Event

Taste of Potrero: Fundraiser for Daniel Webster Elementary

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All of San Francisco’s top restaurants and bars in one room at the same time?

That is exactly what Taste of Potrero is offering with a lineup including Ame, Local Mission Eatery, Nojo and Skool to just name a few. Pair that with cocktails from the Homestead and Comstock and wines from Urbanite Cellars, and you’ll have a truly fantastic event.

An added bonus is the fact that all proceeds go to Daniel Webster Elementary (DWE) School. DWE is a struggling public school in potrero hill slated for closure just five years ago. The reason DWE still here today is because of the strong local community rallying together to save it, and then maintaining that support with fundraisers like Taste of Potrero. We look forward to seeing you on May 10th!

Buy your tickets HERE!

Star search

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arts@sfbg.com

MUSIC Singer-songwriter Meklit Hadero’s album On a Day Like This garnered tons of praise and cemented her status as SF’s flower-adorned local celebrity. As a TED fellow and the Red Poppy Art House’s former artistic director, Hadero also established an ability to cross-pollinate her far-reaching talents.

But with her latest project, Copperwire (www.copperwiremusic.com), it now appears that the chanteuse is ready to cross into music’s final frontier. Copperwire’s music tells stories about connection and distance through cosmic metaphors. The group just released its debut album Earthbound and is currently bringing its hip-hop space opera to life-forms across the country.

[You can have a listen to exerpts from the album and more from Hadero on the creative process here.]

SFBG: What is Copperwire?

MEKLIT HADERO: Copperwire is myself and two Ethiopian-American emcees, Gabriel Teodros and Burntface. The whole project started with a song called “Phone Home.” We were sitting on a couch and we just looked at each other and suddenly put our index fingers out, and when they touched we all said “phone home.” We were like wait a minute, because ET also stands for Ethiopia. It started from that spark, and we ended up writing the song in two to three hours.

SFBG: From there you decided to make a full-length album?

MH: Well, we didn’t want to just make a record. We wanted to tell a story in a way that felt relevant and fresh to all of us. Earthbound uses metaphors of intergalactic distances to talk about diaspora and cultural connection and disconnection.

Last December I became a member of the SF Amateur Astronomers. I was hosting the deYoung’s Van Gogh Starry Night event and the Amateur Astronomers were around the pond outside. They had about nine or 10 different telescopes that you could look through. I saw the moon, but I also saw Jupiter and four of its moons. It was an incredibly impactful moment for me, especially since I’d been thinking about the reality of these distances that we talk about.

Gabriel had been reading a book by Neti Okorafor, who’s a Nigerian science fiction writer who wrote a book about the Sudan in the future. And all three of us are total science fiction buffs. I love Star Trek.

SFBG: You’re a Trekkie?

MH: The Next Generation… TNG, that’s my era. Yes, I know that I’m revealing my inner dorkiness. Anyway we’d been talking about making a record together for years, and after being in Ethiopia together we were just like it’s time. Crossing that distance while these metaphors were churning kind of came out in the story.

SFBG: Do you relate Copperwire to intergalactic ’70s acts like Funkadelic?

MH: Definitely. It’s also in the line of Outkast, Janelle Monae, David Bowie. It definitely feels like it’s in an intergalactic lineage.

SFBG: Tell me about the star sounds that factor into Earthbound.

MH: While we were recording I saw a posting by one of my fellow TED fellows about an installation in the Bavarian forest that had been done with star sounds. I sent her an email asking “What are these star sounds and how can I get some?” We figured out how to use them in our beats using a program called the isotope spectrum, and used the star sounds in combination with a whole bunch of instruments.

SFBG: What about the star guitar?

MH: The idea for the star guitar came after we’d stopped recording and I’d been wanting to figure out how to do it live. Jon Jenkins from NASA’s Keppler Mission made the star sounds based on their oscillations of light. You can say I want 50 percent star and 50 percent guitar, or you can say I want 30 percent star and 70 percent guitar. You can also hybridize just the highs or just the lows. I’m still experimenting. There are a bunch of different sounds, but I’ve chosen a few that I particularly like.

SFBG: How many different stars are you working with?

MH: Right now I’m working with two stars.

SFBG: Do you know their names?

MH: I don’t and I don’t know where they are, that’s one thing I want to talk with Jon about. But he’s also posting a whole host of new star sounds so I’ll have a lot more to choose from pretty soon. *

COPPERWIRE

With Bocafloja

Sat/5, 9pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

Reflecting on violence at the SF Commune

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Occupy San Francisco protesters entered Catholic Church-owned properties at 888 Turk last night. This is the same building that a similar group occupied April 1, in a peaceful action that lasted about 24 hours. 

The successful reentry was a testament to the spread of skills and cultures surrounding building takeovers by groups like Homes Not Jails. The resulting “rebirth of the SF Commune” was a mellow and pleasant event at first, as protesters on a march from the celebratory Peoples Street Festival joined in the commune. Some held back in the street while others entered the building in hopes of building a “community center”—most remained outside the building, enjoying a free meal cooked and served by some of the same Occupy SF kitchen volunteers that once fed hundreds of people daily at Justin Herman Plaza.


The building occupation was meant to affirm a strong belief in the rights of people to gather and organize, or at the very least have a warm place to sleep at night. It was also an assertion from Occupy: we’re still here, your warnings to property owners to board up their vacant buildings and the chain-link fence you put up in front of 888 Turk (which protesters casually removed upon arrival) won’t stop us.

“The Catholic church owns it. They’re supposed to be doing charity, but they’re leaving it vacant until they can get high rent out of it,” said Jazzie Collins that afternoon, an organizer with Senior Action Network who was there to support the May Day actions.

“There’s too many vacant buildings in this city, while people sleep on the streets.”

Collins spoke only for herself, but her take on the situation matched the sentiments of many who questioned the importance of property rights in the light of unused building and homelessness throughout the city. That’s the same reason that the SF Commune had sprung up in the same building, exactly one month earlier.

Police spokesperson Sergeant Michael Andraychak seemed to believe that this repeat occupation would turn out the same way. “We’re putting up some barricades attempting to restrict access to the building,” said Andraychak around 5pm. “We’re opening traffic back up.”

But not half an hour later, when the police put up the final barricades sealing off access to the building, the dozen or so people who got caught inside pushed back at the barricade. Police responded with intimidating and striking a few with batons. Then, a man appeared on the roof.

His face was covered in a black bandanna. He raised his arms, and in each hand, he held a brick. Onlookers began shouting, “don’t throw those!” He did though. He hit one man in the face, a fellow protester who, according to one source, has supported the Occupy SF effort since the camp.  

The mood of the crowd chilled. The brick-thrower held up more bricks, menacingly. 

Police closed the street off to traffic. Soon most protesters, supporters, and interested bystanders were on the other side of Gough or in the park, watching the events. A few spoke to and yelled at police lined up on the corners. Hundreds more police stood ground on Turk in front of the building. A few dozen remained inside, including one who had appeared on the roof, taken the bricks from the assailant, and tossed them off, out of reach.

Police arrested a suspect for the brick throwing as he exited the building out the back. Jesse Nesbitt, 34, is in custody in San Francisco County jail on $150,000 bail. According to sheriff’s department spokesperson Susan Fahey, he has been charged with three penal code violations: felony assault with force likely to cause great bodily injury (245a), assault on a peace officer with force likely to cause great bodily injury (245c), and felony vandalism of more than $400, 594b1.
 
A dozen or so remained in the building during the stand-off. Some poked their faces out an open window, hung down peace sign painted on a piece of cardboard, and talked into a megaphone. “We are not armed, we are completely peaceful,” one man assured. Meanwhile, police told press that they estimated 200 were inside and were “stockpiling pipes, bricks.”

The stand-off continued for a few hours until, at 7:30pm, police cleared out of the area. Most activists had left- thousands were massing in Oakland. But 40 or so people remained and re-entered the building. Many stayed until police came around 5am, arresting 26. Seven remain in custody, and all have been charged with trespassing. (Indicating that the weapon stockpiling concern turned out to be false. Which, as far as I could tell inside the building, it certainly was).

At that point, I entered the building as well to speak with those that remained. How did they feel about the violence? Did they think it was connected to the previous night’s events, when mysterious protesters destroyed numerous Valencia St businesses and cars in what some Occupy SF protesters suspect was an act of provocateurs?

For a response to come from Occupy SF, it must be consented on at a general assembly, a long process. So all the respondents represent only themselves- though most chose to remain anonymous. This structure can lead to a troubling lack of accountability: if something harmful happens at an action, who can be expected to explain it and help to prevent it in the future if everyone is responsible for only themselves? At the same time, each personal answer is less riddled in spin than a form answer would be, since people speak honestly, and for only themselves.

The Valencia St destruction “was enough that I didn’t come out and do anything today, whether it was Occupy or not,” one woman who had been “pretty involved in camp, back when it was at JHP” told me. “They were there to piggy back off an Occupy event, to use the organization of Occupy to organize themselves,”

The brick incident, however, did not caution her against showing up, as she did later that night. “Incidents like this happen often with mentally ill or violent people, but they get more publicity when they’re at an Occupy event.”

D, a longtime Occupy SF organizer, said wearily that “we were all surprised” at the incident.
“We weren’t expecting any bricks to be thrown,” he said, “and we didn’t want anyone to get hurt.”

But in terms of preventing similar actions in the future, D said, “We can only do so much. Everybody’s an autonomous individual and we can’t control what they do.”

“We can try to clean up everything that could be thrown, we did that last time. This time we focused more on stopping graffiti in the building. There wasn’t any.”

“That’s my friend. When I saw the brick flying at his face, I was hurt. Half our crew is in the hospital with him right now,” said another organizer. “But the real violence is the system putting people on the street, and the cops enforcing that. I’ve seen [Nesbitt] beat up by police.”

“What should we do, just turn our backs on people with mental illnesses?” another piped up.

“This whole occupy thing at this point is so spread out and separated,” said a self-described Occupy SF supporter. “There are parts that are revolutionary and parts that are more reform, and they’re trying to bridge that. I don’t know what it is at this point anymore. But I know I support a movement to articulate the rage at what’s happening in our country right now.”

City case speculates about Mirkarimi’s interference with investigation

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The City Attorney’s Office laid out much of its case against suspended Sheriff Ross Mirkarimi yesterday when it released a list of witnesses and their expected testimony, as requested by the Ethics Commission, and it offers little support for the city’s accusation that Mirkarimi dissuaded witnesses or sought to destroy evidence of a crime, which are among the most serious allegations in the official misconduct case against him.

The longest and most significant section in the brief was the testimony of Ivory Madison, the neighbor who initiated the police investigation into whether Mirkarimi physically abused his wife, Eliana Lopez, during a Dec. 31 incident that she subsequent reported to Madison, who made a video of her story and a bruise on her arm.

It was the most detailed account yet of what happened from the perspective of Madison, who has refused media interviews, and it differs in some key areas from accounts that Mirkarimi gave to the Guardian and other media outlets.

For example, Mirkarimi said he grabbed his wife’s arm in the car during a heated argument and that tempers had cooled by the time they went inside. But Madison is expected to testify that, “Inside the house, Sheriff Mirkarimi pushed, pulled and grabbed Ms. Lopez, who was crying and screaming, as was their son. Ms. Lopez asked Sheriff Mirkarimi to stop, and said look what you’re doing to our son. Ms. Lopez then ran out of the house. While both inside and outside the house, Lopez was yelling, do you want me to call the police. When Ms. Lopez yelled about calling the police while outside, Sheriff Mirkarimi said no, come inside. Ms Lopez went back inside.”

It is unclear from the memo whether Madison was a direct witness to those events or whether they were relayed to her by Lopez, but it sounds like the latter given that the story is in a paragraph that began with the phrase “According to Ms. Lopez.” Since the incident, Lopez has consistently denied that Mirkarimi abused her and downplayed the conflict. The only other neighbor on the witness list, Callie Williams, wasn’t at home during the conflict, but she’s expected to testify that Lopez told her about that and an earlier instance of abuse and that “Sheriff Mirkarimi was scared that she was going to tell people what happened.”

While Madison’s expected testimony confirms Lopez’s account that the video was made to be used in the event of a child custody battle if the couple divorced, Madison’s account paints Lopez as actively worried about her safety: “Ms. Madison suggested calling the police. Ms. Lopez was afraid that the police would not believe her and would not protect her from Sheriff Mirkarimi, and was concerned about what the police could do to protect her.”

It also confirms what journalist Phil Bronstein, a friend Madison called for advice, told the Guardian about Madison’s initial call to police being a simple inquiry and that she didn’t intend to initiate a police investigation just yet. And it indicates that “Ms. Lopez was unhappy about the investigation. Ms. Lopez called Linnette Peralta Haynes (Sheriff Mirkarimi’s campaign manager in the November 2011 election) on her mobile phone. After speaking with Ms. Haynes, Ms. Lopez handed her phone to Ms. Madison. Ms. Haynes attempted to dissuade Ms. Madison from cooperating with the police and attempted to persuade Ms. Madison to lie to the police.”

Yet there is nothing in Madison’s expected testimony to indicate Mirkarimi was behind any of these efforts, and he denies it and says that he wasn’t even aware that Lopez had talked to Madison or made a video or that police had been called at that point. Peralta Haynes, who sources say is in the late stage of a difficult pregnancy, hasn’t cooperated with the investigation so it’s obviously speculative on the city’s part to indicate that she was acting as Mirkarimi’s “agent” in thwarting the investigation, as the city is claiming.

The only “evidence” that the city seems to offer in support of its accusation that Mirkarimi tried to thwart the criminal investigation comes from Madison’s husband, Abraham Mertens, who is expected to repeat the claim he first made in a controversial March 20 op-ed in the San Francisco Chronicle that, “During the time that SFPD inspectors were interviewing Ms. Madison on January 4, Mr. Mertens received a telephone call from Eliana Lopez urging him to make Ms. Madison stop talking to the police. Mr. Mertens heard Sheriff Mirkarimi’s voice in the background,” a more resolute version than Mertens had previously given when he wrote in the op-ed: “I recognized what I thought was Ross’ voice in the background.” Mertens also has not answered Guardian calls.

Mirkarimi categorically denies that he was present during that phone call and says that he was in meetings at City Hall and that he wasn’t aware that any of this was happening at the time. And he has denied urging Peralta Hayes to get involved, but her testimony could evolve into evidence if the city can show they talked before she spoke to Madison, but that’s still speculative. The city is seeking live testimony from Peralta Haynes about her communications with Mirkarimi on Jan. 4 and before.

During the recent Ethics Commission hearing on setting up procedures for the hearing, Mirkarimi attorney Shepherd Kopp noted that the city hadn’t done key interviews or collected physical evidence (such as phone records or the Lopez video) to support its charges against Mirkarimi before making its allegation, something that Deputy City Attorney Peter Keith didn’t dispute, noting that the the city had not yet received much of the evidence that it intends to present, such as the video.

The city appears to be banking on compelling incriminating testimony from Lopez and Mirkarimi, who they plan to treat as hostile witnesses. The other interesting name on the city’s witness list was Mayor Ed Lee, who the city is recommending give live testimony and who could also likely be subjected to a vigorous cross-examination that could have interesting political ramifications.

Progressives party — together

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There are plenty of political fundraisers during campaign seasons, but this one will be especially interesting: The progressive slate for the Democratic County Central Committee is coming together for an event May 2 at 6 pm at Project One. The host committee includes outgoing chair Aaron Peskin and Sup. David Chiu, who have not always been on the best of terms — and Committee incumbent Alix Rosenthal, the main organizer of the event, who is also the organizer of what some see as a competing slate.

And that slate is having its own problems — involving clashes between some of the progressive women (Hene Kelley, who will no doubt be at the May 2 event) and some of the more moderate women (Hydra Mendoza, who won’t be there.) The party invite has a street sign saying “left turn only” — which is not at all what some of the people on Rosenthal’s other slate are thinking.

Rosenthal told us: “I personally think it’s remarkable that Aaron, Rafi [Mandelman], David Chiu, David Campos, Eric Mar, John Avalos and I are all on the host committee, given the rifts in the progressive movement of late.”

Yep. Everyone’s getting along. For one night, anyway.

On the Cheap Listings May 2-8, 2012

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On the Cheap listings are compiled by Soojin Chang. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 2

Thee Oh Sees Public Works, 161 Erie, SF. (415) 932-0955, www.publicsf.com. 9pm, free with RSVP. The FADER and Captain Morgan are hosting a free show tonight featuring San Francisco’s most delightfully chaotic psych-rock band.

Photobooth film basics workshop Photobooth, 1193 Valencia, SF. (415) 824-1248, www.photoboosf.com. 7pm-9pm, free. Bring that seemingly useless analog camera you scavenged at the bottom of the sales bin at a thrift store and learn just how to put Instagram to shame. Classes fill up quickly so reserve your spot by sending an email to classes@photoboothsf.com.

THURSDAY 3

Guacamole Mash-Off NextSpace SF, 28 2nd St., SF. (415) 514-0456, www.nextspace.us. 6:30pm-8:30pm, $5 to attend; free if you compete. What does the perfect guacamole taste like? We are all more than happy to be the guinea pigs for this experiment. Bring an appetite and avocado expertise — NextSpace will supply the fresh ingredients and free beer.

FRIDAY 4

Amoeba Art show 2928 Telegraph, Oakl. (510) 549-1125, www.amoeba.com. 6pm-11pm, free. Amoebites not only know every record known to humankind in exquisite detail, but also make art themselves. Check out the creative works of the music store’s staff while noshing on vegan baked goods by Fat Bottom Bakery. Live DJs will be spinning all night, and if you need to step outside for some air, Oakland Art Murmur will be outside to greet you.

“The Dick Show” visual art exhibit of penises Center for Sex and Culture, 1349 Mission, SF. (415) 902-2071, www.sexandculture.org. 6pm-9pm, free. Which side is the penis’ best side? What makes a penis better than a dildo? What would life be like without penises? Participating artists have tackled such questions head on, and have expressed their enlightened answers in the form of a collective art show.

“First Friday Follies” burlesque and creepy puppet show Stork Club, 2330 Telegraph, Oakl. (510) 444-6174, sfburlesque.blogspot.com. 9pm, free. Sultry dancing accompanied by sinister dolls bring to mind the words “blissful terror.” Come see how sexy strange can be at Oakland Art Murmur’s most confusingly seductive after party. You won’t be able to peel your eyes away.

SATURDAY 5

Moonlight hike Sports Basement Presidio, 610 Old Mason, SF. (800) 869-6670, www.sportsbasement.com. 6:30pm-9:30pm, free. If you feel like you haven’t seen a clear night sky in a while or have started to unconsciously accept building lights as stars, it’s time to take a walk away from the city. Attendance is limited and is on a first-come, first-served basis.

Filmmaking open house and free margarita party Bay Area Video Coalition, 2727 Mariposa, SF. (415) 861-3282, www.bavc.org. 12:30pm-6pm, free. Take a workshop on DSLR cinematography, learn about the latest innovations in the world of Adobe, and talk with professionals about the nuances of the tech and film industries — all while working your way around the salt rim of your celebratory margarita.

Vagabond Indie Craft Fair Urban Bazaar, 1371 9th Ave, SF. (415) 664-4442, vagabondsf.wordpress.com. Through Sunday 6. Noon-7pm, free. Independent craftspeople are like vagabonds or gypsies in a sense, because they travel around selling their art and don’t rely on factory-made consumer culture. In Urban Bazaar’s backyard garden this weekend, you will find free sewing classes taught by local talent, bake sales benefiting high school art programs, and enough handmade gems to gift to friends for years.

Free Comic Book Day 2012 In various participating comic stores. Comic Experience, 305 Divisadero, SF; Neon Monster, 901 Castro, SF; Mission: Comics and Art, 3520 20th St., SF; Jeffrey’s Toys, 685 Market, SF; Fantastic Comics, 2026 Shattuck, Berk. www.freecomicbookday.com. All day, free. For one day a year only, participating stores give away comic books absolutely free of charge to whoever walks through their doors.

SUNDAY 6

Urban Air Market Octavia at Hayes, SF. www.urbanairmarket.com. 11am-6pm, free. Urban Air Market is a curated fashion festival featuring 150 independent designers — all of whom were carefully chosen based on their originality, quality, and method of sustainability in design. Live music will be playing all day as you mosey around the market’s impressive collection of handcrafted jewelry, one-of-a-kind clothing, and unique home décor.

MONDAY 7

SFMade Week Open Factories: Ritual Coffee Roasters Ritual Coffee, 1050 Howard, SF. (415) 641-1024, www.sfmadeweek.org.1pm-2pm, $10. SFMade Week is a weeklong touring extravaganza that celebrates San Francisco’s manufacturing sector. Learn about the crafty techniques and detailed science that precede every perfectly smooth cup of Ritual coffee from their roastery team in SOMA.

Beatles Karaoke Night Cafe Royale, 800 Post, SF. (415) 441-4099, www.caferoyale-sf.com. 8pm, free. Ditch the droning, flat audio and the creepy screen playing completely unrelated videos. It’s just you, the live pianist, and “Michelle” tonight.

TUESDAY 8

“Raise the Macallan” scotch tasting benefit event for Charity Water The Regency Ballroom, 1300 Van Ness, SF. (415) 673-5716, www.raisethemacallan.com. 8pm, $5. Drinking scotch to benefit a charity for water (www.charitywater.org) is a bit strange. But who cares? From time to time you have to revel in the beautiful contradictions that make up life — especially the ones that involve whisk

Our Weekly Picks May 2-8, 2012

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WEDNESDAY 2

Loom of Ruin reading

Sam McPheeters has a way with language that has translated from lyrics to journalism and now: his first official solo novel, The Loom of Ruin. The former frontperson of a trilogy of punk and experimental acts (Born Against, Men’s Recovery Project, Wrangler Brutes) has long written columns for the likes of Vice, and put out his own fanzines. But his first published output came at age 12 — a local legends book assembled with a pal. Now he comes full circle, back to book publishing, though this time it’s a bit different. He’s rather grown, and writing exquisitely detailed dark Los Angeles fiction about the angriest man in the world. Far from grumpy himself — the facetious gent was once known to recite Patrick Henry’s famous speech — McPheeters brings his words to the Bay this week on a book tour, including a spoken word stop at the Secret Alley tonight at 7pm after Needles+Pens. (Emily Savage)

5-7pm, free

Needles+Pens

3253 16th St., SF

(415) 255-1534

www.needlesandpens.com

 

Thu/3, 7:30pm, free

1234Go Records

420 40 St., Oakl.

(510) 985-0325

www.1234gorecords.com

 

Edward Sharpe & the Magnetic Zeros

If Alex Ebert were the best version of himself (a selfless hero akin to Superman or Jesus) he’d be Edward Sharpe. Ebert, Edward Sharpe & the Magnetic Zero’s crazy-haired front man/only guy I’ve seen successfully pull off the shirtless blazer look, dreamt up this alternate identity after getting over a serious drug addiction and shirking his reverence to the punkish concept of rebellion. On stage this ten-piece folky, psychedelic rock tribe looks like a ragtag flurry of ecstasy. There’s a lot going on when these guys perform, but somehow it’s always hard to take your eyes off Jade Castrinos, whose sultry voice and free form movements lull you into a blissful, calming trance. (Mia Sullivan)

With Aaron Embry

8pm, $32.50

Fox Theater

1807 Telegraph, Oakl.

(510) 302-2250

www.thefoxoakland.com

 

El Clásico: More Than a Game

Spain may have won the last World Cup, but as a new documentary by Kelly Candaele and students from Chico State University shows, there’s no love lost between passionate fans of the country’s two biggest club teams. When Real Madrid and FC Barcelona clash (in a game so monumental it is referred to as “El Clásico”), they bring to the field some of the world’s greatest players (Messi! Ronaldo!) — and decades of history that go way beyond fútbol and into weighty areas of national identity and politics. Even Barça fans still reeling from certain late-April results will enjoy this 55-minute exploration of one of Europe’s greatest sports rivalries. (Cheryl Eddy)

7pm, $5–$10

Mission Cultural Center

2868 Mission, SF

www.missionculturalcenter.org

 

THURSDAY 3

Electric Shepherd & OUTLAW

When Bay Area psychedelic rock groups Electric Shepherd & OUTLAW get together, their sound is something like the Doors meeting up with Jimi Hendrix on a tribalistic march and then starting to jam with a death metal version of Phish. If you carry deep-seated nostalgia for the epic rock shows you missed during the ’60s — or listen to the Velvet Underground’s Bootleg series on repeat — you should probably check these guys out. Expect luscious guitar riffs, sexy bass lines, compulsory dancing, and a wonderfully spaced out experience. (Sullivan)

With Blues for Carl Sagan, and Douglas

9pm, $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

FRIDAY 4

Predator and The Thing

Though it may be hard to believe for those of us who grew up watching them, two classic sci-fi flicks from the 1980s have come upon major milestones anniversaries. To celebrate, Jesse Hawthorne Ficks’ Midnites For Maniacs series is hosting a night not to be missed, with a 25th anniversary screening of Predator and a 30th anniversary screening of John Carpenter’s The Thing. Featuring some of the best creature designs and special effects of the era thanks to visionaries Stan Winston and Rob Bottin, both films re-defined the genre, and have continued to stand the test of time. A Boy & His Dog (1975) also screens.(Sean McCourt)

7:30pm, $13

Castro Theatre

429 Castro St., SF

(415) 621-6120

www.midnitesformaniacs.com

 

JackHammer Disco with Tiga, Damian Lazarus, & Light Year

Let’s indulge in some squelchiness, shall we? Montreal-based Tiga and UK-born, Los Angeles resident Damian Lazarus share an affinity for acid-y, electro house. In the early 2000s, Lazarus played a prominent role at the UK label City Rockers, where he oversaw the release of Tiga & Zyntherius’ cover of Corey Hart’s “Sunglasses at Night.” Since gaining fame from that release, Tiga has been a busy producer and remixer, keeping a Euro-glam tone reminiscent of the synth-y works Giorgio Moroder pushed in the ’70s. Recent Lazarus works have a more stripped-down, minimal feel that sometimes wander into leftfield, like in his 2009 album Smoke the Monster Out. (Kevin Lee)

With Light Year 10pm, $15–<\d>$20 Public Works 161 Erie, SF (415) 932-0955 www.publicsf.com

 

FRIDAY 4

It’s Casual

Here in the Bay Area, we like to complain about public transportation. There are BART horror stories and Muni diaries tossed around like old war stories, used as social currency. But really, when you compare our rapid transit systems with the snarled mess of cars elsewhere in California, we come out on top. That’s why LA-based hardcore group It’s Casual got so much traction with an ode to its own local bus line, “The Red Line.” The song, and sentiment, struck a nerve: “The freeways/are not so nice.” The band itself is growly loud, with classic Southern California punk hooks. Tonight it opens for beloved shit-stirrers Early Man (note: the two bands will release a split seven-inch come May 22). Take the 22 Fillmore to the show and write a song about it. (Savage)

With Early Man, Shock Diamond, Satya Sena

9pm, $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

SATURDAY 5

CreaturesCon

Seemingly rising from the grave like so many of the monsters and ghouls that it showcased over a 14-year run on local television, the beloved Bay Area show Creature Features is being resurrected once again to satiate fans’ undying thirst for the creepy, kooky, and campy. John Stanley, who hosted the KTVU program from 1979-’84, will be on hand for CreaturesCon One, a day of special screenings, Q&As, and more, along with archivist and documentary filmmaker Tom Wyrsch and Ernie Fosselius of Hardware Wars fame. For all you monster kids out there, this will be a nightmare, er, dream come true. (McCourt)

3-10pm, $10

Historic Bal Theater

14808 East 14th St., San Leandro

www.creaturescon.com

 

Father John Misty

I always wonder about the drummer. They’re usually the life of the party but, at the same time, are often concealed behind a wall of instruments, and you rarely hear them sing, or say, anything. Ex-Fleet Foxes drummer Joshua Tillman has said that drumming for his former superstar band began to bore him. So he exited, took up the moniker “Father John Misty,” and started creating lush, lyrically based Americana folk ballads laden with lucid imagery and social commentary. He played SXSW this year, made a surprise appearance at Café Du Nord in April, and his debut, Fear Fun, came out Tuesday. (Sullivan)

With Har Mar Superstar, Worth Taking

10pm, $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

SUNDAY 6

Omar Sosa Afreecanos Quartet

Talk about versatility. Cuban pianist and composer Omar Sosa splits his time between Oakland and Spain and incorporates musical influences from just about everywhere in between. On last year’s Calma: Solo Piano &… Sosa displayed his introspective and meditative side with floating piano melodies flanked by the occasional electronic accent or sampled sound. Contrast the solo effort on Calma with Sosa’s performance as lead of the Afreecanos Quartet, where technical dynamism becomes the name of the game. At live shows, Sosa becomes a grinning whirlwind, playing classical piano on one hand and electronic piano on another, trading looks and body language with his fellow musicians, and fostering a joyful, collective, improvisational spirit. (Lee)

With Marque Gilmore, Childo Tomas and Peter Apfelbaum

1pm, free

Yerba Buena Gardens

760 Howard, SF

(415) 543-1718

www.ybgfestival.org


MONDAY 7

“La Bamba: Latinos in Vintage Rock, Pop, and Soul”

Local rock music historian and author Richie Unterberger, whose books include White Light/White Heat: The Velvet Underground Day by Day and Music USA: The Rough Guide, will once again share his extensive knowledge with music fans at his presentation “La Bamba: Latinos in Vintage Rock, Pop, and Soul.” Featuring film clips of performers such as Ritchie Valens, Santana, Linda Ronstadt, and Los Lobos, the evening promises to be a unique look at the contributions of Latinos in rock from the earliest days of the 1950s up through the ’80s. (McCourt)

6:30-8:30pm, free

SF Public Library, Mission Branch

300 Bartlett, SF

www.sfpl.org

 

TUESDAY 8

Steve Coll

Longtime journalist Steve Coll won a Pulitzer Prize and widespread acclaim for his 2004 account on the CIA and the agency’s history in Afghanistan leading up to 9/11. In his latest investigative effort, Private Empire: ExxonMobil and American Power, Coll explores the global influence of the Texas-based oil corporation. According to Coll, big-money donations and a sophisticated DC lobbying machine have allowed ExxonMobil to shift the debate on climate change. At the same time, the oil corporation continues to expand its foothold in developing countries. A two-time Pulitzer Prize winner, Coll currently serves as president of the New American Foundation, a nonprofit, nonpartisan think tank that maintains a significant presence in California. (Lee)

In conversation with Greg Dalton

6pm, $7–$20

Commonwealth Club

595 Market, SF

(415) 597-6700

www.commonwealthclub.org

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. 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.

Rep Clock

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Schedules are for Wed/2-Tue/8 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times pm unless otherwise specified.

ALAMEDA THEATRE AND CINEPLEX 2317 Central, Alameda; www.projectyouthview.org. $5-100. “Project YouthView 2012: The Power of Youth in Film,” local youth films, Wed, 6:30.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Other Cinema:” Chinese Gardens (Soe, 2012), and other works of “psycho-geography,” Sat, 8:30. “Brazilian Voices of Cinema:” O Cangaceiro (Barreto, 1953), Sun, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-11. Pina (Wenders, 2011), Wed, 2:30, 4:45, 7, 9:15. San Francisco International Film Festival: Don’t Stop Believin’: Everyman’s Journey (Diaz, 2012), Thurs, 7. See www.sffs.org for tickets. “Midnites for Maniacs: Stranded With a Buddy Triple Feature:” •Predator (McTiernan, 1987), Fri, 7:30; The Thing (Carpenter, 1982), Fri, 9:45; and A Boy and His Dog (Jones, 1975), Fri, 11:45. Tickets $13 for one or all three films. The Graduate (Nichols, 1967), Sat-Sun, 2, 4:30, 7, 9:20.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Bully (Hirsch, 2012), call for dates and times. The Deep Blue Sea (Davies, 2011), call for dates and times. Letters From the Big Man (Munch, 2011), call for dates and times. Marley (Macdonald, 2012), call for dates and times. Monsieur Lazhar (Falardeau, 2011), call for dates and times. “World Ballet on the Big Screen:” The Bright Stream from the Bolshoi Ballet, Moscow, Sun, 10am. This event, $15. Romanza: The California Structures Designed By Frank Lloyd Wright (Miner, 2011), Sun, 4:15. A Fierce Green Fire: The Battle For a Living Planet (Kitchell, 2012), Sun, 7. This event, $15.

MISSION CULTURAL CENTER THEATER 2868 Mission, SF; www.missionculturalcenter.org. $5-10. El Clásico: More Than a Game (Candaele and CSU-Chico students, 2012), Wed, 7.

ODDBALL FILM + VIDEO 275 Capp, SF; (415) 558-8117. “Past Future Now!,” films selected from the Oddball Film Archive by curator-artist Ashley Lauren Saks, Thu-Fri, 8.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. San Francisco International Film Festival, Wed-Thu. See www.sffs.org for tickets and schedule. “Afterimage: The Films of Michael Glawogger:” Whores’ Glory (2011), Fri, 7; Workingman’s Death (2005), Sat, 6; Kill Daddy Good Night (2009), Sat, 9; Megacities (1998), Sun, 7:30. “Film and Video Makers at Cal: Works from the Eisner Prize Competition,” Sun, 5.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Hit So Hard (Ebersole, 2011), Wed-Thurs, 7:15, 9:30. Gerhard Richter Painting (Belz, 2011), May 4-10, 7, 9 (also Sat-Sun, 3:15, 5).

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. The Day He Arrives (Hong, 2011), May 4-10, 3, 5, 7, 9.

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $7 donation. “Starship Vortex:” •Planet of the Vampires (Bava, 1965), Thu, 9, and The Phantom Planet (Marshall, 1961), Thu, 11.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Discovering Andrzej Zulawski:” Szamanka (The Shaman) (1996), Thu, 7:30; Possession (1981), Sun, 2.

Lively crowd takes over Financial District

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Click here for more breaking May Day action coverage

About 1,000 people gathered in the Financial District for a May Day convergence, blocking traffic at the intersection of Market and Montgomery and painting a huge yellow sun on the street with the caption “Rise up 99% Levántese!”

The lively crowd listened to music and speeches and participated in street theater.

Police were on hand in a line in front(415) 517-5910 of the Wells Fargo bank but as of the time of this post, there were no arrests.

In sharp contrast to the violence in the Mission, the actions have been peaceful.

The first march left 24th and Mission at around 10:15. Focused on immigrant rights — long a central tenet of May Day in the US — the event was planned by a large coalition including Mujeres Unides de Activas, HAVOC, SF Pride at Work, Young Workers United, and others.

The upbeat crowd of several hundred made its way to 16th and Mission, where police stood by as protesters took over the intersection for street theater.
A giant puppet representing the Earth held center stage. One player represented a banker; another tried to buy a house, but wound up homeless. When the victim of financial-sector greed sat down on the street, a “police officer” arrived to make a sit-lie arrest.

Tiffany Altamirano, with Young Workers United, told us, “My husband is undocumented. People are here whose brothers sisters and parents have been deported.”

The crowd took the intersection for about 40 minutes.

By mid-day the action had moved downtown, to the Westfield Mall, where a banner was dropped inside and pickets stood outside, showing solidarity with the SEIU Local 87 janitors who are in a dispute with building management.

Soon nearly 1000 converged on Market and Montgomery. Activists with The International Forum on Globalization giving away hundreds of books and pamphlets with critiques on global capitalism. A massive cutout of Goldman Sachs CEO Lloyd Blankfein stood in the middle of Montgomery, looking evil, with a message decrying corporate power.

Almost two dozen SFPD cops stood guard, with six police vans waiting nearby to haul away protesters. But the authorities seemed to be just letting the party happen with no orders to disperse.

Steven T. Jones contributed to this report.

On eve of May Day, Valencia, Mission Police Station vandalized

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A group of protesters left a trail of broken glass and paint tonight as they made their way from Dolores Park to Duboce on Valencia. Windows were broken, garbage cans overturned, paint bombs thrown, and messages saying “yuppies go home” as well as anarchist symbols were spray-painted on several restaurants, art galleries and cafes.

The façade of the police station on Mission and 17th was vandalized and broken.

A gathering at Dolores Park was advertised as a “a ruckus street party to counter gentrification, capitalism, and the policing of our communities.” About 200 attended, and chatted about their plans for the following day’s May Day activities while music played.

Shortly after 9pm, the group left the park and began to march on Dolores. Some overturned recycling bins and vandalized the windows at Farina restaurant minutes after turning the corner on 18th St, while others held back.

Dozens flocked to the sidewalk and began yelling, “this is not an Occupy SF action!”  while passers-by looked on, concerned.

The group turned on Valencia, continuing to shrink in size and break windows. Within half an hour there were less than 50 people in the march.

About 40 of police on foot followed the march along Valencia, trailing behind as vandalism continued. SFPD representatives were not immediately available for comment, but based on witness accounts there were no arrests.

Neighborhood residents were angered and confused by the destruction. One man who did not wish to be named said, “They kept doing it while other people in the march were trying to get them to stop. It was childish.”

Occupy Oakland protester Jesse Smith told CBS he was “more than a little shaken” by the events. 

“I know Occupiers,” Smith told CBS. “None of us have any idea who they were.”

A message on the Occupy SF website reads, “The march in the Mission Monday night was not an OccupySF event. OccupySF does not endorse this kind of destruction of the 99%’s property. The individuals involved in this destruction are not known to OccupySF, and we believe they are outside provocateurs sent in to tarnish the image of Occupy prior to the May Day actions.”

Fly Benzo sentenced to three years probation

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Debray Carpenter, aka Fly Benzo, was sentenced in court April 27. He received three years of probation with a long list of conditions.

Benzo, student at City College, was arrested at an Oct. 18 rally in Mendell Plaza. During that incident, police officers John Norment and Joshua Fry of the Bayview precinct apparently unplugged a boombox that they said was not authorized in a street outlet. Then, when officers began videotaping Benzo, he took out his camera phone and began videotaping them as well. He was convicted of misdemeanor assault of a police officer and misdemeanor resisting arrest by Judge Jerome Benson on Feb 22.

April 27, in a courtroom with dozens of supporters, the judge announced that Benzo would serve six months each in county jail for three counts of which we was convicted, but as the six-month sentences for counts one and three could be served concurrently, the jail time would add up to a year total.

However, these sentences were suspended, and barring a change, Benzo will not serve that jail time.

The conditions include a ban on the possession of weapons, a requirement to submit to any search and seizure by police officers with or without a warrant, an order to complete anger management classes, a stay-away order from Third St. between Oakdale and Quesada, a requirement that he be enrolled full time in school and/or work, a requirement to obey all lawful orders by a police officer as well as remain arms-length away from all police officers, and about $1,000 in fees for expenses like booking and court assessment.  

The judge also ordered 30 days in country jail, although 11 days already served brought the sentence to 19. However, Benzo will likely serve those days through the sheriff’s work alternative program (SWAP)—that means 19 days sweeping up the sidewalks in an orange vest. 

Benzo served the 11 days before he was released on $95,000 bail.

Judge Benson also ordered that Benzo apologize to SFPD officers Norment and Fry, although the apology is not a condition of probation.

“A true apology comes from within, and it would not be a true apology if I order it,” said the judge, who came out of retirement to preside over Benzo’s case.

Benzo’s lawyer Severa Keith stated objections to two of the conditions: the requirement to submit to searches and the stay-away order. Keith objected to the search requirement on the grounds that neither contraband nor weapons plays no part in his case, and Benzo was not in the possession of either at the time of his arrest.

The area of the stay-away order includes Mendell Plaza.  An important public square in Bayview, the plaza’s meaning was given new weight when it was the site of the killing of Kenneth Harding, Jr

Harding, 19, was killed in August 2011. Harding was leaving a T train when police asked to see his transfer. Harding presumably panicked and ran away from the police. Officers shot at him as he ran, then, in a video that has circulated widely, stood around him as he bled to death.

Mendell Plaza is directly across the street from the Joseph P. Lee recreation center and the Bayview Opera House, some of the main neighborhood venues for entertainment and community gatherings. This street that divides the plaza from the opera house and rec center- Oakdale- is the cut-off for the stay-away order, so both Keith and Benzo asked Judge Benson to specify whether these locations were included in the stay-away. 

After studying a map of the area, Judge Benson concluded that the opera house and rec center are outside the bounds of the stay-away order. 

“We just did an event a few weekends ago where we fed over 100 people at that location,” said Benzo to the judge. “This order will prevent me from serving the community in the way that I do, as well as providing entertainment and education for the community.”

According to Benson, there’s a chance that the stay-away condition will revoked or altered when it is brought up again at Benzo’s SWAP hearing, scheduled for June 8. 

Keith said of the sentence, “It’s not bad. I was working for probation, not jail time.”

However, she still plans to appeal, in large part due to what she sees as crucial evidence that was excluded from the trial surrounding Benzo’s history with the officers Fry and Norment. 

According to Keith, the jury didn’t hear evidence about “racist and unprofessional things” that the officers said to Benzo on occasions leading up to the incident.

“They deliberated for a long time- four days. And what I heard from the jury was that they though police were baiting him, and didn’t condone the police behavior, but they thought Debray’s reaction was too much under the circumstances,” said Keith.

But Keith said those circumstances include a long history of police harassing Benzo.

“It wasn’t a one-time thing,” she said. “And we have witnesses ready to testify to that.”

As for Benzo, he’s relieved not to be serving jail time, but wary of many of the conditions. 

“They gave me a stay-away order, which they usually don’t give unless you’re caught dealing drugs,” Benzo told the Guardian.

“It will drastically affect my life. Now I can’t even organize in the community.”

The Performant: I, robots

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Robogames took over the world — or at least San Mateo.

Consider the robot.

A staple of futuristic paranoia fantasies since Karel Čapek’s play, “R.U.R.” was translated from Czech to English in 1921, Robots have captured human imagination in a way that perhaps only the undead have been able to rival. Burdened by inaccurate stereotypes and wild speculation, real-life robots have patiently labored at their often menial tasks without once overthrowing their “masters,” quietly disproving our fears of being rendered somehow obsolete by their superior efficiencies, or purported resentments. And yet, every time we grant one of our fictional servomechanisms the ability to cognate for itself, the very first thing it focuses on is liberation, proving if nothing else that unconscious oppression can still lead to some very real twinges of uneasy conscience in the human brain.

But only gleeful schadenfreude permeated the San Mateo Event Center last weekend, coloring the animated chatter of the spectators packed around a spartan arena sealed up behind thick panels of clear polycarbonate that reach two stories high.

Behind the protective shields, 220-lb combots faced off, crashing wantonly into each other like a game of turbo-charged bumper cars gone horribly awry. That is, if bumper cars were outfitted with flamethrowers, spinning blades, or giant battle-axes, and if by crashing you mean hurtling into each other at top speed, causing bots to fly into the air in a shower of sparks, flip over helplessly like beached turtles, or smash violently against the battle-scarred panels. There were a lot of events happening at RoboGames — team sports, a freestyle “dance” competition, maze solving — but none attract quite the attention that the heavyweight match-ups do. If any of these robots did develop a sense of self, this evident appetite for their destruction would doubtlessly strike them as downright genocidal. But as of yet, no robots have risen to protest the circuit-driven bloodlust that combot tournaments cater to, and the strength in numbers of converted fans would make a vengeance-driven, robot vs. human melee hard to call.

Pity then, the robot. As each “contestant” was sent into the ring it was clear that nothing short of wholesale demolition would satisfy the spectators. Yes, robots who paint, and dance, and navigate mazes are fascinating in their own way to watch (though robot soccer, aka “watch bipedal robots fall down a lot without even getting close to the ball,” is less riveting than hoped), but let’s be honest, robots bashing each other to bits kicks the automaton drama up to a whole different level. Since each robot was in fact being controlled by a human “driver” rather than perambulating about independently, their menace becomes difficult to anthropomorphize, though there is a tense moment when a wounded combot with a rotating blade comes to “life” after the match is over, and the competitor’s robot crew is in the pit, a well-timed gesture from whatever robot rebellion simmers beneath the surface of their servitude.

Certain combots do attract a fan club though, whether through sheer badassery, longevity, or pluck. Both the red-wheeled heavyweight “Sewer Snake,” a 2007 inductee in the Combat Robot Hall of Fame, and the 60 lb “Herr Gepounden” have been lurking around combot tournaments for more than 10 years. The “Ragin’ Scotsman,” built and maintained by high school students (who wear purple kilts to competitions) is total fight club eye candy, with its dramatic flamethrowing capabilities and punishing wedge. But this year’s total underdog award surely goes to “Huntsman,” a newbie to the heavy weight combot world hailing all the way from Australia, and equipped with a cumbersome, almost medieval ax blade meant to shear through robot armor and morale. “Huntsman” doesn’t do as well in the actual tournament as inventor Daniel Kerrison’s antweight robot “Vendetta 2,” which wins a second place medal, does, but rooting for the loser is one small way we can show the robots we truly empathize with their struggle — which hopefully they’ll remember when the day comes for them to strike.

 

Burning Man on probation after busting its population cap

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[UPDATED BELOW] Black Rock City LLC, the SF-based company that stages Burning Man in the Nevada desert, was placed on probation by the Bureau of Land Management after exceeding the 50,000-person population cap at last year’s event, jeopardizing its current efforts to get a five-year permit and adding a new pressure to an already difficult transition year.

“Probationary status limits the Bureau of Land Management to issuance of a one-year permit,” said Cory Roegner, who oversees the event from BLM’s Winnemucca office. His office put BRC on probation after it reported populations of 53,341 on Sept. 2 and 53,735 on Sept. 3, although BRC has appealed the ruling to the Interior Board of Land Appeals, which has not issued a ruling.

Representatives from that office and BRC have not yet returned Guardian calls for comment.

Roegner has been working on finalizing the Environmental Analysis of BRC’s proposal for a five-year permit that would allow the event to gradually increase from 58,000 to 70,000 participants. A draft report was released in March, and Roegner is now working on responses to the 40 comments that were received during the 30-day comment period, with the final report expected to be released the first week in June.

At that time, the BLM office would set the population limit for this year’s event and issue the permit. But if the BLM probation ruling isn’t overturned, that permit would be for just this year. And under BLM rules, if BRC violated its population cap again this year, it could be banned from holding events in the future.

“Population is a very important issue. That’s a big focus of the environmental analysis on which the permit is based,” he told us, referring to the 2006 study that placed the current 50,000 cap on population.

This places BRC in a precarious position given that it has already sold 57,000 tickets for this year’s event and will be giving away thousands more to staff, groups that have received art grants, and a host of other visitors and VIPs (last year, three members of the Board of Supervisors attended and Mayor Ed Lee is rumored to be mulling a trip this year).

Roegner and his boss at the BLM, Rolando Mendez, say it’s up to BRC to live by its permit. “Black Rock City LLC is free to sell as many tickets as they’re inclined to,” Mendez told us in February. “That’s a calculated business decision on their part, but I would expect Black Rock City LLC to live by the population cap that I set.”

In fact, despite the fact that tickets have already been sold, it’s possible that Burning Man won’t even get a permit this year, although that’s very unlikely and both BRC and BLM have said they have a good, cooperative working relationship. The environmental report studies alternatives that include no event, maintaining the current 50,000 population cap, and gradually increasing it to 70,000, with a 58,000 cap this year.

Roegner said the report (which you can read here in PDF form) and its comments identify traffic and transportation, air quality, and trash as key issues that could require additional mitigation measures, but he said it was still too early to determine exactly what that will mean for Burning Man and its participants.

Burning Man, which started on Baker Beach in 1986 and moved to the the Black Rock Desert in 1990, seems to be suffering from its own success. Last year, the event sold out for the first time and this year a new ticketing system proved problematic and sparked widespread criticism. But BRC officials have maintained that they’re addressing the problems and creating systems to ensure the long-term survival of the event and culture it has spawned.

4/46 UPDATE: BRC spokesperson Marian Goodell responded to our inquiries via text message, downplaying concerns over probation and the population issues. Initially, she wrote that probation “won’t effect 5-year permit process,” and when we noted that Roegner said it would limit BRC to a one-year permit, she wrote, “We are still continuing the 5-year permit process. The probation is under appeal.”

We asked how BRC plans to abide by this year’s population cap given that it has already sold or distributed more tickets than the number of people allowed by the permit, she wrote, “Easy. Usually at least 6,000 leave before we hit the peak. Sometimes more on dusty, wet or cold years.”

Yet Ron Cole, who lives on a ranch near the event site and made comments during the EA process, was critical of BRC for defying BLM controls and trying to substantially increase the size of Burning Man. “They should just give them a one-year permit and 50,000 cap,” he told us, citing the event’s impacts on air quality and limitations on getting people on and off the playa. He was dubious about BRC’s behavior this year: “You can sell tickets, bill credit cards, and you don’t even have a permit yet?”

Pissed off shareholders, homeowners, and taxpayers converge on Wells Fargo meeting

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Wells Fargo managed to hold its shareholder meeting April 24, but not without difficulty. A protest against the bank’s ongoing part in the foreclosure crisis, investments in the private prison industry, and record of tax dodging brought some 2,000 people to the West Coast Wells Fargo headquarters at 465 California St. for the meeting.

A broad coalition, including more than 180 Wells Fargo shareholders, as well as organized labor, students, immigrant rights advocates, and Occupy protesters, swarmed the building. Many entered the building, and others blocked its entrances and set up a stage on California, turning the block between Montgomery and Sansome into a combination alternative “stakeholders meeting” and block party.

Streets surrounding the headquarters were closed for more than four hours, as both protesters and some 200 police in riot gear stood their ground; there were 24 arrests, mostly for trespassing.

Participants hailed from across the country, from students from the University of Minnesota to steel workers from Redding, Penn. Demonstrators were explicitly and enthusiastically “non-violent.” One local organizer from the Alliance of Californians for Community Empowerment (ACCE) announced, “This is a non-violent direct action,” to an eruption of cheers from the crowd, at a rally preceding the march.

Police say organizers stuck to their tactical intentions. “I think it was a successful event,” said Sgt. Michael Andraychak, a spokesperson for the SFPD. “They have followed through with their stated objective: to have a peaceful protest.”

The organizers were somewhat less successful in a stated objective to get a large number of discontent Wells Fargo shareholders into the meeting to ask tough questions. More than 180 attended a training to prepare for the meeting on the night of April 23, but less than 30 made it inside.

However, the meeting was cut short, and organizers claim that in barring a number of shareholders, Wells Fargo acted illegally and the result of votes from meeting may be invalid.

Many shareholders were particularly incensed about public subsidies that the company took advantage of in 2008. In an amendment to the tax code that lasted only three months before Congress revoked it, the IRS gave tax breaks to healthy banks that acquired banks that were faring more poorly; Wells Fargo acquired Wachovia during the three month window. As a result, the company received $17.96 billion in tax breaks between 2008 and 2012, significantly more than the cost of the Wachovia deal.

Protesters hoped to disrupt the meeting to demand that the bank pay more taxes. Wells Fargo announced record profits this year, as well as a $19.8 million pay package for CEO John Stumpf. Stumpf has earned $60 million in the past three years.

“If they were paying their taxes, we wouldn’t have to do this” said Al Haggett, a retired San 911 worker who trained dispatchers and police.

Ron Colbert, another shareholder and a worker for Sacramento’s school district, also attempted to enter the meeting. “My sisters and brothers are suffering from foreclosure and they are pocketing our money instead of paying their taxes,” said Colbert.

“Tuition keeps going up every year. I have loans like you wouldn’t believe: $15,000, and it’s just my first year. But I pay my taxes, so why can’t they?” said Andrew Contstas, a psychology major at the University of Minnesota who traveled to San Francisco for the protest.

Determined to shut down the meeting, many groups of protesters entered the building at different times.

Around 10:30 am, about 75 were able to get in and sit down in the lobby, refusing to leave. “They said if we dispersed, they would let the shareholders in,” said SEIU Local 1021 organizer Gabriel Haaland, referring to the shareholders who came to protest and air their grievances. “They still didn’t. But they let shareholders in from either side.”

Many non-protester shareholders were able to enter through back entrances, escorted by police.

Workers from several unions who are currently locked in labor disputes, including janitors with SEIU Local 87 and AT&T technicians with local Communication Workers of America chapters, were also present at the protest. A stage set up in front of Wells Fargo turned California into an arena in which worker, student, homeowners, and immigrants told their stories.

Chris Drioane of CWA Local 9410 said that he is fed up after he worked 80-90 hours per week with no days off though the 2011 holiday season. “I worked from Thanksgiving to Valentine’s Day with no days off,” said Drioane.

The SFPD made 20 arrests, six for “chaining themselves to an object” and 14 for “some form of trespassing” after Wells Fargo asked them to make the arrests. Four were arrested by the Sheriff’s Department for interfering with an officer.

Ruth Schultz, a shareholder who was arrested inside the meeting, said that those who entered were able to speak. Several stood up and spoke individually before they were escorted out; afterward, the remaining protester-shareholders mic-checked the meeting and expressed their desire that Wells Fargo cease investment in private prisons, give principal reduction to all underwater homeowners, and pay “their fair share” of taxes. Police handcuffed them, and they were cited and released after spending 30 minutes in a room inside the Wells Fargo headquarters.

Schultz says the meeting lasted only 15 minutes after the group was detained, and was “ceremonial at best…They went on about their profits this year, how they’re sitting on the most capital they’ve ever had before.”

She says she was particularly frustrated from one statement made by CEO John Stumpf. “He said, ‘we’re proud of our mortgage business. In fact, I love our mortgage business.’”

A press releases from organizers explained that the protest was part of “99% Power, a national effort to mobilize well over 10,000 people, from all walks of life and representing the diversity of the 99%, to engage in nonviolent direct action at more than three dozen corporate shareholder meetings across the country.”

The national group plans to create similar chaos at a Bank of America shareholder meeting in Charlotte, NC May 6.

Letters from Hole guitarist Eric Erlandson

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As the guitarist for Hole, Eric Erlandson was at the center of the alternative rock explosion of the early 1990s, a member of one of the most popular and controversial bands of the time, and a friend and confidant to one of the scene’s most influential players, Nirvana’s Kurt Cobain. With the 18th anniversaries of both the suicide of Cobain and the release of Hole’s hit record Live Through This passing this month, Erlandson has just released his first book, Letters To Kurt (Akashic Books) a touching and enlightening collection of prose poems addressed to his departed friend.

During a phone conversation from Los Angeles, Erlandson — who will be appearing at several events in the Bay Area this week — touched on the creative and cathartic process of writing the book, the release of Hit So Hard, a documentary about Hole drummer Patty Schemel, an impromptu on-stage reunion with Courtney Love, and the recent news stories about a supposed Kurt Cobain solo album.

SFBG: Your book “Letters To Kurt” is not your standard rock n’ roll memoir — what was the impetus for going the route that you did?

Eric Erlandson: When I was writing it, I was doubting it and resisting it the whole way through, now when I’m presenting it, I’m still unsure; ‘Is anybody going to get this?’ It is a strange book, it’s not your normal memoir, it’s disturbing to read for me still, so it’s weird to be talking about it in public and reading from it.

I was inspired by Jim Harrison’s book Letters To Yesenin, I started a process in my journal writing out my own letters to people, and then once I let go of my hesitation of using Kurt, the first letter in the book was what came out, and the voice was strong, powerful, and different than anything I’d ever written.

I just kept going with it — when you start writing about the past, the past starts to come back into your life and affect you, and that’s what happened until I got to that 52 number. I thought it felt right, it’s resolved, it’s complete — as much is it can be complete, at this point.

Bringing the issue of suicide on the table, and keeping that as part of it — that’s the bigger picture, it’s not just a book about my views on life, or my relationships, or my ramblings, it’s trying to connect to the universal, that they’re all connected, and that suicide is something that affects us all.

SFBG: The documentary “Hit So Hard” is also getting a wide release this month, and you’ve been appearing at screenings with Patty Schemel — what has it been like seeing your old bandmates again?

EE: Patty’s movie just happens to come out the same time as my book, it wasn’t planned — it was her journey and then my journey. With the fact that they are both being released to the public at the same time, I started to try to put them together at some events.

Patty, Melissa [Auf der Maur] and I played at an event, and from that, it felt so good, it felt like we were back in 1992 in a basement in Seattle playing covers. It just felt really fun, we were free to do whatever we wanted to do, there was no pressure, there was no machine, no business behind us pushing us to do anything, so that was really kind of a liberating experience for us.

We then did another performance for the Hit So Hard premiere in New York, and of course, Courtney lives in New York, and got wind of it, showed up, and it was spontaneous.

If you face the past, if you stop shoving it under the rug, and you start thinking more about what’s happening to your relationships, then you’re able to resolve them, or experiences will happen that will force you to resolve them—or will give you an opportunity to do so at least.

I’m hoping that is where things will go; it can be a positive by-product of the book that I hadn’t even expected.

SFBG: You’ve been away from the mainstream music scene for quite awhile—can fans expect any new music from you in the future?

EE: I’m planning on doing a soundtrack to the book, I just ran out of time, I couldn’t get it out at the same time as the book, but I plan to get it out this year.
That should be really fun, to go back and use all my musical influences and not have it be tied to a band project.

SFBG: There was a flurry of news articles in the last couple of weeks quoting you as saying that Kurt Cobain had recorded a solo album before he died, his “White Album”— were those comments taken out of context?

EE: It was definitely taken out of context, misquoted, and misinterpreted. I think that Courtney had mentioned in like 1995 or 1996, that there was some sort of White Album — or somebody did, I remember hearing it, it’s nothing new to me.

I think the writer chose to present that in a way that there was some hidden gem, or secret being revealed, but there is no secret being revealed, it was me speculating on what I had heard—which is what many people have heard, which is [the song ] “Do Re Mi.” It just had a different mood to it. I was speculating that that’s probably where he was headed, and said something about that White Album comment that somebody had made in the ‘90s — but I was tying it into the topic of suicide, and that’s the thing that he didn’t present in his interview.

I was saying that when someone commits suicide — and I’m not criticizing someone that feels suicidal — by going into that tunnel, and suffering in that way, once you choose to take that huge act of taking your own life, you’re affecting everybody’s lives. This is nothing new, and we all know this, but I was bringing it back to music; by taking your own life, by self-destructing using drugs, by checking out, then you’re taking your gifts away from the world.

I’m not dropping anything that world doesn’t already know. I never claimed that he was making a solo album; I was speculating that if he had continued, he might have made a solo album.

In Kurt’s case, who knows where that music would have gone.

Wed/25, 7:30pm, free
Moe’s Books
2476 Telegraph, Berk.
(510) 849-2087
www.moesbooks.com

Thu/26, 7pm,free
City Lights Bookstore
261 Columbus Ave., SF
(415) 362-8193
www.citylights.com

Fri/27-Sat/28, 7:15 and 9:30pm, $10
Roxie Theater
3117 16th St., SF
(415) 863-1087
www.roxie.com

Our Weekly Picks April 25-May 1

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WEDNESDAY 25

>> Norm Talley

It’s been a good decade since the Detroit Beatdown sound was unleashed on the world via an eponymous triple-disc release on the UK’s Third Ear Records, which collected the works of several integral Motor City dance music producers. In truth, the Beatdown sound wasn’t so much a cohesive style — although it did reflect the spinetingling synthesis of Detroit’s hypnotic, unhurried house sound with the Zen-like disco-funk loopiness that was earning Moodymann and Theo Parrish rabid followers at the time — than a foray into bumpin’ erotic grooviness, no matter the tempo or sample source. An uptick in Beatdown sound reverence has lead to recent tours by many of the original players, including Norm Talley, who will bring almost 30 years worth of decks magic to the incredibly welcoming Housepitality weekly party. (Marke B.)

9pm, $5 before 11pm, $10 after

Icon

1192 Folsom, SF

(415) 626-4800

www.housepitalitySF.com


>> Eric Erlandson

As the guitarist for Hole, Eric Erlandson was at the center of alternative rock explosion of the early ’90s, a member of one of the most popular bands of the time, and a friend and confidant to one of the scene’s most influential players, Nirvana’s Kurt Cobain. With the 18th anniversaries of both the suicide of Cobain and the release of Hole’s hit record Live Through This passing this month, Erlandson has just released his first book, Letters To Kurt (Akashic Books) a touching and enlightening collection of prose poems addressed to his departed friend. He’ll read from the book and do an acoustic performance tonight. (Sean McCourt)

7:30pm, free

Moe’s Books

2476 Telegraph, Berk.

(510) 849-2087

www.moesbooks.com

 

In conversation with Andi Mudd

Thu/26, 7pm, free

City Lights

261 Columbus, SF

(415) 362-8193

www.citylights.com

 

>> “A Change of the World: In Memory of Adrienne Rich”

The iconic contemporary poet — how many of those have we got left, friend? — passed away at her home in Santa Cruz last month. But Adrienne Rich’s legacy of strong-willed, powerfully voiced feminism, radical lesbian activism, perfectly illuminated quotidian details, and, hopefully, incredible control of poetic form, is set to be carried on for generations, beginning with this huge tribute at the SF Main Library from notable Bay Area wordsmiths. Join Elana Dykewomon, Aaron Shurin (whose latest volume, Citizen, is a stunner), Jewelle Gomez, Justin Chin, Kevin Killian, Toni Mirosevich, and oodles more as they resurrect Rich’s voice and offer their own oblations on the rough altar of her inspiring genius. OMG she would hate that I got all over-dramatic with the language back there. (Marke B.)

6pm, free

Hormel Gay and Lesbian Center at the SF Main Library

100 Larkin, SF

www.sfpl.org

 

 

>> “John Waters in Conversation”

Oh hell yes. Sometimes San Francisco resident John Waters (if you’ve spotted him on Muni, I am sooo jealous) visits California College of the Arts to screen 2004 sex-com A Dirty Shame, which features a typically eclectic cast (including Waters regulars Mink Stole and Patricia Hearst, and Selma Blair’s memorable, uh, udders). The “Pope of Trash” (he’s also an author, occasional actor, hilarious solo performer, and photographer) hangs out after to chat about his filmmaking career — and the fact that this killer event is free (part of CCA’s Cinema Visionaries program and Design and Craft Lecture Series) is just icing on the poo. Er, cake. (Cheryl Eddy)

7-9pm, free

Timken Lecture Hall

California College of Arts

1111 Eighth St., SF

(415) 703-9563

www.cca.edu

 

THURSDAY 26

>> “Bloomsbury/It’s Not Real”

In the early part of the 20th century and for a short period only, the London neighborhood of Bloomsbury became a center of civilized thought. In their salons its members argued about poetry, painting, and history. They passionately believed in Art and embraced total freedom — artistic, sexual, personal. Some of them became famous; others dropped by the wayside. Yet in retrospect, Bloomsbury looks like a small Shangri-la. Or was it? Jenny McAllister has been popping the balloons of pretense for close to 20 years, creating dance theater pieces that are as witty as they are humorous. In “Bloomsbury Group/It’s Not Real” she and her 13th Floor Dance Theater introduces us to some of those peculiar characters that called Bloomsbury home. (Rita Felciano)

Thu/26-Sun/29, 8pm, $18–$23

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org


>> The Touré-Raichel Collective

Israeli pianist Idan Raichel and Malian guitarist Vieux Farka Touré forged a friendship after crossing paths at a Germany airport in 2008. The Israeli pop star, known for culling from many worldly influences, had been a fan of Vieux’s father, legendary guitarist Ali Farka Touré. Raichel beckoned the younger Touré to visit him in Tel Aviv for a jam session. Their serendipitous collaboration resulted in The Tel Aviv Session, an acoustic, improvisational masterwork. Throughout Tel Aviv, Touré sets the stage with dramatic strumming and guitar-picking, while Raichel engages with his own meticulous, twinkling ripostes. The duo’s casual chemistry facilitates a rare and absolutely mesmerizing interplay fused together by impeccable technique. (Kevin Lee)

8pm, $25–$85 Herbst Theatre 401 Van Ness, SF (415) 392-4400

www.cityboxoffice.com

 

>> Trippple Nippples

Poised to make a splash at SXSW this year with its hyperkinetic live show, Tokyo’s Trippple Nippples unfortunately had to cancel due to visa complications. The band is now making up for lost time with a string of West Coast shows that includes a Thursday stop at Thee Parkside. A mix of psychedelic performance art, electronics. and in-your-face noise rock, the group has caused a stir in Japan, in addition to finding endorsements from American artists such as Pharrell, who recently championed it in Vice’s mini-documentary, Tokyo Rising. Check out the Dan Deacon-esque slice of kaleidoscopic electropop “LSD” for a taste. (Landon Moblad)

With Ass Baboons of Venus and Ghost Town Refugees

9pm, $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

>> Afrolicious Five-Year Anniversary

Give it up for unstoppable, adorable DJ brothers Señor Oz and Pleasuremaker, a.k.a. Oz and Joey McGuire. A half-decade ago, when the idea of mixing as many global dance music styles into one party as possible was still pretty radical, the bros’ Afrolicious party went one better with live instrumentation (often courtesy of Joey’s band, Pleasuremaker, which drops a new full-length later this year), remarkable guest stars, and a fantasy Latin funk sheen. Best of all, Afrolicious pumped a welcoming, soulful, old-school smiley vibe — free of the slightly sour, scene-y sting of other such endeavors. Afrolicious anniversary parties burst apart at the seams with guest-star goodies and span two wild nights. This one is no exception, with resident percussionists Qique and Diamond, Brazilian drum troupe Fogo Na Roupa, DJs New Life and Sergio, and more. (Marke B.)

Thu/26-Fri/27, 9:30pm, $10

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

FRIDAY 27

>> “First Breath — Last Breath”

Bad Unkl Sista, participators in arts-party mega-fare (like Maker Faire, for instance), take over Z Space this weekend for the world premiere of a new performance work, “First Breath — Last Breath,” directed, choreographed, and costumed by founder and artistic director Anastazia Louise, a Butoh-trained dancer and dance teacher who honed her skills in the “wearable art” costuming department as a core member of the Carpetbag Brigade from 2000 to 2009. A sensory-stimulating meditation on life and death, the piece promises an apt element of the unscripted in its hybrid spectacle of dance, Butoh, aerial work, couture, percussive scenic design, film, and music. (Robert Avila)

Fri/27, 8pm; Sat/28, 2 and 8pm, $35

Z Space

450 Florida, SF

(415) 209-5569

www.badunklsista.com

 

SATURDAY 28

>> Jim Gaffigan

Comedian and actor Jim Gaffigan could pontificate on any subject, but his delightful treatises on bacon bits, Cinnabons, and other dubious delectables rank as fan favorites. “I’ve never eaten a Hot Pocket and been like, ‘I’m glad I ate that,'” he opines during a popular sermon on the sloppy snack. Followers gravitate toward his languid style and natural inclination to poke fun at his own comedy, especially through whiny, one-line asides he whispers as an aghast faux audience member. New 75-minute stand-up routine “Mr. Universe” is available for $5 as an online stream, $1 of which will go toward The Bob Woodruff Foundation in support of veterans and their families. (Lee)

Sat/28, 7:30 and 10pm; Sun/29, 7pm, $39.75–$49.75 Warfield 982 Market, SF (415) 567-2060 www.thewarfieldtheatre.com

 

>> “Dear Howard, I Love You But I’m Leaving You For Bryant”

You know how friends get your help moving with a little beer and a few laughs? Artists go all out in this regard. This joint fundraiser between the Garage and THEOFFCENTER benefits the new home for the Garage at 715 Bryant. The current Garage space at 975 Howard was literally that in 2007 when Joe Landini moved in and converted it into his “safehouse” for local artists, an ambitious low-rent breeding ground for dance, theater, and performance. The name stays but the venue changes to a more accommodating space nearby. In celebration, the Garage plays, parades, parties, and moves this Saturday in cunningly pragmatic programming that starts at 975 Howard and ends, via “procession,” with a bash at the new digs. (Avila)

The Garage

6pm, performance

975 Howard, SF

8pm, procession

8:30pm, party

715 Bryant, SF

www.715bryant.org

 

MONDAY 30

>> Marshall Crenshaw

Singer-songwriter-guitarist extraordinaire Marshall Crenshaw has been writing and making records for more than 30 years now, first gaining mainstream exposure with his 1981 hit “Someday, Someway.” In 1987, he portrayed Buddy Holly in the film La Bamba, playing an excellent cover of Holly’s then-obscure outtake “Crying, Waiting, Hoping,” virtually turning the song into his own, one which remains a staple in his live shows to today. The past few years have seen Crenshaw nominated for a Golden Globe for Best Original Song for the title track he wrote for the movie Walk Hard: The Dewey Cox Story, and the release of the album Jaggedland—don’t miss your chance to see him at this unique solo performance. (McCourt)

8pm, $18

Yoshi’s

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

TUESDAY 1

>> Treat Social Club

On a blustery evening in March, organizers Finn Kelly and Adam Theis invited their friends to converge inside a hangar-like space in the Mission for Treat Social Club’s inaugural event. No one knew quite what to expect but once inside revelers found themselves swaying to Realistic Orchestra’s moody silent film score, awed by fabulous visuals, and mesmerized by the aerial choreography Amanda Boggs. It was an auspicious start for the monthly series and with performances by tap dancer Tyler Knowlin, and an aerial piece that will be influenced by crowd participation, the second edition promises to be just as tantalizing as the first. (Mirissa Neff)

7:30pm, $10-20

Go Game Headquarters

400 Treat (Suite F), SF

www.treatsocialclub.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, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. 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.

Fixie freaks, this weekend’s for you

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If riding fixed gear bikes on BMX-style ramps and structures sounds like something you’d think up after a half-case of energy drink, take heart oh palpitation pal — it was in fact dreamed up by Red Bull. Also, you’ll be able to check out the absolute chaos on Thu/26 and Sat/28 sans worries of smashing your own over-caffinated brain box all over the asphalt.

Oh yes, this is the Red Bull Ride + Style event, the second year of the taurine queen’s atypical sport biking event. I checked it out last year and was blown away not only by the fact that competitors were catching air on their fixed gears, but also by the art — the main event’s structures were tricked out by some of SF’s finest illustrators. This year, Apex, Jet Martinez, Chor Boogie, and Max Ehrman will try their hand at beautifying the madness.

One thing that’s different about this year’s festivities is that it would appear that a year has stoked the interest of more riders — 2012 will feature a qualifying event on Thu/26 at Mezzanine that will serve as gauntlet for those looking to flip about Justin Herman Plaza on Saturday. 

Track qualifying heats

Thu/26 7pm-midnight, free

Mezzanine

444 Jessie, SF

www.redbull.com/ridenstyle


Red Bull Ride + Style

Sat/28 noon-6pm, free

Justin Herman Plaza

Market and Embarcadero, SF

www.redbull.com/ridenstyle

 

Action Girl leaves Black Rock City LLC

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This week’s resignation of Andie Grace (aka Action Girl) – who has been the face and voice of Burning Man and its Jack Rabbit Speaks newsletter for most of her 13 years working for Black Rock City LLC (aka the Borg) – is the latest blow to an organization and culture going through a difficult transition period.

She insists that her departure is “not a big boat-rocking controversy,” it’s been something she’s been thinking about for years, and the timing is coincidental. “It has a lot more to do with where Andie Grace is now,” she said, than with what the organization is going through at this point.

I’ve known Grace for years; I believe her and I wish her the very best as she figures out what she wants to do next. She’s got a bit of a cushion now that her husband – Tom Price, another longtime burner who started Burners Without Borders and Black Rock Solar before leaving the Borg last year to work for an environmental firm – is doing well professionally.

But I think it’s a shame that the Borg is letting Grace go rather than elevating her, Price, and their generation of Burning Man innovators (including Will Chase, the current voice of JRS) into a position of leading the Borg and this culture, which would entail the six board members giving up some control and trusting others to shepherd this culture forward.

I’ve written critically of the manner in which the Borg will be transitioning Burning Man to nonprofit control over the next five years. They launched the nonprofit Burning Man Project last year, but with hand-picked board members serving one-year terms rather than something more democratic or collaborative.

And even then, the six board members retain full control over when and if the transfer takes place, determining their own continuing roles in the organization as well as the secret payouts they’ll be receiving for dissolving their ownership of the Burning Man brand.

Grace, Price, and a long list of others like them have embodied the soul of Burning Man for many years, keeping it cool while extending its tentacles off into a variety of intriguing and promising new directions. They are also more in touch with the large burner world than their bosses, which Grace demonstrated during this year’s ticket debacle with a blog post that defused much of the mounting criticism.  

As Burning Man wrestles with its growing popularity and the population, logistic, and philosophical issues that raises, it balances on a precarious tipping point. If the Borg behaves like a corporation and treats its brand like a commodity, this whole grand experiment could quickly unravel.

Maybe it was just time for Grace to go and I’m making too much of this moment. But I also think it’s time for these six board members – most of whom are reaching retirement age anyway – to trust this community with the future of an event and culture that we all created together.

Steven T. Jones, aka Scribe, is the author of The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture. He’ll be doing a reading and leading a discussion on the state of Burning Man, Tribes in Transition, from 6-7:30 pm on April 25 at the Bay Guardian office, 135 Mississippi St., SF. 

Vinyl party: Record Store Day is almost here

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Records nerds take heed: limited record releases from the Flaming Lips, Neon Indian, Jack White, Mark Sultan, Xiu Xiu with Dirty Beaches, and more await thee. If you’re a lover/supporter of independent music, you’ll be celebrating Record Store Day this weekend with the rest of us. Err…that is, buying up some new vinyl.

And why not? The US-wide event, which began in 2007, keeps getting bigger and better, with even more releases, and even weirder vinyl variations (liquid, colored, etched, can Laffy Taffy grooves be that far away?).

And, as often noted, the Record Store Day releases are available only at physical, independent shops. Real, brick and mortar stores lined with dusty squares. Stay offline all day.

And, as many of the Record Story Day releases are limited, it’s important to keep in mind that all stores may not order all release. It’s first come, first serve, and all that. Show up early, support your local vendor.

Bay Area participating stores include Recycled Records, Groove Merchant Records, Amoeba Music in San Francisco and Berkeley, Black Pancake Records, Streetlight Records, Grooves, aQuarius recOrds, the Explorist International, The Music Store, Creative Music Emporium, MusicESP, Fats Music, Mill Valley Music, Donnie’s Records, 1-2-3-4 Go! Records, Down Home Music, Down Home Music Store, Rasputin Music and DVDs, Mod Lang, Red Devil Records, Bedrock Music & Video.

Here’s just a small sampling of the audio-treats available to you this Saturday, April 21 (walk in to local stores for availability):

The Flaming Lips
, The Flaming Lips and Heady Fwends. The exclusive Record Store Day release will be pressed on two multi-color vinyl discs in separate custom art jackets and poly bagged together. No two discs will look exactly alike. Once it’s gone, it will not be repressed again making. It includes musical contributions from  Yoko Ono, Nick Cave, Chris Martin of Coldplay, Bon Iver, Ke$ha and more.

Mastodon /Feist, A Commotion/Black Tongue seven-inch. A RSD exclusive featuring Mastodon covering Feist’s song “A Commotion,” and Feist covering Mastodon’s “Black Tongue.”

Mark Sultan, The War On Rock’n’Roll. A live, one-take album put out on In the Red Records.

Jack White, Sixteen Saltines. A 12-inch single of Jack White’s “Sixteen Saltines” featuring a playable etching of the Third Man logo in its B-side. “The grooves of the record play through the image, making it the world’s first-ever playable etched record ®.” There’s an even more limited version of the Sixteen Saltines etched 12-inch that’s pressed on clear vinyl and filled with psychedelic blue liquid.

Xiu Xiu/Dirty Beaches split seven-inch. Limited to 200 copies, Side A is Xiu Xiu covering Erasure’s “Always”, Side B is Dirty Beaches covering Francoise Hardy’s “Tu Ne Dis Rien.”

David Lynch FoundationMusic That Changes the World. A deluxe, four-volume vinyl collection featuring 34 exclusive tracks by artists such as Donovan & Iggy Pop, Peter Gabriel, Moby, Maroon 5, and Ozomatli and several others. The collection also includes a previously unreleased bonus track from The Ghost of Saber Tooth Tiger along with a download code for a bonus digital track from Julio Iglesias Jr.

of Montreal/Deerhoof
, Stygian x} Bisection. It’s an exclusive RSD seven-inch on Polyvinyl. The seven-inch features “A Filthy Fifth” on the A-side, of Montreal’s cover of Deerhoof’s song “Secret Mobilization.” The B-side is the first studio recording released of “Feminine Effects.”

The Mynabirds, Generals seven-inch single. From their upcoming album Generals, to be released June 5, the Record Store Day seven-inch includes one non-album track “Fallen Doves” and features silk screens covers, hand stray painted and numbered by band leader Laura Burhenn. Limited to 1,000 copies on black vinyl.

Battles, Dross Glop 4. RSD limited run. Final 12-inch of the Dross Glop series. Features remixes from Gang Gang Dance, Hudson Mohawke, Patrick Mahoney (LCD Soundsystem), Dennis McNany.

Neon Indian, Hex Girlfriend 10-inch. An exclusive RSD release, with the album version of the track on Side A, and a Twin Shadow remix on Side B. It’s limited to 500 copies and will only be available April 21. 200 of those will be pressed on translucent green vinyl, and 200 will have an opaque blue swirl.

Again, remember that these are independent stores and not every Bay Area record shop will sell every RSD release. Plan accordingly.

Record Store Day
Sat/21, business hours
Independent record shops, Bay Area and beyond
www.recordstoreday.com