Event

Female trouble

Andrew Lam
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Female trouble

arts@sfbg.com

THEATER We’ve come a long way, baby, but why does it feel like women’s equality is a legal concept that still troubles the status quo? This past year has proven that the erosion of women’s rights remains a powerful political agenda across the country, with state bans on certain forms of abortion, the redefinition of rape, and the blocking of the Paycheck Fairness Act.

Two very different shows opening this week in Berkeley (previews began last week for both) are poised to provide timely additions to the ever-evolving discourse on female power and its reverberations on society at large. Mark Jackson’s Salomania, at the Aurora Theatre, and Eve Ensler’s Emotional Creature, at the Berkeley Rep, take on themes of gender parity and its embattled vanguard with a historical drama set in the early 1900s based on the life of one notorious woman, and an ensemble work exploring the challenges of girlhood in the present day.

Salomania, commissioned by Aurora, has been percolating on Jackson’s burner since 2006, when he directed Oscar Wilde’s Salome, also at the Aurora. While researching the production history of the play, he discovered a mostly forgotten scandal involving Maud Allan, a San Francisco dancer who achieved stardom with a provocative interpretation of “The Dance of the Seven Veils.” But it wasn’t her dancing that cemented her notoriety, but rather a high-profile media controversy in which she sued British M.P. Noel Pemberton Billing for libel after he accused her of being a lesbian (she was), a sadist (she wasn’t), and a German sympathizer (she wasn’t that either) after starring in a private performance of Wilde’s then-banned play.

Like all the best media scandals, her 1918 trial had all the necessary elements for a juicy celebrity circus — the personal vs. the political, beauty vs. bigotry, a titillating flush of sexual impropriety — and temporarily displaced the more austere wartime headlines of the era.

There are several themes at work in Jackson’s biographical drama, gleaned in part from courtroom transcripts and letters from Allan to her family, but the one that seems to best tie Allan together with her biblical muse is the emergence of the “independent” woman in popular culture, and the fearfulness they’ve inspired in their detractors throughout history. And just as New Testament figure Salome has been almost unanimously vilified by both church and secular society for her coerced display of her physical sensuality (almost more so than for her adolescent act of brutal vengeance), so was Allan maligned for her empathic recreation of same.

Both Jackson and Allan’s attitudes towards Salome accentuate the positive lurking within her oft-maligned reputation. Jackson posits that she’s “the only honest person in the room,” the one with the greatest potential for breaking free of the venal, decadent atmosphere of Herod’s palace. Allan found in her a kindred beauty-seeker, whose attraction to John the Baptist was formed partially from a sense of wonder at his purity and capacity for selflessness.

“She was not an uncouth child,” she protested at her libel trial. “She was a woman who valued beauty.” Their mutual reverence for beauty aside, another tie that binds Salome and Allan is a shared reputation for willfulness.

“She was kind of a force of nature in her personality,” Jackson says of Allan. “[And] without apology said, ‘This is what I do, and this is who I am’.” This unyielding attitude contributed to Allan’s reputation as “difficult,” even “arrogant,” a complexity of character that attracted Jackson’s interest as a playwright as much as it repelled her critics.

“Any woman with a forward personality who has pushed her boundaries is going to be characterized that way by her culture,” he muses, a sentiment that could be applied equally to Salome as well as to Allan, as well as to almost any controversial female celebrity today: our Madonnas and our Hillary Clintons.

 

GIRLS, GIRLS, GIRLS

 

“Part of why I wanted to write this is to say there’s this amazing resilience here, and power, and resistance, and energy and vitality in girls that we haven’t even begun to unleash,” says Eve Ensler, who has also been compared to a force of nature (by Berkeley Rep artistic director Tony Taccone). Best-known for The Vagina Monologues, Ensler’s latest play, Emotional Creature, is having its world premiere at Berkeley Rep.

Global girlhood is its focus. Based on her book I Am an Emotional Creature: The Secret Life of Girls Around the World, the subject matter includes stories from Congolese rape victims, Eastern European sex workers, young factory workers, and Western anorexics, all struggling to move forward from their circumstances. Despite the often violent circumstances Ensler’s protagonists find themselves in, it’s their vitality that she hopes will come across, onstage and off.

Quick to emphasize that Creature is fictional, Ensler’s encounters with young women around the world — Democratic Republic of Congo, South Africa, Sarajevo, Haiti, Afghanistan — have nonetheless heavily informed the characters of her piece. And of course, she has her own experiences in girlhood to draw from. “When I was younger, I was constantly told I was being too alive or too intense or too dramatic, and I chose to learn how to mute myself,” she says. An outspoken and prolific anti-violence advocate, Ensler does seem to have overcome that mute button in adulthood, but she’s quick to point out that its existence can make girlhood a bewildering, disempowering time in life.

The creation of the piece began in Johannesburg, with a staged workshop at the Market Theatre in July 2011, and another in Paris in September. Director Jo Bonney likens the shape of the play to that of an event being put on by the girls themselves: a variety show of monologues, ensemble pieces, even song and dance numbers, with music written by South African composer Charl-Johan Lingenfelder. Navigating the stormy seas of modern-day adolescence and young adulthood, Ensler’s “girls” may still be facing a whole spectrum of obstacles while tapping into their personal power. But thanks to precedents set by strong women such as Maud Allan, and even Salome, the fact that they should want to at all no longer seems unusual or unfortunate — no matter how often American right-wingers might have us otherwise believe. *

 

EMOTIONAL CREATURE

Through July 15, $14.50-$73

Berkeley Repertory Theatre

Roda Theatre, 2025 Addison, Berk.

www.berkeleyrep.org

SALOMANIA

Through July 22, $30-$55

Aurora Theatre

2081 Addison, Berk. www.auroratheatre.org

Bringing the heat

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Bringing the heat

On June 13, more than 400 people, mainly from law enforcement and non-profits, gathered for a conference in downtown Oakland’s Marriott Hotel. Outside, a group of angry protesters gave impassioned speeches before trying to enter the hotel. The complex set of issues involved? The conference was organized to discuss tactics for arresting and charging child sex traffickers, but the protesters said that the conference would do nothing but further the state’s harmful impact on the lives of sex workers.

I wasn’t able to attend the conference itself; the Alameda County District Attorney’s office decided at the last minute that press would not be permitted inside. But from the conference’s description and a talk with Casey Bates, head of DA’s Human Exploitation and Trafficking Unit (HEAT), it seemed that the conference was mostly focused on improving efforts to by law enforcement to find people underage people who are having sex for money and prosecute their “traffickers,” a designation not much different than “pimps.”

According to Bates, the HEAT unit has focused on people selling sex on the street and online, and most are from California or nearby states, although he hopes the efforts can expand to people who are trafficked in from other countries.

Under the law, anyone selling sex under 18 years of age is classified as a CSEC- commercially sexually exploited child.

As DA Nancy O’Malley emphasizes on the HEAT unit website, “We have been fighting to shatter the perception of children as prostitutes and criminals undeserving of protection.  These young people are victims of child abuse.”

The sex workers rights movement, organized by people in the sex industry who see their work as legitimate, has largely called for decriminalization of prostitution and other forms of sex work since the movement off in the 1960s, with new concerns in the 21st century. Many groups have argued that police increase the violence in the lives of prostitutes, harassing and arresting them while not taking violence against sex workers seriously. The much older anti-trafficking movement, (or, as it was called at the beginning of the 20th century, anti- “white slavery,”) has many proponents who disagree, saying all prostitution involves some form of coercion. The two movements have a long history of conflict, and on June 13, this dynamic was thrust into the public eye.

Policing the problem

This conference was described as “comprehensive event designed to enhance the capacity of law enforcement and practitioners to combat commercial sex trafficking of children (CSEC).” 

“Of course we support refuges, housing, and other services for these children,” said Rachel West, an organizer with US Prostitutes Collective. “Why aren’t the police focused on that instead of spending hours on the net looking for women, or going out on the street doing street sweeps?”

But US Prostitutes Collective, part of the International Prostitutes Collective, which has been campaigning for decriminalization of prostitution since 1975, didn’t organize last week’s protest. This time it was Occupy Patriarchy, an Occupy Oakland affiliated group.

Occupy Oakland has not been shy about calling out police behaviors, from infamous incidents like the tear gas-heavy offensive on the Occupy Oakland camp last fall to shootings of local teenagers. The HEAT Conference, which was organized by the DA’s office and played host to law enforcement from across the country, was no exception.

“Whose inside this conference?” said one demonstrator who spoke during a 20-minute speak-out in front of the hotel that afternoon. “61 official speakers are law enforcement agents, DA workers, or politicians with anti-sex worker reputations. 39 speakers are individuals or representatives of non-profits. The vast majority of these work directly with law enforcement or politicians to criminalize sex workers. Where is the voice of the sex workers?” 

“What we find disturbing as anti-capitalists and anti-authoritarians is these police who, to sex workers, are oppressing us,” Clarissa McFaye, one of the demonstrators, told me in an interview. “We know that police are a very violent, fearsome presence in the lives of all sex workers, and we feel the only way that we can abolish child trafficking and exploitative forms of labor, which is all labor in actuality, is to abolish the police state.”

“They think working to enforce criminalization isn’t going to help child victims of sexual slavery. We know they exist, but we don’t feel this is a solution. We don’t think enhancing the ability to arrest people is a solution,” said McFaye.

“We really appreciate a lot of the effort that some of the non profits are doing,” McFaye continued, “We want to talk to them and form a sense of camaraderie with them and tell them that we don’t need the cops. We don’t want them. They’re bad for us.” 

Sex workers rights groups have long spoken out about police treatment of prostitutes. Stories of police harassing sex workers, going through with sexual acts while undercover before making prostitution arrests, and demanding sex in exchange for letting an arrest slide are fairly common. As McFaye told me, “they’re condoning child trafficking because they make deals with pimps.”

“Not to mention that hella cops are tricks,” she added.

Pimps and traffickers, children and minors

The HEAT Unit’s website lists 237 charges and 160 convictions made by the unit between 2006 and 2011. The statistics include trafficking as defined by California Penal Code Section 236.1, California’s Human Trafficking Statute. But they also include charges and convictions for pimping and pandering, sexual assault, kidnapping, and burglary, and the website specifies that “these statistics do not differentiate between child and adult victims, though the majority of HEAT victims are minors.”

The anti-trafficking statute defines a human trafficker as “Any person who deprives or violates the personal liberty of another with the intent to effect or maintain a felony violation of ” one of several anti-pimping, pandering, and solicitation Penal Code violations.

This includes Penal Code section 266 which defines a pimp as someone who, knowing another person has commercial sex, “lives or derives support or maintenance in whole or in part from the earnings or proceeds of the person’s prostitution.” 

But for Bates, “The way a pimp-prostitute relationship works is the pimp takes 100 percent of the cash.”

I brought up the pimp question with Cyd Nova, harm reduction services coordinator at San Francisco’s for sex workers-by sex workers health clinic, the St. James Infirmary.

“I know a lot of street-based sex workers who are totally independent,” said Nova. “Some do split their money with pimps or managers.”

Nova also said pimping’s legal definition can often have questionable consequences. “Legally that would be most peoples partners, children, friends.”

“I have met sex workers who have had their partners charged under pimping codes, which was not their relationship with that person,” Nova told me.

Many “pimping” relationships fall somewhere in between “peoples partners, children, and friends” and “the pimp takes 100 percent of the cash.” Sex workers, a criminalized class, often experience violence from both pimps and clients- but fear for their own consequenes if they report the crimes. I asked Bates his opinion on granting immunity from prostitution charges or a person who comes forward to report all too common violations committed against sex workers like rape, assault and theft.

“We do this all the time in the context of other types of crime that we work with. If it’s a murder, we may be willing to negotiate with our witness to determine whether or not is appropriate to give immunity for the person to testify against this other person, in exchange they won’t be prosecuted for the crime that they committed.”

But Nova said that striking that deal can be a major problem.

“One thing that is an issue for people forced into the industry is they are unable to receive services until they agree to testify against their trafficker. This doesn’t work for the majority of people, and it’s a major issue when you’re talking about services for trafficking victims,” he said.

At the St. James Infirmary, “We have people who have been in situations where they feel that they wanted to leave, but are not willing to bring criminal charges against the person,” he continued.

Nova also described a distinction between the terms “child” and “minor.”

“People have choices in how they use their bodies, and that includes youth. We are living in a world where sometimes people have to choose options that are not ideal,” he said. 

McFaye painted a similar picture, saying that “sex work is a form of work that all genders do sex work can make a lot more money than other options.”

“It allows me to do my political work as well as work a few times a week, instead of working at McDonalds. When I was 17 years old I tried to get a job, couldn’t find anything but shitty house cleaning jobs. Then some sex workers I knew showed me the ropes, and my life’s been a lot better ever since,” she said.

I described a similar situation, in which a minor chooses prostitution to make desperately needed money or escape an abusive situation, to Bates. “There are going to be people that make that claim,” he responded. “There’s no doubt about it. Part of the phenomenon is that a lot of people that are being abused, when they’re being abused, don’t even realize that they’re being abused. That’s a big issue,” said Bates. “People have made the claim, they did what they had to do in a difficult circumstance, and they don’t really see themselves as being a victim of crime. And what I’m suggesting is, that’s not uncommon, it’s part of the victimology actually.” 

He added, “I’m speaking specifically to people that are being trafficked. What you described doesn’t sound as much like a trafficking situation.”

But the law doesn’t allow for that kind of nuance. 

“That is a clear distinction that we want to draw. This is focused on commercial sexual exploitation of children,” Bates said. “When you become 18, you’re given a set of rights and you’re treated differently under the law.”

Solutions

The HEAT Unit’s model is unique, and if the conference has its intended consequences, it may be replicated throughout the country.

For minors that the HEAT unit identifies as CSEC, “The goal is to try to stabilize them, to figure out what services they need, what situation they came from and figure out how we can get that child back on track,” Bates told me.

“Sometimes, that requires that we detain them for a period of time so we can figure out what services are necessary. That’s somewhat controversial, because some people say that’s not appropriate. We believe that it’s in the interest of these girls initially, to figure out what’s necessary. That to turn them back on the street means to turn your back on them, period.”

Many sex workers’ rights groups, however, argue for antoher solution entirely- decriminalization of prostitution. Part of the argument for decriminalization is that sex workers would feel more comfortable coming to police with reports that they are their colleagues had been victims of crimes like rape, assault or theft. 

As Nova said, “California is currently using anti-trafficking federal funds to target all sex workers. They say, if we arrest a bunch of sex workers, some of them are going to be trafficked. This has not proven to be very effective, whereas decriminalization would result in people, who are in coercive work situations, feeling more comfortable coming forward and asking for help.

“They need an evaluation of what kind of practices are going on and what results they’re turning out,” Nova said. “A study where they have conversations with people who have been arrested and detained and talk about what their life was like, what was detrimental and what was beneficial.”

For some of the more anarchist-leaning protesters, however, the police should play no role in the solution.

“What we think would help is if we as sex workers come together is if we come together and combat this exploitation,” McFaye told me.

I asked if there was anything the police could do.

“No,” said McFaye. “They can turn in their badges. That’s what they could do.” 

When the sex workers’ rights movement took off in the ’60s, they joined the debate that had been going on surrounding prostitution and policing for a century. The movement continues- and on Wednesday, a distinctly anti-capitalist side of it made noise. These groups may be piping up more, as the Californians Against Sexual Exploitation (CASE) Act, which would increase funding and resources for policing sex traffickers, goes to the ballot this November.

Rep Clock

Andrew Lam
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Schedules are for Wed/13-Tue/19 except where noted. Director and year are given when available. Double features (and more) are marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. Toxic Energy ~ Little Miss Potentiality Returns (Drori), Sat, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-11. •Stranger Than Paradise (Jarmusch, 1984), Wed, 3, 7, and Down By Law (Jarmusch, 1986), Wed, 4:50, 8:50. Frameline 36: San Francisco LGBT Film Festival, June 14-24. Visit www.frameline.org for schedule.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Bel Ami (Donnellan and Ormerod, 2012), call for dates and times. Bernie (Linklater, 2012), call for dates and times. I Wish (Kore-eda, 2011), call for dates and times. Peace, Love and Misunderstanding (Beresford, 2011), call for dates and times. Music from the Big House (McDonald, 2011), Sun, 7. With film subject Rita Chiarelli in person and in performance; this event, $12.

“FILM NIGHT IN THE PARK” This week: Old Mill Park, 300 block of Throckmorton, Mill Valley; www.filmnight.org. Donations accepted. Enchanted (Lima, 2007), Fri, 8. Dolores Park, Dolores at 19th St, SF. Mamma Mia! (Lloyd, 2008), Sat, 8.

LUMIERE 1572 California, SF; www.48hourfilm.com. “48 Hour Film Project,” premiere screenings, June 13-21, 6:45. 9:15.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Gregory Peck: An Agreeable Gentleman:” The Keys of the Kingdom (Stahl, 1944), Wed, 7; The Snows of Kilimanjaro (King, 1952), Fri, 8:50; Pork Chop Hill (Milestone, 1959), Sat, 6:30; Roman Holiday (Wyler, 1953), Sat, 8:30. “Tribute to Ken Russell (1927-2011):” Gothic (1986), Thu, 7:30. With live pre-show performance by Ken Russell tribute band Brale. “Three Czech New Wave Classics:” Fruit of Paradise (Chytilová, 1970), Fri, 7. “Afterimage: Three Nights with Nathaniel Dorsky:” “Films of Nathaniel Dorsky: The Quartet (2008-2010),” Sun, 7:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. The Color Wheel (Ross Perry, 2011), Wed-Thu, 9. Gerhard Richter Painting (Belz, 2011), Wed-Thu, 7. “The Life and Times of Nathaniel Hornblower:” “MCA Tribute Pre-Show,” Wed, 7; Awesome; I Fuckin’ Shot That! (Yauch, 2006), Wed, 8; Gunnin’ For That #1 Spot (Yauch, 2008), Thu, 7; Exit Through the Gift Shop (Banksy, 2010), Thu, 8:45. Frameline 36: San Francisco LGBT Film Festival, June 15-23. Visit www.frameline.org for schedule. San Francisco Black Film Festival, Sat, 2. Visit www.sfbff.org for schedule.

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. The Story of Film: An Odyssey, Part Three: Postwar Cinema (1940s) and Sex and Melodrama (1950s) (Cousins, 2011), Sat, noon. British TV series; new episodes every Sat through June 21. The Wages of Fear (Clouzot, 1953), Wed-Thu, 2:30, 5:30, 8:30. New 35mm print. The Woman in the Fifth (Pawlikowski, 2011), June 15-21, 3, 5, 7, 9.

TOP OF THE MARK InterContinental Mark Hopkins, One Nob Hill, SF; www.topofthemark.com. Free. “Summer Movie Nights:” Arsenic and Old Lace (Capra, 1944), Tue, 7:30. Wine tasting at 5:30.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “New Filipino Cinema:” Florentina Hubaldo, CTE (Diaz, 2012), Sun, 1.

Our Weekly Picks: June 13-19

Andrew Lam
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WEDNESDAY 13

Rappin’ 4-Tay

More Champagne, Mr. 4-Tay? It’s been almost 20 years since Anthony Forté dropped the infectious Bay Area anthem “Playaz Club,” but I think it’s safe to assume the answer is still a resounding, “Yes.” Born and raised in the Fillmore District of San Francisco, the rapper will be performing at Mezzanine for the Tupac Birthday Celebration in honor of what would have been the fallen artist’s 41st name day. Presented by local emcee and activist Sellassie, a bevy of hip-hop stars will be joining Forté in the spotlight as they remember a musical pioneer. In 1996, Forté was featured on the track “Only God Can Judge Me” on Shakur’s critically acclaimed album, All Eyez on Me. Party forecast: Mostly cloudy with a heavy chance of champagne. (Julia B. Chan)

With Mac Mall, Ray Luv, Spice 1

8pm, $15 advance

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

Action Bronson

This NY-based loudmouth foodie rapper is not for the easily offended. When Action Bronson is not creating social media scandals (a too-far Instagram photo he’s since deleted and apologized for) or spitting tongue-in-cheek verses, Bronson, a former gourmet chef, can be found filming his YouTube cooking series Action in the Kitchen. Bronson’s appeal stems from his ability to seamlessly mix elaborate food imagery into otherwise raunchy-style verse. Who doesn’t want to listen to a song about both “bitches” and prosciutto? (Haley Zaremba)

9pm, $17

With Richie Cunning, Davinci

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


THURSDAY 14

Turtle Power Nightlife

Get aquatic at the Cal Academy of Sciences with a turtle-powered installment of their Thursday NightLife series. The diverse array of performances and activities offered will surely keep your head swimming: watch dance troupe Capacitor performing an excerpt from “Okeanos” (a portrait of the ocean as body, environment, resource, metaphor, and force), then show your skills in the classic Teenage Mutant Ninja Turtles Nintendo game. Talk to conservation groups and sea turtle researcher J. Nichols; next observe the sea turtle skulls on your own. Check out a dive show in the Philippine Coral Reef, and finally, take in some movies in the Planetarium (Sea Turtle Spotlight and Earthquake). Turtle power indeed! (Shauna C. Keddy)

With DJ Jaysonik (Hottub/Le Heat)

6pm, $10–<\d>$12

California Academy of Sciences

55 Music Concourse Drive

Golden Gate Park, SF

(415) 379-8000

www.calacademy.org

 

The Slippery Slope

Take the lounge-lizard persona of Tom Waits circa Nighthawks at the Diner, sprinkle it with some surf and exotica overtones, and dunk it in the heady atmosphere of a David Lynch score; you might end up with something like Oakland’s the Slippery Slope. This self-described “psychedelic cabaret” ensemble recently expanded to a 10-piece, with the addition of a horn section, hinting at a funkier, groovier approach. However, with its sultry vocals, reverb-soaked guitars, and vast sense of space intact, the Slippery Slope’s warped vision of lounge music remains front and center. (Taylor Kaplan)

With the Bodice Rippers, Go Van Gogh

9pm, $10

Bottom of the Hill

1233 17th St., SF

(415) 626-4455

www.bottomofthehill.com


FRIDAY 15

“DEEPER Architectural Meditations”

Site-specificity is a specialty of Lizz Roman and Dancers, and their upcoming CounterPULSE show, “DEEPER Architectural Meditations,” will not be an exception. Expect to see a side of CounterPULSE you might never have previously taken note of, as Lizz and her merry troupe reveal the hidden nooks and crannies of the space with their body of work, not to mention with their bodies. Exposing not just the architectural complexities of CounterPULSE but also those of the irresistible impulse to interact communally with our immediate environment, the Lizz Roman team will perform all over the CounterPULSE space with live backing from WaterSaw and guest DJ Jerome Lindner. (Nicole Gluckstern)

Through July 1, 8pm, $20–<\d>$25

CounterPULSE

1310 Mission, SF

(415) 626-2060

www.counterpulse.org

 

How to Dress Well

Like the rest of us, Tom Krell must dream in light and shadows. Unlike the rest of us, he is able to translate those dreams into signature ethereal compositions full of dark emotions and R&B passions. Experimental pop producer How to Dress Well has been well received among critics, bloggers, and music lovers alike since popping onto the radar by posting his own tunes online in 2009. Krell’s singing voice can be described as pleasant but when coupled with his piercing falsetto, is a force steeped in textures. His lo-fi, DIY approach to an urban-sounding kind of electronic music is well done and the result is hypnotic. Touring in anticipation of his Acéphale debut album Total Loss, Krell recently released first single “Ocean Floor for Everything.” (Chan)

With Babe Rainbow, Finally Boys 9pm, $14 Rickshaw Stop 155 Fell, SF (415) 861-2011 www.rickshawstop.com

 

Sarah Jaffe

Sarah Jaffe’s smoky voice should be a good kickoff for your weekend. Jaffe is an enthralling musician — this Texas crooner’s voice is as layered as her music is driving. She’s currently touring in support of her recently released album The Body Wins, hailed by Interview Magazine as “show[ing] a new shade of musical maturity.” Let her denser, still emotional sounds draw you in, and let the newfound musical complexity she displays on this album wrap around you like a balmy summer night. Secret Colours opens, a fun dance-rock band with a pyschedelic, “newgaze,” and garage rock sound. (Keddy)

9pm, $12

New Parish

570 18th St., Oakl.

(510) 444-7474

www.thenewparish.com

 

San Francisco Black Film Festival

The San Francisco Black Film Festival kicks off tonight with Robert Townsend’s latest: based-on-a-true-story drama In the Hive, about a group of at-risk teens struggling to continue their educations (with the help of tough-love administrators played by Loretta Devine and Michael Clarke Duncan). The rest of the fest includes a “Focus on Fathers Family Day” featuring a new short doc by Kevin Epps; a games and animation-focused program topped off by a panel with Leo Sullivan (Fat Albert) and Morrie Turner (Wee Pals); and, of course, a huge slate of features and shorts, on a wide-cast net of subjects: pick-up basketball, hip-hop in Ghana, “good hair,” and more. Don’t miss mockumentary Thugs, The Musical — comedian Kevin Avery’s show biz satire in the vein of Townsend’s 1987 Hollywood Shuffle. (Cheryl Eddy)

Fri/15-Sun/17, $5–<\d>$50

Various venues, SF

www.sfbff.org


SATURDAY 16

Motion City Soundtrack

So pop-punk didn’t die with Avril Lavigne’s career after all. More than 15 years after its conception and 10 years past its life expectancy, Minneapolis rock band Motion City Soundtrack just released Go, its fifth studio album. Leaked by Epitaph Records almost a month early, the record is a continuation of singer Justin Pierre’s established flare for sunny melodies and pitch-black lyrics. With song titles such as “Everyone Will Die” and “The Worst is Yet to Come” listeners might expect to hear something much heavier than the danceable tracks that the quintet has become known for. Instead, Pierre explores his many neuroses in a soaring falsetto that promises to get stuck in your head. No headbanging required. (Zaremba)

8pm, $22

With the Henry Clay People, the Front Bottoms

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com


SUNDAY 17

Emily Jane White and Mariee Sioux

Lucky us, Amoeba Music is offering a free showcase for its Home Grown Independent Artist Series stars of May and June: Emily Jane White and Mariee Sioux. Sioux’s music is focused on narratives and sparse guitar work. White is also noted for her vocals and story-like lyrics. White’s third album, Ode to Sentience, finds her compositions as lush as ever, filled out with organ, pedal steel guitar, and electric guitar. In still images, White is often seen walking in a forest or sitting pensively by a pond, like some sort of mystical being in a painting — and her music allows you to close your eyes and picture that you too are traveling through a misty forest filled with rich stories and woodland creature secrets. Sioux and White will weave tales at this afternoon show. (Keddy)

4pm, free

Amoeba Music

2455 Telegraph, Berk.

(510) 549-1125

www.amoeba.com

 

Marduk

Formed in Sweden in 1990, legendary black metal group Marduk was designed, in the words of founding member Morgan Hakansson, to be “the most blasphemous metal act ever.” Although they draw from similar lyrical themes as other groups in their genre, with the requisite references to Satanism and gore, Marduk adds several other diabolical layers, notably adding historical imagery and themes from World War II in more recent recorded offerings. Last year’s Iron Dawn EP continued the band’s mighty campaign for metal dominance, and local fans won’t want to miss the only Northern California appearance on this blitzkrieg, er, tour. (Sean McCourt)

With 1349, Withered, Weapon, Black Fucking Cancer, DJ Rob Metal.

6:30pm, $25

DNA Lounge

375 11th St., SF.

(415) 626-1409

www.dnalounge.com

 

Lemonade

The boys are back in town! The former Mission dwelling, burrito scarfing, epic house party throwing trio — better known as Lemonade — is rolling back into San Francisco behind the release of the beautifully emotive and love-laced LP Diver. Now based in Brooklyn, singer Callan Clendenin, drummer Alex Pasternak, and bassist Ben Steidel (who is currently playing keyboards for their live shows) are embarking on pretty pop territory as the latest full-length finds them coasting on warm waves of synth melodies, tropical sensibilities, and a lush ambience layered in R&B grooves and coos — in easy-to-digest, 3-to-5 minute increments. The Rickshaw show will see the guys playing mostly newer tunes, with an ensuing dance party all but assured. (Chan)

With LE1F, Water Borders

8pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

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, 71 Stevenson Street, Second Floor, SF, CA 94105 or email (paste press release into email body — no attachments, please) to listings@sfbg.com. 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.

The prestige

Jesse Hawthorne Ficks
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The prestige

marke@sfbg.com

SUPER EGO Everybody’s in an uproar. Panties: twisted! Wig: askew! Weave: berated! Kanga: roo’d! The upper lefthand quadrant of the Internet is aflame.

Respected undergroundish house DJs are being kicked out of upscale club booths at an alarming rate. In February, Dennis Ferrer was tossed from the tables at Miami’s Mansion for not playing “commercial enough.” Last week, our own beloved Mark Farina got bumped from the Marquee poolside in Las Vegas because the management was “getting complaints from the table service crowd” about too much house. (And, most inexplicably, adorable ambient sage Mixmaster Morris was unplugged at a prestigious Berlin event late last year, for not wanting to spontaneously tag team with the tipsy promoter.)

Beyond screaming, “Why the hell would you play these idiotfests to begin with!” (each has their own credible individual explanation), I tend to think this rash of boots is simply symptomatic of dance music’s current bout of mainstreamification. A similar thing happened when oonce-oonce techno took over mainstream-y dance floors in the mid-1990s. Suddenly it seemed every DJ disappeared except Paul van Dyk, Paul Oakenfold, Armin van Buuren, and Sasha and Digweed. Creepy. This time around, house lovers, there’s plenty of venues and crowds for everyone, without having to cry about our time slot in the Electric Daisy Cannibal of life. All is full of PLUR. Just don’t fuss with our Farina again, Vegas, or we’ll Mushroom Jazz your ass.

 

DMITRI FROM PARIS

And now I will spin you a shaggy tale of reverse-douchebagginess. The year? 2000. The place? Winter Music Conference in Miami. The party? Playboy Mansion. All the fixings of a bottle service fake boobs popped collar disaster-fantasy! Of course I went. But then. Someone handed me one of those little shaker eggs that make maraca noises. And then. DJ Dmitri from Paris launched into a 12-minute version of “Love is Always on Your Mind” by Gladys Knight and the Pips. The floor went wild and I went straight (forward) to heaven. It was totally like that moment in the gay bar in 1978 when someone hands Sandra Bernhard a tambourine. Free at last! Ever since then I’ve adored this kicky disco Greek Frenchman, and now that he’s launched several re-edit projects, he’s back in the pulsating limelight. Will he drop the epic opera version of Pet Shop Boys’ “Left to My Own Devices”? As a guest at Marques Wyatt’s monthly Deep party, one of the best and most diverse in SF, anything goes.

http://www.youtube.com/watch?v=Mi50cNBjSMw

Fri/15, 10pm-3am, $15 advance, $20. Mighty, 119 Utah, SF. www.mighty119.com

 

THE MAGICIAN

Have we at least reached the late Steve Miller Band stage of electro-disco? Abracadabra, out pops this mysterious prestidigitator, pulling blissful, keyboard-chiming, fog-enshrouded tricks from his fuzzy-wuzzy dream hat. I am assuming ze Magician is French, because he pulls off that excellent French touch trick of pulling your feverishly beating heart out of your chest right when the strobes hit. But in a more contemporary, happy house way. (UPDATE: The Magician is possibly Belgian. Magic!)

Fri/15, 9pm, $17 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

MAYER HAWTHORNE

Don’t call him a “throwback” — the young soul-funk revivalist prefers to count J. Dilla among his influences, even while he’s nicking inspiration from Holland-Dozier-Holland. The Stones Throw label favorite’s DJ set should span a spectrum of mood-bending, rootsy sounds.

Sat/16, 9pm-late, $10–$15. Public Works, 161 Erie, SF. www.publicsf.com

 

SON’Y RAYS

Kind of freaking out about this one. Some of the deepest, most intellectually soulful —– and danceable! —– tech-house future beats are being made in Oakland right now (and for the past few years) by the Deepblak crew. This showcase will bring together most of the major players at SF’s SOM: Diaba$e and Nasrockswell, Blaktroniks, Aybee and Afrikan Sciences, and Damon Bell. Do not miss this night of exquisite hometown, hand-crafted live machine vibes.

http://www.youtube.com/watch?v=ASEDs4n6HOk

Sat/16, 10pm, $10. SOM, 2925 16th St., SF. www.som-bar.com

Stage Listings

Andrew Lam
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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

5 Lesbians Eating a Quiche Phoenix Theatre, 414 Mason, SF; www.tidestheatre.org. $20-38. Opens Fri/15, 8pm. Runs Thu-Sat, 8pm (also Sat, 10pm). Through July 21. Tides Theatre performs Evan Linder and Andrew Hobgood’s comedy about five women forced into a bomb shelter during a mid-breakfast nuke attack.

BAY AREA

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-73. Previews Thu/14-Sat/16 and June 19-21, 8pm; Sun/17, 7pm. Opens June 22, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show July 4); Sun, 2 and 7pm. Through July 15. Berkeley Rep presents Eve Ensler’s world premiere, based on her best-seller I Am an Emotional Creature: The Secret Life of Girls Around the World.

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Previews Fri/15-Sat/16 and June 20, 8pm; Sun/17, 2pm; June 19, 7pm. Opens June 21, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Throgh July 22. Aurora Theatre Company closes its 20th season with writer-director Mark Jackson’s world premiere, commissioned especially for the company, about a San Francisco-born dancer notorious for her take on the "Dance of the Seven Veils."

ONGOING

Aftermath Stagewerx, 446 Valencia, SF; www.brownpapertickets.com. $25. Thu-Sat, 8pm. Through June 30. Theatre, Period presents Jessica Blank and Erik Jenson’s docu-drama, based on interviews with Iraqi civilians forced to flee after the US military’s arrival in 2003.

A Behanding in Spokane SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through June 30. If Garth Ennis had been asked to write a comic book about a one-handed sociopath with a dark obsession, he might well have written something similar to Martin McDonagh’s A Behanding in Spokane. And admittedly, approached from that angle, a lot of the script’s dramatic flaws are more easily forgiven. There’s not a whole lot of subtle context or languid metaphor to be found in McDonagh’s criminal caper about the little-known "hand-dealing" trade, but as in Ennis’ best known work, Preacher, the pretty girl (Melissa Quine) is the smartest one in the room; the sociopath (Rod Gnapp) is interested in enacting as vicious a revenge on all humanity while spewing as many blatantly offensive invectives as possible; the boyfriend (Daveed Diggs) has some arrested development issues to work out; and the receptionist (Alex Hurt) takes the caricature of man-child to a whole new level. In fact, while all four actors deliver rock-solid performances of their mostly unsympathetic characters, it’s Hurt’s that impresses most. His spooky intensity and goofily tone-deaf determination plays like a combination of Adam Sandler and Arno Frisch, and if there’s a real sociopath in the room, the evidence suggests it’s probably him. Ultimately though the piece relies too heavily on hollow one-liners to remain interesting — a 20-minute farce stretched to 90 minutes — and quite unlike an Ennis comic, it does not leave one wanting more. (Gluckstern)

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 30. In desperate times, how far would you go to turn a buck? The central premise of the 1997 movie and its namesake musical comedy The Full Monty, the answer to this question is right in the title, which limits the suspense, but amps up the expectations. Set not in Sheffield, England as in the movie, but the similarly economically challenged climate of Buffalo, New York circa the late nineties, the comical romp follows a group of unemployed steel workers who decide, rather optimistically, that spending one night as exotic dancers will solve their immediate financial woes. Banish all notions of a Hot Chocolate sing-along; the soundtrack of the stage musical has little in common with its cinematic predecessor, but there are a couple of toe-tappers, particularly the songs writ for the ladies: a belter’s anthem for their spry but elderly accompanist Jeanette (Cami Thompson), a snarky commentary on male beauty, "The Goods," for the ensemble. On opening night, Ray of Light’s production ran about 15 minutes long after a late start, and the tempo seemed sluggish in parts, but once it hits its stride, The Full Monty should provide a welcome antidote to the ongoing, we’re-still-in-a-recession blues, red leather g-strings and all. (Gluckstern)
Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (June 24, show at 2pm; July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Lips Together, Teeth Apart New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Terrence McNally’s play about two straight couples spending July 4 amid Fire Island’s gay community.

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 3pm; starting June 22, runs Fri-Sat, 8pm; Sun, 3pm. Extended through July 1. Homespun scenic design notwithstanding, Theatre Rhinoceros and artistic director John Fisher offer a fine, engrossing production of this 2007 play by Kate Fodor (Hannah and Martin, RX), a sturdy comedy-drama about two fractured families colliding awkwardly in a sort of spiritual vacuum. Matthew (an intriguingly restrained Wiley Herman) is a desolate but forbearing Catholic priest sent on a leave of absence after a venial transgression involving some artful nude male photographs. Returning home, he endures a pained relationship with his devout, passively domineering Irish mother (Tamar Cohn, channeling a nicely measured mixture of stony discipline and childlike vulnerability). Soon Matthew gets an unexpected visit from single mom Theresa (a bright but shrewdly self-possessed Ann Lawler), a former Deadhead who now cleans the rectory and finds herself overcome with an urge to ask the gentle priest about prayer — just at the moment his faith seems to have left him. Meanwhile, Theresa’s too-cool-for-school teenager, Abby (a deft and hilarious Kim Stephenson), waits outside and does some preying of her own on a slower-witted but game young man from the neighborhood (a charmingly quirky Michael Rosen), both of them roiling with confused yearnings. The appealing characters and unexpected storyline come supported by some excellent dialogue, developing a searching theme that ultimately has less to do with formal religion than the ordinary but ineffable need it promises (problematically) to meet. "I think I could be religious or whatever if it made any sense," notes Abby, "but it doesn’t make any sense." It’s easy to agree with the teenager on this one. 100 Saints is a genuinely funny and compassionate play discerning enough to avoid naming the depths it sounds. (Avila)

Reunion SF Playhouse, Stage Two, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20. Wed-Thu, 7pm; Fri-Sat, 8pm. Through June 30. SF Playhouse presents a world premiere drama by local playwright Kenn Rabin.

"Risk Is This…The Cutting Ball New Experimental Plays Festival" Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Fri-Sat, 8pm. Through July 14. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

Slipping New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Daniel Talbott’s drama about a gay teen who finds new hope after a traumatic breakup.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Extended run: Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Extended through June 24. Annie Elias and Cutting Ball Theater artists present a world premiere "documentary theater" piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Previews Fri/15, 8pm. Opens Sat/16, 8:30pm. Runs Sat, 8:30pm; June 22, 8pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through July 7. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Black n Blue Boys/Broken Men Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue, Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 7pm). Through June 24. Berkeley Rep presents a world premiere from writer-performer Dael Orlandersmith (a Pulitzer finalist for 2002’s Yellowman).

Emilie: La Marquise Du Chatelet Defends Her Life Tonight Berkeley City Club, 2315 Durant, Berk; www.brownpapertickets.com. $18-25. Thu-Sat, 8pm; Sun, 2pm. Through July 1. Symmetry Theatre Company presents Bay Area playwright Lauren Gunderson’s romantic drama centering on the life of 18th-century French physicist and mathematician, Émilie du Châtelet (Danielle Levin) and her (here tempestuous) long-term romance with Voltaire (Robert Parsons). In a familiar conceit left accordingly vague, fate rematerializes Emilie from some hazy afterlife so that she may relive key moments in her life and account for herself. A Cartesian mind/body split rules the replay, with Emilie finding herself painfully attenuated from the world of the senses — her flashback self (played by an impressive Blythe Foster) alone able to enjoy sensual contact with her surroundings. Meanwhile, love and loyalty face the test as Emilie goes head-to-head with a male-dominated scientific establishment over a certain theorem she calls "force vivre" — a formula into which Gunderson cleverly folds theoretical physics and the irrational heart. There’s even a visual aid: a running tally is kept throughout on a screen at the back of the stage, where hash marks appear and disappear under the headings "philosophy" and "love" as the scenes wind their desultory way back toward the moment of her demise. Chloe Bronzan directs a cast of strong actors but their work is uneven. Foster alone is consistently commanding in a part that, while minor, suggests what a more muscular approach overall might have accomplished. The normally formidable Parsons seems uncommitted in the part of Voltaire, admittedly a character too simpering and watery as written to merit much credence. Instead of palpable relationships — whether with lovers or ideas — Emilie deploys self-conscious verbiage, strained repartee and heavy thematic underscoring to churn what amounts to thin drama. (Avila)

God of Carnage Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $34-55. Wed/13, 7:30pm; Thu/14-Sat/16, 8pm (also Sat/16, 2pm); Sun/17, 2 and 7pm. Marin Theatre Company performs Yasmina Reza’s Tony-winning comedy about two sets of parents who meet after their children get into a schoolyard fight.

The Great Divide Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through June 24. Shotgun Players performs Adamn Chanzit’s drama about the hot topic of fracking, inspired by Ibsen’s An Enemy of the People.

The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through July 15. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through June 30. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

The Odyssey Angel Island; (415) 547-0189, www.weplayers.org. $40-76 (some tickets include ferry passage). Sat-Sun, 10:30am-4pm (does not include travel time to island). Through July 1. We Players present Ava Roy’s adaptation of Homer’s epic poem: an all-day adventure set throughout the nature and buildings of Angel Island State Park.

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, www.calshakes.org. $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also June 23, 2pm); Sun, 4pm. Through June 25. California Shakespeare Theater opens its season with this dance-filled interpretation of the Bard’s classic tale.

Wheelhouse TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2); Sun, 2 and 7pm. Through July 1. TheatreWorks’ 60th world premiere is a musical created by and starring pop-rock trio GrooveLily.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Fri, 6pm; Sat/16, June 24, and 30, 11am. Through June 30. Louis "The Amazing Bubble Man" Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

"The Amen Corner" Lorraine Hansberry Theatre, 450 Post, SF; www.lhtsf.org. Mon/18, 7pm. $25. Project1Voice presents this benefit staged reading of James Baldwin’s play, part of a simultaneous staged-reading event with 25 other African American theaters across the country.

"Branded Funny" Purple Onion, 140 Columbus, SF; www.eventbrite.com. Thu/14, 8pm. $15. Stand-up with Melanie Bega, Seth Hardiman, and Justin Lucas.

"The BY Series" ODC Theater, 3153 17th St, SF; www.odcdance.org. Thu/14-Sat/16, 8pm; Sun/17, 2pm. $25. Robert Moses’ Kin Dance Company presents work by guest choreographers Molissa Fenley, Ramon Ramos Alayo, and Sidra Bell, plus the world premiere of Moses’ Scrubbing the Dog.

Alicia Dattner Exit Theatre, 156 Eddy, SF; www.theexit.org. Fri/15-Sat/16, 8pm. $26. The comedian performs.

"DEEPER, Architectural Meditations at CounterPULSE" CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $25. Fri-Sun, 8pm. Through July 1. Lizz Roman and Dancers perform a site-specific work.

"Elect to Laugh" Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Ongoing through Nov 6. $15-50. Will Durst and friends perform in this weekly political humor show that focuses on the upcoming presidential election.

"Fresh Meat Festival" Brava Theater, 2781 24th St, SF; www.freshmeatproductions.org. $15-20. Fri/15-Sat/16, 8pm; Sun/17, 7pm. $15-25. The transgender and queer performance festival celebrates its 11th year with members of Vogue Evolution (America’s Best Dance Crew), Emily Vasquez (American Idol), drag star Miss Barbie-Q, same-sex ballroom champs William DeVries and Kumi Keali’I, and Sean Dorsey Dance.

"hOPPomage" Shotwell Studios, 3252-A 19th St, SF; www.brownpapertickets.com. Fri-Sat, 8pm; Sun/17, 3pm. Through June 23. $10-15. An evening of "mental dance" inspired by artist Dennis Oppenheim with Driveway Dancers.

"Jillarious Tuesdays" Tommy T’s Showroom, 1000 Van Ness, SF; www.jillarious.com. Tue, 7:30. Ongoing. $20. Weekly comedy show with Jill Bourque, Kevin Camia, Justin Lucas, and special guests.

"Kunst-Stoff Arts/Fest 2012" Kunst-Stoff Arts, One Grove, SF; kunststoffartsfest2012.eventbrite.com. Thu/14-Sat/16, 8:30pm. $15. Bruno Augusto and Meisha Bosma perform.

"Porch Light: I Do: The Wedding Show" Verdi Club, 2424 Mariposa, SF; www.brownpapertickets.com. Mon/18, 8pm. $15. Wedding-themed storytelling with Eugene Ashton-Gonzalez, Barbara Berman, Clint Catalyst, and more.

"Previously Secret Information" Stage Werx Theater, 446 Valencia, SF; www.eventbrite.com. Sun/17, 7pm. $15. Comic storytelling with C.W. Nevius, Jack Boulware, and more.

"Qcomedy Showcase" Stage Werx Theater, 446 Valencia, SF; www.qcomedy.com. Mon/18, 8pm. $8-20. Special Pride edition with stand-up comedians Julia Jackson, Scott Backman, Enzo Lombard, Justin Simpson, Karen Ripley, and drag performers House of Glitter.

"Queeriosity" San Francisco LGBT Community Center, 1800 Market, SF; www.youthspeaks.org. Fri/15, 7pm. Free. Youth Speaks hosts this literary arts and performance showcase for LGBTQ youth.

San Francisco Ethnic Dance Festival Novellus Theater, Yerba Buena Center for the Arts, 700 Howard, SF; www.worldartswest.org. Sat/16-Sun/17, 3pm (also Sat/16, 3pm). $18-58. This weekend’s program includes dance from China, Cuba, Hawaii, Hungary, India, and more.

Sex and the City: Live!" Rebel, 1760 Market, SF; www.brownpapertickets.com. Tue, 7 and 9pm. Through June 26. $25. Heklina, D’Arcy Drollinger, Lady Bear, Trixxie Carr play the fab four in this drag-tastic homage to the HBO series.

"Two by 24: Love on Loop" UN Plaza, Market between Hyde and Seventh St, SF; www.rawdance.org. Tue/19, 11am-7pm. Free. RAWdance performs an eight-hour contemporary dance installation.

"Voca People" Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; www.marinesmemorialtheatre.com. Wed/13-Fri/15, 8pm; Sat/16, 6:30 and 9:30pm; Sun/17, 3 and 6pm. $49-75. A capella from outer space.

"When We Fall Apart" Z Space, 450 Florida, SF; www.zspace.org. Thu/14-Sat/16, June 20-21, and 27-28, 7pm; June 22-23 and 29-30, 7 and 9pm. $20-35. Joe Goode Performance Group presents a world premiere, an exploration of "home" with a set designed by architect Cass Calder Smith.

"Wonderland" Circus Center, 755 Frederick, SF; wonderlandatcircuscenter.eventbrite.com. Fri/15-Sat/16, 7pm; Sun/17, 2pm. Free (advance registration recommended). Family-friendly show of aerialists, acrobats, and other circus-style performers. *

On the Cheap Listings

Andrew Lam
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0

Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THURSDAY 14

Screening of Ken Russel’s Gothic Pacific Film Archive, 2575 Bancroft, Berk. bampfa.berkeley.edu. 7:30pm, $9.50. Director Ken Russell passed away this year, but his 1986 feature film continues to transport audiences. Gothic takes audiences into the country estate where Lord Byron (Gabriel Byrne), Mary Shelley (Natasha Richardson), and her partner Percy Bysshe Shelly (Julian Sands), give birth to the idea for Frankenstein’s monster. Prior to the screening, listen to a brief set by the world’s only Ken Russell tribute band Brale.

Oakland Landmarks book signing Cathedral Gift Shop, 2121 Harrison, Oakl. www.cltcathedral.org. Noon-1:30pm, free. Oakland historian and columnist AnnaLee Allen and artist Heidi Wyckoff raised enough donations through Kickstarter to publish their new book Oakland Landmarks, a melding of Wyckoff’s watercolor images and Allen’s detailed descriptions of historical sites. The project is a tribute to the city in honor of its 160th birthday this year. Today, come meet the author and illustrator, eager to sign your copy this afternoon.

Celebrate Flag Day with America the Philosophical Mechanic’s Institute, 57 Post, SF. (415) 393-0114, www.milibrary.org. 6pm, $12, members free. Just in time for Flag Day, award-winning book critic Carlin Romano challenges the idea that our nation is anti-intellectual. Using the examples of talk shows, social media, blogs, and an online trend he calls “cyber philosophy,” he argues that the USA is still a nation of innovation and public debate. Listen as Romano speaks up for the intelligence of you and yours at tonight’s reading.

FRIDAY 15

Rex Ray pop-up show and Information release Gallery 16, 501 Third St., SF. www.gallery16.com. Also Sat/16, 6pm-9pm, free. To celebrate Rex Ray’s new book, Information, this pop-up gallery displays images of his artwork, photographs, and private moments of inspiration. The new book highlights a collection of happenings that the artist says inspired his life’s work. Ask him more about it in person.

Faetopia reclaims vacant Castro space for public joy Vacant Tower Records building, 2286 Market, SF. www.faetopia.com. Through Fri/22, event times vary, $10 suggested donation. Faetopia imagines a world where queer people are honored and respected for their gifts and perspectives. Artists and collaborators have created a space for the LGBTQQ community and their allies in the long, vacant storefront. During the day, Faetopia will host a visual arts gallery, workshops, meditations, teach-ins, and more. Theater, poetry, cinema, and sexy book readings in a land where the arts reign supreme.

SATURDAY 16

“The Stuff That Dreams are Made of: San Francisco and the Movies” Old Mint, Fifth St. and Mission, SF. www.sanfranciscomuseum.org. Through Sat/24, 11am-4pm, $10. Thanks largely to cinema, people everywhere know about our city by the bay, even if they’ve never visited it. To highlight the movies and filmmakers that make San Francisco one of the world’s film capitals, the San Francisco Museum and Historical Society present this exhibition.

Father’s Day weekend at Playland-Not-at-the-Beach 10979 San Pablo, El Cerrito. www.playland-not-at-the-beach.org. 10am-5pm, $15. Don’t let Dad spend his special day sitting on the couch watching other people play. Accompany him to Playland, where the two of you can raise a ruckus with pinball and carnival games galore — there’s even an ugly tie contest. Pops also gets $3 off admission this weekend — perfect for Playland’s theme of the week: celebrating everyday American heroes.

San Francisco Crystal Fair Fort Mason Center, SF. www.crystalfair.com. 10am-6pm; also Sun/17 10am-4pm, $6. The Pacific Crystal Guild hosts a magical mix of crystals, minerals, beads, jewelry, and the healing arts today and tomorrow. Crystal enthusiasts can gawk at some of the most hard-to-find gems around, and those new to the world of geology can learn about the history and potential healing powers of these natural treasures.

North Beach Festival North Beach neighborhood, SF. www.sresproductions.com. Also Sun/17, 10am-6pm, free. One of the country’s original outdoor festivals, this 58th annual event brings you to the city’s Little Italy for 125 arts and crafts booths, 20 gourmet food booths, three stages of live entertainment, Italian street painting, beverage gardens, and the blessing of the animals. Join in this longstanding San Francisco tradition.

Marin Art Festival, Marin Civic Center, 3501 Civic Center Dr., San Rafael. (415) 388-0151, www.marinartfestival.com. 10am-6pm, $10. Enjoy the famed Marin oyster feast while you view the works of more than 250 fine artists. This annual event takes place in the spectacular Marin Civic Center designed by Frank Lloyd Wright, so be sure to look up and down and all around at the architecture while you’re there.

SUNDAY 17

Open Cockpit for Father’s Day Oakland Aviation Museum, 8252 Earhart, Building No. 621, Oakl. www.oaklandaviationmuseum.org. Noon-4pm, $9. Sit in a Korean War MiG-15 next to Dad, and feel what it would have been like to fly for the “other side” in America’s first war of the jet age. Learn about the training involved for naval flight officers in the 1970s via a Navy A-6 simulator trailer, horse around on a carrier deck in the Navy A-3 Sky Warrior, tour the Solent Flying Boat from Indiana Jones: Raiders of the Lost Ark.

MONDAY 18

Baasics.2: The Future Oberlin Dance Collective Theater, 3153 17th St., SF. www.baasics.com. 7:30pm-9:30pm, free. Do flying cars and android housekeepers to mind when you ponder the future? Will humanity populate other planets and interact with extraterrestrial beings? Or, do you fret about the imminent environmental catastrophe, the rise of a totalitarian mega-state, and the end of our species? This event brings together Bay Area artists, inventors, researchers, and musicians whose projects and musings provide a sense of what they think lies ahead.

TUESDAY 19

Activists read from The Harvey Milk interviews: In His Own Words HRC Store, 575 Castro, SF. (415) 387-2272. 6pm, free. This newly released collection of never-before published transcripts of unrehearsed interviews with Harvey Milk will be read live tonight by Bay Area activists and novelists. Learn about the local icon on a deeper level.

 

What $40 million buys

Andrew Lam
-
5

OPINION I am a diehard and devoted follower of the round-ball. Basketball. If the game did not exist, I wouldn’t spend a minute — hot or cold — planted in front of telly, save the half hour my kids and I watch the new Regular Show. I have no idea who wins the beauty contests or who is villain or hero on reality TV, couldn’t ID you the hit sitcom star of today, don’t know and don’t care.

For this reason, I am intimately aware of the massive anti-Prop 29 campaign waged by the tobacco companies (their target audience is male and of a certain age).

Prop. 29 narrowly lost last Tuesday, almost entirely due to the $40 million plus poured into its defeat from out of state interests, specifically RJ Reynolds.

Without that money, Prop. 29 passes easily, a no-brainer. A dollar-a-pack tax to raise $735 million a year for cancer research, with the secondary effect of smoking reduction (the costlier cigarettes are, the more likely one will quit — also, despite the misinformation, a raised tax on cigarettes doesn’t lead to bootlegging, as is Internet myth).

But at least a half dozen times per NBA playoff game, a grave looking woman in a medical outfit came on the air to warn us of the incipient dangers of this horrible idea — a new bureaucracy, new taxes (well, duh), money going out of state — relentless repetition of talking points ramrodded down the throats of the viewer.

I am told that Lance Armstrong made a pro-29 spot. Never saw it and now, I never will.

In most instances, I would have opposed Prop. 29 myself. I dislike sin taxes. I dislike the idea that one person’s poison is more pernicious than another when less than 15 percent of our state smokes and a much higher percentage is overweight. But the pounding of the tobacco industry — a far more diabolical and lethal group of parasites than even the lowliest dope dealer (but legal, of course and subsidized by the taxpayer) planted enough doubt in the minds of semi-interested sports fans to send a well-meaning and job creating piece of legislation onto the shoals of defeat.

This event, coupled with the Koch family’s purchase of the Wisconsin recall, signals the possible death knell for American democracy. The fact that money is speech and corporations are people has been codified into law doesn’t change the reality that said sentiment is gibberish intended to consolidate a permanent plutocrat class that, on any whim, can simply bury their opposition in an avalanche of half truths and outright lies.

If you own the megaphone, the transmitter, and the mouth, we are not equal — if you are heard and I am not, no one ever hears my side. And that’s where we’re going.

The saddest moment in all of this was taking a trip to a liquor store the other day with my kids to get some sodas and hearing the owner’s justification for supporting No on 29 — “this will wipe me out.” When I pointed out that maybe soon he could sell marijuana in the place of cigarettes when it becomes legal, he turned pale and exclaimed “I don’t want that shit in here”.

Marlboro’s and Jack Daniels, ok. The chronic, no.

And that’s the mindset in America’s most progressive state. I wasn’t made for these times at all.

Johnny Angel Wendell is a talk show host at KTLK-AM1150 and KFI-AM640 in Los Angeles and an American roots musician

The biggest burn ever

Andrew Lam
-
0
The biggest burn ever

steve@sfbg.com

Burning Man is more popular than ever, judging by a demand for tickets that far exceeded supply this year, after selling out last year for the first time in its 26-year history — and now this year’s event will be far bigger than ever.

The Bureau of Land Management, which manages the Nevada desert where burners build Black Rock City every August, has set a population cap for Burning Man at 60,900, an increase of more than 10,000 over previous events.

For Black Rock City LLC, the San Francisco-based company that stages Burning Man, there was mixed news in BLM’s June 12 permit decision.

BRC was denied the multi-year event permit it sought, but as it struggles to meet demand for this increasingly popular countercultural institution, BLM honored BRC’s late request for more people than the 58,000 it had sought for this year.

“After further discussions, there were requests for a bit more,” Cory Roegner, who oversees the event from BLM’s district office in Winnemucca, told us. Asked why BRC sought the population bump, he said, “The more people they can have, the better.”

BLM has been processing BRC’s lengthy environment assessment and its request for a five-year permit that would allow the event to grow steadily from 58,000 to 70,000 people in 2016. The cap for this year could have been set as low at 50,000, creating some drama around this announcement, but the agency instead issued a single-year permit with a population cap of 60,900.

BRC was placed on probation last fall after violating its 50,000-person cap by a few thousand people each on Sept. 2 and 3, and BLM rules limit groups on probation to a single-year permit. BRC has appealed the status to the Interior Board of Land Appeals, which has not yet acted on it or answered Guardian inquiries.

“Unless we do hear back from them, Black Rock City would be precluded from a multi-year permit,” Roegner told us.

He also said that if BRC violates the population cap for a second year in a row, it could be barred from holding future events, although the high population cap should mean that won’t be a big problem this year, clearing the way for Burning Man’s steady growth through at least 2016.

“Based on the evaluation [of this year’s event], we will consider a multi-year permit going to 2016,” Roegner told us.

BRC has already sold 57,000 tickets and will give away thousands more to art collectives, staff, and VIPs. But the cap is based on a daily population count and BRC board member Marian Goodell said the event never has all attendees there at once.

She said staying below the cap this year shouldn’t be difficult given that many of those who build the city and work on the major art pieces leave before the final weekend when the eponymous Man burns. “Usually at least 6,000 leave before we hit the peak. Sometimes more on dusty, wet, or cold years,” she told us.

It could have been a lot more difficult. BLM officials had told the Guardian in April that they were considering keeping last year’s population cap of 50,000, which could have presented BRC with a logistical nightmare and/or ticket-holder backlash in trying to stay under the cap.

“The issue between us and the BLM continues to be the population cap,” Burning Man founder Larry Harvey told the Guardian.

Harvey, Goodell, and others with BRC took a lobbying trip to Washington DC in late April trying to shore up political support for the event and its culture, arguing that it has become important for artistic and technical innovation and community building rather than just a big party.

Harvey told us he believes that Burning Man could grow to 100,000 participants, although he conceded that would need further study and creative solutions to key problems such as getting people to and from the isolated location accessed only by one highway lane in each direction.

“We think we could go to 100,000 if it was measured growth, carefully planned,” Harvey said.

On the transportation question, he said, “it’s a question of flow.” Right now, participants arriving or leaving on peak days often wait in lines that can take four hours or more.

“We’ve talked to engineers that have proposed solutions to that,” Harvey said of the transportation issue, although he wouldn’t discuss possible solutions except to say, “You could exit in a more phased fashion.”

Roegner said that was one of the big issues identified in the EA. “We are taking a closer look at a couple items this year, traffic being one,” he said. Another one is the use of decomposed granite, which is placed under flaming artworks to prevent burn scars on the playa, and making sure it is properly cleaned up each year.

BRC was facing a bit of a crisis in confidence after this year’s ticket debacle, when a new lottery-based ticket distribution system and higher than expected demand left up to two-thirds of burner veterans without tickets. The resulting furor caused BRC to abandon plans for a secondary sale and instead sell the final 10,000 tickets through established theme camps, art collectives, and volunteers groups.

“It’s pretty obvious that we’ll do something like that again because we don’t expect demand to go down,” Harvey said of that direct distribution of tickets, which was criticized in some burner circles as promoting favoritism and undermining the event’s stated principle of inclusivity.

Yet he also emphasized that much of Burning Man’s growth is occurring off the playa — in cities and at regional events around the world. “All of this is by way of dealing with the capacity problem. I don’t know how much we can grow in the Black Rock Desert,” he said.

Another realm full of both possibilities and perils — depending on one’s perspective — is the ongoing development of The Burning Man Project, a nonprofit that BRC created last year to gradually take on new initiatives, followed by taking over staging of the event, and eventually (probably in five years) full control of Burning Man and its brand and trademarks.

“God knows, we have a lot of opportunities before us,” Harvey said, adding that BMP is now focused on fundraising. “It is the objective before we transfer the event to start transferring the regional events, and that will take more money and staff.”

After that, he sees unlimited potential to grow the culture, not just Black Rock City. “We’ve got to focus on the people. We’re becoming less event-centric,” he said. “We think of this as a cultural movement.”

Guardian City Editor Steven T. Jones is the author of The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture. For reactions and details on the EA, visit the sfbg.com politics blog.

 

Alerts

Andrew Lam
-
0

yael@sfbg.com

THURSDAY 14

Solitary confinement at Pelican Bay, Audre Lourde Room, Women’s Building, 3548 18th St., SF; www.womensbuilding.org. 6:30pm, free. This panel discussion on the use of solitary confinement in the criminal justice system comes soon after a class action lawsuit challenging solitary confinement in California prisons. The Center for Constitutional Rights filed the lawsuit, Ruiz v. Brown, May 31 on behalf of prisoners at Pelican Bay State Prison. The plaintiffs have spent between 10 and 28 years in solitary confinement, generally spending at least 22 hours per day alone in windowless cells, and often denied letters, visits, any sunlight, or time spent outdoors. Many of the plaintiffs also participated in last year’s hunger strikes against inhumane conditions in prison, including solitary confinement. This lawsuit may be the crucial next step in their fight.

FRIDAY 15

India to Ireland, Sports Basement, 1590 Bryant, SF; www.indiatoireland.org. A brother and sister who rode bicylces12,000 km from India to Ireland are back with photos and stories. See what they saw and hear the tales at this fundraiser for Room to Read. The international nonprofit works “to promote literacy and gender equality in education by establishing libraries, constructing classrooms, publishing local-language children’s books, training educators and supporting girls’ education.”

SATURDAY 16

Art, culture and resistance, Redstone building, 2940 16th St., SF; www.norcalsocialism.org. 6pm, $5-10 suggested donation. What’s the music of today’s social justice movement? If it’s anyone, it’s The Coup, and frontman Boots Riley. Riley has written and performed powerful and revolutionary music for decades, from hip hop edutainment concerts that promoted efforts like the Women’s Economic Project Agenda and Copwatch to traveling guerilla hip hop concerts in protest of Prop 21 in 2000. Recently, he’s been organizing with Occupy Oakland. In July, he’ll be teaching a workshop at the Socialism 2012 conference in Chicago; the next month his book, Lyrics in Context, will be released. On Saturday he’ll discuss a tradition he helps to keep alive in Oakland: how art and resistance work together. Refreshments and mingling to follow.

Juneteenth festival, parade starts at African American Arts & Culture Complex, 762 Fulton St., SF; www.sfjuneteenth.org. Parade at 11am, festival runs through June 17. Start summer off right with the biggest Juneteenth festival on the West Coast. Juneteenth commemorates the announcement of the abolition of slavery and celebrates African American heritage, and this year will mark the 62nd annual Juneteenth in the Fillmore District. The two-day festival kicks off with a parade, followed by a family-friendly weekend complete with a classic car and motorcycle show, basketball games, fashion show, petting zoo, pony rides, live entertainment, community info booths and health fair, and more.

SUNDAY 17

African American veterans and the Civil Rights Movement, Niebyl-Proctor Marxist Library, 6501 Telegraph, Oakl; www.marxistlibr.org. 10:30am-12:30pm, free. Despite growing up in a United States that still had Jim Crow laws, African Americans fought in wars throughout the 20th century. When many of them returned and joined in civil rights and black liberation movements, however, they risked their lives once again. Perhaps best known is Medgar Evers, civil rights leader and World War II soldier who was assassinated by a Ku Klux Klan member in 1963. This event will explore the many veterans who joined civil rights struggles, their reasons for doing so, and how, in many cases, experiences in military service prompted involvement in the struggle back home. It will also feature a screening of the documentary Negroes With Guns, which follows the life of Army and Marine Corps veteran Robert F. Williams, who later took up arms against violent racist groups like the KKK as part of his work with the Black Armed Guard.

Win tickets to Hempcon this weekend

Maria Poblet
-
0
Win tickets to Hempcon this weekend

Hempcon is a medical marijuana show catering to those who may be benefited from the medical use of marijuana. This will be one of the premiere events of the year with a huge amount of exhibits including medical marijuana dispensaries, collectives, care givers, evaluation services, legal services, educational institutes, equipment, accessories, and many more. Hempcon will be an educational event as well with a full weekend of seminars and presentations by industry leaders, advocates, and attorneys. Whether you are a patient or someone who wants to get educated more about medical marijuana, you have got to be there.

Supporters of the medical marijuana industry are urged to come out and participate in what is sure to be the best event of the year! Get more info here. To win tickets, email sfbgpromos@sfbg.com with your name and mailing address and several lucky winners will get a pair of tickets in the mail!

June 15-17 @ San Jose Convention Center 

Burning Man population cap set at 60,900, way more than ever

Sasha Cuttler
-
64
Burning Man population cap set at 60,900, way more than ever

Burning Man is more popular than ever, judging by a demand for tickets that far exceeded supply this year, after selling out last year for the first time in its 26-year history — and now this year’s event will be far bigger than ever.

The Bureau of Land Management, which manages the Nevada desert where burners build Black Rock City every August, has set a population cap for Burning Man at 60,900, an increase of more than 10,000 over previous events.

For Black Rock City LLC, the San Francisco-based company that stages Burning Man, there was mixed news in BLM’s June 12 permit decision. BRC was denied the multi-year event permit it sought, but as it struggles to meet demand for this increasingly popular countercultural institution, BLM honored BRC’s late request for more people than the 58,000 it had sought for this year.

“After further discussions, there were requests for a bit more,” Cory Roegner, who oversees the event from BLM’s district office in Winnemucca, told us. Asked why BRC sought the population bump, he said, “The more people they can have, the better.”

BLM has been processing BRC’s lengthy environment assessment and its request for a five-year permit that would allow the event to grow steadily from 58,000 to 70,000 people in 2016. The cap for this year could have been set as low as 50,000, creating some drama around this announcement, but the agency instead issued a single-year permit with a population cap of 60,900.

BRC was placed on probation last fall after violating its 50,000-person cap by a few thousand people each on Sept. 2 and 3, and BLM rules limit groups on probation to a single-year permit. BRC has appealed the status to the Interior Board of Land Appeals, which has not yet acted on it or answered Guardian inquiries.

“Unless we do hear back from them, Black Rock City would be precluded from a multi-year permit,” Roegner told us.

He also said that if BRC violates the population cap for a second year in a row, it could be barred from holding future events, although the high population cap should mean that won’t be a big problem this year, clearing the way for Burning Man’s steady growth through at least 2016.

“Based on the evaluation [of this year’s event], we will consider a multi-year permit going to 2016,” Roegner told us.

BRC has already sold 57,000 tickets and will give away thousands more to art collectives, staff, and VIPs. But the cap is based on a daily population count and BRC board member Marian Goodell said the event never has all attendees there at once.

She said staying below the cap this year shouldn’t be a problem given that many of those who build the city and work on the major art pieces leave before the final weekend when the eponymous Man burns. “Usually at least 6,000 leave before we hit the peak. Sometimes more on dusty, wet, or cold years,” she told us.

It could have been a lot more difficult. BLM officials had told the Guardian in April that they were considering keeping last year’s population cap of 50,000, which could have presented BRC with a logistical nightmare and/or ticket-holder backlash in trying to stay under the cap.

“The issue between us and the BLM continues to be the population cap,” Burning Man founder Larry Harvey told the Guardian.

Harvey, Goodell, and others with BRC took a lobbying trip to Washington DC in late April trying to shore up political support for the event and its culture, arguing that it has become important for artistic and technical innovation and community building rather than just a big party.

Harvey told us he believes that Burning Man could grow to 100,000 participants, although he conceded that would need further study and creative solutions to key problems such as getting people to and from the isolated location accessed only by one highway lane in each direction.

“We think we could go to 100,000 if it was measured growth, carefully planned,” Harvey said.

On the transportation question, he said, “it’s a question of flow.” Right now, participants arriving or leaving on peak days often wait in lines that can take four hours or more.

“We’ve talked to engineers that have proposed solutions to that,” Harvey said of the transportation issue, although he wouldn’t discuss possible solutions except to say, “You could exit in a more phased fashion.”

Roegner said that was one of the big issues identified in the EA. “We are taking a closer look at a couple items this year, traffic being one,” he said. Another one is the use of decomposed granite, which is placed under flaming artworks to prevent burn scars on the playa, and making sure it is properly cleaned up each year.

BRC was facing a bit of a crisis in confidence after this year’s ticket debacle, when a new lottery-based ticket distribution system and higher than expected demand left up to two-thirds of burner veterans without tickets. The resulting furor caused BRC to abandon plans for a secondary sale and instead sell the final 10,000 tickets through established theme camps, art collectives, and volunteers groups.

“It’s pretty obvious that we’ll do something like that again because we don’t expect demand to go down,” Harvey said of that direct distribution of tickets, which was criticized in some burner circles as promoting favoritism and undermining the event’s stated principle of inclusivity.

Now that BRC has received a high population cap, it could conceivably sell more tickets to this year’s event, something Goodell said the board will consider, weighing that against the imperative of staying under the population cap this year. “The board needs to talk about what the ramifications of that are. There is a lot of demand out there,” Goodell told us.

Harvey emphasized that much of Burning Man’s growth is occurring off the playa — in cities and at regional events around the world. “All of this is by way of dealing with the capacity problem. I don’t know how much we can grow in the Black Rock Desert,” he said.

Another realm full of both possibilities and perils — depending on one’s perspective — is the ongoing development of The Burning Man Project, a nonprofit that BRC created last year to gradually take on new initiatives, followed by taking over staging of the event, and eventually (probably in five years) full control of Burning Man and its brand and trademarks.

“God knows, we have a lot of opportunities before us,” Harvey said, adding that BMP is now focused on fundraising. “It is the objective before we transfer the event to start transferring the regional events, and that will take more money and staff.”

After that, he sees unlimited potential to grow the culture, not just Black Rock City. “We’ve got to focus on the people. We’re becoming less event-centric,” he said. “We think of this as a cultural movement.”

Guardian City Editor Steven T. Jones is the author of The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture.

Why does the mayor appoint supervisors?

Zelda Bronstein
-
16
Why does the mayor appoint supervisors?

The Alameda County Board of Supervisors just found a replacement for Nadia Lockyer, who resigned in April (“amidst a drug and sex scandal,” the Chronicle notes, and you know how much journalists love to use that phrase). The four remaining members of the board deadlocked for a while, then settled on Union City Council member Richard Valle.

All of which makes me wonder, as I often do: Why does the Mayor of San Francisco get to fill vacancies on the Board of Supervisors?

Other county boards fill the vacancies themselves — and if you don’t think the SFBOS can handle that, remember that every two years the 11 contentious folks choose a president, and it doesn’t take more than a few hours, and not that long ago, they chose a mayor.

I don’t know any other situation where the executive gets to choose legislators. The governor doesn’t fill seats in the state Assembly. The president doesn’t fill vacancies in Congress. There’s an important balance of powers issue here, and it has played out to the detriment of democracy in the past. At one point, more than half of the sitting supervisors had been appointed by Mayor Willie Brown. There was no balance; the mayor called all the shots.

Imagine if, instead of the mayor secretly huddling with advisors and choosing a new supe, the Rules Committee took applications and nominations and then the full board, in open session, debated and discussed and voted. The outcome would reflect the much broader perspectives of 10 district supervisors — and the person chosen would owe a debt to all of his or her colleagues, not to the mayor.

You can make a good case that the mayor ought to fill vancancies in other elected offices (sheriff, city attorney, public defender etc.); those are, at least arguably, executive offices. Although I could also make the case that the 11 district-elected supervisors should make those calls.

But that’s a different issue. The clear and obvious anomaly here is that San Francisco’s chief executive gets to choose his own legislators in the event of a vacancy — and that’s just wrong.

Now, in Alameda if they can’t reach a decision, the governor steps in. In San Francisco, with 10 voting supes, it seems highly unlikely that we’d ever see a long-term deadlock, but the mayor could step in the break the tie in that case — or some other city official could, or you could come up with a dozen other solutions. The bottom line is that most of the time, as in Alameda, the board would come to if not a consensus, then a majority vote.

Who’s up for some Charter reform?

 

 

Street Threads, doggie style at The Whole Enchihuahua

Andrew Lam
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0

As a street fashion photographer responsible for capturing the Bay’s best looks in the Guardian’s Street Threads feature (and photo book), I’m always on the lookout for well-dressed San Franciscans. Imagine my delight when Sam Love and I stopped by the SFSPCA’s Whole Enchihuahua at Dolores Park on June 2 and encountered a mega-litter of fashion-forward pooches. It was Street Threads, doggie style!

There was flair from Paris, tie-dyed hippie outfits, a pup in a piñata, and even some quirky balloon ensembles. Although the event was dubbed a chihuahua affair in true SF spirit all variety of dogs, from poodles to bulldogs, were included. In turn, all the canines seemed equally accommodating, patiently putting up with their owners’ ridiculous costume fetishes. For what it’s worth, they looked adorable, converting this cat lover into a dog fanatic (for the day.)

Zombies are so last week. This week: ALIENS RULE!

Sue Vaughan
-
0
Zombies are so last week. This week: ALIENS RULE!

Prometheus, fuck yeah! Finally, after way too many spoiler-y trailers, Ridley Scott’s new sci-fi epic reaches theaters. My review below, along with a few others this week worth seeing, if aliens and such don’t float your boat. (But seriously, Prometheus! Worth seeing, even if aliens don’t float your boat.)

Also worth checking out: the Pacific Film Archive’s series highlighting local experimental talent Nathaniel Dorsky (Max Goldberg’s write-up here) and the Yerba Buena Center for the Arts’ exciting “New Filipino Cinema” programming (Dennis Harvey reports here, with a bonus midnight-movie DVD recommendation here).

Elena The opening, almost still image of breaking dawn amid bare trees — the twigs in the foreground almost imperceptibly developing definition and the sky gradually growing ever lighter and pinker in the corners of the frame — beautifully exemplifies the crux of this well-wrought, refined noir, which spins slowly on the streams of dog-eat-dog survival that rush beneath even the most moneyed echelons of Moscow. Sixtyish former nurse Elena (Nadezhda Markina) is still little more than a live-in caretaker for Vladimir (Andrey Smirnov), her affluent husband of almost 10 years. She sleeps in a separate bed in their modernist-chic condo and dutifully funnels money to her beloved layabout son and his family. Vladimir has less of a relationship with his rebellious bad-seed daughter (Yelena Lyadova), who may be too smart and hedonistic for her own good. When a certain unlikely reunion threatens Elena’s survival — and what she perceives as the survival of her own spawn — a kind of deadly dawn breaks over the seemingly obedient hausfrau, and she’s driven to desperate ends. Bathing his scenes in chilled blue light and velvety dark shadows, filmmaker Andrey Zvyagintsev (2003’s The Return) keeps a detached but close eye on the proceedings while displaying an uncanny talent for plucking the telling detail out of the wash of daily routine and coaxing magnetic performances from his performers. (1:49) (Kimberly Chun)

Peace, Love and Misunderstanding How is that even as a bona fide senior, Jane Fonda continues to embody this country’s ambivalence toward women? I suspect it’s a testament to her actorly prowess and sheer charisma that she’s played such a part in defining several eras’ archetypes — from sex kitten to counterculture-heavy Hanoi Jane to dressed-for-success feminist icon to aerobics queen to trophy wife. Here, among the talents in Bruce Beresford’s intergenerational chick-flick-gone-indie as a loud, proud, and larger-than-life hippie earth mama, she threatens to eclipse her paler, less colorful offspring, women like Catherine Keener and Elizabeth Olsen, who ordinarily shine brighter than those that surround them. It’s ostensibly the tale of high-powered lawyer Diane (Keener): her husband (Kyle MacLachlan) has asked for a divorce, so in a not-quite-explicable tailspin, she packs her kids, Zoe (Olsen) and Jake (Nat Wolff), into the car and heads to Woodstock to see her artist mom Grace (Fonda) for the first time in two decades. Grace is beyond overjoyed — dying to introduce the grandchildren to her protests, outdoor concerts, and own personal growhouse — while urbanite Diane and her kids find attractive, natch, diversions in the country, in the form of Jude (Jeffrey Dean Morgan), Cole (Chace Crawford), and Tara (Marissa O’Donnell). Yet there’s a lot of troubled water for the mother and daughter to cross, in order to truly come together. Despite some strong characterization and dialogue, Peace doesn’t quite fly — or make much sense at its close — due to the some patchy storytelling: the schematic rom-com arch fails to provide adequate scaffolding to support the required leaps of faith. But that’s not to deny the charm of the highly identifiable, generous-spirited Grace, a familiar Bay Area archetype if there ever was one, who Fonda charges with the joy and sadness of fallible parent who was making up the rules as she went along. (1:36) (Chun)

[No trailer on purpose. Spoilers, y’all.]

Prometheus Ridley Scott’s return to outer space — after an extended stay in Russell Crowe-landia — is most welcome. Some may complain Prometheus too closely resembles Scott’s Alien (1979), for which it serves as a prequel of sorts. Prometheus also resembles, among others, The Thing (1982), 2001: A Space Odyssey (1968), and Event Horizon (1997). But I love those movies (yes, even Event Horizon), and I am totally fine with the guy who made Alien borrowing from all of them and making the classiest, most gorgeous sci-fi B-movie in years. Sure, some of the science is wonky, and the themes of faith and creation can get a bit woo-woo, but Prometheus is deep-space discombobulation at its finest, with only a miscast Logan Marshall-Green (apparently, cocky dude-bros are still in effect at the turn of the next millennium) marring an otherwise killer cast: Noomi Rapace as a dreamy (yet awesomely tough) scientist; Idris Elba as Prometheus‘ wisecracking captain; Charlize Theron as the Weyland Corportation’s icy overseer; and Michael Fassbender, giving his finest performance to date as the ship’s Lawrence of Arabia-obsessed android. (2:03) (Cheryl Eddy)

Occupy Caravan takes off to the National Gathering

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Occupy Caravan takes off to the National Gathering

This looks familiar!

Jan. 17, we proposed Occupy Nation, an idea that those energized and organized by Occupy come together on July 4, 2012 for a national gathering to get some planning done. We also proposed that the journey across the US be a part of the action, and that people get together in vans for a freedom-ride inspired experience. Well, it’s happening- although, of course, it wasn’t all our idea. But they are using our cover art!

The Occupy Caravan is an ever-expanding crew of people getting together for a two-week journey across the US. There are two starting points, Los Angeles and San Francisco- and the San Francisco caravan is taking off June 11. The caravans will stop at Occupy sites along the way for protests, education and entertainment, before arriving in Philadelphia for the June 30 Occupy National Gathering.

The poster declares, “bring tents!” But according to an Occupy Caravan organizer known as Buddy, sleeping arrangements that won’t risk police meddling are planned at every stop.

“We have a bunch of secure and fun locations- there’s a slumber party at one, a march and then staying at a church at another, a supporter’s camp ground where we can park the RVs,” said Buddy.

“We’re not risking people getting arrested,” he said. “Everything is legal and nonviolent.”

In theory, anyone who wants to can show up, on foot or with a vehicle, and join the caravan. But if you want to secure a spot, according to Buddy, it’s best to sign up online beforehand.

“We’re getting 30 to 50 calls and emails a day about rides,” Buddy told me of the last chaotic week before the trip launches.

The National Gathering isn’t the only nationwide Occupy plan for this summer. It isn’t the only one in Philadelphia either. Or for the July 4 weekend. There’s also the 99 Percent Declaration, billed as a “Continental Congress 2.0”

It looks like these big get-togethers are part of the form Occupy will take this summer. What with a big and chaotic May Day, an even more tumultuous anti-Nato convergence in Chicago, and continuing home defenses, occupations of public spaces, and innumerable local actions across the country, the Occupy movement is in a very different state than it was in the winter when the Gathering and the Caravan were in their beginning planning stages.

“The movement has grown,” Buddy told me. “It’s less than a year old. It was an infant early on, and grew very quickly, but its getting stronger. We’re going back to the simply core message of economic equality and justice.”

After the National Gathering, the caravan will join the Occupy Guitarmy for its “99 Mile March” to New York. The Guitarmy is a travelling group of musicians that bills itself as “the world’s first open source band,” best known for its march on May 1 in New York City, led by Tom Morello of Rage Against the Machine.

As we said in the Occupy America proposal: “The important thing is to let this genie out of the bottle, to move Occupy into the next level of politics, to use a convention, rally, and national event to reassert the power of the people to control our political and economic institutions — and to change or abolish them as we see fit.” One thing is clear: Occupy hasn’t given up yet.

The Performant: Border crossings

Jesse Hawthorne Ficks
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Los Jaichackers take SFMOMA on a magical mystery tour of Pan-American culture

What first strikes the eye about the ongoing “Photography in Mexico” exhibit at the SFMOMA (through July 8th) is the variety. With photos dating as far back as the 1800s, and as recently as last year, the exhibit doesn’t focus on any one aspect of Mexico or any one era, but rather its timeless complexities. Elegantly barren landscapes collide with jostling humanscapes, desert isolation contrasts with urban density, photojournalism and surrealism join forces, capturing the espíritu of time and place over a period of about 150 years.

Underscoring the depth and diversity one might expect from a thoroughly modern land with a population well over 100 million people, Thursday’s “Double Grooves and Dirty Menudo” Now Playing event, whimsically curated by art duo Los Jaichackers, focused on artistic mashups inspired stylistically by both sides of the border, for an evening that defied easy stereotyping of either.

Los Jaichackers are Eamon Ore-Giron and Julio Cesar Morales, both with deep roots in the SF arts community. Their own piece of the evening was a 24-minute remix of Juan Ibez’ 1980s crime drama A Fuego Lento and an electronic exploration of music by Cuban bandleader Dámaso Pérez Prado, “King of the Mambo.” The result was something weirder than even a Alejandro Jodorowsky flick — a psychedelic swirl of images culminating in violence, the deconstructed mambo melodies punctuated by Prado’s distinctive, James Brown-esque, “huh”’s and an array of heavy electro beats.

In the Haas Atrium beneath an installation of lights and moving images by Jim Campbell (“Exploded Views”), Oakland-based “conscious disco” duo ChuCha Santamaria, live-recorded a series of cover tunes, refurbished and reworked into Spanish. Kicking off with a Pet Shop Boys tune (“El Baile del Domino”), bandmates Sofía Córdova and Matt Kirkland powered through several retakes, just as if they were in any recording studio, albeit a recording studio that could hold a hundred or so spectators, (and if they recorded all of their songs wearing dramatic facepaint and surrounded by lit candles). The tracks are slated to appear on their album in progress, so keep an ear out.

But when it comes to reimagining English-language pop songs into anthems for Spanish-speaking youth, it would seem that Los Master Plus, a “cumbiatrónica “ duo from Guadalajara have got a real lock on the technique. Their tongue-in-cheek, nu-cumbia-flavored reinterpretations of Daft Punk, No Doubt, Radiohead, Kings of Leon, and The Bee Gees were “mami”-centric and eminently danceable, and they exuded a certain goofy charm that transcended all language barriers. 

www.youtube.com/watch?v=rWdNjfJtKbw

Hipster haters take note, “hipster” fashion is now officially a cross-cultural phenomenon, as the skinny jean-wearing, handlebar-mustached El Comanche and Larry Mon as well as enthusiastically costumed fanboys Adrian Manzo and Mario Mejia easily proved, and The Bee Gees “Stayin’ Alive” will forever be the kickoff melody for a good dance party, igual the context.

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