the place burst into a mess of encouragement.

Uproot: Little City Gardens gots to get paid

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By Robyn Johnson

In a manifesto of sorts released by Civil Eats, Brooke Budner of Little City Gardens, co-owned by Caitlyn Galloway, lays out the farm’s intention to create San Francisco’s first for-profit urban micro-farm in that generates a viable income for farmers, thus paving the way for more potential urban farmers follow suit:
       
“Our approach to growing the urban agriculture movement is based upon the premise that urban food production will not reach its full potential unless there are avenues in the local market economy for growers to make a living through the sales of their produce. Currently, San Francisco’s urban agriculture is largely anchored in the realms of education and non-profit work. While a substantial amount of food can be grown […] the quantity pales in comparison to what could be grown if farmers could earn a living wage through the cultivation and sales of food in the city.

She admits that the concrete details outside of their business plan are a little vague and that a time of trial and error lies ahead. But the energy behind their can-do-ness and optimism is infectious, and especially invigorating in these crisitunity-loaded times. With others exploring creative economics—take Mission Street Food’s radical new model relying upon 100 investors or even People’s Grocery alliance with for-profit grocery store in West Oakland—perhaps it’s time to be a little open to out-of-the-box possibilities.

Their fundraising campaign (they’ve been unable to apply for loans as an experimental business) has already met and exceeding its target by at least two months in advance. So clearly, the community has got their back.

What do you think? Can Little City Gardens foster a sustainable market for urban farms to thrive in San Francisco?

Noise Pop 2010: Loquat at BOTH; Edward Sharpe and the Magnetic Zeros at Bimbo’s

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Loquat at Bottom of the Hill

The San Francisco band started their set with a request for more blue lighting at the Bottom of the Hill Friday Feb. 27, half-joking and half-hoping to make things look “cooler” and more “ocean-like.” Loquat has been playing their brand of electro-pop in the Bay Area for almost a decade and therefore I was expecting some really sweet synth action as a precursor to headlining band, Memory Tapes. Instead, racing guitars and strong bass muddled all of my most favorite parts of Loquat’s soun: the subtle waving melodies and vocalist Kylee Swenson’s floating lyrics. Their newfound heavier sound translated into a rock version of L.A.’s Bitter:Sweet, with tons of energy that twinkled over the crowd like the venue’s vintage Christmas lights.

Throughout the set, Swenson’s voice was crisp and beautiful as always, trading between songs from their 2008 release, Secrets of the Sea and older tracks revived from years passed. “Harder Hit” and “Sit Sideways” were definitely the highlights of the show, a promising couple of songs that never fail to sting and caress simultaneously with Swenson’s solid range and complimentary smooth guitars. The dainty piano plunks and slight echoes were exactly the details I had been longing to hear. And just before I closed my eyes, I noticed all four members of the band had already done so, concentrating and enjoying the moment just as much as the packed crowd. 


Edward Sharpe and the Magnetic Zeros at Bimbo’s 365

Ten people and double the number of instruments cluttered the stage as Los Angeles’ Edward Sharpe and the Magnetic Zeros began their set of folk-rock revival. The smell of sweet grass wafted over the sold-out crowd on Feb. 28, trumpet melodies, accordions, tambourines, and all the rest blaring triumphant anthems as the group of musicians jumped and danced around in circles. The room was overflowing with endorphins, everyone smiling and bouncing around like we had collectively discovered the fountain of youth.

I was filled with butterflies while watching vocalists Alex Ebert (a.k.a. the fictitious character Edward Sharpe) and Jade Castrinos interact, reminding me of the romantic fuzzies I felt when watching the fairytale love story between Titanic’s Jack and Rose. The winking, smiling and flirtatious affection was constant between the two and it really hit during “Home”, their whistle-laden love duet.

The vocal couple could have been the mom and pop of the Magnetic Zeros; a group that could have easily been one that stumbled out of a Portland farming co-op. Ebert’s scruffy beard, dangling red scarf and strangely patterned pants (which he said were a present from a friend that came “pre-dirted,” just the way he likes) fit right in with the rest of the group’s sweet vintage duds. Miss Castrinos looked like a charming child from the ’30s, her pixie cut paired perfectly with pinned-up oversized dress, complete with white bib.

The set list included lots of slow, ’60s style rock ballads, of which Ebert prefaced by shouting “It’s time to get serious”, the disco ball slowly casting reflections over what should have been a dance hall in a Western canyon. The show was equal parts sexy and like being with one huge Mormon family, with a sense of community, peace, and love sewn into every note.

My only complaint: not enough from Castrinos’ beautiful vocal cords. She is fantastic and it’s hard to believe such a rough, Joplin-esque voice bellows from that little body. She did sing one song on her own that was pure delight. “Isn’t it nice to be in San Francisco,” she asked Ebert, in her shy speaking voice. “It’s so magical here.” The set ended with Ebert asking a few people to come up on stage and sit down. Then he convinced the entire crowd to also take a seat— he suggested on one another’s laps so that no one would have to sit on the floor. An entire room of people together, hugging, humming and holding hands. I’ve never been to a show that quite mastered the feeling of togetherness that Edward Sharpe did. San Francisco is magical? I think they brought a little magic of their own…

Appetite: Hungry for Oscar coverage

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Food lovers can be film lovers, too. So in an unconventional “Appetite” this week, we go to the Oscars. Despite unworthy nominees and a slew of lackluster films, as a lifelong film fanatic, I still relish the event every year. There’s fun in joining with like-minded film buffs and fashion hounds to rave and rant about all the missteps or underdogs who should have won. And I’ll take any excuse to dress up.

This year I’m hoping the dynamic duo hosting team of Alec Baldwin and Steve Martin will add some spark to the hours’ long telecast. I’m more skeptical about the first go-round of 10 Best Picture nominees, however. We may not be Hollywood, but SF still gets into the act with events to suit everyone: those who want to enjoy the Oscars in style and those who want to bash the hell out of them.

Old Hollywood Glamour at Top of the Mark
Pull out your vintage or evening gown attire for a night of “Old Hollywood Glamour” at Top of the Mark. With the glorious lights and waters of SF shimmering below, enjoy champagne, Tsar Nicoulai caviar and other hors d’oeuvres. There’s no admission cost, rather, you order a la carte off the regular menu or from special menus like “The Nominees Are…”, including a bottle of Piper Sonoma Brut and shrimp cocktails ($60), or “…the Oscar goes to”: Moet & Chandon Brut Imperial with 1 oz. of Tsar Nicoulai California Estate Osetra Caviar ($110). With friends or that special someone in tow, pretend you’re at the Oscars as you watch from two screens near the dance floor, mentally composing your own Oscar acceptance speech. 

Sun/7, 5-10pm

Top of Mark/InterContinental Mark Hopkins

One Nob Hill, SF

(415) 616-6916

www.intercontinentalmarkhopkins.com/top_of_the_mark

Up the Oscars Benefit Bash at the Roxie
For 18 years running, dingy but loveable Roxie Theater is the place for all you haters… or rather, true film buffs who can’t stomach the idea of James Cameron winning any more awards. With the playful moniker of “Up the Oscars Benefit Bash,” you’re actually encouraged to shout at the movie screen, critique gowns or choose sides on the Best Actor front (Firth or Bridges?) There’s prizes and a costume contest, so come in anything from Cher-like weirdness to favorite film character. Shawerma-type snacks will be provided by neighboring Truly Mediterranean, but you can also bring your own food and drink as it’s gonna get long. You’ll need your energy for expressing outrage that a movie lacking plot, acting or substance, could (once again) win Best Picture.

Sun/7, 3:45pm (Red Carpet at 4pm; Oscars at 5:30pm)

$12-$15

Roxie Theater

3117 16th St, SF

(415) 863-1087

www.roxie.com

Appetite: Hungry for Oscar coverage

0

Food lovers can be film lovers, too. So in an unconventional “Appetite” this week, we go to the Oscars. Despite unworthy nominees and a slew of lackluster films, as a lifelong film fanatic, I still relish the event every year. There’s fun in joining with like-minded film buffs and fashion hounds to rave and rant about all the missteps or underdogs who should have won. And I’ll take any excuse to dress up.

This year I’m hoping the dynamic duo hosting team of Alec Baldwin and Steve Martin will add some spark to the hours’ long telecast. I’m more skeptical about the first go-round of 10 Best Picture nominees, however. We may not be Hollywood, but SF still gets into the act with events to suit everyone: those who want to enjoy the Oscars in style and those who want to bash the hell out of them.

Old Hollywood Glamour at Top of the Mark
Pull out your vintage or evening gown attire for a night of “Old Hollywood Glamour” at Top of the Mark. With the glorious lights and waters of SF shimmering below, enjoy champagne, Tsar Nicoulai caviar and other hors d’oeuvres. There’s no admission cost, rather, you order a la carte off the regular menu or from special menus like “The Nominees Are…”, including a bottle of Piper Sonoma Brut and shrimp cocktails ($60), or “…the Oscar goes to”: Moet & Chandon Brut Imperial with 1 oz. of Tsar Nicoulai California Estate Osetra Caviar ($110). With friends or that special someone in tow, pretend you’re at the Oscars as you watch from two screens near the dance floor, mentally composing your own Oscar acceptance speech. 

Sun/7, 5-10pm

Top of Mark/InterContinental Mark Hopkins

One Nob Hill, SF

(415) 616-6916

www.intercontinentalmarkhopkins.com/top_of_the_mark

Up the Oscars Benefit Bash at the Roxie
For 18 years running, dingy but loveable Roxie Theater is the place for all you haters… or rather, true film buffs who can’t stomach the idea of James Cameron winning any more awards. With the playful moniker of “Up the Oscars Benefit Bash,” you’re actually encouraged to shout at the movie screen, critique gowns or choose sides on the Best Actor front (Firth or Bridges?) There’s prizes and a costume contest, so come in anything from Cher-like weirdness to favorite film character. Shawerma-type snacks will be provided by neighboring Truly Mediterranean, but you can also bring your own food and drink as it’s gonna get long. You’ll need your energy for expressing outrage that a movie lacking plot, acting or substance, could (once again) win Best Picture.

Sun/7, 3:45pm (Red Carpet at 4pm; Oscars at 5:30pm)

$12-$15

Roxie Theater

3117 16th St, SF

(415) 863-1087

www.roxie.com

Music listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com.

WEDNESDAY 3

ROCK/BLUES/HIP-HOP

Backyard Tire Fire, Arcadio Hotel Utah. 9pm, $10.

Jello Biafra and the Guantanamo School of Medicine, Fracas, Abu Ghraib Bottom of the Hill. 9pm, $12.

Big John Bates and the Voodoo Dollz, Quarter Mile Combo, Reverend Deadeye Thee Parkside. 8pm, $7.

For Fear the Hearts of Men Are Failing, Cousin Chris Show, Jamie Wong El Rio. 8pm, $5.

Generalissimo, Cartographer, Assistant Cobra Elbo Room. 9pm, $7.

Guitar Shorty Biscuits and Blues. 8pm, $15.

La Corde, Stirling Says, Only Sons Hemlock Tavern. 9pm, $6.

Jason Movrich Abbey Tavern, 4100 Geary, SF; (415) 221-7767. 9pm, free.

Phantogram Rickshaw Stop. 8pm, $10.

Snoop Dogg Fillmore. 8pm, $55.

*Alan Toussaint Great American Music Hall. 8pm, $35.

FOLK/WORLD/COUNTRY

Bluegrass Country Jam Plough and Stars. 9pm.

Faye Blais, Sarah Burton Café Royale, 800 Post, SF; (415) 441-4099. 8pm, free.

DANCE CLUBS

Afreaka! Attic, 3336 24th St; souljazz45@gmail.com. 10pm, free. Psychedelic beats from Brazil, Turkey, India, Africa, and across the globe with MAKossa.

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

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

Hump Night Elbo Room. 9pm, $5. The week’s half over – bump it out at Hump Night!

Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.

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

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

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

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

Yoruba Dance Sessions Bacano! Som., 2925 16th St., SF; (415) 558-8521. 9pm, free. With resident DJ Carlos Mena and guests spinning afro-deep-global-soulful-broken-techhouse.

THURSDAY 4

ROCK/BLUES/HIP-HOP

Big Light, Everest, Guns for San Sebastian Independent. 8pm, $14.

Chauncey Evans Quintet Coda. 9pm, $7.

Dashing Suns, Sunbeam Rd. Adobe Books, 3166 16th St, SF; http://adobebooksbackroomgallery.blogspot.com. 7pm, free.

Lloyd Gregory Biscuits and Blues. 8pm, $15.

Gun and Doll Show, Pollux Rickshaw Stop. 8pm, $20. Benefit for the George Mark Children’s House.

*Hunx and His Punkettes, Splinters, Magic Bullets Amnesia. 9pm, $7.

Midlake, Matthew and the Arrogant Sea Great American Music Hall. 9pm, $18.

Ash Reiter, Tippy Canoe and Mikie Lee Prasad, Anna Ash Hemlock Tavern. 9pm, $6.

*Saviours, Lecherous Gaze, Futur Skullz Eagle Tavern. 10pm, $8.

Rocky Votolato, Adam Stephens, Tin Can Notes Bottom of the Hill. 9pm, $14.

Veil Veil Vanish Popscene at 330 Ritch. 10pm.

JAZZ/NEW MUSIC

"Other Minds Festival of New Music" Kanbar Hall, Jewish Community Center of San Francisco, 3200 California, SF; www.otherminds.org. 8pm, $35.

Poncho Sanchez Band with Nicholas Payton Yoshi’s San Francisco. 8 and 10pm, $16-24.

FOLK/WORLD/COUNTRY

Circle R Boys Atlas Café. 8pm, free.

Heather Combs, Matthew Hansen, Dave Gleason Hotel Utah. 8pm, $8.

Shana Morrison Café du Nord. 8pm, $15.

Shannon Céilí Band Plough and Stars. 9pm.

Oliver Rajamani Ensemble Swedish American Hall (upstairs from Café du Nord). 8pm, $20.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-6. DJs Pleasuremaker and Señor Oz spin Afrobeat, Tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St; 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. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.

Good Foot Yoruba Dance Sessions Bacano! Som., 2925 16th St., SF; (415) 558-8521. 9pm, free. A James Brown tribute with resident DJs Haylow, A-Ron, and Prince Aries spinning R&B, Hip hop, funk, and soul.

Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.

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

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

Koko Puffs Koko Cocktails, 1060 Geary; 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.

Love Them Phishes DNA Lounge. 8pm, $15-20. Gypsy punk with Alxndr, Bombgoddess, Ra-So, and Globalruckus.

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

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

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

Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest. Rock Candy Stud. 9pm-2am, $5. Luscious Lucy Lipps hosts this electro-punk-pop party with music by ReXick.

Solid Club Six. 9pm, $5. With resident DJ Daddy Rolo and rotating DJs Mpenzi, Shortkut, Polo Mo’qz and Fuze spinning roots, reggae, and dancehall.

Studio SF Triple Crown. 9pm, $5. Keeping the Disco vibe alive with authentic 70’s, 80’s, and current disco with DJs White Girl Lust, Ken Vulsion, and Sergio.

FRIDAY 5

ROCK/BLUES/HIP-HOP

Barcelona, Mata Leon, Lia Rose Slim’s. 9pm, $15.

Barn Owl, Carlton Melton, Electric Jellyfish Hemlock Tavern. 9:30pm, $7.

Diego’s Umbrella, Yung Mars, Funky C Café du Nord. 9:30pm, $12.

Flexx Bronco, Corruptors, Spitting Cobras, All Bets on Death Bottom of the Hill. 9pm, $10.

Galactic feat. Cyril Neville and Big Freedia Fillmore. 9pm, $29.50.

Joe Henry, Dayna Stephens Great American Music Hall. 9pm, $20.

Hightower, Lozen, Sugar Sugar Sugar Pissed Off Pete’s, 4528 Mission, SF; www.pissedoffpetes.com. 10pm, $5.

*Hillstomp, Luke Franks, Black Crown Stringband Rickshaw Stop. 8:30pm, $12.

*No Bunny, TV Ghost, Outdoorsmen, Mom Thee Parkside. 9pm, $8.

Jackie Payne and Steve Edmonson Band Biscuits and Blues. 8 and 10pm, $20.

Melonumba, Cloverleaf Drive DNA Lounge. 5:30pm, $12.

Stockholm Syndrome, These United States Independent. 9pm, $25.

Tremor Low, Alright Class, Photons, Grand Atlantic Hotel Utah. 9pm, $6.

JAZZ/NEW MUSIC

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

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

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

"Other Minds Festival of New Music" Kanbar Hall, Jewish Community Center of San Francisco, 3200 California, SF; www.otherminds.org. 8pm, $35.

Poncho Sanchez Band with Nicholas Payton Yoshi’s San Francisco. 8 and 10pm, $20-28.

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

SFJAZZ Collective Palace of Fine Arts Theatre, 3301 Lyon, SF; www.sfjazz.org. 8pm, $25-60.

Shotgun Wedding Symphony Coda. 10pm, $10.

FOLK/WORLD/COUNTRY

Audiodub, Kapakahi Elbo Room. 10pm, $12.

Jarrod Gorbel Swedish American Hall (upstairs from Café du Nord). 7:30pm, $12.

Prasant Radhakrishnan’s VidyA Red Poppy Art House. 8pm, $15.

Quinn DeVeaux and the Blue Beat Review Plough and Stars. 9pm.

DANCE CLUBS

Activate! Lookout, 3600 16th St; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.

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; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

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

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

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

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

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

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.

Strangelove Cat Club, 1190 Folsom, SF; (415) 703-8965. 9pm, $6. With DJs Tomas Diablo, Lowlife, Fact50, and Death Boy spinning goth and industrial.

SATURDAY 6

ROCK/BLUES/HIP-HOP

Appleseed Cast, Dreamend Bottom of the Hill. 10pm, $14.

Badstrip, Pins of Light, Space Vacation Thee Parkside. 9pm, free.

Mike Beck and the Bohemian Saints Riptide. 9pm, free.

Mike Doughty, Christina Courtin Slim’s. 9pm, $22.

Galactic feat. Cyril Neville and Big Freedia Fillmore. 9pm, $29.50.

Little Teeth, Hermit Thrushes, Woom Hemlock Tavern. 9pm, $7.

McCabe and Mrs. Miller Makeout Room. 7pm.

Natron Blue, FishBiteFish, Bro Hotel Utah. 9pm, $7.

Elliot Randall and the Deadmen, Famous, Cyndi Harvell Café du Nord. 9pm, $12.

Stockholm Syndrome, These United States Independent. 9pm, $25.

Joe Louis Walker Biscuits and Blues. 8 and 10pm, $22.

JAZZ/NEW MUSIC

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

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

George Cole Quintet and Fishtank Ensemble Noe Valley Ministry, 1021 Sanchez, SF; www.noevalleymusicseries.com. 8:15pm, $20.

Tim Nunn and Blake McGee Meridian Gallery, 535 Powell, SF; www.meridiangallery.org. 8pm, $10.

"Other Minds Festival of New Music" Kanbar Hall, Jewish Community Center of San Francisco, 3200 California, SF; www.otherminds.org. 8pm, $35.

Poncho Sanchez Band with Nicholas Payton Yoshi’s San Francisco. 8 and 10pm, $28.

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

Ricardo Scales Top of the Mark. 9pm, $15.

FOLK/WORLD/COUNTRY

Brent Amaker and the Rodeo, Apache Thunderbolt Amnesia. 9pm, $7.

George Cole and the Fishtank Ensemble Noe Valley Ministry, 1021 Sanchez, SF; (415) 454-5238. 8:15pm, $22.

Dust Bowl Cavaliers vs Misisipi Rider Plough and Stars. 9pm.

Qadim Ensemble Red Poppy Art House. 8pm, $15-$20.

Shackleton, Eskmo, Eprom, Kush Arora Darkroom, Club Six. 10pm, $15. Playing live bass music.

DANCE CLUBS

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

Debaser Knockout. 11pm, $5. Wear your flannel and get in free before 11pm to this party, where DJ Jamie Jams and Emdee play alternative hits from the 1990s.

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.

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

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.

*J-Boogie’s Dubtronic Science with Skins and Needles featuring DJ Jeph and Max MacVeety Coda. 10pm, $10.

Kontrol Endup, 401 6th St., SF; (415) 541-9422. 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 DNA Lounge. 9pm, $7-12. "Ladies of the 80s" dance party with Skip and Shindog.

Pure Behrouz Mighty. 10pm, $15. With DJs Behrouz, Julius Papp, and Rooz spinning house.

Rebel Girl Rickshaw Stop. 10pm, $5. "Electroindierockhiphop" and 80s dance party for dykes, bois, femmes, and queers with DJ China G and guests.

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

So Special Club Six. 9pm, $5. DJ Dans One and guests spinning dancehall, reggae, classics, and remixes.

Social Club LookOut, 3600 16th St., SF; (415) 431-0306. 9pm. Shake your money maker with DJs Lee Decker and Luke Fry.

Soundscape Vortex Room, 1082 Howard, SF. 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.

SUNDAY 7

ROCK/BLUES/HIP-HOP

Abe Vigoda, Lovvers, High Castle Bottom of the Hill. 9pm, $10.

"Battle of the Bands" DNA Lounge. 5:30pm, $10-12. With High Like Five, Sol, Supernaculum, Animojams, and more.

Black Dahlia Murder, Obscura, Augery, Hatesphere Slim’s. 7pm, $15.

Killswitch Engage, Devil Wears Prada, Dark Tranquillity Warfield. 7:30pm, $32.

Lindsay Mac Band, Natalia Zuckerman Hotel Utah. 8pm, $12.

Leslie and the Lys, Christopher the Conquered, Planet Booty Rickshaw Stop. 8pm, $14.

*Shrinebuilder, Harvestmen, A Storm of Light Independent. 8pm, $17.

Two Dollars Out the Door, Birthday Suits, Rank/Xerox Hemlock Tavern. 9pm, $5.

JAZZ/NEW MUSIC

Kate McGarry Trio with Keith Granz and Clarence Penn Swedish American Hall (upstairs from Café du Nord). 7pm, $25.

Le Jazz Hot Café Royale, 800 Post, SF; (415) 441-4099. 6pm, free.

Poncho Sanchez Band with Nicholas Payton Yoshi’s San Francisco. 5 and 7pm, $5-28.

FOLK/WORLD/COUNTRY

Shane Cooley Kimo’s. 6pm, $5.

Frank French Sherman and Clay, 647 Mission, SF; (415) 543-1888. 4pm, free.

Raul Malo Café du Nord. 8:30pm, $20.

"Te Gusto Musical" Coda. 8pm, $10. With Hector Lugo and Mixta Criolla.

Linda Tillery and the Cultural Heritage Choir, Eric Bibb Great American Music Hall. 8pm, $21.

Quin and friends Plough and Stars. 9pm.

Wooden Fish Ensemble Old First Concerts, 1751 Sacramento, SF; (415) 474-1608. 4pm, $14-$17. Celebrating the music of Hyo-shin Na.

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.

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

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJ Sep, Vinnie Esparza, and guest Selector Shockman.

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

Good Clean Fun LookOut, 3600 16th St., SF; (415) 431-0306. 3pm, $2. With drink specials, DJs and tasty food.

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

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

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

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

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

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

MONDAY 8

ROCK/BLUES/HIP-HOP

Anuhea and the Green Band, Sage Broadway Studios. 8pm, $40.

Blank Tapes, Mystery Lights, Nectarine Pie, Manhattan Murder Mystery Elbo Room. 9pm, $6.

Delta Spirit, We Barbarians, Elephant Micah Bottom of the Hill. 9pm, $12.

Dirty Heads, Simpkin Project, Pacific Dub Slim’s. 8pm, $15.

Amber Rubarth, Jim Bianco, Ryan Auffenberg Café du Nord. 9:30pm, $12.

DANCE CLUBS

Bacano! Som., 2925 16th St., SF; (415) 558-8521. 9pm, free. With resident DJs El Kool Kyle and Santero spinning Latin music.

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

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

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.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

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

Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.

TUESDAY 9

ROCK/BLUES/HIP-HOP

Black Rebel Motorcycle Club, Whigs Slim’s. 8pm, $30.

*Cave Singers, Dutchess and the Duke, Moondoggies Independent. 8pm, $14.

Clientele, Wooden Birds Great American Music Hall. 8pm, $15.

Extra Life, Ora Corgan, Chelsea Wolfe, Neighbors Hemlock Tavern. 9pm, $7.

Dominique Leone, 3 Leafs, William Winant Amnesia. 7pm, $8.

Fromagique Elbo Room. 9pm, $8. Live band and burlesque show.

Little Boots, Dragonette, Class Actress Fillmore. 8pm, $20.

Jared Mees and the Grown Children, Rock Cookie Bottom Grant and Green. 9pm, free.

Holly Miranda Café du Nord. 9:30pm, $10.

Sevendust, Drowning Pool, Digital Summer, Flood Regency Ballroom. 7:30pm, $27.

*Mike Watt and the Missingmen, Lite, Low Red Land Bottom of the Hill. 9pm, $12.

DANCE CLUBS

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

La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton.

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.

To hurl or not to hurl

0

arts@sfbg.com

MUSIC Keep your panties on and your polka dot bras in the drawer — they may be flattered, but Tegan and Sara have enough lingerie to last a lifetime. The Canadian twins are on the road for a tour of their latest release, Sainthood (Sire/WEA, 2009) and were proud to receive not one, but two, animal print brassieres on an Austin stage last week.

"I don’t even know what to say about ladies wearing leopard print bras — but I can say I would never have to buy another bra again," says Sara Quin, recalling the outrageous number of undergarments that she and her sister receive on a regular basis. Long-haired rocker dudes and R&B artists with six-packs seem the obvious targets for women’s personal attire, but cute little lesbians from Alberta?

"There are always bras and underwear backstage at venues, and I always wonder, who gets these?" Sara says. "Then I remember— we do."

Their stylish haircuts alone have switched ladies to the other side, not to mention their adorable turned-up noses, intelligence, feminist opinions, and six albums of pure pop genius. It’s been 12 years of music-making for the siblings, and they’re still surprised by the forward, and forceful, signs of affection some fans offer.

"I’m used to boys screaming ‘Take your shirt off!’ That’s common and annoying. But when a girl does it, I have to ask, ‘What are you thinking?’<0x2009>" The catcalls and Mardi Gras-style requests have always been hard for Sara to swallow. "My God, I’m not a stripper."

Baffled, she tries to deconstruct why women feel the urge to yell such absurdities. "Maybe they’re just excited to participate in a social custom?" she hypothesizes. A shy girl herself, she gives props to those ladies who have confidence. "Sometimes we have to suspend our logical, cultured brains and just enjoy the fact that people objectify you — take it as a sign of affection and roll with it."

Tit-show requests aside, Sara says she and Tegan couldn’t be happier with their dedicated fan base. Audiences sing along, pay attention, and eat up the witty banter the ladies are known to dish out between songs.

"We don’t feel like we’re a buzz band anymore and it’s not such a question about whether or not people will leave the show as a fan," she says, taking a break from set-up at a venue in Dallas. "Our audience has grown, and I’ve really been feeling an energy of oneness."

So if fans are shunned for catapulting linens, what would the ladies like to see land at their feet? Letters are nice, but Sara can’t fathom why people crumple and chuck them onto stage. "Call me romantic — or meticulous — I’d probably arrange for a carrier pigeon to send someone a note. But I’m a musician and I put a lot of thought into the packaging and delivery of how people receive things."

In recent years, books became a popular, yet potentially dangerous gift idea. "I love books, but people’s aim is far too accurate," Sara laughs, noting her near escapes from death. "I totally appreciate any gift. But if you’re going to throw a book, pad it with a towel."

TEGAN AND SARA

Fri/5, 8 p.m., $35

Fox Theater

1807 Telegraph, Oakl.

1 (800) 745-3000

www.ticketmaster.com

Questioning Prop. 16

4

rebeccab@sfbg.com

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

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

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

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

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

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

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

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

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

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

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

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

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

PG&E’s laughable Prop 16: Who needs friends when you’ve got $35 million?

Last month, when the Guardian sent an intern to cover a debate between Pacific Gas & Electric Co. spokesperson David Townsend and California Sen. Mark Leno, the reporter was ejected from the event at Townsend’s request.

I figured I’d be immune from such nonsense when I ventured to the state capitol yesterday for a joint informational hearing about Proposition 16, the ballot initiative that PG&E has bankrolled for the June ballot for the purpose of extinguishing competition in its service territory. The initiative would establish a two-thirds majority vote before any municipal electricity program could get up and running, and its sole sponsor is PG&E.

But just after I snapped a photo of Sen. Mark Leno and Assemblyman Tom Ammiano chuckling sardonically at a PG&E executive who had mistakenly referred to the ballot initiative as “Prop 13,” a guard swooped in and ordered me to stop photographing and turn off my voice recorder.

I shot him a dirty look at first, but then realized that I could wind up meeting the same fate as our unfortunate intern if I didn’t cooperate. He informed me that it’s protocol to provide advance notification before photographing or recording a public meeting at the capitol (despite the fact that the hearing is televised and open to the public). Then he asked for my name and affiliation, and said he would have to ask committee members for permission before he could allow me to do any more recording or photographing. Presumably, the decision would be based on who was asking. He vanished and, a few minutes later, returned to say that the answer was “no.”

Thus, I was reduced to frantically scribbling down notes, which means the exchanges transcribed below aren’t as complete as they could be. (Anyone know of an acupuncturist who can soothe muscle stiffness in the forearm?)

Yesterday’s hearing made it clear that PG&E has little support for the ballot initiative other than its own war chest of funding, and it’s royally pissed off the Legislature besides. PG&E Senior Director Ed Bedwell blushed a bright red hue more than once when he was assailed with statements such as, “Alienating those who are usually in your camp is not a good sign,” an admonishment delivered by Assembly Member Tom Ammiano when pointing out that not even California’s other investor-owned utilities are behind the initiative.

Apparently, not even the Republican members of the Senate Energy, Utilities and Communications Committee and the Assembly Utilities and Commerce Committee could stand the smell of the PG&E’s bullshit, as every one of them had walked out of the room by the end. Not a single member of either legislative committee had a positive word for the proposition, but Assembly Member Jared Huffman plainly stated his opinion: “I think this is a terrible initiative.”

Nor was there any evidence of the “coalition” supporting Prop 16 that the PG&E-funded public relations firm that orchestrated this campaign claims exists. Every single member of the public who commented voiced strong opposition, and most had traveled there on their own dime.

Even the conservative-leaning Agricultural Energy Consumers Association, which represents 40,000 growers, is against it. “It would have a chilling effect on the farming community,” Michael Boccadoro of the Agricultural Energy Consumers testified. A representative from the California Chamber of Commerce spoke in favor, but local Chambers of Commerce are not unified in their support.

Paul Hauser, of Redding Electric Utility, testified that if customers in his territory —  which has been slammed with high unemployment — were paying PG&E prices instead of the municipal electricity rates, every single man, woman, and child would have to fork over an extra $440 per year.

The Pacific Gas & Electric Corporation, which is the parent company of the regulated Pacific Gas & Electric Company, has vowed to spend $35 million on Prop 16. Since the corporation derives all of its funding from the company, which is regulated by the California Public Utilities Commission and earns its money through customer billing, this means that every PG&E ratepayer is pitching in. Speaking of bills, PG&E rates will increase 30 percent by 2013 if PG&E is granted its requested hikes, according to The Utility Reform Network.

“Maybe it’s time the Legislature took a very hard look at whether that parent corporation needs to exist,” Boccadoro, of the agricultural group, commented. “Maybe it’s time for a vote on rate increases as well.”

One point that came up over and over again during questioning was the fact that instead of proposing changes to legislation, PG&E sought to use the initiative process to get its way, a move that Leno argues is flouting the democratic process. A second point was that its move is inconsistent with a statute that requires utilities to “cooperate fully” with community-choice aggregation programs. Below are some exchanges between members of the Legislature and Bedwell, the PG&E executive.

Leno: Can you describe to us how Prop 16 exemplifies your abiding by the statute of AB 117 in “cooperating fully?”
Bedwell: Can you repeat that?
Leno: (repeats language of statute)
Bedwell: … “I don’t see how that’s necessarily inconsistent. The cooperation aspect is in the implementation…”
(Leno takes issue with this, saying that they could have proposed that such language be included in the bill at the time it was being drafted. He points out that Prop 16 would present a “hurdle” to municipal power programs, and asks Bedwell if he agrees.)
Bedwell: Says he thinks it would create “a high bar.”
Leno: “A high bar. How is a high bar in any way consistent with ‘cooperate fully?’”
Bedwell: … “I don’t see it’s a matter of cooperation or lack of cooperation. …”

Bedwell: “We value our customers. I think you know through the last six or seven years in San Francisco, you know that we’re very committed to retaining our customers.”
Leno: (Explains that he is a PG&E customer in San Francisco, and a Sacramento Municipal Utility District [SMUD] customer in Sacramento.) “I pay PG&E 25 percent more, and I get more green power here in Sacramento. [In PG&E’s San Francisco territory] my business suffers regularly from blackouts. I’ve never had a blackout here in Sacramento.”

Come flash the friendly skies

0

I was bopping my way out to the East Coast yesterday when I had to pass through a telephone booth that could see through my clothing. It wasn’t as fun as it sounds.

Apparently the scare over the Christmas Day plane bombing attempt has wrought some interesting technological developments in SFO. Namely, the implementation of the millimeter wave scan machine, which allows Homeland Security employees to see through your clothes in order to make sure you’re not carrying any shoe bombs, rifles, letter openers, etc. We’ve made the decision that we Americans must be perved on for our own safety. Even the Pope will tell you that’s a bad idea!

What’s up with these things? The machines, which are now being used in 19 US airports, rely on “millimeter wave radio frequency energy in the advanced imaging spectrum [beamed] over the body’s surface at high speed from two antennas simultaneously as they rotate around the body,” according to the TSA website. They create a detailed, three dimensional image of you in your birthday suit.

Here’s a sample scan, posted on the TSA blog by a genial chap named Bob, who cheerfully ventures “Mikhail Baryshnikov may have exposed more in his ballet costume than these robotic images portray.”

 

My, what lovely testicles that Mikhail has. First of all, I find it strange that X ray machines can differentiate between outer clothing (penetrate!) and undergarments (stay outside of panties!). But leaving that aside, Bob- what of us that free ball, what of us that wear no such sensible bra tops as those shown in above scans? What of the hippies, Bob, what of them?

 

Here’s what- nips away! This is not the shot that greets you on the explicatory placard in the SFO security line, by the way. And though TSA is quick to shove USA Today polls that prove it’s all okay in your face and remind you that the officers who view the scans do so from a remote location with people’s faces blanked out, those assurances are not winning over Islamic leaders (who have forbidden Muslims to violate their privacy with the machines) or good old Benedict XVI, who, although cognizant of the fact airport security is a fuckin’ head scratcher, insists “it is essential never to lose sight of respect for the primacy of the person.” I feel ya Benny- if we lose our right to go commando, doesn’t that mean the terrorists have won?

Kevin Killian’s sex is unpretty

4

IMPOSSIBLE PRINCESS

By Kevin Killian

(City Lights)

Author Kevin Killian’s relationship to sex is too complicated to be pinpointed as merely “homoerotic,” but homoerotic encounters are a frequent occurrence throughout the stories in Impossible Princess, Killian’s latest collection of gay short fiction.

Killian’s stories are full of nervous energy. The pace of his writing is jerky and striated, and events change and adjust so suddenly that Killian’s words read as if short of breath. The panting quality of the work is, in terms of form, utilized most effectively in the writer’s vivid and ominously perceptive descriptions of sex. These sexual encounters are often baffling.

In this sense, the sex described Impossible Princess feels accurate. Sexuality and sexual preferences continually evade our attempts at designation, both in fiction and in life. Killian toys with this idea of fundamental strangeness. In “Spurt,” lighthearted S&M suddenly turns into gore. In “Zoo Story,” an ailurophile finds himself mauled by panthers. When they are realized, Killian’s stories seem to argue, sexual fantasies can be experienced in ways both nightmarish and sublime.

While some of these stories seem fantastical, others are rooted in worldly experience. The sex Killian is so adept at describing also seems, for all its exuberance of libido, deeply and humanly sad. “Hot Lights,” which I first heard Killian read at an “autobiography-themed” Small Press Traffic event at Canessa Gallery last fall, is the tale of a young student (purportedly Killian during his Lower Manhattan days) turned porn performer who develops an infatuation with another porn performer, only to be outright rejected later on in the story. “Making Waves,” told from the perspective of an aging and washed-up former pop star, recounts the successful seduction of a young virgin that, unfortunately for the male ingenue, revealed a broken condom.

As we surely recognize, this sense of alienation is accurate to human experience. In its most honest portrayal, even sex that is shared between two (or more) people can feel unfathomably lonely. Just as sex can bring people together, it has the power to isolate us even further. Sex frequently severs us from our tenuous hold on an other as well as our all too malleable perception of ourselves, a point which Killian’s stories drive home. Sex is fluid. It is a current whose pace and destination cannot be mapped or predicted. When it comes to unpretty and unsentimental sex shed of the layers of accumulated euphemism, Killian doles it out in spades whether readers are prepared for it or not.

Gascon’s remarks at press conference are stunning

4

By Brady Welch

Police Chief George Gascon held a press conference Feb 25th to discuss his desire to arm his officers with Conducted Energy Devices (known to you and me as Tasers or stun guns) — and his comments demonstrated that the chief still doesn’t get it.

Gascon is arguing that Tasers could prevent some deadly police shootings. But there’s a much larger issue that he seems to be ignoring.

On December 28, 2009, the federal Ninth Circuit Court of Appeals right here in San Francisco affirmed the decision of a lower court that an unarmed man shot with a Taser can sue the city of Coronado, just outside San Diego. The zapping caused Carl Bryan to fall face first into the pavement, thus knocking out his four front teeth. To add insult to injury, one of the Taser probes lodged in the man’s flesh, requiring a doctor’s scalpel to remove it.
And what was this citizen’s crime? Getting upset with himself for being pulled over twice in the same day for routine traffic infractions. According to court records, the 21-year-old Bryan was driving home on a Sunday morning after a long night with friends and got pulled over for speeding. Later that same morning, he got stopped again, this time for not wearing a seat belt (which he forgot to put back on after initially getting stopped).

Bryan pulled to the curb and started punching the steering wheel, shouting expletives at himself for being so careless. He then got out of the car “yelling gibberish and hitting his thighs,” the court decision reports. The officer yelled at Bryan to get back in the car, but Bryan apparently didn’t hear him. Then the cop, without warning, shot the kid with his Taser gun.
Bryan didn’t die. He also wasn’t on drugs (Tasers are particularly dangerous to people under the influence of stimulants). But he was hurt — and at least according to the court files, there’s good grounds to argue that he should never have been zapped in the first place.

Gascon acknowledged that Tasers can be dangerous, although he offered a somewhat morbid justification of taser-implicated deaths—loosely paraphrased, he suggested that if you ask a crackhead to run around the block, that person would probably suffer cardiac arrest anyway. And he talked about special training to avoid police Tasing of drug-addled and mentally ill people.

But what he’s missing — and what has a lot of community activists concerned — is the situation in Coronado: The Taser shooting of someone who should never have been shot with anything. Two police commissioners, Petra DeJesus and Vincent Pan, have expressed concerns over whether people can trust a San Francisco police department armed with semi-lethal weapons that officers might feel inclined to used in decidedly less than semi-lethal situations. The Ninth Circuit’s opinion is only the most recent and ballyhooed case.

What was particularly galling during the chief’s press conference was when Taser-supporting commissioners Tom Mazzucco and Jim Hammer came forward to plead the case for using Tasers on the mentally ill — as opposed to real bullets — almost as if to say, Certainly, we can all agree on this.

Well, maybe not. Here’s what the Ninth Circuit had to say:

A mentally ill individual is in need of a doctor, not a jail cell, and in the usual case—where such an individual is neither a threat to himself nor to anyone else—the government’s interests in deploying force to detain him is not as substantial as its interest in deploying that force to apprehend a dangerous criminal. Moreover, the purpose of detaining a mentally ill individual is not to punish him, but to help him. The government has an important interest in providing assistance to a person in need of psychiatric care; thus, the use of force that may be justified by that interest necessarily differs both in degree and in kind from the use of force that would be justified against a person who has committed a crime or who poses a threat to the community.

In other words: Cops shouldn’t be shooting mentally ill people anyway, with Tasers or with pistols.

And if you give the cops Tasers, it’s almost certain that they’ll zap a whole lot of people who were, as one critic put it, “guilty of nothing more than mouthing off to a cop on the bus.”

BTW, there’s an interesting Amnesty International report on Tasers here

 

 

 

Appetite: Don’t forget to remember

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In the wake of a number of January closings, including some long-timers I’d rather not see go (like Vivande Porta Via), I’ve been reflecting on those neighborhood spots or classic restaurants we often forget are there but don’t want to lose. From time to time, I’d like to share reviews of places we’d do well to re-visit… or get to for the first time. They might be receiving a fresh infusion of flavor from recent chef or menu changes, or are good enough to remain noteworthy, despite the flood of new openings and (over)hyped hot spots. The Grand Cafe is one of them.


Elegant but relaxed, Grand Cafe is easy to overlook. For starters, it’s in a hotel (Hotel Monaco) which gives it the tourist stigma. It’s been there for years and is so centrally located right next to Union Square and ACT theaters, that locals often forget about it. It’s long been a solid place for a meal, but with new Lyon chef de cuisine, Sophiane Benaouda, at the helm, there’s new life being infused into every corner… whether you have a martini lunch in the grand dining room or wine and appetizers in the cafe/tavern area. Benauouda comes from France’s three-star Michelin restaurant, L’Auberge de L’Eridan, and was trained at none other than Paul Bocuse’s Chateau du Vivier.

His energy is infectious, amping up classic Provençal dishes as well as fresh takes on specials like dark, pink, medium-rare buffalo with artistically-arranged scalloped potatoes. Benauouda’s scallops are seared perfectly, and a glass of champagne with garlicky escargots de Bourgogne is a fine respite all by itself. Maybe you add in a round of oysters or king crab legs. Or it’s an espresso and dessert break with a Lemon Meringue Tart (ask about pastry chef, Jessica Miller’s chocolates, particularly the buttery sea salt truffle). Whatever way you use the cafe, as a quick stop or a full meal, it’s truly a downtown asset and one of those touristy locations locals can appreciate.

501 Geary Street
in Hotel Monaco
415-292-0101
www.grandcafe-sf.com

Noise Pop: A last-minute slacker’s guide

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An exhausting week of show after show has arrived, and it’s hard to say no to such a thick lineup of interesting indie. That is, if you had a choice. If you’ve already got your tickets, my mother would be proud. If you are among the league of last-minute fools, be forewarned — you are officially SOL (insert Debbie Downer “whaw whaw” here). Lots of shows are sold out, including almost everything I had my eye on: Edward Sharpe and the Magnetic Zones, Loquat, Best Coast, Zee Avi, Atlas Sound, Four Tet, Mirah… So, if you’re like me and staggering to find your place in Noise Pop, here’s a guide to what’s best of what’s left.

WED/24

The Ghost of a Saber Toothed Tiger (Sean Lennon, Charlotte Kemp Muhl w/Cornelus)

Sean Lennon has always put me to sleep — not because he’s boring, but because his voice is pure lullaby. When he’s not helping out his mom, Yoko Ono, or playing sweet songs on his own, Lennon has put his heart into singing with his sweetie, hottie model Charlotte Kemp Muhl. The members of Cornelius will join the lovebirds on stage for pure ambient, twinkling folk everyone should eat with a spoon. 7pm, $20, The Independent

Foreign Born

Four guys and lots of galloping, hustling, clanking percussion, all kept up with audible aptitude. Foreign Born is low key, lyrical indie that knows when to tap into its intimate side and explore the more subtle jems. Think Vampire Weekend with a dash of folk rock. With The Fresh and Onlys. 8pm, $14, all ages, Rickshaw Stop
 
Film: P-Star Rising

Priscilla is nine years old, totally adorable, and totally badass. The tiny MC grabs the mic with no fear, rapping about her single dad, dead-beat mom and the joys of being a rap star before puberty. From kid to underage celeb status, the family struggles to keep it real while chasin’ the dream. 9:15pm, $10, all ages, Roxie Theater

 


THU/25

Film: The Heart is a Drum Machine

Nearly everyone is at least semi-obsessed with music and this feature documentary attempts to discover what it is about notes and tones that feel so good. The film has quite an impressive stack of celebrities and scientists, all offering their opinions and personal love affairs with the art form, including Elijah Wood, Jason Schwartzman, and crazy woman Juliette Lewis. 9:30pm, $10, all ages, Viz Cinema

 


FRI/26

Nurses

A Portland trio of whistles and wonderful sounds, Nurses craft songs with the leaves and sticks and stones they find in every corner. Looping and sampling these oddities, they make beautiful and inquisitive melodies that remind one of owls and environmentally friendly attitudes. With John Vanderslice, Honeycomb, Conspiracy of Venus. 7pm, $15, Swedish American Hall
 
The Art of Noise, Soiree featuring Shlomo

Heavy bass means weighty pours, right? The Art of Noise will surely light up your Friday night, with deep dance sounds and nods of hip hop. Shlomo is California based and full of genre bending material, poorly categorized as experimental, with full on low tones, synth kicks and lazer bites. 5pm, free, Project One

 


SAT/27

Pop ‘n’ Shop

Gotta look hot for the rest of Noise Pop weekend! More than 40 local designers, snacks and booze for all your perusing. 12pm-5pm, free, all ages, The Verdi Club

Music For Animals

They’re local and totally weird in a good way. Music for Animals is slightly funny and yet remains to be musically sound with sparky guitars and pop-friendly choruses. The quartet loves keeping it cool with their SF musical comrades and love to please their Bay fans. With Nico Vega, The Soundtrack of Our Lives, and Imaad Wasif. 7pm, $16, The Independent
 
!!! and My First Earthquake

It doesn’t matter if you’re not sure how to pronounce the band’s punctuation happy name (chk-chk-chk), they’re damn good and full of electronic, relentless energy. Bring a bandana for that embarrassing sweat dripping down your nose and you’ll be a happy dancer. San Francisco band My First Earthquake is equally stellar synth-pop, sewn with catchy lyrics and a perfectly feisty front-woman. With Maus Haus and Sugar and Gold. 7pm, $20, Mezzanine

Our weekly picks

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WEDNESDAY (24th)

MUSIC

Noise Pop: The Ghost of a Saber Toothed Tiger

Noise Pop is in full effect, and Sean Lennon manages to pull double duty with the most important ladies in his life, performing with Plastic Ono Band as well as a group that includes his girlfriend Charlotte Kemp Muhr. The latter project, dubbed Ghost of a Saber Toothed Tiger, presents lavish folk songs not too far-flung from Lennon’s solo output, including a few spaced-out covers of that material. But Muhl’s harmonies lend a new depth and tone to the sublime psych gems. Performing under the pseudonyms Amatla and Zargifon, the duo is joined at this performance by members of Cornelius’s band (Keigo Oyamada, Shimmy Hirotaka Shimizu, Yuko Araki), adding to the full sound. (Peter Galvin)

With If By Yes (Petra Hayden and Yuka Honda)

8 p.m., $20

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

MUSIC

Noise Pop: Harlem, Young Prisms

Best party of Noise Pop probably has to be the Harlem show. The Bay Area isn’t trifling when it comes to garage rock, but the Texan trio can hang with the best of them (and in fact, they have some ties to them). They’ve got the best rock ‘n’ roll invocation of Caspar the Friendly Ghost since fellow Austin boy Daniel Johnston, and a handsome guitar sound. And yeah, they have a song called “Psychedelic Tits” that Jayne Mansfield would be proud to dance to regardless of whether Frank Tashlin was watching. They can write about unhappily blasting ABBA in the rain in the South of France and make it sound like the best time. Opening for them are Mexican Summer signees Young Prisms, one of the best new bands in San Francisco. (Johnny Ray Huston)

With Best Coast, the Sandwitches

8 p.m., $12

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

MUSIC

Jimmy Scott and the Jazz Expressions

There is nothing quite like Jimmy Scott singing “Sometimes I Feel Like a Motherless Child.” I’ve seen Scott testify when singing this song — even at 85 years old, he grabs hold of it with ferocity. That’s how it is when a song tells the story of your life, and Scott, well he’s the kind of singer who turns a song into a story. Back in the ’60s, Scott brought fearless singing on songs such as “Day By Day.” In recent years, his takes on standards like “All of Me” have had an increased sense of mischievous humor. If you haven’t seen Jimmy Scott live, you should, because there is no one quite like him, and no document of a concert in Tokyo, no matter how enjoyable, can match the experience. (Huston)

8 p.m., $18

Yoshi’s San Francisco

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

THURSDAY (25th)

FOOD/SPOKEN WORD

“In the Defense of Food”

Food. It’s one thing that can bring people together, create tears of joy, make mouths water, and conjure dreams. Although many of us try to fight the temptation to indulge in delectable bites, we are, in fact a society obsessed with savory morsels that bring us to our knees, and keep us begging for more. So let’s talk about it. Poetri, the star of the original Def Poetry Jam on Broadway, will unleash his inner love for food, and top spoken word artists from the Bay Area will also spend the evening praising unforgettable treats. And yes, food sampling and wine tasting are on the menu. (Elise-Marie Brown)

6 p.m., $20 (RSVP required)

Museum of the African Diaspora

685 Mission, SF

(415) 358-7200

www.moadsf.org

DANCE

Robert Moses’ Kin: The Cinderella Principle

When Robert Moses formed his dance company 15 years ago, he called it Robert Moses’ Kin. Moses knows that families today no longer just run along bloodlines. Nontraditional, blended, interracial, same-sex, single parent, no-kids families have become common. Hence The Cinderella Principle: Try These On to See If They Fit, an hour-long, full company work for which he collaborated with playwright Anne Galfour. The choreographic impetus came from interviews with people who are engaged in redefining kinship. Since dance companies often refer to themselves as family, Cinderella seems a particularly appropriate subject for a choreographer to undertake. The live music by Todd Reynolds includes beat boxer Kid Beyond. Cinderella will be joined by two works from 2008, Toward September and Hush. (Rita Felciano)

8 p.m (also Fri/26-Sat/27), $20-35.

Yerba. Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

VISUAL ART

Jill Storthz: Woodcuts

San Francisco has a lot of artists, but how many artists have San Francisco in heart and mind? Jill Storthz does — she’s written about the city’s influence on her work’s “splintered ramshackle quality entwined with colored light, earth, and space. Points for use of the word ramshackle, no doubt, but Storthz’s woodcuts have a lightness and grace to them, and the piece on the postcard for her latest show is rich with color in a manner that doesn’t listlessly parrot Mission School motifs. Storthz doesn’t draw within the lines of color theory — in other words, her art is distinct, not derivative. (Huston)

5:30–7 p.m. (through March), free

The Grotto

490 2nd St, SF

www.jillstorthz.com

www.sfgrotto.org

FRIDAY (26th)

ART/PHOTOGRAPHY

Third Annual International Juried Plastic Camera Show

What happened to the days when a basic point-and-shoot camera with film could make life exciting? We didn’t have the option of viewing photos instantly — instead, we had to march over to the one-hour photo and wait as our roll of film was developed. Whether the pictures came out in focus or not, the whole point was to document a moment in time when something worthy of a photo took place. At the Juried Plastic Camera Show, renowned photographers will showcase their work with the use of low-grade cameras — sans all the fancy equipment — and unveil beautiful pieces at that. (Brown)

6 p.m., free

RayKo Photo Center

428 Third St., SF

(415) 495-3773

www.raykophoto.com

MUSIC

Noise Pop: Atlas Sound

Buffalo Springfield died so that we might have Neil Young, and Peter Gabriel gave up the ghost with Genesis so his angelic 1980s pipes could blast from the boombox of an adolescent John Cusack. Sometimes branching off is a good idea. So it is with the music of Atlas Sound, the more-than-side project of Deerhunter’s Bradford Cox. The group’s recent album Logos (Kranky/4AD, 2009) is a hodgepodge of druggy, reverbed, and blissed-out beauty recorded whenever, wherever, and with whatever from 2007 to 2009. (Brady Welch)

With Geographer, Magic Wands, Nice Nice

8 p.m., $16-18

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.noisepop.com

FILM

Downstream

As recent entries The Book of Eli, The Road (2009), and I Am Legend (2007) have demonstrated, it’s easy to nuke a fascinating sci-fi genre into ponderous, sentimental meh-ness. (Not every postapocalyptic film can be as cool as 1979’s Mad Max.) Self-distributed Downstream avoids the heart-tugging route, for the most part: after his scientist father is killed, a boy grows up to be a straggly-haired drifter in a ravaged world where there’s no gas and very few women (thanks to cancers caused by genetically altered food). His one hope is of finding a rumored city kept civilized by clean energy. Its over-reliance on split-screen can be distracting, but Downstream deserves props for approaching dystopia from an intriguingly green perspective. (Cheryl Eddy)

Fri/26-Sat/27, 8 p.m.; Sun/28, 7 p.m.; $12

Victoria Theatre

2961 16th St., SF

(415) 863-7576

www.downstreamthemovie.com

MUSIC

Brian McKnight, Lalah Hathaway

Tonight, two respected R&B singers come together in one of the most soulful towns. Brian McKnight has made an imprint with his singing and songwriting on such hits as “Back at One” and “Anytime.” He also plays nine instruments. His timeless voice is an inspiration to several of today’s R&B singers. Opening for McKnight is Lalah Hathaway, daughter of the legendary Donny Hathaway. Her buttery alto tone is reminiscent of her father’s voice, but she injects her own timbre and control into every note. (Lilan Kane)

8pm, $50–$75

Fox Theater

1807 Telegraph, Oakl.

(510) 302-2277

www.thefoxoakland.com

SATURDAY (27th)

EVENT

Monster Jam

A stampede of horsepower comes thundering into the Bay Area today as the Monster Jam series of monster truck races and events hits Oakland, featuring ground-shaking custom creations such as “Iron Man,” “Donkey Kong,” “Maximum Destruction,” and the long-running fan favorite “Grave Digger.” Spectators will be treated to both races and full-on “freestyle” events — where the 10,000 pound muscle machines fly through the air at distances up to 130 feet and reach heights up to 35 feet in the air — not to mention crushing cars aplenty. Get in touch with your inner gear-head and speed on over to the Coliseum early, where a pit party precedes the night’s main events, allowing fans to get up close and personal with the burly beasts. (Sean McCourt)

3 p.m. pit party, 7 p.m. main event; $7.50–$30 ($125 for an all access pass)

Oakland Coliseum

7000 Coliseum Way, Oakl.

(800) 745-3000

www.monsterjam.com

MUSIC

California Honeydrops

It’s cold season, so if you are experiencing a sore throat, grab some California Honeydrops. Their music makes you feel good. Originating in the Oakland subway stations in 2007, California Honeydrops has played worldwide. Led by vocalist and trumpeter Lech Wierzynski, the band embraces roots, blues, and New Orleans-style horn lines to create a modern sound with a traditional influences. The playful rhythm section includes Chris Burns on the keys, drummer Ben Malament, and bassist Seth Ford-Young, with spicy shouts from saxophonist Johnny Bones. Bring your dancing shoes. (Kane)

$10–$15, 7:30 and 9 p.m.

Red Poppy Art House

2698 Folsom, SF

(415) 826-2402

www.redpoppyarthouse.org

ART/FILM

Cartune Xprez: 2010 Future Television

Combine images of old Sunday morning cartoons, live video theater, and psychedelic colors and shapes into a cosmic video and you’ve got Cartune Xprez: an out-of-body dream sequence come to life. Many of the directors will be on hand to explain the concepts for their work, so don’t be scared if you misinterpret their tour de force. Artists who have presented at Cartune Xprez in the past include Shana Moulton, Day-Glo maniacs Paper Rad, and collage visionary Martha Colburn. (Brown)

8 p.m., $5

LoBot Gallery

1800 Campbell, Oakl.

www.lobotgallery.com

SUNDAY (28th)

EVENT/LIT

“Meet Ann Bannon: Queen of Lesbian Pulp Fiction”

Pulp fiction isn’t just Tarantino kitsch. For pre-Stonewall gay and lesbian writers, the creation of pulp titles with something more — a way to forge community, share desires, and spark imagination. For some, if not all, this meant pulp was a political act. It would be difficult to find a better representative of lesbian pulp fiction than Ann Bannon, whose five-volume Beebo Brinker Chronicles has seen numerous reprints and recently inspired a stage play. In conjunction with the West Coast premiere of the stage version of Beebo Brinker, Bannon is coming to town for a tea party. Heat it up and add honey. (Huston)

1 p.m., $20–$40

Brava Theater Center

2789 24th St., SF

(415) 641-7657

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

This kiss’ progress

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arts@sfbg.com

MUSIC Tino Sehgal doesn’t like objects. But it’s not just the thing-ness of things he shuns; it’s also the traces of things. In addition to refusing any recordings of his work, Tino (his last name is too “thingy” even for me) also refuses to deal with artist statements or written contracts, or anything, really, that might leave a material residue. (Digital photos? Sorry, they can be disseminated and printed.)

Tino is formally trained in dance and economics (not visual art). One starts to wonder if he doesn’t share the same eccentric anxieties and crackpot economic theories Ezra Pound did about usury. Pound loathed interest precisely because it left a trace; it created a thing (money) out of a non-thing (borrowed time) and refused to disappear. And this usurpation competed with the clean, rigid images and lines of Pound’s Vorticist vision and poetics of precision.

Despite Pound’s and Tino’s shared aversion for extraneous excess, there is one fundamental difference: if the Vorticist and Imagist movements attempted to “capture movement in an image,” then Tino’s work is attempting to release movement beyond the image — and into the realm of lived experience. But before I delve into the ontology of materialism, let me walk you through his current show at the Guggenheim Museum. (Those who plan to see the work in person should stop reading now.)

With a steady flow of people ahead and behind, you pass through the revolving doors at the Guggenheim’s entrance and are spit into the atrium of the Frank Lloyd Wright-designed rotunda — a naturally bright, open chamber that resembles an indoor shopping mall with circulating escalators, or the inside of an enormous Energy Dome (that Devo hat) flipped upside down and bleached white. Either way, when you look up, you feel vertigo. When you look back down, you see Tino’s first piece, Kiss (2004), and you start to feel dizzy again, but erotically so.

Kiss is two young things caught in a slow, exaggerated embrace of seamless looped sequences blending makeouts and dry humps all at about the speed of 2 frames per second. The couple is entirely absorbed into each other as they transition from standing to lying down and back again. And you become entirely absorbed in their absorption. It’s like watching a soft-core in slo-mo. You start to get aroused, but then a grandmother chides her grandson in that grating “New Yawk” accent, and your gaze breaks. You roll your head slowly, exhaling, then head for the ramp nearby.

After the first bend an elated, eager child steps in front of you and offers his hand. “Hi. This is a piece by Tino Sehgal, would you like to follow me?” “Sure,” you say. Then the precocious or extremely caffeinated kid asks you what your understanding of “progress” is, and you respond a bit sarcastically, “It’s a word.” But the kid doesn’t give a shit what you think or say; he’s just cataloging your responses in order to hand them off to the next interlocutor — a teenager with an opinion.

“You think “progress” is a word?” asks the confident teen, who anticipates your answer with a reply before you’re able to split your lips. You argue back and forth about the merits and semiotics of progress, and whether or not it’s even a real thing. The philosophical banter is fun for a moment but then you realize the jerk is basically repeating everything you say but with a contradictory spin. So you quicken your pace and by the next bend in the road the succeeding generation’s representative inserts an anecdotal non sequitur in stride.

“So the other day I lied about something really petty … You ever do that? Lie about stupid things?” Or “After I graduated law school, I realized I didn’t want to be a lawyer and am now doing voluntary work….” Or some other minor/major consciousness shift where one becomes concerned and aware of one’s life and its recursive trajectory. This is where the conversations actually start to “progress” and you find yourself engaging with a stranger who otherwise feels like an old friend — albeit a needy, unstable one.

At this point there are maybe two revolutions left in the rotunda. Your adult friend gets siphoned off somewhere into the building’s innards, and a weathered, smiling face greets you in relief. The two of you walk slowly as the senior agent massages a memory and focuses on the importance of restoring phenomenology. Your attention oscillates between boredom and intrigue as you offer “ums” and “uh-huhs” and the occasional “wow, really?” Then you reach the end, and Wisdom vanishes.

You start to wonder about the disingenuous aspects of Tino’s pieces — how some of the conversations felt artificial and scripted, not genuine and spontaneous — and if the experience was real. Like really real. As real as the people or walls you bumped into along the way, and as real as the vertigo-induced anxiety now screaming through your body as you look over the hip-high ledge and down the spiraling corridor at Kiss below. Kiss is now in its dry-humping stage and looks 100 percent flat, like a 2-D painting — a painting depicting a deformed centaur’s suicide: three legs, two heads, and one arm sprawled in an outline. But then it moves. Slightly.

“When you look at a painting,” Tino tells me in an interview back on ground level, “you know that you might like it or you might not like it, but you don’t have a similarity to it. With my work, the medium of the work is the same as you. And as a visitor, one has all the resources there as well.”

The interactions, Tino assures me, “are not scripted. They might repeat something sometimes, but that’s not what they’re supposed to do. They get information about you, and then they react to you. It’s a loose structure.” The only restrictions the conversationalists have: “They can’t talk about art, and they can’t talk about the piece itself.”

It’s this last part, the refusing to talk about itself — refusing, for instance, to call itself “This Is Progress” — that makes Tino’s work surpass a role as just the latest “Death of Art” incarnation in the Fountain and Brillo Box evolutionary chain. And because Sehgal’s work desperately needs you — an audience member, a participant — to exist, a sustainable and open relationship develops and lasts even after the museum’s doors close.

CCA Wattis Institute is currently hosting Tino’s first U.S. solo exhibition, a constantly evolving work incorporating pause, through April 24. It’s on a much smaller scale than the Guggenheim’s Sehgal show, but well worth the visit.

TINO SEHGAL

Through March 10

Solomon R. Guggenheim Museum

1071 Fifth Ave., N.Y.

(213) 423-3500

www.guggenheim.org

TINO SEHGAL

Through April 24

CCA Wattis Institute for Contemporary Arts

1111 Eight St., SF

(415) 551-9210

www.wattis.org